REFERENCE CATALOGUE _ Haukaas Master Course _ Spring 2015

REFERENCE CATALOGUE HAUKAAS BLUE//GREEN BELT ALTERNATE INSERT(S) & AUGMENTED LANDSCAPE(S)

MASTER COURSE SPRING 2015

RESEARCH VOLUME 1 BLUE//GREEN LANDSCAPE INSERTS MASTER COURSE SPRING 2015 HAUKAAS BLUE//GREEN BELT ALTERNATE INSERT(S) & AUGMENTED LANDSCAPE(S) BERGEN SCHOOL OF ARCHITECTURE Sandviksboder 59–61a Postadr: PB 39, 5841 Bergen Tlf.+ 47 55 36 38 80Fax.+ 47 55 36 38 81 adm@bas.org

INDEX TRADITIONAL LANDSCAPE VELIKA PLANINA ............... 9 KASBAH AIT BENHADDOU ........ 11 HORIZON HOUSE ............... 13 THE BAHAI TERRACES .......... 15 ART/ARCHITECTURE TESHIMA ART MUSEUM ..........

STONE SKY ...................

RODEN CRATER ................

TWIN TREES PAVILION .........

SANDWORM ....................

MEDIA THULE .................

KIKAR LEVANA ................

SUN TUNNELS .................

SPACE THAT SEES .............

ICE CAVE ....................

SOLHEIM CHAPEL ..............

VIKINGSKIPET ................

TREE MUSEUM .................

60 MINUTE MAN ...............

RYOAN-JI ....................

KATSURA IMPERIAL VILLA ......

19 21 23 25 27 29 31 33 35 37 39 41 43 45 47 49

ARCHITECTURE IN LANDSCAPE GONJACE OUTLOOK TOWER ....... 53 EPIDAURUS THEATRE ........... 55 FAST TRACK .................. 57 HØSE BRIDGE ................. 59 TREE SNAKE HOUSES ........... 61 XIANGSHAWAN HOTEL ........... 63 CAVE HOUSE .................. 65 GLACIER DISCOVERY WALK ...... 67 THE EARTH SONG .............. 69 CAVE DWELLING ............... 71 PLAZA DEL TENIS ............. 73 FINISTERRE GRAVEYARD ........ 75 EXTINCTION OBSERVATORY ...... 77 PINOHUACHO VIEWPOINT ........ 79 CAN LIS ..................... 81 LECA SWIMMING POOL .......... 83 BJERREDS SALTSJØBAD ......... 85 VILLA D’ESTE ................ 87 POOL COMPLEX ................ 89 SELJA MONASTERY ............. 91 DOUBLE NEGATIVE ............. 93 THE BLUE LAGOON ............. 95 EGGUM LOFOTEN ............... 97 TUNGENESET .................. 99 MOSES BRIDGE ............... 101 A PATH IN THE FOREST ....... 103 PIEDRA TOSCA’S PARK ........ 105 LOOKOUT .................... 107 AURLAND LOOKOUT ............ 109 MONTE ROSA SAC LODGE ....... 111 VILLA VALS ................. 113 PIG STY .................... 115 FLOATING ROOF .............. 117 PUBLIC SWIMMING POOL ....... 119 STADTLANDSCHAFT ............ 121

EBELTOFT ENTREPENØRSKOLE ... 123 PAJU BOOK CITY ............. 125 QUERINI STAMPALIA MUSEUM ... 127 MEMORIAL PARK SREBRNICE CEMETERY .........

KAMPOR CONCENTRATION CAMP ..

STEILNESET WITCH ...........

TIERRA DEL FUEGO ...........

RING OF REMEMBRANCE ........

131 133 135 137 139

RE-USED LANDSCAPE HABITAT URBAN WILDLIFE .....

RUMMU MINING AND PRISON ....

CROAST VOLCANO .............

WESTERGASFABRIEK ...........

ROOMBEEK THE BROOK .........

