Along the Horizon Architectural Thesis Milena K Heuer
Architectural Thesis Along the Horizon by Milena K Heuer
Queen’s University Belfast
This thesis positions itself between a romantic and a scientific world view. I, the author, have been working with two different methodologies acting as both, scientist and poet.
Contents Research I - Prelude Precedent Studies II - XCV
Reseacrh II - Overture
The Allegorical and the Factual 2 - 25
Research III - Crescendo
Investigation of the East Frisian Landscape 26 - 161
Peroration - Sequel
Architecture in the Landscape 162 - 173 Bibliography 176 - 177
Research I
Prelude
Background Research
The Island of Patmos, Greece, 2017 Irene Lesley Main
II
Patmos
for the Landgrave of Homburg By Friedrich Hölderlin
God is near Yet hard to seize. Where there is danger, The rescue grows as well. Eagles live in the darkness, And the sons of the Alps Go fearlessly over the abyss Upon bridges simply built. Therefore, since the peaks Of Time are heaped all about, And dear ones live close by, Worn down on the most separated mountains Then give us innocent waters; Give us wings, and the truest minds To voyage over and then again to return.
Thus I spoke, when faster Than I could imagine a spirit In the twilight Seduced me out of my own home To a place I never thought I’d visit. The shaded forests and longing Streams of my homeland. I couldn’t recognize the lands, but then suddenly In fresh a glow, mysterious In the golden haze, quickly emerging In the steps of the sun, With the fragrance of a thousand peaks, Asia rose before me, and dazzled I searched for something Familiar, since the broad alleyways Were unknown to me: where the gold-ornamented Patoklos comes rushing down from Tmolus, Where Taurus is to be found, and Messogis, And the gardens are full of flowers, Like a quiet fire. Up above In the light the silver snow Blooms, and ivy grows from ancient Times on the inapproachable walls, Like a witness to immortal life, While the joyous, the god-built palaces Are borne by living columns Of cypress, cedar and laurel.
III
But around Asia’s gates Swish pulling here and there At an uncertain sea level With enough unshaded straits, Though the sailor knows these islands. And when I heard, that one of these close by Was Patmos, I wanted very much To put in there, to enter The dark grotto. For unlike Cyprus, rich with springs, Or any of the others, Patmos
Is housed on earth poorly, But nevertheless is hospitable And if a stranger should come to her, Sent by shipwrecked or longing for His home or for a departed friend, She’ll gladly listen, and her Offspring as well, the voices In the hot grove, so that where sands blow and heat cracks the tops of the fields, They hear him, these voices, And lovingly sound the man’s grief. Thus she once looked after The seer who was loved by god, Who in his holy youth
Had walked together inseparably With the Son of the Highest, Because the Bringer-of-Storms loved The simplicity of this disciple. Thus did that attentive man observe The countenance of the god precisely, There at the mystery of the grapevine, Where they sat together at the hour Of the Last Supper, when the Lord with His great spirit quietly envisioning His Own death, and forespoke it and also His final act of love, for He always Had words of kindness to speak, Even then in His prescience, To soften the violence and wildness of the world. For all is good. Then He died. Much Could be said about it. At the end His friends recognized how filled with joy He appeared, how victorious.
IV
And yet the men grieved, now that evening Had come, and were taken by surprise, Since they were full of great intentions, And loved living under the sun, And didn’t want to leave the countenance Of the Lord, and of their home. It penetrated them like fire into iron, And the One they love walked beside them Like a shadow. Therefore He sent The Spirit upon them, and the house Shook and God’s house and weather rolled Over their heads, filled with anticipation, while They were gathered with heavy hearts, Like heroes whose death approached,
Then once more He appeared to them At his departure. For now The royal day of the sun Was extinguished, as he cast The shining scepter from himself, With godlike suffering, but knowing He would come again at the right time. It would have been wrong To cut off disloyally His work The work of humankind, since now it brought Him joy To live on in loving night, to preserve Before simple eyes, unrelated The depths of wisdom. Deep in the Mountains grew also living images,
Yet it is terrible how God here and there Scatters the living, and how very far they are flung. And how fearsome it was to leave The sight of dear friends and walk off Alone far over the mountains, where The Holy Spirit was twice Recognized, in unity. It hadn’t been prophesied to them: Rather it seized them right by the hair Just at the moment when the God Who had turned from them, looked back, and they called out to Him To stop, and they reached their hands to One another as if bound by a golden cord, And called it evil -
V
But when He dies - He about whom beauty hangs Loved most of all, so that a miracle Surrounded him, and he was the Elect of the heavens And when those who lived together Thereafter in His memory, became Perplexed and no longer understood One another; and when floods carry off The sand and willows and temples, And when the fame of the demi-god And His disciples is blown away And even the Highest turns aside his Countenance, so that nothing Immortal can be seen either In heaven or upon the green earth What meaning must we take from all of this?
It is the cast of the sower, as he seizes Wheat with his shovel Throwing it into the clear air, Swinging it across the threshing floor. The chaff falls to his feet, but The grain emerges in the end. It’s not bad if some of it gets lost, Or if the sounds of His living speech Fade away. For the divine work resembles our own: The Highest doesn’t want all to be Accomplished at once. As mines yield iron, And Ætna its glowing haze, Then I’d have wealth sufficient To form a picture of Him and see What he was, the Christ.
But if somebody spurred himself on Along the road and, speaking sadly, Fell upon me and surprised me, so that Like a servant I’d make an image of the God Once I saw the lords Of heaven visibly angered, not That I wanted to become something different, But that I wanted to learn something more. The lords are kind, but while they reign They hate falsehood most, when humans become Inhuman. For not they, but undying Fate It is that rules, and their work Transforms itself and quickly reaches an end. When the heavenly triumph proceeds higher. Then the joyful Son of the Highest Is called like the sun by the strong,
VI
As a watchword, like the staff of a song That points downwards, For nothing is ordinary. It awakens The dead, those raised incorruptible. And many are waiting whose eyes are Still too shy to see the light directly. They wouldn’t do well in the sharp Ray: a golden bridle Holds back their courage. But when quiet radiance falls From the Holy Scripture, with The world forgotten and their eyes Swollen, then they may enjoy that grace, And study the quiet image.
And if the heavens love me, As I now believe, Then how much more Do they love you. For I know one thing: That the will of the eternal Father Concerns you greatly. Under a thundering sky His sign is silent. And there is One who stands Beneath it all his life. For Christ still lives. But the heroes, all his sons Have come, and the Holy Scriptures Concerning Him and the lightening, Explain the deeds of the Earth up to this day, Like a footrace that knows no end. And He is with us too, for his works and all Known to Him from the very beginning.
For far too long The honor of the heavens Has gone unseen. They practically have to Guide our fingers as we write, And with embarrassment the power Is ripped from our hearts. For every heavenly being Expects a sacrifice, And when this is neglected, Nothing good can come of it. Without awareness we’ve served at the feet of Our Mother Earth, and the Light Of the Sun as well, but what our Father Who reigns over everything wants most Is that the established Word be Caringly attended, and that Which endures be construed well. German song must accord with this.
S.H. transl. Text follows: Friedrich Hölderlin, Patmos in: Sämtliche Werke und Briefe, vol. 1, p. 379-385 (Hanser ed. 1970).
