Architecture in the Landscape | Master's Thesis

Page 1

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.

20


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.

21

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.

22

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.

23

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.

24


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

32


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

35


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.

36

The place was built between 1953 and 1956 when a new harbour and docks were built north of the Friedrichsschleuse.


37


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.

38

Neuharlingersiel replaced Altharlingersiel as the Siel-town. Since then, Neuharlingersiel has also been a port for deepsea fishing.


39


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.

40

There are also no industrial companies anymore. Today tourism is the foundation of the local economy.


41


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.

42

The place is one of the oldest ports on the East Frisian coast. Dornumersiel could only emerge after the polders surrounded by dikes.


43


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.

44

By 1700, the harbour had to be moved closer to the sea when the original location filled with silt from the dikes.


45


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.

46

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.


47


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.

48

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.


49


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.

50

The Knockster Tief is the main receiving water for large parts of southwestern East Friesland and its draining.


51


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).

52

Emden is the largest town of East Frisia.


53


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.

54

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.


55


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.

56


Romanticism

Ziehende Wolken | Drifting Clouds, 1820 Caspar David Friedrich - The Sublime

57


Cycling along a River East Frisia

58


Photorealism

Kleine Landschaft am Meer | Little Landscape at the Seaside, 1969 Gerhard Richter - Modern Landscape

59


Verticality in the Horizontal Landscape

Lighthouses Arngast - Frisia

60


61


Verticality in the Horizontal Landscape

Lighthouses

Campen - East Frisia

62


Verticality in the Horizontal Landscape

Lighthouses

Hรถrnum - North Frisia

63


Verticality in the Horizontal Landscape

Lighthouses

Pilsum - East Frisia

64


65


Verticality in the Horizontal Landscape

Lighthouses

Norderney - East Frisia

66


Romanticism

Bell Rock Lighthouse Joseph Mallord William Turner

67


Verticality in the Horizontal Landscape

Lighthouses

Norddeich Mole - Frisia

68


Hague School

Lighthouse in the Surf Hendrik Willem Mesdag

69


Impressionism

The Sea at Le Havre, 1868 Claude Monet - Moments in Nature

70


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

71


Impressionism | Naturalism

Beach at Low Tide, 1850 - 1878 Charles-Franรงois Daubigny - Impressions of Landscapes

72


Impressionism | Naturalism

Le printemps | Spring, 1862 Charles-Franรงois Daubigny - Impressions of Landscapes

73


Impressionism

ĂŽle aux Fleurs near VĂŠtheuil, 1880 Claude Monet - Moments in Nature

74


Impressionism

Road at La CavĂŠe, Pourville, 1882 Claude Monet - Moments in Nature

75


Impressionism

Chemin dans les blĂŠs Ă Pourville | Path in the Wheat at Pourville, 1882 Claude Monet - Moments in Nature

76


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

77


Impressionism

Champ de coquelicots | Poppy Field, 1881 Claude Monet - Moments in Nature

78


Impressionism

La Seine près de Vétheuil | The Seine near Vétheuil, 1878 Claude Monet - Moments in Nature

79


Impressionism

Deauville, Marée Basse | Deauville, Low Tide, 1863 Eugène Louis Boudin - Master of the Skies

80


Impressionism

La plage de Tourgeville | Tourgeville Beach, 1888 Eugène Louis Boudin - Master of the Skies

81


Romanticism | Neoclassicism

Landschaft mit Pilger | Landscape with pilgrim, 1813 Karl Friedrich Schinkel - The Dreamer

82


Romanticism | Neoclassicism

Schloss am Strom | Castle by the River, 1820 Karl Friedrich Schinkel - The Dreamer

83


Romanticism | Neoclassicism

Landschaft bei Pichelswerder | Landscape near Pichelswerder, 1814 Karl Friedrich Schinkel - The Dreamer

84


Romanticism | Neoclassicism

Der Rugard auf RĂźgen | The Rugard on RĂźgen Island, 1821 Karl Friedrich Schinkel - The Dreamer

85


Impressionism | Realism

Above the Eternal Peace, 1894 Isaac Ilyich Levitan - Mood Landscapes

86


Impressionism | Realism

The Vladimirka, 1892 Isaac Ilyich Levitan - Mood Landscapes

87


Salt Marshes in Winter East Frisia

88


Impressionism | Realism

Marsh At Evening, 1882 Isaac Ilyich Levitan - Mood Landscapes

89


Walker on the Beach in Winter Norderney, East Frisia

90


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

92


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).