TUDELA-CULIP ...............

VALL D’EN JOAN’S DUMP ......

RALLARVEGEN ................

STOLTZEKLEIVEN .............

FRESH KILLS PARK ...........

143 145 147 149 151 153 155 157 159 161

PUBLIC PARK PHILOPAPPOS HILL ...........

KOSEZE POND ................

PÄRNU BEACH PROMENADE ......

KAKERDAJA BOG ..............

TEL AVIV PORT ..............

NYGÅRDSPARKEN ..............

RAINHAM MARSHES ............

165 167 169 171 173 175 177

SOCIAL GATHERING ESTONIAN FESTIVAL ..........

EASTER WEEK PROCESSION .....

LINGZIDI BRIDGE ............

KONGSFJORD NATURROM ........

VERSLUNARMANNAHELGIN .......

MARMORØYENE ................

181 183 185 187 189 191

PRODUCTION LANDSCAPE SECOVLJE SALTWORKS .........

LIPICA QUARRY ..............

ARCTIC HARVESTER ...........

HEMELS GEWELF ..............

THE HISTORIC POSTALROAD ....

SØRFJORDEN .................

CAEN HILL LOCKS ............

GUT GARKAU .................

195 197 199 201 203 205 207 209

NOT CLASSIFIED THE SLASH ..................

CAPBRETON BUNKER BEACH .....

HOLE STONES ................

VERTICAL FOREST ............

THE OBSERVATORY ............

THE BERG ...................

VALLES MARINERIS ...........

MILLION DONKEY HOTEL .......

213 215 217 219 221 223 225 227

The following compendium of landscape architectural and artistic

settings, frameworks and constrains. Produced as an introduction into the general task of the blue/green development of Haukaas area, our attempt is to widen the scope of one’s insight and understanding of creation within changing contexts; achieved through a series of varied references of past works. The subsequent examples will endeavor to address the dilemma of how to do so.

traditional landscape

AERIAL VIEW

Velika Planina herdsmen settlement Kamnik alps, Slovenia, 46° 17’55.1”N DESCRIPTION

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14° 38’55.8”E

Velika planina is a traditional Slovene shepherd’s settlement in the mountains surrounding the town Kamnik still in use today. The huts are grouped together in a small basin, protecting each other from the blowing winds. The low-hanging roofs serve the same function while also being able to withstand great weight from the snow in the winter, even though the huts are mostly empty from November to March. The huts serve

PHOTOS

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AERIAL VIEW

Kasbah Ait Benhaddou Morocco, 31° 02’46.1”N 7° 07’43.6”W DESCRIPTION

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The Kasbah Ait Benhaddou is situated 190 kilometers from the tourist city of Marrakech, Morocco. It is a spectacular village of clay and stone buildings surrounded by high walls, something that makes it one of the most beautiful places in Morocco.

The kasbahs were once great walled Berber villages designed with the aim of defending the harvest and palm trees growing next to their beds.

These villages were large agricultural and commercial communities with a very particular view of relición of Islam.

They are one of the greatest exampe of how architecture become a landscape and of how it become nature . Nowdays the city is used for tourism.

PHOTOS

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PHOTO

Salamanca, Spain, 40° 58’25.5”N 5° 41’20.0”W DESCRIPTION pieces. It was designed as a massive concrete volumen that at the same time takes the landscape scale and the detail scale. The house is opned at the top to enjoy the views, just in front of a huge plain, where the what represents stone, the material that has been used in this area since the beggining of time.

The private part of the house in downstairs, while the public one is located at the top, enjoying the beatiful views. The house is located ground. The landscape is not distub by the constructuion otherwise it has the same language as the landscape.

