Interlink A master thesis investigating the interlink between the design process and landscape architectural tools in a design proposal situated in Nakskov
BOOKLET I Introduction and Aspects of the Design Process
Interlink A master thesis investigating the interlink between the design process and landscape architectural tools in a design proposal situated in Nakskov Mette Væde Lykkebo, kjm371 Thomas Lindtorp Pedersen, ztr462 2 x 30 ECTS point master thesis in Landscape Architecture Department of Geoscience and Nature Resource Management Faculty of Science University of Copenhagen Supervisor: Rikke Munck Petersen February - June 2021
This booklet is the first out of two. It provides an introduction and insight to this master thesis project and unfolds our reflections upon the investigation of the interlink between the design process and the landscape architectural tools.
ACKNOWLEDGEMENT This master thesis in Landscape Architecture is made by Mette Væde Lykkebo and Thomas Lindtorp Pedersen from January 31st to June 16th 2021 at the University of Copenhagen, Section for Landscape Architecture and planning, Department of Geoscience and Natural Resource Management, Faculty of Science.
supervision and continuous support, Peter Lundsgaard Hansen for many constructive vertical design conversations, Jan Støvring and Torben Dam for rewarding midterm critique and to Leah Løffler and Martin Eriksson for advice and support throughout our parallel processes.
A special thanks to our supervisor Rikke Munck Petersen for a dedicated
Finally, we wish to thank all the committed people we have been in contact with. Tim Jeppesen, Malene Borgny and Martin Nilsson from Nakskov 2030, Morten Stenak from the Municipality of Lolland, Anton Juel Lund from SLA Oslo, Jonas Bruun from STED and Richard Hare from the University of Copenhagen.
Mette Væde Lykkebo
Thomas Lindtorp Pedersen
16th June 2021
16th June 2021
The project is an investigation of the interlink between the design process and landscape architectural tools intertwined with the design proposal emerging due to the explorations.
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ABSTRACT This thesis aims to answer the program of the development plan Nakskov 2030, by creating a better link between the city of Nakskov and qualities found in Nature Park Nakskov Fjord. This is done by highlighting the natural and historical qualities, strengthening the connections and creating an increased awareness of the landscape surrounding Nakskov.
In between the city and fjord is the area called Hestehoved. Today this appears as an area with an unexplored potential for a strong connection between human and nature, fjord and city. We propose Hestehoved to be transformed to become a new link between the city and the fjord. In the proposal, we are working to transform Hestehoved into a new nature center, which aims to invite visitors to explore Nature Park Nakskov Fjord. The new nature center displays the natural qualities and history of Nakskov Fjord in order to raise awareness of the landscape qualities hidden in the nature park. Furthermore, new functions will enhance the accessibility to the nature park, such as renting bicycles, boats and shelters.
Through various landscape architectural tools, we have tried to gain a broad understanding of the many layers of the landscape. We have tried to gain knowledge of spatial as well as sensory qualities by using both classical tools as well as newer dynamic tools. All of them have been used to explore the challenges and potentials of the site. Our investigation has given us a greater understanding of Nakskov and its surrounding qualities, which have affected our proposal to grasp a larger site than what has been proposed in the development plan Nakskov 2030. The thesis shows how our design process and tools have affected the design proposal to include and strengthen landscape qualities found in the fjord.
Linking the fjord and the city together will strengthen the city of Nakskov which is the vision of the development plan Nakskov 2030. The new connection facilitates new recreational experiences that relate to the history of both the city and the surrounding landscape. The new development will give Nakskov a new strong identity that will be attractive for both citizens, visitors and entrepreneurs.
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Fig. 01: Arial photo of Hestehoved, Kuddeholm and Barneholm.
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BOOKLET I Introduction and Aspects of the Design Process Acknowledgement Abstract
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01 THESIS INTRODUCTION Motivation and Scope Tools and Process Nakskov 2030 Research Question Structure of Thesis
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02 INTRODUCTION TO THE DESIGN PROCESS Investigation of the Design Process Keeping an Archive Reading Instructions
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03 PROCESS AND REFLECTIONS UPON TOOLS AND FINDINGS Organizing the Process Office Space Design Workshops References Conversations Site Registration Models and Drawings Dynamics
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04 SUMMARY Challenges and Potentials
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BOOKLET II Design Proposal & Discussion 01 VISION Unifying Nakskov and the Fjord
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02 STRATEGY FOR NATURE PARK NAKSKOV FJORD Program Strategy Connections and Wayfinding Interventions Lindelse Tree Top Shelters Bird Tower Shelters Langø Floating Shelter
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03 NAKSKOV FJORD CENTER Program Masterplan 1. Connections 2. Nature Restoration 3. Nakskov Fjord Center Detail Plan A Detail Plan B Detail Plan C Detail Plan D The Air Balloon Phases
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04 SUMMARY An Enhanced Experience
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05 OUTRO Discussion and Reflections Bibliography Figure Credit
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01 Thesis Introduction This chapter provides an insight to our approach and work of this master thesis project.
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Fig. 02: There is a constant movement at the site forced by the wind.
MOTIVATION AND SCOPE The criteria for choosing this project for our master thesis is built upon a desire of making a design proposal while investigating the affective relationships of the design process and landscape architectural tools.
Through this project we seek an insight of the relationship between spatial qualities and multi-sensorial imprints, intertwined of time and space in one, e.g. how interaction at different periods of time, will create a variety of scenarios and experiences of the same space.
The two courses Practice and Aesthetics in Landscape Architecture Studio and Landscape Studio have been an inspiration and motivation for investigating the use of mixed media and methods.
In order to be able to focus on the design process and tools we have been searching for a project with a pre-given program that is yet to be transformed. We have chosen the development plan of Nakskov 2030 as the prerequisite for our thesis. The idea of using a site with a pre-given program is to be able to start our design process from a foundation that is already there. The program is giving us a “first-frame” and is used as a guideline in the project. Though we maintain an open mind for improving changes of the program, along with the explorative process and explorations of tools intertwined with the design proposal emerging due to the explorations.
While the landscape is a constant flux, the classic architectural tools and investigation methods, like drawings and models, are a static reflection of a moment. Drawings and models are mainly based on the visual static 2D and 3D representations and rarely capture all the sensorial and dynamic dimensions of a physical place. We aim to explore how to stage the dynamic and sensory aspects of the site of Nakskov Fjord and Hestehoved. Further we question the common architectural tools primarily still being static drawings and models, which do not sufficiently grasp dynamics of sensory aspects of a site. We do not believe that the common architectural tools should be replaced, though we are curious on tools that can contribute to a further understanding of the sensorial and dynamic layers of a site and our way of grasping and exploring the qualities of these landscapes.