VII
VIII
Tipperne, Ringkøbing Fjord, Denmark
Bird Watch Tower in the Landscape Johansen Skovsted
IX
X
Tipperne, Ringkøbing Fjord, Denmark
The Landscape - Existing Situation Johansen Skovsted
XI
XII
Tipperne, Ringkøbing Fjord, Denmark
The Landscape - New Situation Johansen Skovsted
XIII
XIV
Tipperne, Ringkøbing Fjord, Denmark - Bird Watch Tower
Landscape & Model Johansen Skovsted
XV
XVI
Tipperne, Ringkøbing Fjord, Denmark
Bird Watch Tower Johansen Skovsted
XVII
XVIII
Tipperne, Ringkøbing Fjord, Denmark
Bird Watch Tower - Under Construction Johansen Skovsted
Tipperne, Ringkøbing Fjord, Denmark
Bird Watch Tower - Foundation Work Johansen Skovsted
XIX
Tipperne, Ringkøbing Fjord, Denmark
Bird Watch Tower Under Construction Johansen Skovsted
XX
XXI
XXII
Tipperne, Ringkøbing Fjord, Denmark
Bird Watch Tower - Elevation Johansen Skovsted
XXIII
XXIV
Tipperne, Ringkøbing Fjord, Denmark
Bird Watch Tower - Segment Plan & Elevation Johansen Skovsted
XXV
Tipperne, Ringkøbing Fjord, Denmark
Bird Watch Tower in the Landscape Johansen Skovsted
XXVI
Tipperne, Ringkøbing Fjord, Denmark
Bird Watch Tower - Joining between Segments Johansen Skovsted
XXVII
XXVIII
Akkarvik Roadside Restroom
Moskenes island, Lofoten, Norway
Manthey Kula
XXIX
Moskenes island, Lofoten, Norway
Akkarvik Roadside Restroom Construction Manthey Kula
XXX
Moskenes island, Lofoten, Norway
Akkarvik Roadside Restroom Section Manthey Kula
XXXI
Moskenes island, Lofoten, Norway
Akkarvik Roadside Restroom Construction Manthey Kula
XXXII
Moskenes island, Lofoten, Norway
Akkarvik Roadside Restroom Section Manthey Kula
XXXIII
XXXIV
Moskenes island, Lofoten, Norway
Akkarvik Roadside Restroom Manthey Kula
XXXV
XXXVI
Moskenes island, Lofoten, Norway
Akkarvik Roadside Restroom Manthey Kula
XXXVII
XXXVIII
Moskenes island, Lofoten, Norway
Akkarvik Roadside Restroom Door Manthey Kula
XXXIX
Moskenes island, Lofoten, Norway
Akkarvik Roadside Restroom Ceiling Manthey Kula
XL
Moskenes island, Lofoten, Norway
Akkarvik Roadside Restroom Plan Manthey Kula
XLI
Moskenes island, Lofoten, Norway
Akkarvik Roadside Restroom Window Manthey Kula
XLII
Moskenes island, Lofoten, Norway
Akkarvik Roadside Restroom Manthey Kula
XLIII
Moskenes island, Lofoten, Norway
Akkarvik Roadside Restroom Window & Ceiling Manthey Kula
XLIV
Moskenes island, Lofoten, Norway
Akkarvik Roadside Restroom Manthey Kula
XLV
Moskenes island, Lofoten, Norway
Akkarvik Roadside Restroom Window & Ceiling Manthey Kula
XLVI
Moskenes island, Lofoten, Norway
Akkarvik Roadside Restroom Manthey Kula
XLVII
XLVIII
Eggum Tourist Route Toilet
Eggum, Lofoten, Norway
Snøhetta
XLIX
L
LI
LII
LIII
LIV
Eggum, Lofoten, Norway
Eggum Tourist Route Toilet Snøhetta
LV
LVI
Eggum, Lofoten, Norway
Eggum Tourist Route Toilet Snøhetta
LVII
Eggum, Lofoten, Norway
Eggum Tourist Route Toilet Snøhetta
LVIII
Eggum, Lofoten, Norway
Eggum Tourist Route Toilet Snøhetta
LIX
Eggum, Lofoten, Norway
Eggum Tourist Route Toilet Snøhetta
LX
Eggum, Lofoten, Norway
Eggum Tourist Route Toilet Snøhetta
LXI
LXII
Ureddplassen, GildeskĂĽl, Norway
Scenic Route Helgelandskysten Toilet Haugen/Zohar Architects
LXIII
eted
s Veivesen, Norwegian Scenic Route : Landskapsfabrikken (landscape), K. Apeland (engineer) ctander, Marit Justine Haugen, Dan Zohar
"How can emphasize na defining a concrete ed
long Norwegian Scenic Route Helgelandskysten is frequently visited both by tourists and residents. ere is hardly a more beautiful place to admire Aurora Borealis and the same goes for the midnight sun in the sum
e is redesigned to satisfy the Scenic Route project requirements of architectural quality as well as services to the p t reveals a redesign of the memorial monument “Uredd� along with a new concrete viewing terrace, seating benc arble from Fauske and a toilet building. An amphitheater enabling a unique view leads down to the beach area.
Steinar Skaar & Lars Grismby
LXIV
Ureddplassen, GildeskĂĽl, Norway
Scenic Route Helgelandskysten Toilet Haugen/Zohar Architects
LXV
LXVI
Ureddplassen, GildeskĂĽl, Norway
Scenic Route Helgelandskysten Toilet
Haugen/Zohar Architects
LXVII
LXVIII
Ureddplassen, GildeskĂĽl, Norway
Scenic Route Helgelandskysten Toilet Haugen/Zohar Architects
LXIX
LXX
Ureddplassen, GildeskĂĽl, Norway
Scenic Route Helgelandskysten Toilet Haugen/Zohar Architects
LXXI
Austin, Texas, United States
Austin, United States TrailTexas, Restroom Site Plan
Trail Restroom Miro Rivera Architects
Miro Rivera Architects
LXXII
LXXIII
Austin, Texas, United States
Trail Restroom
Miro Rivera Architects
LXXIV
Austin, Texas, United States
Trail Restroom Elevation Miro Rivera Architects
LXXV
Austin, Texas, United States
Trail Restroom
Miro Rivera Architects
LXXVI
Austin, Texas, United States
Trail Restroom Plan Miro Rivera Architects
LXXVII
Austin, Texas, United States
Trail Restroom Ceiling Miro Rivera Architects
LXXVIII
Austin, Texas, United States
Trail Restroom Section Miro Rivera Architects
LXXIX
Austin, Texas, United States
Trail Restroom
Miro Rivera Architects
LXXX
Austin, Texas, United States
Trail Restroom
Miro Rivera Architects
LXXXI
LXXXII
Long’s Peak, Rocky Mountain National Park, United States
Romo Backcountry Privies Colorado Building Workshop
LXXXIII
LXXXIV
Long’s Peak, Rocky Mountain National Park, United States
Romo Backcountry Privies Colorado Building Workshop
LXXXV
LXXXVI
LXXXVII
LXXXVIII
Long’s Peak, Rocky Mountain National Park, United States
Romo Backcountry Privies Plan Colorado Building Workshop
LXXXIX
XC
Long’s Peak, Rocky Mountain National Park, United States
Romo Backcountry Privies Plan Colorado Building Workshop
XCI
Long’s Peak, Rocky Mountain National Park, United States
Romo Backcountry Privies Windows and ‘Ceiling’ Colorado Building Workshop
XCII
Long’s Peak, Rocky Mountain National Park, United States
Romo Backcountry Privies Plan Colorado Building Workshop
XCIII
Long’s Peak, Rocky Mountain National Park, United States
Romo Backcountry Privies Windows and ‘Ceiling’ Colorado Building Workshop
XCIV
XCV
Research II
Overture
The Allegorical and the Factual
Reality & Fantasy
Sequence Time
Sequence describes a particular order and deals with the issue of time. As it deals with the issue of time, it has only one direction. Sequence in a larger sense describes the matter of time, which in theoretical physics is a conceptual conflict between general relativity and quantum mechanics in that quantum mechanics regards the flow of time as universal and absolute. In contrast, general relativity considers the flow of time as malleable and relative. This problem raises the question of what time really is in a physical sense and whether it is truly a real, distinct phenomenon. It also involves the related question of why time seems to flow in a single direction, although no known physical laws seem to require a single direction. Sequence withholds the past the present and the future and tells their story. A sequence is a moving narrative, and one can only see a glimpse of it. Each individual is in this world for a relatively short time, and consequently, we often haste. “The illusion of speed is the belief that it saves time, but haste and speed accelerate time” (Gros, 2015, p.37). When one is walking, and doing nothing but walking, he or she can recover the “pure sensation of being, to rediscover the simple joy of existing”, the walker realises everything around them was there before and will be there after them (Gros, 2015, p.83). While walking, the world has “neither present nor future: nothing but the cycle of mornings and evenings”. And the walker has no past, no plans, no experience (Gros, 2015, p.84). “With its great shocks, nature thus awakens us from the human nightmare. (...) And here, the feeling of eternity is all once that vibration between presences. Eternity, here, in a spark” (Gros, 2015). While walking time does not exist, while walking, we simply are.