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AERIAL VIEW

Israel, Haifa, 32° 48’54.7”N 34° 59’14.9”E DESCRIPTION

On the northern slopes of mount Carmel towards the Haifa Bay, cascading the typologic 19 Terraces of the Bahai Gardens of Haifa, also know as the Bahai Hanging Gardens. The gardens surround the Shrine of the Bab, the Bahai archives and the House of Justine. The design of the gardens is based on nine concentric circles that resemble a ripple extending out from the shrine at the center. Planning originated by current redesign of the 1 km long stretch, 200 000 square meter gardens The landscape architecture combines work of metal and stone, water and shrubbery, lawns and trees. The main descending path enlivens the view

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art/architecture

MAP

Teshima island, Japan, 34° 29’22.2”N DESCRIPTION

134° 05’28.9”E

The object, both an architecture and sculpture piece, does not try to immitate the surrounding landscape and vegetation terraces. It rather tries to create a mutual dialogue. Its’ dome shape is rather large, the biggest perpendicular dimensions are 40 and 60 metres.

The winding concrete path from the visitor entrance leads from the road across the hill by giving us both glimpses of the dome as well as opens up views of the sea. We enter not seeing the complex as a under the dome. When entering we are enveloped in white-ish concrete grey where even the border between the ground and ceiling is blurred.

The only thing standing out from the integral volume are two large holes showing glimpses of the nearby trees. By experiencing the space, seeing the surrounding trees sway in the wind and witnessing the water in traditional japanese temple gardens.

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MAP

Stone Sky, James Turrell, 2007 Calistoga, California, USA, 38° 33’55.31”N 122° 38’5.81”W DESCRIPTION

Throughout his career, James Turrell has been fascinated by the phenomenon of light, particularly the ways in which it can be exploited in order to alter our perception of the natural world. Since the mid-1970s, Turrell has been creating Skyspaces, structures that are both enclosed and open to the sky, allowing visitors to contemplate atmospheric changes through apertures in the ceilings of the structures. The viewer must linger to experience the variances in light, which change according to the season, day, hour and the weather.

Commissioned in 2001 and completed in 2007, Stone Sky, 2005 includes

the open pavilion brings a square of sky through an overhead plane.

By swimming underwater at the end of the pool, one surfaces within a

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AERIAL VIEW

Roden Crater, James Turrell, 1972

DESCRIPTION

Roden Crater is a natural cinder volcano situated on the southwestern Turrell has been transforming the crater into a large-scale artwork that relates, through the medium of light, to the universe of the surrounding sky, land and culture.

intervention in the natural form of Roden Crater consists of a series of chambers, pathways, tunnels, and openings onto the sky from within and around the crater’s surface.

of the sky. Certain chambers within the crater will allow us to see and measure the passage of time through the movement of the stars and planets. Other spaces reveal the more subjective nature of our human relationship to time, light and space — the pyrotechnics of sunrise or sunset or the sensation of light as a material substance. Roden Crater sees (rather than represents) the sky and time, and summons our own vision as strongly as that of the artist.

Monumental in scale and conception, Turrell’s Roden Crater is not a monument in any traditional sense. It does not commemorate historical facts or achievements nor is its exterior form even distinct from its natural surroundings. Rather, harnessing the drama of light, landscape and celestial events, disturbing and awakening our subjective understanding of the universe, Turrell’s crater is a monument to human perception itself — without which cultural history or achievement would not be possible.

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PHOTOS

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AERIAL VIEW

Twin Trees Pavilion, Atelier Archmixing, 2012

DESCRIPTION

Shanghai based Atelier Archmixing has recently changed a former pigpen Delta area. It is a supplement for two traditional style residences, providing an extra place for meeting and recreation, just nearby a hill planted with orange trees.

Two big trees, a 20-year-old neem and a 15-year-old orange dominate the site and lend inspiration to the design as well as the name. Hybrid structure is employed in this project. All bricks from the dismantled pigpen are recycled to build the new walls in various laying patterns.

A moderate yard is created around the trees by leaving an oval void in the slightly sloping concrete roof paralleling the graveled ground in original situation.

The exterior is painted into white to meet the historical preservation requirement while the interior keeps the natural appearance of the building materials.