In order to direct our area and focus of investigation we have in the process extended our scope to contain both Hestehoved and the Fjord, not the other two parts of the Nakskov 2030 plan.
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investigation of the site
nakskov 2030
at site
workspace
design proposal
discussion and reflection
Fig. 03: Process diagram.
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TOOLS AND PROCESS This master thesis is based on a sitespecific landscape analysis, which in our case primarily has consisted of phenomenological and morphological elements. It is an extension of current landscape analysis methods, ex. Lynch analysis or Per Stahlschmidt analysis, since they prioritizes physical and spatial entities thus not bringing forth the sensorial or cognitive aspects.
landscape analysis through a number of approaches during the design process including: design workshops, references, design conversations, site registrations, models and drawings, pin-up and supervisions, film and drawings in motion. Each approach can be worked with in several ways, which we have been exploring and testing through our work with the design proposal.
This project aims to involve all aspects of the design process that we have gained knowledge from throughout our education. Though we emphasize the phenomenological approach in particular working with different tools with a focus on knowledge about sensorial imprints and the ability to sense space and translate it into proposals for new spatial dispositions that support the experience and perception of a user. Thus, we intend to move beyond the physical and spatial entities towards the hidden spatial and experiential interrelationships forming sensory aesthetic experiences when engaging with spatial entities and different media to transpose the experiences into attentive actions.
The different tools have been overlapping throughout the process of working with the design proposal and investigation of the site. We have been using the tools both separately and in combination to support and amplify each other. The process has been the guideline for our work. It has transposes sensing into experiences then being transposed into concepts and proposals. We have worked in parallel with the phases: program, investigation, design proposal, reflection and discussion. This way of working has shown that the four phases often overlap and raise questions to each other helping answer each other’s problems (see fig. 03).
We have processed and worked with the
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copenhagen
nakskov
fehmarn tunnel
Fig. 04: Context map - Denmark.
hamburg
nakskov
fehmarn tunnel Fig. 05: Context map - Lolland, Falster, Møn.
hestehoved
the city center
the harbor
Fig. 06: Context map - Nakskov Fjord.
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NAKSKOV 2030 The Nakskov 2030 initiative is based on an analysis made by BARK Rådgivning (Lolland Kommune, 2021). Nakskov is situated on Lolland, which is a Danish island between Sealand and Germany (see fig. 04). Lolland is characterised by its flat reclaimed agricultural landscape.
citizens and visitors (Lolland Kommune, Realdania og BARK Rådgivning, 2020). The project Nakskov 2030, is a development strategy seeking to strengthen the qualities of the city center, industrial harbor, and the natural landscape surrounding it, founded by Realdania, A.P Møller Fonden and Lolland Municipality. In the project description the vision is introduced with the following sentence:
Nakskov is the largest city on the island, located at the western coast, in the inner part of Nakskov Fjord (see fig. 05). It is a place with a long and proud history of being an important city for maritime, industrial, and trading activities (Lolland Kommune, Realdania og BARK Rådgivning, 2020). Nakskov is still seen as the capital of Lolland, but the city is facing several challenges to once again become an attractive city for new citizens, visitors and entrepreneurs (Realdania, n.d.).
“Nakskov 2030 is a development project focusing on strengthening the town as the capital of Lolland. The vision is a long-term positive development of Nakskov with tourism as the main tool. Nakskov must be a vibrant and attractive city for both citizens, visitors, and businesses and a strong capital that creates growth and development for the benefit of the whole of Lolland.” (Lolland Kommune, Realdania og BARK Rådgivning, 2020).
Within a few years, the geography will change markedly as the new immersed tunnel connects the Danish island of Lolland with the German island of Fehmarn (see fig. 04). This opens an opportunity for Nakskov, to strengthen the qualities of the city in favor of healthy economic growth for smaller businesses as well as attracting more
Nakskov 2030 is pointing towards three areas for the development plan to take action; the City Center, the Harbor and finally Hestehoved and the Fjord which is the main focus of this thesis (see fig. 06).
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We have chosen to work with one of the sites in order to direct our area of investigation. We chose Hestehoved as we were drawn to the mesmerizing landscape surrounding Nakskov and were interested in working with the potential of the natural qualities.
Today Hestehoved is an area located between the city center and Nakskov Fjord. In the development plan the situation at Hestehoved today is described as a recreational area with a popular beach, volleyball facilities, camping area, restaurant, marina and kayak club. The area appears random and without a clear coherence but constitutes a potential in relation to creating a contiguous area (Lolland Kommune, 2021).
The development plan points to four initiatives that must be worked with at Hestehoved in order to fulfill the found potentials for the area: - Recreational facilities at Hestehoved - Recreational facilities at the Fjord - Connections between city, harbor, and Hestehoved - Outdoor resort
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Fig. 07: The birds and the popular jetty at the beach is today the main attraction of Hestehoved.
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RESEARCH QUESTION With the vision of Nakskov 2030 in mind, how can a future design proposal for Hestehoved and Nakskov Fjord enhance the complexity of the site-specific landscape qualities of the area? How is the interlink between the design process and the landscape architectural tools: - informing our reading of the site and its qualities? - influencing and being expressed in the proposal? - enhancing the future development of Hestehoved?
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STRUCTURE OF THESIS This thesis will be presented in two booklets: Booklet I - Introduction and Aspects of the Design Process Provides an insight to the master thesis project and unfolds our reflections upon the investigation of the interlink between the design process and the landscape architectural tools. Booklet II - Proposal, Discussion and Reflection Present a future design proposal for Hestehoved and Nakskov Fjord and unfolds a discussion and reflection upon the process and proposal of the thesis.
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Lindelse Skov Vejlø Lindelse
Hellenæs Skov Rommerholm
Enehøje
Slotø
Hestehoved
Kuddeholm
Barneholm NAKSKOV FJORD
Lille Vejlø
Langø
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The lost kingdom of islands Fig. 08: Existing situation, Nakskov. 1:25.000.
Recidential area Residential area
NAKSKOV The harbour Vestas
Indrefjorden
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Nakskov Fjord Camping
Hestehoved strand
Closed restaurant
Kuddeholm
Barneholm Fig. 09: Existing situation, Hestehoved. 1:5.000.
Strand promenaden
Hestehoved harbor
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02 Introduction to the Design Process This chapter elaborates on why and how we have worked with reflections upon our design process.
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Fig. 10: Materialities, drawings and models in our first office space.