2
Contemporary Paintings of Zeeland
Regatta, 2019
Nelly Van Nieuwenhuijzen - Skyscapes
3
Humankind & Nature
Luftschloss + Comfort Air Castle
Comfort is an essential need for human beings. Humankind constructed a theoretical world of rules and ideas that the majority of the world population ensue. Comfort within this theoretically constructed world is one of the rare words that describe a physical state as well as a metaphysical state within one’s mind. The physical comfort describes the feeling when the body is relaxed, free from pain and the surrounding puts the body at ease (e.g. thermal). The surrounding environment plays a significant role in both physical and metaphysical comfort, as belonging to nature is an ingrained desire for human beings; we need a connection to nature. Humanity is part of the natural world and craves affiliation (Hopkins, 2020). The romantic idea of nature and environment within which humanity sits is a comfort to the mind, especially if nature is untouched or moulded with careful consideration and prudence, due to the realisation that we are a part of the ecosystem. Metaphysical comfort is the absence of negativity in mind. However, the way we think doubts and uncertainness range our minds. The future of humanity is uncertain in this technologically advanced and unprecedented time. The question of how humans and their doings will place themselves within the unknown and the known (space and natural environment) cannot be answered. However, building bright and optimistic ideas of the future is comforting one’s mind.
4
Photorealism
SchloĂ&#x; Neuschwanstein | Neuschwanstein Castle, 1963 Gerhard Richter - Modern Landscape
5
Romanticism | Neoclassicism
Das Schloss Prediama in Crein XII Stund | Prediama Castle in Crein XII, 1816 Karl Friedrich Schinkel - The Dreamer
6
A ‘Luftschloss’ (German - literally castle in the air) is an idea or a plan of something one longs for, wishes for, or dreams of, but which, judiciously, is not realistic, but only a fantasy. A Luftschloss is a floating architecture for free and untamed wild thinking. It seems as if it comes from dreams, as it is a castle in the air. In architecture, every design begins rather utopian and unreal like a Luftschloss. There are crucial aspects of architecture that are independent of place, even aspects that can only be thought of without a sense of place. These aspects are in a way utopian, such as notions of room atmosphere, sense of shelter and warmth, or the purpose of the function. Architectural concepts of home, arrival and Heimat (1) are also quite utopian and immaterial. (1) The German word ‘Heimat’ is translating to “home” or “homeland”. The word has connotations specific to German culture, German society and particularly German Romanticism, German statehood and regionalism, and German nationalism, the word has no English equivalent. There is no single definition for the term ‘Heimat’. The term has a spatial and social association, wherein the individual can experience safety and the reliability of its existence, as well as a place of a deeper trust: “Home functions as the close environment that is understandable and transparent, as a frame, in which behavioural expectations are met, in which reasonable, expectable actions are possible – in contrast to foreignness and alienation, as a sector of appropriation, of active saturation, of reliability (Bausinger, 1980).” The utopian seems to be the freedom to the reality, that wants statics and order. The utopian - the imagined - often contrasts what we consider ‘real’ world. However, everything that happens in one’s imagination can be regarded as just as real, even though not textile. Reality or fantasy, everything we experience or think we experience is constructed in our mind, more precisely, our brain. Brain researchers find that we do not perceive the world, but a fantasy that coincides with it: sensory inputs are compared with expectations, and if it fits, we believe in it. Our reality is nothing more than the agreement on the lowest common denominator (Kupferschmidt, 2010). The imagined is not just very real to one’s mind, but often has an even more impressive and powerful effect on an individual. The idea of going for a walk or a hike up a mountain often is more pleasing than the actual walk in nature, where it could be cold, wet or simply the hike up the mountain physically exhausting. Once reached the top it might even be too foggy to enjoy the view.
7
Romanticism
Der Wanderer Ăźber dem Nebelmeer | Wanderer above the Sea of Fog, 1818 Caspar David Friedrich - The Sublime
8
...�to the influences which terrestrial forces exercise on him, and to the reciprocal but less powerful action which he in turn exerts on them�. Alexander von Humboldt about Man + Nature in Cosmos
9
Romanticism
Riesengebirge | Giant Mountains, 1830 - 1835 Caspar David Friedrich - The Sublime
10
During the romantic era, the sublimity and dignity of nature, in reality, is just as crucial as its impact. We currently experience a very technologically advanced society which is developing at great speed. Throughout human history, we have evolved; we have now likely reached a biological peak; however, due to technological advancements, the future is uncertain, especially the future of humanity. AI and bionic inventions cannot only create a simpler future but also enhance humans, and perhaps we are at the beginning of the Transhumanism era (Harari, 2011). In the past fifty years, the world has changed immensely. Globalisation re-modelled the world we inhabit, it reformed the food on our plates, the clothes we wear, the travels we undertake and almost every single aspect of our lives. Technology transformed our everyday lives and brought a new speed into everyone’s day. Nonetheless, this development has also brought an uprise moving into the other direction, comparable to the romantic era as a reaction to the industrial revolution. Romanticism is escapism and the suppression of reality, as well as the search for “inner I” on a higher level.
“The world must be romanticised. In this way, its original meaning will be rediscovered. Romanticisation is nothing but a qualitative realisation of potential. The lower self is identified, in this operation, with a better self. As we are ourselves are such a qualitative series of empowering. This operation is as yet quite unknown. Insofar as I give a higher meaning to what is commonplace, and a mysterious appearance to what is ordinary, the dignity of the unknown to what is known, a semblance of infinity to what is finite, I romanticise it.” Novalis
11
Romanticism in the 21. Century Globalisation awakes the wish for Heimat and regionality again. Campaigns advertise the consumption of local produce. The fear of losing one’s identity due to social media in a mass-oriented society becomes more critical. Rapidity and non-stop availability of people due to email, mobile phones and internet generated the wish for a deceleration in many. Not only our world has changed, but we also changed it for every species on this planet. One of the currently most pressing issues seems to be climate change. Climate change and the fear of sea-level rise has awoken another wave of trepidation. The idea of the ‘horror’ withheld in the future has lead many architects and students to design ‘solutions’ that are not necessarily ‘realistic’, embedded within romanticism. Research for ever more sustainable resources and materials continues, and designers are striving for low environmental impact designs. Within this change, the quintessential forms of human being, such as walking and being in serene natural environments, become ever more imperative. The very practice of science is grounded in objectivity; however, objectifying nature may likely be enhancing unsustainable human behaviour. Because nature is commonly objectified by society, the relationship between the human and nonhuman world is broken. Nature is perceived as a mindless, unfeeling object; creating an emotional and subjective relationship between human and nonhuman nature will drive change towards more sustainable behaviour (Scott (Brockman), 2015). Nature can only be understood, when viewed holistically, objective scientific analysis in relation to subjective experience (Wulf, 2016). Alexander von Humboldt, influenced by Johann Wolfgang von Goethe, accounted for poetry as a necessity ‘to comprehend the mysteries of the natural world’ (Wulf, 2016). Humboldt was the first to combine exact, scientific observation with a ‘painterly description of the landscape.’ Humboldt wanted humanity to understand, but more importantly, to see itself and be in nature. As every being is a part of nature, every being also has the responsibility to understand and care for it. Humboldt’s holistic approach - a method that included, poetry, art, history, politics and precise data, may help to blurry the hard line between objective science and subjective experience and develop a deeper understanding for our environment, which is elemental for architects (Wulf, 2016).