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PLAN

SECTION

Sandworm, Marco Casagrande, 2012 Wenduine, Belgium, 51° 17’32N 03° 03’42E DESCRIPTION of the Wenduine coastline, Belgium. The 45 meters long and 10 m wide and high installation moves freely in-between architecture and environmental art and is constructed entirely out of willow following the local knowledge of a continuing interaction between work and environment. Casagrande worked hard with his team of young architects and local experts for 4 weeks in order to create something that he describes as “weak architecture” – a human made structure that wishes

beaches. The space is used for picnics, relaxation and post industrial meditation.

“Inside the sandworm you are greeted by a natural spectacle of light simple natural materials. The artist believes that architectural control goes against nature and thus also agains architecture. The built human environment is a mediator between human nature and nature itself. To be part of this, man must be weak. To the Finnish artist reality. The building must grow out of the location, it must react to every other living being.” - Peter Beyen

building must grow out of the location; it must react to its environment, being. Architectural control goes against nature and thus also against architecture. The built human environment is a mediator between human nature and nature itself. To be part of this, man must be weak.

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AERIAL VIEW

Media Thule, Olafur Gislason, 1995 Rusvika, Myklebostad,Norway, 68.° 41925”N DESCRIPTION

16° 28’979”E

Olafur Gislason has built a house, a place where visitors can stay windows, out onto the landscape of the fjord and the mountains. In this scene he isolates the viewer’s situation in an encounter with a work of art.

The house is a shelter for contemplation, and thus for the processes involved in our endeavour to become more aware both of our own situation and of the world around us. This is also a site for communication. Here the act of communication is changed to take place between the viewers, between those addressed by the surrounding landscape and the work of art.

There is a continuous discussion between the people visiting the house in form of the traces they leave behind. An essential experience of art is contained in the individual interpretation of the seen and experienced, and in the ability to share these emotions and ideas. The the collective stream of consciousness.

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AERIAL VIEW

Kikar Levana, Danni Karavan, 1988 Israel, Tel Aviv, 32° 03’34.3”N 34° 48’20.9”E DESCRIPTION

Kikar Levana, literally: “White Square”, often mistakenly translated as “White City”, is a sculpture by the artist Danni Karavan. The name refers to Tel Aviv’s description as a ‘white city from the dunes and sands’. This geometric sculpture was planned and built between 19761988, and is situated on the highest ground of Edith Wolfson Park, overlooking the city center from a distance. The site, 30 by 50 meters consists of an ‘aqueduct’ in the very middle of the sculpture, dividing a wall and a stepped tribune with views to the city. To the south hand of the aqueduct are a square tower, a sunken sundial and a hollow, sliced dome with an olive tree growing over its top. To the north hand of the aqueduct are a broken, hollow pyramid and a sunken square, the history of the city. The sculpture incorporates white concrete, water, grass and an olive tree.

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AERIAL VIEW

Sun Tunnels, Nancy Holt, 1976 USA, Utah, Near Lucin, 41° 18’12.6”N 113° 51’49.6”W DESCRIPTION

Sun Tunnels are nearly as remote and inaccessible as possible, situated some 170 km (air distance), from the center of Salt Lake City, deep within the Great Basin Desert and far from any point of habitation. The piece incorporates a combination of sunlight, perspective, geometry, time and space. It consists of four large concrete tubes, each 5.5 m

the two axes with the summer and winter solstices, thus framing the

on the top of every tube that form the constellations of Draco, Perseus, Columba and Capricorn. These holes let in sunlight into the the sky and creating round and oval dots of light. Furthermore, the surrounding landscape and sky are framed by the tunnels and holes.