INVESTIGATION OF THE DESIGN PROCESS Before we started working on this project we have been curious about how to achieve a well-qualified proposal for a site-specific landscape design. In particular we have been curious on how to capture the complexity of a site in regards to forming a foundation for the final proposal.
through different tools in the design process. We are convinced that the tools used during the process of creating any given design proposal are of crucial importance for the outcome. Therefore, we are interested in investigating how the interlink of the design process and landscape architectural tools affects the project.
We believe there are certain spatial and dynamic layers present at a site that can contribute to the emergence of the full potential of landscape projects. Therefore, we are curious of how these layers can be elucidated
Nakskov Fjord and the City of Nakskov serves as our case study for our investigation.
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Fig. 11: Browser-view of the Instagram log-book.
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KEEPING AN ARCHIVE To help ourselves get an overview and effectively reflect on our work process, we have been documenting our ongoing work from the very beginning of our thesis. In order to do that, we have created a log-book in the form of an Instagram profile: https://www. instagram.com/llandskab/ (see fig. 11).
on how we have worked with the project in the current period. Furthermore we have created an youtube account that contain all our films of the design process: https://www.youtube.com/ channel/UCTkIMZMDGihWJjQMed7OvNg We have found that keeping an archive is a great way to process our thoughts about the design throughout the timespan of the project. Additionally it has forced us to be aware of the tools applied and has helped us focus on the experience of the process at the moment.
On this platform, we have continuously documented our work by uploading images of our process as well as tools and material we have produced along the way. For each post we have attached a short reflective description
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Fig. 12: Process diagram - an overview of when the different aspects has been actively worked with during the process.
READING INSTRUCTIONS The tools used in our thesis are often used several times at different phases of the project. We have chosen to organize it into eight aspects of the design process that we have come to find important (see fig. 12).
Organizing the process Office space Design workshop References
On the following pages, we display our process and tools by unfolding our blog posts, photos and reflections from our log-book. This will be presented in eight aspects:
Conversations Site registration Models & drawings Dynamics
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Fig. 13: Drawing material and materialities in our model-lab.
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03 Process and reflections upon tools and findings This chapter elaborates on how we have worked with the eight different aspects and tools throughout the process and our findings thereof.
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Organizing the Process
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Fig. 14: First Instagram post from our profile llandskab. Displaying the setting of a meeting where structure, office setup and methods were discussed. A calendar helps structuring the future work of the process. Planning in different time spans serves different purposes. An overall calendar helps with the big overview and keeps you on track.
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ORGANIZING THE PROCESS design workshops
conversations
models and drawings
dynamics
We have found it important to lay down a structured plan for our work in the very beginning of the thesis process. Several aspects of planning have been considered in order to optimize our work during the four months.
This has put us in a position where we have had to prioritize between our calendar and tools. This is shown in the project as the investigation of especially the dynamic tools, such as films and plans in motion, have not unfolded to the extent we hoped.
Calendar First of all we have been working on the basis of an overall calendar for the whole process in order to make sure we had the time to touch upon all tools we wanted to explore and at the same time manage to produce a high quality design proposal. As a result of having a structured plan from the start of the process, we have been able to work with the individual parts of the process without concerns about having enough time to reach other parts (see fig. 1516).
site registration
Workflow We have attempted to spread out the workload of different characters evenly throughout the process to ensure a varied workflow. Switching between office work and field work has strengthened our motivation and has contributed to new findings and solutions. This way of working has also made us aware of how a tool is used differently in the different stages of the process (see fig. 17-18). Weekly meetings The plan for each week and each day has continuously been elaborated, reconsidered and adjusted according to the needs of the current stage of the process. We have managed to start every week with a Monday meeting to reflect upon and discuss the plan of the days of the week in order to work efficiently in the right direction. Conversation about structuring the week and the day has frequently forced us into dialog about priorities and necessities at the given stage of the process (see fig. 19).
However, we have realized that even a good plan can slip. Throughout our process, both discoveries and tools have affected our time-schedule. Some findings have raised new questions that have determined new unexpected studies to be done. Studies that could not be scheduled as they are created by the process. Another element that has affected our calendar is the tools - particularly the new dynamic tools - as they have been more time-consuming than expected.
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references
CALENDAR
Week 8
INTRO STUDIO WORK III Further development of first drawings, notations, collages and models. - Incorporating site specific discoveries and data collection from registration excursion.
Monday 22.02.2021
Tuesday 23.02.2021
Wednesday 24.02.2021
Finishing photo and film collages
Photo studio: photographing and editning models and materialities
Studying references: Kastrup Søbad + Amager Strandpark
Group supervision
Photo studio: photographing and editning models and materialities
Exercise 1: Collision
Thursday 25.02.2021
Friday 26.02.2021
Saturday 27.02.2021
Week meeting
Exercise 2: Synthesis
Induvidual work
Induvidual work
Printing reference photo + logbook for pin-up boards
Fig. 15: A section from the week planning in our calendar.
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CALENDAR
week 5 SETTING UP OFFICE
week 8 INTRO STUDIO WORK III
week 11 PROGRAM AND VISION
week 6
week 7
INTRO STUDIO WORK I
INTRO STUDIO WORK II
week 9 NARROWING FOCUS
week 14 PROJECT STUDIO WORK II
week 10 STUDY TRIP
week 15
week 16
PROJECT STUDIO WORK II
PROJECT STUDIO WORK II
week 17
week 18
week 19
MASTER THESIS REPORT
MASTER THESIS REPORT
MASTER THESIS REPORT TEST PRINT
week 12 PROJECT STUDIO WORK I
week 13 PRESENTATION FOR ”MIDTVEJSKRITIK”
week 20
week 21
week 22
MASTER THESIS REPORT
FINAL PRINT 24/5
HAND IN MONDAY 31/5
PREPARING ADDITIONAL MATERIAL
Fig. 16: A view of our overall calendar and a section from the week planning.
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WORKFLOW
Fig. 17: Field work. Site registration during first site visit to Nakskov Fjord. Fig. 18: Office work. Working with models at our first office space.
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WEEKLY MEETINGS
Fig. 19: Planning the day at the morning meeting. Week planning at the start of every week concretizes the workload and tasks for the following days. Day planning every morning adds flexibility to the work structure. Planning our week and our day – and then changing the plans has been important for us in order to have an ongoing conversation about the current state of the process and workload.
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Office Space
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Fig. 20: Setting up the vertical projector at our first office space.