12
Romanticism
Der Mรถnch am Meer | The Monk by the Sea, 1808 - 1810 Caspar David Friedrich - The Sublime
13
Romanticism
Bรถhmische Landschaft mit dem Milleschauer | Bohemian Landscape with Mount Milleschauer, 1808 Caspar David Friedrich - The Sublime
14
Romanticism
Erinnerungen an das Riesengebirge | Memories of the Giant Mountains, 1835 Caspar David Friedrich - The Sublime
15
Romanticism | Neoclassicism
BÜhmische Alpen in der Abenddämmerung | Bohemian Alps at Dusk, 1803 Karl Friedrich Schinkel - The Dreamer
16
Photorealism
19.03.89 (Gebirge) | 19.03.89 (Mountains), 1989 Gerhard Richter - Modern Landscape
17
Architecture teaches that scientific research is not the only form of research. Art, poetry, literature, and generally anything that stimulates our mind and broadens our knowledge is a valuable form of research. The architectural profession is grounded in a holistic world view, artistic impressions and allegorical ideas drive science and technological advancements, and vice versa. A holistic understanding of the world, based on interdisciplinary knowledge, is of indispensable value for architects to design a sustainable environment and preferable spaces within the world. Awareness and an open mind to our environment on every thinkable level are imperative. In architecture, we analyse and view the world (or site) in its prevalent reality, in order to find possibilities to change and ameliorate that very existence to a new and improved status quo. The production of architecture today, much like most industries in the globalised world, is profoundly flawed and unsustainable. The means and quantities of production in the Anthropocene age have become so destructive and harsh that we must change means and quantities now. Architecture is the human-made extension of our environment. If this is done intelligently and with care, it is not a problem. Using energy or redistributing and reconfiguring raw materials is not an issue when done with care and responsibility. Nature does the same: tectonic movements, lava flows, sedimentation, erosion, rivers that wash out stones, stones that crumble into sand; trees that grow from the earth with solar energy and nutrients. As architects, we carry great power and consequently, great responsibility for our environment and the sensible and intelligent reprogramming of raw materials (Ingels, 2019). The architects’ responsibility lies in reconnecting man and nature to direct a sustainable future. The disconnection from nature isolates us and consequently diminishes society. Not only has it directly caused health issues, but it has also impacted our ability to think freely and respond to crucial modern challenges, such as climate change (Hopkins, 2020). Being in nature allows one to think and be free.
18
kg CO2 / kg emitted by Materials in Comparison Materials
Materials
Geopolymer Concrete & Copper & Timber & Steel Geopolymer Concrete & Copper & Timber & Steel
Geopolymer Concrete
Copper
Timber
Steel kg CO2 / kg 0
1000
2000
3000
19
4000
5000
6000
7000
Properties of Wood Timber
Timber
dless ofits use, wood ns hygroscopic, i.e. it bs water and releases it depending on ambient ity (see figure 7). The followuilibrium moisture contents o become established in tim-
Rapid changes in moisture content bring a great risk of splitting. The dimensional changes associated with changing moisture content and deformation behaviour are shown in figures 8 and 9.
ed structures enclosed on
mm
200
+
5 10 15
Timber products
Board tangential Parallel-grain plywood perpendicular to grain Board radial
CO2
OSB and particleboard both directions
eated structures enclosed
3-ply core plywood both directions
ed structures open on all
Plywood both directions
Energy
tructions exposed to the ther on all sides 18±3% Deformations of solid timber sections
Amount of swelling and shrinkage for boards, planks and wood-based products for a moisture difference of 20%.
Total life cycle of timber, which corresponds to the carbon dioxide cycle.
Wood is made up from 50% carbon (photosynthesis converts solar energy into wood, which is fixed through absorption of the greenhouse gas CO2), and 44% oxygen and 6% hydrogen.
Trees contain water in their cell walls (bound moisture) and cell cavities (free moisture). The moisture content of the wood can amount up to 70% of the mass. All timber building components in which alternating moisture content is to be expected, e.g. components exposed to the weather, must allow for the inevitable associated dimensional changes. This applies, for example, to the timber outer leaves of facades exposed to the changing effects of sunshine and rain. Rapid changes in moisture content bring a great risk of splitting. Air-dried timber can prevent drastic changes post construction. Air drying is a method of drying timber by exposing it to natural atmospheric conditions on-site. The drying rate as this will be determined by the prevailing weather (temperature, relative humidity, rainfall and wind speed), which will vary accordingly to site, season and climate.
Wood is a high-strength building material with low weight. It consists of cells whose cavities provide thermal insulation and whose cell walls absorb and release moisture, which ensures a healthy interior climate.Wood is a renewable resource, produced environmentally friendly in the forest; forests and wood products extract CO2 from the atmosphere. Wood products save energy and CO2 due to low-energy production, energy gains from byproducts and residues, energy saving insulation function, energy uses at the end of the life cycle as wood is biodegradable.
Its molecular components are 40-50% cellulose, 20-30% hemicellulose, and 20-30% lignin; other substances found in wood include oils, pigments, resins and tanning agents. These may account for up to 10% and determine the degree of resistance, colour and smell.
Herzog, T., Natterer, J., Schweitzer, R., Volz, M., Winter, W. 2012. Timber Construction Manual, Birkhäuser, Basel. Herzog, T., Natterer, J., Schweitzer, R., Volz, M., Winter, W. 2012. Timber Construction Manual, Birkhäuser, Basel.
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Geopolymer Concrete Geopolymer Concrete GEO -- EARTH EARTH || POLY POLY -- MANY MANY || MER MER -- PARTS PARTS GEO
BINDER
+
AGGREGATE
WATER + CEMENT
+
FINE + COARSE
=
CEMENT CONCRETE
WATER + ALKALI REAGENT + ALUMINOSILICATE
+
FINE + COARSE
=
GEOPOLYMER CONCRETE
Each year over 3.2 billion tons of CO2 will result from the production of concrete, which is respectivley to the CO2 emission discharged by all cars in the USA, EU and China.
Cement Concrete Geopolymer Concrete kg CO2 / kg 0
100
200
300
400
500
600
700
800
900
Hyde, R. 2020. An A-Z of Geopolymer Concrete. Phone Conversation and Powerpoint Presentation. Hyde, R. 2020. An A-Z of Geopolymer Concrete. Phone Conversation and Powerpoint Presentation.
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1000
Geopolymer Concrete Compartative performance of cement concrete and geopolymer concrete at extreme temperatures
Geopolymer Concrete
CEMENT CONCRETE
Compartative performance of cement concrete and geopolymer concrete at extreme temperatures
water content table at ambient temperature
water heats and vaporises forming cracks
0 °C
20 °C
100 °C
1300 °C
GEOPOLYMER CONCRETE
-200 °C
water freezes and expands forming cracks
stable at low temperatures
chemically-bound water
Hyde, R. 2020. An A-Z of Geopolymer Concrete. Phone Conversation and Powerpoint Presentation. Hyde, R. 2020. An A-Z of Geopolymer Concrete. Phone Conversation and Powerpoint Presentation.
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stable at high temperatures
Geopolymer Concrete Durability
Geopolymer Concrete Durability
Cement concrete
acids attack vulnerable calcium hydrates
atmospheric water reacts with SO2, CO2, NO2 + other fumes to produce acid
poly (alumino-silicates) resist acid attack
Geopolymer concrete
Hyde, Hyde, R. 2020. An A-Z of Geopolymer PhoneConversation Conversation Powerpoint Presentation. R. 2020. An A-Z of GeopolymerConcrete. Concrete. Phone andand Powerpoint Presentation.
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concrete surface disintegrates exposing fresh surface to attack
Copper and Steel Metals
Copper & Steel
Materials
Ecological Footprint of Construction Materials Timber (Oak) Glass Concrete Copper Zinc Aluminum Steel 0
20
40
60
80
Embodied Carbon kg CO2 /kg
100
120
140
160
180
Embodied Energy MJ/kg
Zinc (Zn; density: 7,000 kg/m3; embodied energy: 61.9 MJ/kg; embodied carbon: 3.31 kg CO2/kg; light, soft, and ductile) Aluminum (Al; density: 2,700 kg/m3; embodied energy: 155 MJ/kg; embodied carbon: 8.3 kg CO2/kg; light, soft, malleable, and easy to process) Aluminum can be turned into sheets, window and door profiles, and fixtures and fittings, and is used in furniture construction. In the 1980s, colored anodized aluminum profiles and facade elements were trendy; today, aluminum is popular in its natural color. Copper (Cu; density: 8,600 kg/m3; embodied energy: 40 - 55 MJ/kg; embodied carbon: 2.2–3.8 kg CO2/kg; infinitely recyclable, soft, tough, and easy to process) This extremely weather-resistant metal is known by its distinctive colors: copper red or copper green (caused by oxidation), which is a defining characteristic of many familiar old structures. Steel (Fe + 2 - 3 percent C; density: 2,700 - 7,800 kg/m3; embodied energy: 24 - 56 MJ/ kg; embodied carbon: 1.7 - 6.15 kg CO2/kg; strong, flexible, adaptable by tempering, and recyclable). Producing steel from scrap metal saves a lot of energy and resources - roughly 1,100 kilograms of iron ore, 630 kilograms of coal, and 55 kilograms of limestone per ton of recycled steel. Steel, an alloy from iron, which contains 2 to 3 percent carbon, is much more than just a metal. Steel is recyclable, and it does not even lose its properties when it is recycled. Most new steel has 40 - 60% recycled content, recycled steel, however, is still high in embodied carbon and energy due to its high melting temperature. Steel has inherent longevity and durability. The steel industry generates 7 - 9% of direct emission from the global use of fossil fuel. Bell, M., Buckley, C. 2012. Post-Ductility : Metals in Architecture and Engineering, Princeton Architectural Press, New York. Bell, M., Buckley, C. 2012. Post-Ductility : Metals in Architecture and Engineering, Princeton Architectural Press, New York.