93


Between Dike and Sea East Frisia

94


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

95


Man & his Dog walking on a Dike East Frisia

96


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

97



Contemporary Photography

Westernieland (Groniger Wad), 2009 L.J.A.D. Creyghton - Dutch Landscape


Walk Across the Mudflats Wadden Sea, East Frisia

100


101


Contemporary Photography

El Ejido, 2017

Andreas Gursky - Today’s Landscape

102


Contemporary Photography

Rhine II, 1999

Andreas Gursky - Today’s Landscape

103


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

108


Photorealism

Waldhaus | House in Forest, 2004

Gerhard Richter - Modern Landscape

109


Salzwiesen - Salt Marshes East Frisia

110


111


Wind Turbines East Frisia

112


113


Shore Condtions East Frisia

114



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

116


117


Fairway in the Wadden Sea Harlesiel - East Frisia

118


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

120


121


Beach with View to Island Baltrum NeĂ&#x;mersiel, East Frisia

122


Der Norddeutsche Strandkorb

The North German Beach Chair Pragmatic & Romantic Der Norddeutsche Strandkorb

The North German Beach Chair Axonometric 1:10

123


Vista on the Dike Pilsum, East Frisia

124


125


NeĂ&#x;mersiel Trail towards Wadden Sea Wadden Sea Walk to the Island Baltrum

126


Impressionism

Meadow with Poplars, 1875 Claude Monet - Moments in Nature

127


Contemporary Paintings of Zeeland

Blue Roofs behind the Dike, 2011 Nelly Van Nieuwenhuijzen - Skyscapes

128


Contemporary Paintings of Zeeland

Zeeuws Licht | Zeeland Light, 2016 Nelly Van Nieuwenhuijzen - Skyscapes

129


NeĂ&#x;mersiel Trail towards Wadden Sea Wadden Sea Walk to the Island Baltrum

130


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

131


Contemporary Paintings of Zeeland

Polder in Zeeland, 2019

Nelly Van Nieuwenhuijzen - Skyscapes

132


Contemporary Paintings of Zeeland

Avond in Zeeland | Evening in Zeeland, 2018

Nelly Van Nieuwenhuijzen - Skyscapes

133


Contemporary Paintings of Zeeland

Zeeland 270611, 2011

Nelly Van Nieuwenhuijzen - Skyscapes

134


Contemporary Paintings of Zeeland

Veerse Meer, 2009

Nelly Van Nieuwenhuijzen - Skyscapes

135


Barley Field & Dike Norden, East Frisia

136


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

137


Romanticism | Neoclassicism

Bühnenbild für Mozarts Zauberflöte | Stage Design for Mozart’s Magic Flute, 1815 Karl Friedrich Schinkel - The Dreamer

138


Skylight

House of Light in Japan, 1997 James Turrell

139


140


Skyspaces

Seldom Seen, 2004 James Turrell

141


Himmlische Perspektive

Celestial Perspective Framing the Sky

142


Skyspaces

Skyspace I, 1974

James Turrell

143


Himmlische Perspektive

Celestial Perspective Framing the Sky

144


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

145

Celestial Perspective Sky as the Ceiling


Himmlische Perspektive

Celestial Perspective Framing the Sky

146


Himmlische Perspektive

Celestial Perspective Sky as the Ceiling

147


148


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

150


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

151

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

152



154


155


Wadden Sea Walk East Frisia

156



158


159


160


161



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

164


Architecture in Landscape

Harmony

We borrow from nature the space upon which we build.

Tadao Ando

165





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

JOHANSEN SKOVSTED: Johansen Skovsted Arkitekter, Projects, available at: https://johansenskovsted.dk/projects, accessed February 2020

OTHER: Shaw, N., Fewster, E., and Cavill, S., 2019. Technical guidelines for construction of institutional and public toilets, Wateraid Organisation, available at: https://washmatters.wateraid.org/ sites/g/files/jkxoof256/files/technical-guidelines-for-construction-of-institutional-and-publictoilets.pdf, accessed February 2020

MANTHEY KULA: Frearson, A. 2012. Roadside Reststop Akkarvikodden by Manthey Kula Architects, Dezeen, available at: https://www.dezeen.com/2012/02/05/roadside-reststop-akkarvikodden-by-manthey-kulaarchitects/, accessed February 2020

Weißmüller, L. 2019. Ja, das ist ein Klo (Yes, this is a toilet). Sueddeutsche Zeitung, available at: https://www.sueddeutsche.de/reise/norwegen-landschaftsrouten-architekturtoilette-1.4498149, accessed February 2020

Manthey Kula, Akkarvik roadside rest room, available at: http://www.mantheykula.no/akkarvikroadside-restroom-1, accessed February 2020

Sielwerke in Ostfriesland und Friesland, Historische Sielwerke, available at: https://sielwerk.de/ Historische-Sielstandorte, accessed January 2020