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OFFICE SPACE references
design workshops
conversations
conversations
models and drawings
models anddynamics drawings
dynamics
We believe that the physical space sets the boundaries for productivity and creativity.
office, we got access to the modal-lab and later on to the thesis room which we shared with fellow students. Rethinking and moving our workspace has made us aware of the importance site registration of the office space. Additionally, we have learned how alternative and changing workspaces havesitearegistration positive effect on the process, our personal workflow and motivation - and on the product.
The frame of an office space The office space affects the quality of work. A healthy design space inspires to think creatively and provides the settings for desired explorations of ideas. Furthermore the outcome of the work is dependent on the space of the studio.
Workstations We believe that the physical movement in the studio matters. Entering a workstation for a specific task has shown to increase our productivity. A workstation with the right equipment for a given task increases space for contemplation.
Due to the covid-19 lockdown we had to start our thesis working from home. That forced us to create a home-office that could fulfill the same functions as the facilities we usually have access to at campus. We decided to make two offices serving different functions - “a home office” at Mette’s apartment for bigger workstations such as model table, vertical projector, library and computer station, and “an office on wheels’’ in Thomas’ van, giving us the opportunity to work at the project site (see fig. 21 and 22).
Moving physically leads to a change of focus. Applying physical distance to a task helps generate reflecting thoughts upon it. Multiple fixed workstations have allowed us to leave our different tasks on pause, where we have experienced that the solution of the problem of one task was often found working with another task at another workstation.
As the covid-19 situation changed during this project we have relocated three times. Apart from the home
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references
OFFICE SPACE
Every productive day is based on a good start. At the meeting desk, coffee is served at the morning meetings while the program of the day is discussed and organized in detail.
The library consists of LANDSKAB magazines, academic literature and other mixed sources of inspiration. An idea for a project is easier to communicate using references. In addition to being a catalyst for a design conversation, the library also functions as a warehouse where you can seek unexpected inspiration or new specific knowledge in a certain academic area.
The magic lounge is a space where you can distance yourself from the ongoing work and reflect upon and share existing ideas, but also a space where people from outside of the process can come up with impulsive input for new ideas when visiting.
Building models requires a separate workspace designed for this purpose with the option to go to and from the model in the construction process making it possible to work parallel with a plan drawing or notations. Most materials can be used for work models, but it is essential to have different materials available and tools to process the material into models.
Countless hours of the process go into processing material digitally. Therefore, it is of great importance to have an area that offers plenty of space for computers, monitors, notebooks and drawings.
The vertical design conversations (VDC) acquired a vertical projector, a big blank piece of paper, thick pencils and a table.
Fig. 21: Plan drawing of our home office during the COVID-19 lockdown.
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OFFICE SPACE
The meeting table is used for meetings, lunch, drawings and design conversation.
Having an office on wheels makes it possible to work at the site. In bad weather it is much appriciated to have an office at site - it makes you stay at site in all conditions and thereby a greater experience of it.
Pin-up boards is used to pin drawings, words or materialities collected at site.
Fig. 22: Plan drawing of our office on wheels.
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Design Workshops
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Fig. 23: Vertical projector from our first office space put into use during the first design workshop.
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office space
references
DESIGN WORKSHOPS conversations
conversations models and drawings
dynamics
models and drawings
dynamics
design workshops
In order to immediately dive into the design process of our project area, we chose to start out by making design workshops for ourselves. By doing these workshops we had expectations of coming up with the first drafts for proposals trying to answer the challenges stated in the development plan of Nakskov 2030.
Phase 2: Site Visit - A registration excursion to Nakskov.
The workshop was an investigation of the project site through three phases over the first three weeks:
Exercises: synthesis and collision (plan, section, visualisation).
site registration
Exercises: physical registration through photo, film, materialities and conversations. Phase 3 - Now We Know site registration - Pointing out potentials of the project.
In the following pages the workshop is described as an important aspect of the design process and the findings of the workshop are presented. Several design tools have been an active part of the workshop - these are described later on as a part of other aspects of the design process.
Phase 1: You Can’t Unknow What You Know - An investigation of the project site purely through assumptions based on studying maps. Exercises: notations, models and collisions of drawings (plan, section, visualisation).
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references
PHASE 1 - YOU CAN’T UNKNOW WHAT YOU KNOW
nakskov 2030
fjord
city hestehoved
industry
agriculture our frame of investigation
Fig. 24: Expanstion of the framing from Nakskov 2030 - including a bigger context.
Fig. 25: New territorial fragmentation is changing the position of Hestehoved in between the different areas.
Fig. 26: The fjord - characterized by soft natural shapes that are sporadically connected by straight-edged dikes.
Fig. 27: Hestehoved - structures indicating a meeting of man and nature. Soft edges meeting sharp human constructed elements.
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PHASE 1 - YOU CAN’T UNKNOW WHAT YOU KNOW
PHASE 1 - YOU CAN’T UNKNOW WHAT YOU KNOW In the first phase of the workshop we investigated the project site purely through assumptions based on studying maps. We were working without being influenced by others’ understanding or readings of the site. These investigations were made through three exercises; notations (see fig. 28), models (see fig. 29) and collision, and became the fundament of our first plan drawings, sections, visualizations and models.
The fjord: In this study we were taken in by the dominating organic structures in the landscape; soft shapes of Islands are seen on the map both above and below water and are to some degree found in the framework of the agricultural fields as well. The edge is characterized by soft natural shapes that are sporadically connected by straight-edged dikes - structures that indicate an interesting historical landscape (see fig. 26).
These are the main findings from this phase: Investigation of maps in different scales led to an impression of a larger context and territorial fragmentation of Nakskov than what the development plan pointed towards (see fig. 24). This observation suggested a new frame, including the entire fjord and a division into four characters of the site: the city, the industry, the fjord and the agricultural landscape. This resulted in Hestehoved being placed between two characters; the fjord and the city (see fig. 25). This observation led to a focused investigation in two scales being the fjord and Hestehoved.
Hestehoved: By looking very closely at Hestehoved from above, we see structures that show similar contrasts; dominating soft edges meeting sharp human constructed elements (see fig. 27). Though at this site the human interference and habitat is present, as it is shown in buildings, harbor edges, beach platform and parking zone. Signs of a meeting between the fjord and the city - a meeting between human and nature.
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PHASE 1 - YOU CAN’T UNKNOW WHAT YOU KNOW NOTATIONS
Fig. 28: Notations made upon orthophotos in three scales. In the first exercise we wanted to make notations and sketches of impulsive ideas - we drew upon an orthophoto underneath the vertical projector. In this exercise we investigated the site in three different scales through Vertical Design Conversations. Findings: fragmentation, connections and edges.