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Weathering & Patination of Copper
Natural Weathering Colours Timespan Varies
Weathering & Patination of Copper
Natural Weathering Colours Timespan Varies
Unexposed
4 Months
8 Months
1 Year
2 Years
3 Years
4 Years
5 Years
7 Years
10 Years
15 Years
25 Years
25
Research III
Crescendo
Investigation of the East Frisian Landscape
28
Ostfriesland
Certitudes East Frisia
East Frisia is a region in Lower Saxony in the far northwest of Germany. East Frisia lies on the coast of the North Sea, the Wadden Sea, and includes the mainland as well as the East Frisian islands of Borkum, Juist, Norderney, Baltrum, Langeoog and Spiekeroog. The East Frisian landscape remains from the former political unity of East Frisia. As of December 31, 2018, 466.734 people lived in its territory on 3.144,26 square kilometres. The region is sparsely populated compared to the national average. It is characteristic of East Frisia that a larger city does not dominate the region; rather, it is the five mediumsized cities that determine the structure of East Frisia. For centuries the region was characterized by agriculture, fishing and - especially in the few cities - by trade. This included, in particular, maritime trade in the port cities. Dike construction and melioration have made the agricultural use of large parts of the previously influenced tide and marshes possible. Today, tourism, especially on the islands and in many coastal towns, and some industrial cores have become very important for the regional economy. Nevertheless, agriculture continues to hold a strong position - in terms of culture and economy. Despite economic progress in the past decades, East Frisia is considered a structurally weak region with a large dependency on a few industries and a small number of larger companies. Through the centuries-long, relative isolation on the land side by large bogs in the south of East Friesland with simultaneous turning to the sea, the region within Germany has developed quite independently. Close ties to the Netherlands also contributed to this. This is still evident today, for example in cultural matters or the political sphere, in efforts to maintain institutions across East Frisia and, where possible and sensible, not to merge with institutions outside East Frisia. The area is considered one of the strongholds of the Low German language, known as Platt: an estimated 50 per cent of the inhabitants still speak East Frisian Platt, their own language, significantly different to standard German.
Sites The project intends to charter the landscape of the East Frisian shore of Northern Germany and service wayfarers while exploring the environment and connecting with nature on the existing path. The toilets will be distanced at 6 km apart at 25 locations. Some of the toilets will be located within the Wadden Sea National Park, bordering on Nature Conservation Areas and Biosphere Reserves. Elemental to the project is sustainability and low environmental impact.
Siel A Siel is a closable water passage in a dike. Closing is usually done by higher pressure at a higher water level on the seaside, opening by higher pressure from the inland side when the water level is low on the seaside. A Siel is, therefore, a valve for passive drainage of the inland area behind the dike, especially as part of the drainage system of marsh areas. The rainwater collected in drainage ditches flows through the Sielzug (canal, river) and the Tief (canal, river) to the lock structure.
29
East Frisia
Geological Section Across the Peninsula
AuĂ&#x;endeich Pilsum
Georgsheil
Kiefmoor
Aurich
AuĂ&#x;endeich Pilsum
Georgsheil
Kiefmoor
Aurich
0m 0m 10 m 10 m 20 m 20 m 30 m 30 m 40 m 40 m 50 m 50 m
Marsch
Fenland
Marsh + Sand
A
Marsch
Fenland
Marsh + Sand
A
Wiesmoor
Friedeburg
Horsten
Jadedeich
Wiesmoor
Friedeburg
Horsten
Jadedeich
Aeolian Sand
Glacial Diluvium
Sand + Clay + Gravel
Sand + Gravel
Aeolian Sand
Glacial Diluvium
Sand + Clay + Gravel
Sand + Gravel
Contemporary Paintings of Zeeland
Zeeland 270611, 2011
Nelly Van Nieuwenhuijzen - Skyscapes
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East Frisian Shore
Cycling along the Dike
“Subject, though in a less degree than plants and animals, to the circumstances of the soil and the meteorological conditions of the atmosphere, and escaping from the control of natural influences by the activity of mind and the progressive advance of intelligence, as well as by a marvellous flexibility of organisation which adapts itself to every climate, man forms every where an essential portion of life which animates the globe.� Alexander von Humboldt about Land in Cosmos
33
34
Two Purposes
Dikes
Water Control & Farming
A dike is a hydraulic protection system along coasts and rivers. They are asymmetrically profiled structures that lie along a river or the seashore as a dam and are intended to protect the low and weakly relieved, immediately adjacent hinterland from flooding. Dikes on the North Sea coast have also been built to reclaim land for several centuries. The areas created in the past by dyke construction are called regionally differentiated, Koog, Polder or Groden. Dikes are often additionally used for sheep grazing; other farm animals that can be left unobserved, such as cows, are too heavy for the dike, would sink in and damage the structure. Polder A polder is an area that is protected from flooding by dikes. For most of these polders, the water level of neighbouring larger bodies of water (sea or rivers) is often or permanently above ground level. That is why the water from the drainage ditches of the polder has to be pumped over or through the dike, using ‘Siels’, in modern times mostly with motor power, in pre-industrial times with wind power.
crest, min 3%
1:3 and flatter revetment
sealevel
1:2.5
1:3 and flatter
1:2.5
berm
polder
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East Frisia, Germany
Harlesiel
Harle River - North Sea
Harlesiel is a resort town on the East Frisian coast of Germany, at the mouth of the Harle River.
Harlesiel is a seaside resort with around 800 inhabitants.
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The place was built between 1953 and 1956 when a new harbour and docks were built north of the Friedrichsschleuse.
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East Frisia, Germany
Neuharlingersiel
Neuharlinger Sieltief - North Sea
Neuharlingersiel is a small bucolic fishing village popular with artists in East Frisia.
The port of Neuharlingersiel is the ferry port to the East Frisian island of Spiekeroog.
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Neuharlingersiel replaced Altharlingersiel as the Siel-town. Since then, Neuharlingersiel has also been a port for deepsea fishing.
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East Frisia, Germany
Bensersiel
Benser Tief - North Sea
Bensersiel is located on the Benser Tief, a deep-water Sielzug that drains the marshes to the south.
Agriculture, which still dominated until the middle of the 20th century, no longer plays a role in Bensersiel.
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There are also no industrial companies anymore. Today tourism is the foundation of the local economy.
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East Frisia, Germany
Dornumersiel
Dornumersieler Tief - North Sea
The place was founded as a war village on Gley-PodsolGround at a height of six meters above sea level.
In the north, east and west, Kalkmarsch surrounds the town center. In the south there is an area with Kleimarsch.
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The place is one of the oldest ports on the East Frisian coast. Dornumersiel could only emerge after the polders surrounded by dikes.
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East Frisia, Germany
Neßmersiel
Wichter Ee - North Sea
Most coastal tours of the north German sea coast begin here at Neßmersiel. Each year 10 - 12 million migratory birds visit nearby Wattenmeer National Park of Lower Saxony (Nationalpark Niedersächsisches Wattenmeer).
The resort village of Neßmersiel lies directly behind the dike and contains mostly holiday homes.
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By 1700, the harbour had to be moved closer to the sea when the original location filled with silt from the dikes.