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AERIAL VIEW

Space that Sees, James Turrell, 1992 Israel, Jerusalem, 31° 46’18.3”N 35° 12’08.9”E DESCRIPTION

An artwork that belongs to the “skyspace” series, this piece - a white rectangular space with limestone cladding on its lower interior walls, measures 10 by 10 m in footprint, 7 m tall in section, responds to and alter over time of day and seasons of the year. Through a rectangular opening in the roof which serves as a frame, the chamber allows the viewer to observe an ever-changing abstract picture and to experience the pristine, white space. An image that contrasts Baroque illusionist ceilings crowded with painted clouds and skies. Space that Sees invites a kind of meditative experience. The structure is located in the Sculpture Garden of the Israel Museum in Jerusalem, partially dug below ground

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AERIAL VIEW

Langjökull, Iceland, 64° 35,6322’N 20° 26,4836’W DESCRIPTION Europe’s second largest ice cap, Langjökull, rises broad and remote.

Often wreathed in summertime mist, the ice cap used to be best seen from a distance when the fog cleared, or on a rugged glacier ride or walk. Now, a group of intrepid Icelanders is digging an enormous 500m long tunnel at 1260m above sea level into Langjökull, to give visitors a whole new perspective.

Iceland is slated to open in May 2015. Cave operators will bring visitors up to and over the glacier in enormous 8WD vehicles to reach the mouth of the tunnel. Then you’ll be able to walk with crampons Sparkling ice, sheer-carved walls, and interior chambers containing exhibitions, a cafe and a small chapel – yes, for those who want to tie the knot inside an ice cap.

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SITE MAP

Solheim chapel, Sigurd Lunde, 1920 Bergen, Norway, 60.36946o N 5.33951o E DESCRIPTION

The chapel is a simple rectangular building of plastered brick with is located on slopes facing east, in a built-up terrace with crematorium during chapel and urn halls (kolumbarier) under the two side wings crafted, two- stage, solid curved granite portal in the west and

ridge stands a small copper clad ridgeturret square, bell-shaped dome.

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PHOTOS

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STARTING POINT

Vikingskipet, Niels Torp, 1992 Hamar, Norway, 60.79139o N 11.10440o E DESCRIPTION Hall, is an indoor multi-use sport and event venue in Hamar, Norway.

It was built as the speed skating rink for the 1994 Winter Olympics, and has since also hosted events and tournaments in speedway, rally, track cycling. The arena is also used for concerts, trade fair and the annual computer party The Gathering.

The venue is owned by Hamar Municipality, and along with Hamar Olympic Amphitheatre is run by the municipal Hamar Olympiske Anlegg. Vikingskipet has a capacity for 10,600 spectators during sporting events and 20,000 during concerts.

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AERIAL VIEW

DESCRIPTION

In a series of open spaces they show their appreciation for trees by using them to create spaces in a unique way that integrates aesthetics, sustainability, history and lifetime. The collection is solely composed

art, architecture, and design.

The Museum features approximately 50 trees representing more than 25 varieties- several examples of which are more than 100 years oldcreating an aura of immortality and an awareness of ‘time’. Another 100 trees and plants are located in the Park which surrounds the Tree Museum. In total, the Enea grounds contain more than 3000 exclusive wood species.

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AERIAL VIEW

60 Minute Man, Marco Casagrande & Sami Rintala, 2000 Arsenale Harbor, Venice, Italy, 45° 26’09.5”N 12° 21’15.2”E DESCRIPTION

An archaic oak garden in an abandoned barge growing on top of 60 minutes worth of human waste produced by the city of Venice. A public park by Casagrande & Rintala (Marco Casagrande, Sami Rintala) for the Venice Architecture Biennale 2000.”We got the invitation to participate in the Venice Biennale 2000. The director of the Biennale architect commenting on the theme of the exhibition: Citta Less Aesthetics, More Ethics.What we wanted was to have an industrial ship and plant a forest inside.