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PHASE 1 - YOU CAN’T UNKNOW WHAT YOU KNOW MODELS
Fig. 29: In the second exercise we wanted to make models based on our three maps of notations. We were seeking to see how our findings would undfold in a model and create a new understanding of what we found. Findings: Landscape emergence, Hestehoved as center of connections, meeting of natrual and constructed edges.
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PHASE 2 - SITE VISIT
The natural landscape
The constructed landscape
City Fjord
Hestehoved Industry
Agriculture
Fig. 30: An overall fragmentation is dividing the area into two ares; The natural landscape and the constructed landscape.
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PHASE 2 - SITE VISIT
PHASE 2 - SITE VISIT In the second phase of the workshop we went on a registration excursion to Nakskov with the purpose of an open data collection of photos, film, materiality and conversations with locals. These registrations were collected based on intuition.
of the area started supporting our division into four characters of the site; industry, city, fjord and agriculture leaving Hestehoved in between. Each area has its own character of structures and atmosphere (see fig. 31-37). Working with film, photoregistrations and materialities highlighted an overall fragmentation dividing the area into two; the natural and the constructed (see fig. 30).
The main findings from this phase: When visiting the project site, spatial volumes and sensory elements such as the soundscape and movements
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PHASE 2 - SITE VISIT CHARACTERS OF THE INDUSTRY
Fig. 31: Photoregistration of the empty industrial area, showing big volumes of industrial buildings and indicates an experience of noice from machines and infrastructural traffic.
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PHASE 2 - SITE VISIT CHARACTERS OF THE CITY
Fig. 32: Photoregistration of the city area, characterized of smaller, dense historical buildings and ships, sound and appearence of traffic and people.
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PHASE 2 - SITE VISIT CHARACTERS OF THE FJORD
Fig. 33: Photoregistration of the fjord, characterized of a flat open, horizontal view of the archipelago, silence but sounds and movements of birds.
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PHASE 2 - SITE VISIT CHARACTERS OF THE AGRICULTURE
Fig. 34: Photoregistration of the agricultural landscape, characterized by flat open fields only divided by transparent planting fences and dikes. A character dominating on Lolland.
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PHASE 2 - SITE VISIT CHARACTERS OF HESTEHOVED
Fig. 35: Photoregistration of the natural elements of hestehoved. This character is mainly found at the edges and at Kuddeholm.
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PHASE 2 - SITE VISIT CHARACTERS OF HESTEHOVED
Fig. 36: Photoregistration of the constructed elements of hestehoved. This character is mainly dominating in the central area of Hestehoved, and is divided into the private camping area, the semi-private harbour and the public parking zone.
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PHASE 2 - SITE VISIT FILMIC EXPLORATIONS
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Fig. 37: Working with film registration of Nakskov we found a fragmentation in the experience of the area dividing it into two dominating landscape structures: the natural landscape and the constructed landscape. Our film registrations showed a different spatial, and sensorial experience of the two landscapes. The natural site has an open horizontal view of the archipelago, with the movement of birds, water, sun and wind. A quiet atmosphere with only the sounds of birds. The Constructed being influenced by many different spatialities, dominated by buildings, with a movement of cars, humans, machines and in the smoke of the industrial buildings. This area has the opposite atmosphere with a lot of noise from the city. In between we experience a boundary dividing the site into two. The boundary is created by the dike. Link: https://www.youtube.com/watch?v=CeSb1ar28Ow
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Fig. 38: Potential of exploring the nature qualities and cultural historical landscape hidden in the fjord and surrounding areas today.
The natural landscape
The constructed landscape
Fig. 39: Potential of transforming Hestehoved into a mediating center of Nakskov Fjord creating a better connection between human and nature.
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PHASE 3 - NOW WE KNOW The purpose of the third phase was to create a synthesis of the previous work and start pointing out potentials of the project. This was made through an investigation of collision, words and references (see fig. 43-46).
We discovered that several existing qualities of the area were already mapped in relation to the nature park (see fig. 40-42). A potential of transforming Hestehoved into a mediating center of Nakskov Fjord creating awareness of the exceptional surrounding landscape and enabling possibilities of physical interaction in the area. A stronger connection between the constructed landscape and the natural landscape can help create a better connection between human and nature (see fig. 39).
The main findings from this phase: A potential of exploring and highlighting the nature qualities and cultural historical landscape hidden in the fjord and surrounding areas today (see fig. 38). Exploring this potential further led to new knowledge of the existence of Nature Park Nakskov Fjord.
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PHASE 3 - NOW WE KNOW NATURE PARK NAKSKOV FJORD
Fig. 40: Map of Nakskov Fjord Nature Park. Fig. 41: Mapping the qualities found in the nature park in a work model.
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PHASE 3 - NOW WE KNOW NATURE PARK NAKSKOV FJORD
1. Tårs
2. Lindelse & Hellenæs Skov
4. Indrefjorden
5. The lost kingdom of islands
6. Langø - facinating maritime enviornment
7. Albuen
8. Enehøje
9. Vejlø
10. Slotø
11. Rommerholm
Fig. 42: Photos of the destinations in Nakskov Fjord Nature Park apart from Hestehoved.
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PHASE 3 - NOW WE KNOW COLLISION I: CONNECTION AND STAGING OF THE HISTORY
Monument
water
original nature type
Monument bridge
nature
agro
island
island in the fields fields
nature agro
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Fig. 43: Collision A A proposal to recreate islands and pull out historical layers. Focus on the landscape cultural heritage of the place and about creating coherence in the area. References drawn to Amager Strandpark - bridges that connect the islands in the landscape across the new agricultural layer. Bastions that create coherence throughout the area. Islands in water and islands on land. The flat agricultural landscape stages the old island structures.
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PHASE 3 - NOW WE KNOW COLLISION II: HESTEHOVED AS A CONNECTING CENTER
educational center: the history of Nakskov and the inlet sauna
shelter island
view point
boardwalk on water
boardwalk between the scrubs
platform in the middle of the grassland
Fig. 44: Collision B A new path that makes access to the grassland and scrub area at Kuddeholm. Destinations inside the two areas. A museum/education center - creates awareness of the history of Nakskov and the inlet. References to Tirpitz. Making access to hidden treasures. Epicenter for dissemination - communication that connects to the surrounding landscape creating awareness of the site. Boardwalk on Kuddeholm makes access into the grassland and scrub area. Different activites placed on the walk. References to Naturpark Amager and Teaterøen. Inviting to an explorative detour.