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East Frisia, Germany
Norddeich
Norddeich Port - North Sea
2.25 million people and 175,000 vehicles are transported from the port to the offshore islands of Juist and Norderney every year.
After Puttgarden and Rostock, Norddeich is the third largest passenger port in Germany and the largest in Lower Saxony.
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The port plays an important role as the end point of the railroad and road connections for the supply of the offshore islands of Juist and Norderney.
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East Frisia, Germany
Greetsiel
Leyhรถrner Sieltief - North Sea
The Sielort is located directly on the Leybucht, a small bay on the East Frisian west coast. Large parts of the bay were gradually dammed, making Greetsiel the only port on the Leybucht today.
Within the Leybuchthรถrns there is a storage basin and access from the North Sea to Greetsieler Hafen.
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There is a lock between the harbour and the open sea. Since its completion, the port of Greetsiel can be reached regardless of the tide.
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East Frisia, Germany
Knock | Emden
Knockster Tief - Ems - North Sea
Knockster Tief is a river of Lower Saxony, Germany. It flows into the Ems west of Emden.
The Knockster Tief is a partly natural, partly artificially created water.
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The Knockster Tief is the main receiving water for large parts of southwestern East Friesland and its draining.
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East Frisia, Germany
Emden
Ems - North Sea
The city is located on the northern edge of the Ems estuary in the North Sea, south of the city is also Dollart Bay.
The city was founded as a Frisian trading centre around the year 800 and is still largely characterized by its seaport, which in the 20th century was the basis for the settlement of larger industrial companies (e.g. Nordseewerke shipyard & Volkswagen plant).
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Emden is the largest town of East Frisia.
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East Frisia, Germany
Leer
Leda - Ems - North Sea
Leer is located in southern East Frisia at the mouth of the Leda into the Ems.
Because of its seaport, the town has been characterized by trade and seafaring for centuries. It is one of the largest German shipping company locations.
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Leer is known as the gateway to East Frisia and is located at the crossing of the road, rail and water infrastructure. Leer is the third-largest city in East Frisia after Emden and Aurich.
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Approaching the landscape from both a scientific and a romantic point of view are appraised in the East Frisian landscape, a unique place which is intrinsic and imminent to me. East Frisia is the place where I was born and the place I grew up. The work is a testimony to the way I have lived and experienced this place. Consequently, it is a manifestation to how I place myself and my way of thinking in the world, and by extension, how I see humankind situated within and shaping this world. A large part of my family lives in the South of Germany, so from a young age, I also spent much time in significantly different landscapes. The journey from the flatness of East Frisia to the hilly South of Germany is quite impressive, as the land begins to rise and no longer is flat. The horizon slowly grows closer until you no longer notice the presence of the horizon. I understand now that the horizon ‘is’ a physical boundary that prevents one from seeing in a certain direction of what is hidden behind that boundary. It is not our sight that extends to the horizon, but the light that is generally emitted or reflected in a straight line from objects and that provides our eyes with information about what is in a certain direction. If an obstacle, such as a mountain, does not let the light through, you cannot see what is behind. If there is nothing to obstruct the view, there is no horizon. The horizon is very close in the mountains because the mountains rise directly in front of you. Whenever I was hiking in the mountains in southern Germany, the higher I climbed I could perceive a horizon again, however different to the horizon that I knew from East Frisia. The higher I would climb, the angle between the horizon and the horizontal increased and I was able to look further and further. At sea, and in flat landscapes such as East Frisia, the horizon is further away (approximately at 5 km at sea level) due to the flatness, here the horizon is dictated by the curvature of the earth. Growing up in this flat landscape and additionally having the experience of being and walking in vastly different landscapes allows me to do this work with an innate perspective: The East Frisian landscape is a highly pragmatic environment and a very sublime landscape in its extreme conditions of emptiness, loneliness, exposure and its very significant flatness. East Frisia is empty, as there are a very low density and few forests, but rather wide fields and marshlands. The emptiness can create a feeling of loneliness. The landscape is extremely exposed, and the wind is rarely broken by trees, small towns or cities. Not only is the landscape exposed to all the elements, but also the gaze of everyone and everything within. In a landscape in which the eye may travel to the horizon in such a boundless distance, the sky and the light become consequential. The significant flatness, and in extension, the horizon, is an incentive for walking. In East Frisia cycling is the most common mean of transportation, as the land is so very even. However, the wind often impedes cycling immense. As the intensity of walking is not as much affected by the elements, walking is quite common as a recreational activity rather than a mean of transport and a tool of quick arrival at a destination. Walking is a form of being and a form to encounter this land. “Everyone knows how to walk. One foot in front of the other, that’s the proper rhythm, the good distance to go somewhere, anywhere. And all you have to do is resume: one foot in front of the other” (Gros, 2015, p. 35). Walking in East Frisia is very inclusive, as a walk is not difficult to undertake in the even terrain.
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Romanticism
Ziehende Wolken | Drifting Clouds, 1820 Caspar David Friedrich - The Sublime
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Cycling along a River East Frisia
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Photorealism
Kleine Landschaft am Meer | Little Landscape at the Seaside, 1969 Gerhard Richter - Modern Landscape
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Verticality in the Horizontal Landscape
Lighthouses Arngast - Frisia
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Verticality in the Horizontal Landscape
Lighthouses
Campen - East Frisia
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Verticality in the Horizontal Landscape
Lighthouses
Hรถrnum - North Frisia
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Verticality in the Horizontal Landscape
Lighthouses
Pilsum - East Frisia
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Verticality in the Horizontal Landscape
Lighthouses
Norderney - East Frisia
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Romanticism
Bell Rock Lighthouse Joseph Mallord William Turner
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Verticality in the Horizontal Landscape
Lighthouses
Norddeich Mole - Frisia
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Hague School
Lighthouse in the Surf Hendrik Willem Mesdag
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Impressionism
The Sea at Le Havre, 1868 Claude Monet - Moments in Nature
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East Frisian Shore
North Sea
“The abundance of those marine animalcules, and the animal matter yielded by their rapid decomposition are so vast that the sea water itself becomes a nutrient fluid to many of the larger animals. However much this richness in animated forms, and this multitude of the most various and highly-developed microscopic organisms may agreeably excite the fancy, the imagination is even more seriously, and, I might say, more solemnly moved by the impression of boundlessness and immeasurability, which are presented to the mind by every sea voyage.� Alexander von Humboldt
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Impressionism | Naturalism
Beach at Low Tide, 1850 - 1878 Charles-Franรงois Daubigny - Impressions of Landscapes
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Impressionism | Naturalism
Le printemps | Spring, 1862 Charles-Franรงois Daubigny - Impressions of Landscapes
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Impressionism
ĂŽle aux Fleurs near VĂŠtheuil, 1880 Claude Monet - Moments in Nature
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Impressionism
Road at La CavĂŠe, Pourville, 1882 Claude Monet - Moments in Nature
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Impressionism
Chemin dans les blĂŠs Ă Pourville | Path in the Wheat at Pourville, 1882 Claude Monet - Moments in Nature
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East Frisian Shore
Dunes
“All who possess an ordinary degree of mental activity, and delight to create to themselves an inner world of thought, must be penetrated with the sublime image of the infinite, when gazing around them on the vast and boundless sea, when involuntarily the glance is attracted to the distant horizon, where air and water blend together, and the stars continually rise and set before the eyes of the mariner. This contemplation of the eternal play of the elements is clouded, like every human joy, by a touch of sadness and of longing.� Alexander von Humboldt
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Impressionism
Champ de coquelicots | Poppy Field, 1881 Claude Monet - Moments in Nature
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Impressionism
La Seine près de Vétheuil | The Seine near Vétheuil, 1878 Claude Monet - Moments in Nature
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Impressionism
Deauville, Marée Basse | Deauville, Low Tide, 1863 Eugène Louis Boudin - Master of the Skies
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Impressionism
La plage de Tourgeville | Tourgeville Beach, 1888 Eugène Louis Boudin - Master of the Skies
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Romanticism | Neoclassicism
Landschaft mit Pilger | Landscape with pilgrim, 1813 Karl Friedrich Schinkel - The Dreamer