SNOHETTA: Snøhetta, Landscape, Public Space, Hospitality & Destination, Sports, Wellness & Recreation, available at: https://snohetta.com/project/98-eggum-tourist-route, accessed February 2020 HAUGEN/ZOHAR ARKITEKTER (HZA): Griffith, A. 2018. HZA adds wave-shaped toilet facility to scenic Norwegian lay-by, available at: https://www.dezeen.com/2018/03/19/haugen-zohar-arkitekter-hza-wave-shaped-toilet-facilitynorwegian-scenic-route/, accessed February 2020 HZA, Uredd - How can form emphasize nature by defining a clear concrete edge?, available at: https://www.hza.no/uredd, accessed February 2020 MIRO RIVERA: Miro Rivera Architects, Trail Restroom, available at: https://www.archdaily.com/433316/trailrestroom-miro-rivera-architects, accessed February 2020 COLORADO BUILDING WORKSHOP: Colorado Building Workshop, 2019. ROMO Backcountry Privies - 2018, available at: http:// coloradobuildingworkshop.cudenvercap.org/portfolio-item/romo-backcountry-privies-2018/, accessed February 2020

176


Research II & III

Bibliography

Aben, R., de Wit, S. 1999. The Enclosed Garden: History and Development of the Hortus Conclusus and its Reintroduction into the Present-day Urban Landscape, Rotterdam, 010 Publishers

Hopkins, W. 2020. Reconnecting People with Nature through Architecture and Design, The Nature of Cities, available at: https://www.smartcitiesdive.com/ex/sustainablecitiescollective/ nature-view-nature-design-reconnecting-people-nature-through-design/1069371/, accessed May 2020

Bausinger, H. 1980. Formen der ‘Volkspoesie’, Grundlagen der Germanistik (Forms of ‘Folk Poetry’, Basics of German studies) Vol 6., Berlin

Hyde, R. 2020. An A-Z of Geopolymer Concrete. Phone Conversation and Powerpoint Presentation.

Bell, M., Buckley, C. 2012. Post-Ductility : Metals in Architecture and Engineering, Princeton Architectural Press, New York.

Ingels, B. (Chan, C.) 2019. Der die Welt verändern will (The one who wants to change the world), Komplex, available at: https://www.komplex-magazin.ch/de/artikel/der-die-welt-verandern-will, accessed April 2020

Brockman, J. (Scott, S.) 2015. This Idea must Die: Scientific Theories that are blocking Progress, Edge Foundation, Harper Collins Publishers, New York

Ingold, T., Vergunst, J.L. 2008. Ways of Walking - Ethnography and Practice on Foot, Ashgate Publishing, Hampshire, England.

Forster, K.W., 2018. Schinkel - A Meander through his Life and Work, Birkhäuser, Basel Fuchs, A. 2016. Modernist Perambulations through Time and Space: From Enlightened Walking to Crawling, Stalking, Modelling and Street-Walking, Journal of the British Academy

Kroon de, P.-R., Wissenraet, R. 2003. Dutch Light, Documentary, Netherlands Kupferschmidt, K. 2010. Die Große Illusion (The Great Illusion), Der Tagesspiegel, available at: https://www.tagesspiegel.de/wissen/gehirnforschung-die-grosse-illusion/1840602.html, accessed March 2020

Gros, F,. 2015. A Philosophy of Walking, Verso, London. Harari, Y.N., 2011. Sapiens - A Brief History of Humankind, Harvill Secker, London

Metz, T., Heuvel, v.d.M., 2012. Sweet and Salt - Water and the Dutch, NAi Publishers, Rotterdam

Harvard Medical School, 2018. Walking: Your Steps to Health, Harvard Health Publishing, available at: https://www.health.harvard.edu/staying-healthy/walking-your-steps-to-health, accessed May 2020

Pawlyn, M. 2016. Biomimicry in Architecture, Newcastle, RIBA Publishing Perec, G. 1999. Species of Spaces and other Pieces, London, Penguin

Herzog, T., Natterer, J., Schweitzer, R., Volz, M., Winter, W. 2012. Timber Construction Manual, Birkhäuser, Basel.

Wulf, A. 2016. The Invention of Nature: Alexander von Humboldt’s New World, John Murray Publishers, London

Humboldt, v.A., 1808. Ansichten der Natur (Views of Nature), Nikol Verlag, Hamburg, 2019 Humboldt, v.A., 1849-1858. Cosmos: A Sketch of a Physical Description of the Universe, H.G. Bohn, London

177





Turn static files into dynamic content formats.

Create a flipbook
Issuu converts static files into: digital portfolios, online yearbooks, online catalogs, digital photo albums and more. Sign up and create your flipbook.