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hidden cafe/ platform/ jetty
PHASE 3 - NOW WE KNOW SYNTHESIS
Fig. 45: When making our synthesis we were inspired by the function of the cerebro from the film ”X-men” - a device that is used by the x-men to detect humans, specifically mutants (X-men, 2000). Can a future layer placed at Hestehoved allow people to locate the qualities of the fjord?
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PHASE 3 - NOW WE KNOW COLLISION II: HESTEHOVED AS A CONNECTING CENTER
Time: The indefinte continued progress of existence in the past, present and future regarded as a whole Awareness: Knowledge that something exists, or understanding of a situation or subject at the present time based on information or experience Aggregation: The process of combining things or amounts into a single group or total
Fig. 46: Making the synthesis we chose three words, to describe our future focus - time, awareness and aggregation (Cambridge dictionary, 2021).
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Fig. 47: Working with references projected from the vertical projector while drawing the references into a plan.
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REFERENCES design workshops
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While working on our design proposal we have been using references in many forms and ways.
trips have given us a great insight of specific ideas and have often started a lot of new ideas that have been worth exploring and working with.
When talking about the project, we have often used reference pictures to show the other person what we mean when saying something. Attaching one or two pictures to our sentences has helped us synchronize our individual visual imprints in our minds.
The main findings: All references have had an influence on our work and final proposal - some site registration more than others. Some of the most important references are: Gisselfeld Klosters Skov & Skovtårnet - inspiration for how to create a recreational forest that highlights qualities of it. As well as the idea of having a big, visual and iconic landmark that attracts visitors and creates persistens actuality and branding by encouraging visitors to share their experience on social media (see fig. 52-53).
Design by Reference When working on a plan drawing for our proposal - early in the process as well as in the end - we have been using the method that we were introduced to during the course Landscape Studio, called ’Design by Reference’. We have been using reference plan drawings that have had an aesthetic, function or idea that reflects the plan drawing we have been trying to produce. By mirroring one or more reference plans to our own drawing - digitally or via a vertical projector - a lot of new ideas, problems and questions have emerged (see fig. 48-51).
Amager Strandpark - inspiration for how to merge a wide public bathing beach with recreational facilities and plantings (see fig. 54). Utterslev Mose - boardwalk that highlights, informs and protects nature, by leading people around on a raised platform (see fig. 55).
Study trip references In addition to working with references remotely, we have also diligently visited references physically as well as digitally. When we have talked about creating a certain atmosphere or character in our project, we have often spent time visiting a place we knew had similar qualities. These reference study
Mølleåen - inspiring for romantic boat renting hidden in a green area. Different sailing routes and renting houses allows you to start and end your trip at different destinations (see fig. 56).
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Chateau La Coste, France - Art and architecture walk that highlights the existing landscape by placing a construction that changes the position of the viewer (see fig. 57).
Sydhavnstippen - for an informal urban recreational green space with ecological maintenance by animals (see fig. 59).
Tirpitz - an inspiration for a museum that highlights the history and landscape of a big surrounding area (see fig. 58).
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DESIGN BY REFERENCES
Fig. 48: Projecting a plan drawing on top of our plan to help make a better connection between harbour and the surroundings. Fig. 49: Le stade nautique de Vaires-sur-Marne.
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Fig. 50: Design by reference, merging the shapes of another drawing into our salt marsh edge. Fig. 51: Membranen Plan Tirsbæk, winner proposal for the competition ”Kanten” by Josephine Phillipsen, Andrés Willamson, Louisa Brando.
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Fig. 52: Skovetårnet an inspiration of having a big, visual and iconic landmark that attracts visitors. Fig. 53: Gisselfeld Klosters skov - a recreational forest walk that highlights qualities of it.
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Fig. 54: Amager Strandpark - mergeing a wide public bathing beach with recreational facilities and plantings.
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STUDY TRIP REFERENCES
Fig. 55: Utterslevmose - a boardwalk that highlights, informs and protects nature, by leading people around on a raised platform. Fig. 56: Mølleåen - different sailing routes and renting houses allows you to start and end your trip at different destinations.
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Fig. 57: Chateau La Coste, France - Art and architecture walk that highlights the existing landscape by placing a construction that change the position of the viewer.
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Fig. 58: Tirpitz - a museum that highlights the history and landscape of the surrounding area. Fig. 59: Sydhavnstippen - an informal recreational green space with ecological maintenance by animals.
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Fig. 60: Magic meeting with landscape architect Jonas Nørregaard Bruun from STED.
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CONVERSATIONS models and drawings
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Vertical Design Conversations Vertical Design Conversation (VDC) is a tool we have used throughout the process. The idea is to have a conversation under a vertical projector while drawing to visualize your thoughts in order to give the design a direction. Through this act the aim is to site registration connect the verbalized expression to physical form (Hansen, 2019).
In general, conversations have played a crucial role in how our project has developed. Having a conversation always challenges and inspires our view on the thesis. As we are being a group collaborating on the thesis we are constantly forced to put words on our thoughts, present ideas and are being challenged on our argumentation. Conversation with professionals During the period we have been in contact with a number of specialists in certain areas (see fig. 61-63). They have been affecting the proposal in different ways but the most effecting talk was with the team of Nakskov 2030.
This is a tool we have used during most of our conversations. For us it has worked as a quick way of testing and sharing our ideas and has helped us move past doubts of design decisions (see fig. 64-66). Magic meetings During our thesis we had a lot of informal conversations happening outside of the office space. That being at dinner, in the mall, at a bar or a walk with a friend. Inspired by Rane Willerslev’s book “Tænk vildt: Det er guddommeligt at fejle” we started giving these conversations more importance - we chose to call these conversations “magic meetings’’. In the book he states that the great ideas often develop in an informal conversation when not trying to create it (Rane Willerslev, 2017).
By having a conversation with Tim Jeppesen, Malene Borgny and Martin Nilsson we got an insight of the locals and a status on the development project (see fig. 61). It also gave us the opportunity to ask questions. During our research we surprisingly discovered Nature Park Nakskov Fjord - which due to our explorations would already be the main attraction of Nakskov. But through our conversation with the team we found that it is not commonly known locally nor regionally. This was a turning point since the nature park in our opinion could be the main attraction as the nature park has already found and marked a number of existing qualities of Nakskov Fjord now we just needed to work with the missing awareness, staging and access.
A lot of our inspiration, references and ideas have started from one of these magic meetings. One informal conversation that had a big influence
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on the final proposal came from a talk with Richard Hare about the British garden “Studley Royal Water Garden and Fountains Abbey” (see fig. 67). The garden has solved the problem of the disruption of parking and tourist traffic by moving the parking space and creating a path system to the main attraction that apart from creating the distance that gives the attraction the needed space also becomes an experience itself.