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Romanticism | Neoclassicism
Schloss am Strom | Castle by the River, 1820 Karl Friedrich Schinkel - The Dreamer
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Romanticism | Neoclassicism
Landschaft bei Pichelswerder | Landscape near Pichelswerder, 1814 Karl Friedrich Schinkel - The Dreamer
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Romanticism | Neoclassicism
Der Rugard auf RĂźgen | The Rugard on RĂźgen Island, 1821 Karl Friedrich Schinkel - The Dreamer
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Impressionism | Realism
Above the Eternal Peace, 1894 Isaac Ilyich Levitan - Mood Landscapes
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Impressionism | Realism
The Vladimirka, 1892 Isaac Ilyich Levitan - Mood Landscapes
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Salt Marshes in Winter East Frisia
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Impressionism | Realism
Marsh At Evening, 1882 Isaac Ilyich Levitan - Mood Landscapes
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Walker on the Beach in Winter Norderney, East Frisia
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Walking
In the German language, there are various words commonly used to distinguish between the various types of walking: gehen - to walk move at a regular pace by lifting and setting down each foot in turn, never having both feet off the ground at once. laufen - to run, to jog move at speed faster than a walk, never having both or all the feet on the ground at the same time. wandern - to hike, to walk walk for a long distance, especially across the country; often walking from one place to another: walking to a destination in greater distance. wandeln - to stroll walk in a leisurely way, without a designation or aim, often used when walking outside established infrastructure/urban Raum and one is walking in nature spazieren (gehen) - to stroll to take a walk, in a leisurely manner, usually knowing where one walks flanieren - to stroll, to wander, to flaneur walk or move in a leisurely or aimless way to see and be seen by others schlendern - to stroll, to meander walk leisurely, sometimes aimless marschieren - to march, to trek walk in a steady rhythm [over great distances], walk quickly and with determination
Walk on the Dike East Frisia
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The Art of Walking The concept of walking shifted in the 18th century from a solely practical and goal-oriented necessity to a deliberate and culturally transformed practice. The “art of walking” gave expression to the Enlightenment aspirations for self-realisation, individuality, as well as political freedom (Fuchs, 2016, p. 199). The German philosopher Immanuel Kant engages walking metaphorically for the process of self-enlightenment (Fuchs, 2016, pp. 201). Jean-Jacques Rousseau raised walking into a genuine method of philosophical reflection and introspective self-discovery that could liberate the oppressed self from the unfavourable influences of fraudulent society. Rousseau elevated walking as a method to retrieve an authentic connection with one’s innermost self (Fuchs, 2016, p. 202). The author Johann Gottfried Seume wrote ‘being carried in a coach is a sign of impotence, walking a sign of vigour’, to him walking entails liberty and independence (Fuchs, 2016, p.204). Friedrich Ludwig Jahn considers the ‘art of good walking’ as training from early childhood and continual practice. Noble walking is characterised by four qualities: moral uprightness of the gait (‘Anstand in Gange’), endurance (‘Dauer im Gehen’), speed (‘Schnelle des Ganges’), and—somewhat surprisingly—the walker’s indifference to the territory (‘Nichtachtung der Örtlichkeit’) (Fuchs, 2016, p.205). During the 18th century walking was discovered as a method for various experiences and development: First as a manner of philosophical reflection to enlightened maturity; second as an aesthetic experience that reconnected man with nature; third as a curative practice that stimulated harmony between body and soul; fourth as a method of scientific investigation of the natural environment; and finally as a political act that on the road to political freedom (Fuchs, 2016, p. 205).
Walking proceeds further to play a noteworthy activity in the 21st century, as walking and talking are quintessential features of human forms of life (Ingold and Vergunst, 2008, p.1). The cardiovascular benefits of walking are biologically plausible; like other forms of regular moderate exercise, walking improves cardiac risk factors such as cholesterol, blood pressure, diabetes, obesity, vascular stiffness and inflammation, and mental stress. Walking also helps to protect against dementia, peripheral artery disease, obesity, diabetes, depression, colon cancer, and even erectile dysfunction (Harvard Medical School, 2019). The benefits of walking are not merely physical but also highly psychological. Walking itself is a form of thinking and feeling. Walking is a deeply social activity, even when the walker is walking alone. The act of walking inquires engagement with the surrounding environment: the body responds as much to the presence of others as the senses; timings, patterns and nuances are as significant as sounds. The social engagement is paced out along the ground rather than in situ (Ingold and Vergunst, 2008, p.1). The entire body is in motion, the legs, lungs, arms, hands, and the mind. Walking allows to clear the head and mind; the walker can think entirely free and serene. Walking is a form of temporary freedom as “by walking you are not going to meet yourself. By walking, you escape from the very idea of identity, the temptation to be someone, to have a name and a history” (Gros, 2015, p.6). Walking is the conscious perception of the moment, including the realisation of the entire surrounding. As the act of walking itself is of importance, we must also consider the difference between a rural and an urban walker. Walking in any urban environment is often more a flaneur to socialise, while in nature rather a hike for the sole purpose of walking and interacting with nature. Walking for the purpose of walking and being outside, rather than walking from one ‘inside’ to another allows the walker to truly take possession of the place and live in the outside, the landscape. With the wind in your face, right in the middle of the world, the walker realises: “This is really my home, all day long, this is where I am going to dwell by walking” (Gros, 2015, p.33). Walking is a way of thinking, such as Nietzsche, Rousseau, Rimbaud, Robert Louis Stevenson, and Jack Kerouac considered it to be. Nietzsche wrote his best work while walking and understood walking as a precondition for his work (Gros, 2015, p.18). Books by non-walking writers are heavy and indigestible, whereas the “walking writers are scribbling down here and there what the walking body - confronting sky, sea, glaciers - breathed into his thought” (Gros, 2015, p.21).
Although this discourse on walking did nor arrive at cohesive anthropology of the human gait, it established an essential distinction between good and bad methods of walking. Anne Fuchs (2016, p. 205) summarises: the good gait is deemed to be natural, upright and forwardmoving, free from artificial mannerism and affectation; it engenders invigorating agility of body and mind that attunes man to his authentic humanity and nature. And it gives expression to man’s unstoppable evolutionary progress and his ability to attain enlightened freedom. By contrast, the bad gait is unnatural; it manifests itself in the walker’s poor bodily coordination, a bent-over posture, a sideways stride and unnecessary movements of the arms and legs, which were associated with a wide range of psychological and moral defects. From the late 18th century, the wide-ranging discourse on walking encodes the bad gait as a symptom of a crippling process of civilisation, which had alienated man from the attainment of selfdetermination and freedom. Walking continues to play a significant role post 18th century into the 19th and 20th century. Due to technological development, such as the railway system and the steam engine, the practice of walking became a primary concern to educators. Even throughout modern literature the described walk, however, continues to symbolise the character and often evolves alongside the storyline [Such as in Franz Kafka - The Metamorphosis (Die Verwandlung); Franz Kafka - The Trial (Der Prozess); Kafka – A Report to an Academy (Bericht für eine Akademie); Thomas Mann – Death in Venice (Der Tod in Venedig); Irmgard Keun – The Artificial Silk Girl (Das kunstseidene Mädchen)] (Fuchs, 2016, p. 205 – 214).
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Between Dike and Sea East Frisia
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Today the world is technologically advanced; however, as human beings, the way we place ourselves in our environment plays an ever more important role. Travelling our environment allows us to connect with our environment and understand our surroundings. Speed plays a significant role, as travelling faster than ‘human-velocity’, no matter the medium of transport, we cannot fully engage with our surrounding the way we do when we walk and are in our own pace. The act of walking itself is of importance and significance; not only destinations are important, but also happenings and places en route are what creates our knowledge of the environment. “When you are walking, nothing really moves: it is rather that presence is slowly established in the body. When we are walking, it isn’t so much that we are drawing nearer, more than the things out there become more and more insistent in our body. The landscape is a set of tastes, colours, scents which the body absorbs” (Gros, 2015, p.38).
“We do not belong to those who have ideas only among books, when stimulated by books. It is our habit to think outdoors - walking, leaping, climbing, dancing, preferably on lonely mountains or near the sea where even the trails become thoughtful.” Friedrich Nietzsche, The Gay Science
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Man & his Dog walking on a Dike East Frisia
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Walking as thinking is consequently a form of researching and analysing the surrounding. Walking landscape, and in extension, any place in the world avails us to inhabit the landscape with purpose and care, which is crucial as architects. Walking forms the walker’s awareness of the constant change of the world and creates a willingness and ability to think about new situations and remain flexible in unexpected situations (Ingold and Vergunst, 2008, p.47). One who walks charters and collects the landscape through which he wanders.