Pin-up & supervision Pin-ups have forced us to leave the workspace and get an overview to see if we are still on track and to meet our deadlines. Furthermore it contributes to seeing the project in a bigger perspective and challenges the narrative. Receiving supervision has given us the feedback, inspiration and raised new questions to help us structure our future work (see fig. 6870).
On this path system views towards the main attraction have been highlighted in order to make a visual connection and an experience of the area being a whole.
The fact that we have had group supervision with two other thesis students has contributed to another conversation about process, structure and priorities when being in a parallel process. Their approaches and work have been inspiring and affecting our work.
This inspired us to create the same experience when making the design proposal for Hestehoved.
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CONVERSATION WITH PROFESSIONALS
Fig. 61: Meeting with the team of Nakskov 2030 at Hestehoved.
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CONVERSATION VERTICAL DESIGN WITHCONVERSATION PROFESSIONALS
Fig. 62: Meeting with Morten Stenak ended up feeding us with a lot of knowledge about the history of Nakskov and how to explore historical maps. Fig. 63: Having a zoom meeting with landscape architect Anton Juel Lund from SLA Olso about dynamic plan drawings.
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Fig. 64: Vertical design concversation sharing ideas with each other.
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Fig. 65: Vertical design concversation with landscape architect Jonas Nørregaard Bruun. Film of the conversation: https://www.youtube.com/watch?v=-90ADkd2ib4 Fig. 66: Vertical design concversation with landscape architect Peter Lundsgaard Hansen.
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Fig. 67: An informal chat with landscape architect Richard Hare ended up with the idea of an airballoon festival in Nakskov.
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Fig. 68: Getting feedback at midtern seminar - presenting the progress of the project supported by posters, work models and a model in motion.
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Fig. 69: Getting feedback at individual supervision with supervisor Rikke Munck Petersen. Fig. 70: Group supervision with supervisor Rikke Munck Petersen and fellow thesis students Martin Eriksson and Leah Løffler.
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Fig. 71: First site visit to Hestehoved and Nakskov Fjord.
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During the process we have registered the site in different ways and with different purposes. conversations
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Mapping has been used for different purposes throughout the process. In the beginning of the process mapping has helped to orientate and gain knowledge of structures and functions of the area. Further into the process, working with maps on top of each other has been an important tool in site registration order to link the landscape history, the nature park and the existing site together. Finally mapping has been crucial when merging visionary ideas with the existing conditions of the area for the detailed design proposal (see fig. 75).
Physical site registration Registration physically on site has given us a better understanding of the atmosphere of the area. Using the body as a medium unfolds the landscape with an experience of the space, elements and sensorial imprints. We sense the whole and capture different moments in the tools brought on to the registration, such as film, pictures, text, materialities and drawings (see fig. 72-73).
Instagram Instagram is an alternative but rewarding kind of registration. It is an easy way of gaining extra knowledge of the site as blog-posts are giving information and inspiration without you seeking it. We have been following the activity of Nakskov2030 on Instagram since the beginning of the project. It has given us many small discoveries along the process. Both in order to understand the site and people living there, but also to follow the development project (see fig. 76).
Mapping Registering through a map makes it possible to zoom in and out. It makes us question the context and helps us get a quick overview of the site, such as existing path systems, built environment and planted structures. Historical maps have the ability to inform about the transformation of the landscape and culture through time. The drawn coastline and structures in the landscape of Nakskov Fjord indicates the history of it being dammed in favor of an expansion of the agricultural industry of the area (see fig. 74).
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PHYSICAL SITE REGISTRATION
Fig. 72: Physical registration at Kuddeholm.
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Figure 73: Materialities of Kuddeholm and Hestehoved.
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Kortblad: 17, Kortets oprindelige målestok: 1:120000 Dato for udskrift: 08-03-2021, Kortet er printet i målestok: 1:60000
Fig. 74: Historical maps has the ability to inform about the transformation of a landscape and culture through time. Annotations of historical maps contain information about cultural heritage by the meaning of placenames found today. Fig. 75: Looking into existing connections, qualities and facilities of Nakskov Fjord Nature Park through a map available at the website of the naturepark.
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Fig. 76: Following the activity of Nakskov2030 on instagram since the beginning of the project has given us many small discovories along the process. This post from @Nakskov2030 is creating awareness of the many trails of Nakskov. Here a photo by @momentsbysj showing the 21 km long route that stretches all the way around Nakskov.
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Fig. 77: Investigating our plandrawing with small spatial elements in form of a model.
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MODELS AND DRAWINGS design workshops
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Drawings We have been using several drawings throughout the process. Plan drawings, sections and visualization have been drawn and redrawn over and over again.
Creating models and drawings has helped us understand and develop the ideas, their spatial experiences as well as the materialities chosen. Developing models and drawings in several forms and scales has helped us explore different problems and potentials at the site.
We decided to draw all kinds of drawings from the very beginning to see how the site registration tool is useful in different phases of the project. We found that sections and visualizations that are often used at the end of a project, were very helpful in the start of the process as well. These drawings forced us to consider all kinds of details such as small shifts in terrain and materialities of surfaces from the very beginning of the design process and became great tools for both investigating and communicating (see fig. 83-84).
Models Models have been used in several ways. Some are five minutes work models and others are ongoing work models for days, weeks or even months. The purpose of each model has been different. Fast models are often used to see a spatial element or visualize a quick idea, giving form to words or drawings. Time-consuming models have been either precise models due to scale or models with many layers added over a long period of time. We built a context model during the process that was in constant motion. It helped us connect new findings of the site and collect them as a map/collage model in one. A model that developed as we gained new knowledge of the site (see fig. 80). Other models have been used to understand the landscape terrain, spatiality and scale (see fig. 7879).
During the design process drawings ideally were only finished to a degree of 20% - in order to accept to kill it again if a better idea would come up. Therefore all of our drawings are made in many versions, and only a few went to the final proposal. Models in Drawings During the process we have strived to use the tools in different ways. Working with our models on top of the drawings has contributed to a better understanding of how spatial elements transform when having a specific color or texture (see fig. 85-87). This has helped us to develop the drawings as well as the models.
All models have supported or challenged our proposal throughout the process.
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WORKMODELS
Fig. 78: Making a terrain model of Hestehoved in order to explore the proposal in 3D. Fig. 79: Sandmodels were used as a fast effective way to explore and test out different ideas for terrain modifications at hestehoved.
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Fig. 80: Our context model that has been in constantly transformation while investigating the existing situation in and testing out ideas in our strategic area.
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Fig. 81: Analouge plan drawing of Hestehoved in an early stage of the design process - additional notations and sections were used to explore the drawing. Fig. 82: First digital plan drawing of Hestehoved with notes of the final design proposal.
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DRAWINGS
Fig. 83: Analog section drawing used as an investigation tool while working on the edge and public area of the harbor. Fig. 84: An early visualisation of Hestehoved.
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Fig. 85: Working with the model and the plan drawing simultaneously makes it possible to ad color and texture to the model, while working with it physically.
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Fig. 86: Working on contour lines analog before digitalizing them makes it possible to mimic nature like terrain more authenticly. Fig. 87: Projecting a plan drawing upon a sand model and adding physical layers on top to experience the different boundaries from the drawing in 3D.
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Fig. 88: Special characteristics of Nakskov Fjord - a rich birdlife and forest merging with the edge of the water.
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DYNAMICS design workshops
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We have strived to investigate the dynamic, sensorial layer of the site, primarily using two tools; film and “plan in motion”. Film has been used as a more analytical tool and “plan in motion“ has been used to investigate and present the project.
shown in the outcome of our process and proposal. We believe that more time to isolate the sensorial layers in the films would have created a better understanding of why and how we experience the fjord as a unique experience.
Film In the physical registration of the site, we used film as a tool to understand the sensorial imprints on site. Inspired by the course Landscape Film that Mette took before this thesis, we found that film is a great tool to understand the more living and dynamic aspects such as movement, sound, vibrations, reflections and human-site interrelationship. These are all features we cannot bring home in a picture or a drawing with the same level of representation of interwoven sensorial aspects. Film registrations also give the possibility of revisiting the site and the opportunity to explore something new in each viewing during the work process.
’Plan in motion’ ’Plan in motion’ is a tool we have not used before. It is inspired by a dynamic plan drawing seen during the course Landscape Studio. We were much drawn toward the connection of the dynamic layer and the static drawing. During the process we have tried to create plans in motion by adding the moving water, sailing boats, driving cars, flying birds and the walking people to the drawing. It has been used to represent our idea to others to better grasp the use and movement of the site in our final proposal. But working with it made us aware that it has also played an important role for ourselves to understand the movement and use of the design - thereby it turned into being an investigation tool as well.
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Using film gave us a focus on the different atmosphere found at the city and the landscape of the fjord. It also made us focus on the many sounds of the birds and thereby an extra attention to the animal-life found in nature (see fig. 88-91). Though it is a time-consuming tool, that we have only had a short acquaintance with before making this thesis, which has
During the design process we have projected our ‘plans in motion’ on top of a model. This new combination of tools gave us a new experience of investigating time and space in one (see. fig 92). Learning a new tool takes time. We acknowledge that this tool has
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a potential to unfold the sensorial aspects even more. Our primary focus has been on the movement of the use by visitors but we believe that it could have shown the dynamic movement of the landscape itself. This tool gives the opportunity to stage how time changes the spatial and sensorial experience. This will include movement of light, sounds, plantings and animals that all affect the experience.
switching from drawing to model, to text, to visualization, to drawing, to reading and so forth. Working with this dynamic mediation with many types of tools simultaneously has helped us understand one activity in another form and thereby raise new questions and understandings of our project. The combination of using classic tools that isolate spatial experiences, such as models and drawing, with new dynamic tools that frame the sensorial aspects starts to clarify the complex relationship between the viewer and the site. It also makes us aware that we as landscape architects work with time and space in one and should include this in the design process to make a proposal that captures all qualities.
Mediation During this investigation of the interlink between design process and tools we have had a constant dynamic process of trying to understand the relationship between ourselves and the site. From the very beginning we have used several tools and media,
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Fig. 89: Investigation of the site, making a film of the grass in motion.
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Fig. 90: Still from our final film. Link for the final film: https://www.youtube.com/watch?v=CeSb1ar28Ow Fig. 91: Editing film from our first site visit.
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Fig. 92: Testing out a plan i motion on top of a model. Film of the test: https://www.youtube.com/watch?v=E1-ua5cgT1s
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04 Summary A sum-up of our design process
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Fig. 93: Our strategy model became a process model, collecting more information found at the site.
CHALLENGES AND POTENTIALS The emergence of the design proposal has taken its starting point in the development plan Nakskov 2030 (Lolland Kommune, Realdania og BARK Rådgivning, 2020). While investigating the project site – remotely as well as on site – our findings hereof have affected the project. The findings are pointing towards a potential of including the fjord, involving the historical and cultural legacy, which extends the focus and site beyond the area of Hestehoved and the city of Nakskov as stated in the development plan from Nakskov 2030.
Every tool serves more functions and can be effectively used to question and answer several ideas from the very beginning till the end. However, we have discovered that a thorough investigation of the many layers of the landscape can hardly be studied in just four months. We have gained a general understanding of potentials and challenges, which creates a good basis for which direction the project should take. However, due to lack of time, we have not been able to grasp the full potential of all spatial and sensorial qualities, which will affect our final design proposal.
While working with different landscape architectural tools, we have become aware of different ways the tools have affected the project and the process. Each tool provides certain opportunities and has its limitations as well. This, we have experienced when working with the different tools and as a result of this experience we have become aware of the importance of mixing different media. By mixing media throughout the process, we have come to achieve a greater understanding of the complexity of the site. When investigating a problem through one tool, new questions show themselves and are sought to be investigated through another, e.g. going from a 2D drawing to a 3D model to understand the eye level experience of the design. Finally, we have found that every tool has different uses depending on the phase of the process it is being used, e.g. visualization drawings have been used in the start of the design process to make a fast exploration of different textures and experiences of ideas but is used in the end of the process to present and explain our final decisions.
In our investigations of the area of Nakskov we discovered that several existing qualities of the area were already mapped in relation to Nature Park Nakskov Fjord. Based on the understanding of a lack of awareness about these qualities locally as well as regionally, we have found a potential in connecting the qualities of the fjord to the city of Nakskov. Working with connectivity, wayfinding and interventions will enhance the connection between the fjord and the city and strengthen the identity of Nakskov. Hestehoved being located in between the city and the fjord, forms the basis for the site to become the gate to the fjord. Hereby Hestehoved will serve the function of creating better connection between the city and the fjord as well as it will become an attractive nature center itself. This opens up a potential of a new strong identity based on the iconic and unique nature of Nature Park Nakskov Fjord surrounding Nakskov.
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Mette Væde Lykkebo Thomas Lindtorp Pedersen Faculty of Science University of Copenhagen