“I never do anything but when walking, the countryside is my study.” Jean-Jacques Rousseau, Mon Portrait
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Contemporary Photography
Westernieland (Groniger Wad), 2009 L.J.A.D. Creyghton - Dutch Landscape
Walk Across the Mudflats Wadden Sea, East Frisia
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101
Contemporary Photography
El Ejido, 2017
Andreas Gursky - Today’s Landscape
102
Contemporary Photography
Rhine II, 1999
Andreas Gursky - Today’s Landscape
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Photorealism
GrĂźnes Feld | Green Field, 1969 Gerhard Richter - Modern Landscape
104
Photorealism
Kleine Treppe am Meer | Small Staircase at the Seaside, 1969 Gerhard Richter - Modern Landscape
105
Photorealism
Korsika (Haus) | Corsica (House), 1969 Gerhard Richter - Modern Landscape
106
Photorealism
Korsika (Schiff ) | Corsica (Ship), 1968 Gerhard Richter - Modern Landscape
107
Photorealism
Zwei Bäume | Two Trees, 1987 Gerhard Richter - Modern Landscape
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Photorealism
Waldhaus | House in Forest, 2004
Gerhard Richter - Modern Landscape
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Salzwiesen - Salt Marshes East Frisia
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Wind Turbines East Frisia
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Shore Condtions East Frisia
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East Frisian Shore
Fluent Coast
The scientific analysis of tides, “has enabled us, … , to predict the height of spring tides at the periods of new and full moon, and thus put the inhabitants of the sea-shore on their guard against the increased danger attending these lunar revolutions.” Alexander von Humboldt in Cosmos
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Fairway in the Wadden Sea Harlesiel - East Frisia
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The edge conditions of the East Frisian peninsula is in fluid and constant change, depending on the tide. The Wadden Sea is a significant natural phenomenon: during low tide, one can walk on the sea bed, and from certain points, one can even walk (make a ‘Wattwanderung’; English: take a mudflat walk) across the sea bed to the East Frisian islands Baltrum und Norderney.
Bird Watching Tower & Siel NeĂ&#x;mersiel, East Frisia
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Beach with View to Island Baltrum NeĂ&#x;mersiel, East Frisia
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Der Norddeutsche Strandkorb
The North German Beach Chair Pragmatic & Romantic Der Norddeutsche Strandkorb
The North German Beach Chair Axonometric 1:10
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Vista on the Dike Pilsum, East Frisia
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NeĂ&#x;mersiel Trail towards Wadden Sea Wadden Sea Walk to the Island Baltrum
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Impressionism
Meadow with Poplars, 1875 Claude Monet - Moments in Nature
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Contemporary Paintings of Zeeland
Blue Roofs behind the Dike, 2011 Nelly Van Nieuwenhuijzen - Skyscapes
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Contemporary Paintings of Zeeland
Zeeuws Licht | Zeeland Light, 2016 Nelly Van Nieuwenhuijzen - Skyscapes
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NeĂ&#x;mersiel Trail towards Wadden Sea Wadden Sea Walk to the Island Baltrum
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East Frisian Shore
The Vast Sky
“The aerial ocean rests partly on the solid earth, whose mountain chains and high table-lands may be considered to represent shoals; and partly on the sea, whose surface forms a liquid base of floor in immediate contact with the lower and denser strata of humid air.� Alexander von Humboldt in Cosmos
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Contemporary Paintings of Zeeland
Polder in Zeeland, 2019
Nelly Van Nieuwenhuijzen - Skyscapes
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Contemporary Paintings of Zeeland
Avond in Zeeland | Evening in Zeeland, 2018
Nelly Van Nieuwenhuijzen - Skyscapes
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Contemporary Paintings of Zeeland
Zeeland 270611, 2011
Nelly Van Nieuwenhuijzen - Skyscapes
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Contemporary Paintings of Zeeland
Veerse Meer, 2009
Nelly Van Nieuwenhuijzen - Skyscapes
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Barley Field & Dike Norden, East Frisia
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East Frisian Shore
The Clear Blue
“…the degree of ordinary transparency and clearness of the sky, which is not only important with respect to the increased radiation from the Earth, the organic development of plants, and the ripening of fruits, but also with refrence to its influence on the feelings and mental condition of men.” Alexander von Humboldt in Cosmos
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Romanticism | Neoclassicism
Bühnenbild für Mozarts Zauberflöte | Stage Design for Mozart’s Magic Flute, 1815 Karl Friedrich Schinkel - The Dreamer
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Skylight
House of Light in Japan, 1997 James Turrell
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Skyspaces
Seldom Seen, 2004 James Turrell
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Himmlische Perspektive
Celestial Perspective Framing the Sky
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Skyspaces
Skyspace I, 1974
James Turrell
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Himmlische Perspektive
Celestial Perspective Framing the Sky
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Celestial Perspective
Clouds
“Thus the figures of the clouds, which form an animated part of the charms of landscape, announce the process at work in the upper regions of the Perspektive atmosphere, and, when air is calm, the clouds will often present, on a bright summer sky, the ‘projected image’ of theHimmlische radiating soil below.” Alexander von Humboldt in Cosmos
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Celestial Perspective Sky as the Ceiling
Himmlische Perspektive
Celestial Perspective Framing the Sky
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Himmlische Perspektive
Celestial Perspective Sky as the Ceiling
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The peculiarity of the East Frisian landscape is its flatness, which allows the human eye to look far into the distance. So far that in places, where nothing stops the vision, one can grasp the curvature of the earth. In a place where human vision can perceive the curvature of the earth, the sky becomes of incredible greatness and momentous. The sky changes the landscape, and the landscape changes the light of the sky. In the East Frisian landscape, the flatness allows for a lot of sky and light, which changes the perception of the landscape. Along the coast, often the sky and atmosphere are heavy with water, which is causing defused light and the creation of many clouds. The design illustrates the romantic ideas and beliefs towards nature embedded in scientific and technological research and approaches of the 21st century. The design charters the East Frisian landscape, the architectural interventions are located 6km apart along the shore, connected by the walk and the purpose to serve the walkers along the path. The design highlights the significance of the flatness of the landscape through its verticality. To reduce the impact on the environment, the design is using rainwater and recycles human waste. The design uses zero energy postconstruction. Human beings are not the only inhabitants of any environment, and the walk invites to human and human interaction, human and animal interaction, and human and nature interaction. While the buildings are servicing the walkers, they also captivate a moment in the landscape, a moment of being.
Along the Horizon
Curvature of the Earth Where Sky, Land & Sea meet
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Ignoring the effect of atmospheric refraction, distance to the true horizon from an observer to the Earth’s surface is about:
Calculation of how much of distant object is visible above the horizon:
The height of point just visible to the observer is given by:
d = 3.57 √h
3.57 √1.7 = 4.65 km distance
h ≈ (distance (km) / 3.57 ) 2 h ≈ (6 / 3.57 ) 2 = 2.8 m
d = km | h = height above sea in m | 3.57 = km/m(1/2)
h = height of a person in m | 3.57 = km/m(1/2) | average height of German person ≈ 1.7 m
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When the objects/buildings are distanced at 6 km apart, the lowest point of the building visible lies at 2.8 m.
Land Reclamation East Frisia
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Wadden Sea Walk East Frisia
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Peroration
Sequel
Architecture in the Landscape
Architecture in Landscape
Harmony
The good building is not one that hurts the landscape, but one which makes the landscape more beautiful that it was before the building was built. Frank Lloyd Wright
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Architecture in Landscape
Harmony
We borrow from nature the space upon which we build.
Tadao Ando
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Constant Change
Forwards
...�the quiet which we now enjoy is only apparent; the tremblings which still shake the surface in every latitude, and in every species of rock, [...], are far from giving us reason to suppose that our planet has reached a period of entire and final repose.� Alexander von Humboldt in Cosmos
Research I - Prelude
Bibliography
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Research II & III
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