Then sail with this ship from Finland to Venice. Our biologist frieds told us that the vegetation would die somewhere around the Biskaya Bay, in North-Italy with a van with our mobile working crew and started to look after a ship. Eventually we found a barge in the port of Chioggia, some 50 km south of Venice. The barge “Topogigio” was abandoned and are recycled or borrowed. Even the trees. This is a temporary collage of the city. Massimilliano Fuksas wanted us to have the Golden Lion of the Biennale. The jury voted against him and gave it Jean Nouvel.

Big reward after 7 weeks of work was to sail with the forest and open it up as a public park in Venice. New York Times architecture critic Herbert Muschamp chose the 60 Minute Man his personal favourite of the for the landscape architecture department of the Aalto University.

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AERIAL VIEW

Ryoan-ji, 15th century Kyoto, Japan, 35° 02’04.18”N 135° 43’05.75”E DESCRIPTION

distinctive larger rock formations arranged amidst a sweep of smooth pebbles (small, carefully selected polished river rocks) raked into linear patterns that facilitate meditation. The temple and its gardens are listed as one of the Historic Monuments of Ancient Kyoto, and as a UNESCO World Heritage Site.

The garden is a rectangle of 248 square meters. Young and Young put the

stones are surrounded by white gravel, which is carefully raked each day by the monks. The only vegetation in the garden is some moss around the stones.

The garden is meant to be viewed from a seated position on the veranda

The wall behind the garden is an important element of the garden. It is made of clay, which has been stained by age with subtle brown and orange tones.

The stones are placed so that the entire composition cannot be seen at once from the veranda. They are also arranged so that when looking at the garden from any angle (other than from above) only fourteen of the boulders are visible at one time. It is traditionally said that only boulder.

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AERIAL VIEW

Katsura Imperial Villa, 17th century Kyoto, Japan, 34° 59’02.77”N 135° 42’34.67”E DESCRIPTION

The Katsura Imperial Villa, or Katsura Detached Palace, is a villa with associated gardens and outbuildings in the western suburbs of Kyoto, Japan. It is one of Japan’s most important large-scale cultural treasures.

Its gardens are a masterpiece of Japanese gardening, and the buildings are even more important, one of the greatest achievements of Japanese architecture. The palace includes a shoin (“drawing room”), tea houses, and a strolling garden. It provides an invaluable window into the villas of princes of the Edo period.

The gardens and lake are a completely man-made landscape, with the villa

rooms. There are paths made of very carefully placed stepping stones, approximately 1,700 of them, which connect the tea houses through the gardens and over various bridges.

The beauty of Japanese architecture and gardens builds upon their grasp of the “art of living”. The absence of places for seclusion and retreat in contemporary Western architecture perhaps “uncovers the most tragic truth that while (Modern) man learned to master the art of building, he forgot the art of living”. (Engels, 1964).

The Villa incorporates many traditional Japanese ideas. One example tatami mats covering them. Tatami are mats approximately 3 feet by 6

house as a whole. At Katsura, the mats are used to create the sprawling and pinwheel-like plan that it has today.

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PHOTOS

Katsura Imperial Villa, Kyoto, Japan 17th century Stepping stones

“Scenes inside and outside the capital�

Katsura Imperial Villa, Kyoto, Japan Screen, 1615-18

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architecture in landscape

AERIAL VIEW

Gonjace outlook tower, Marko Slajmer, 1961 Goriska brda, Slovenia, 46° 01’07.8”N 13° 34’16.8”E DESCRIPTION

As a part of the renowned Yugoslavian monuments series erected in praise of the Yugoslavian country, the Gonjace watchtower is northernmost of them. It lies in the hillside of Goriska brda on the border between Slovenia and Italy on the highest hill of the area. It allows for views Italy.

the newly founded town of Nova Gorica as well as creating a metaphoric abstraction of church towers in the area. Its simple construction design was a daring undertaking, creating a spiral staircase around two tall pillars that take the visitor up to 4 separate circular viewing platforms.

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AERIAL VIEW

Epidaurus ancient open theatre, Polykleitos, 4th century BC Epidaurus, Pelloponnese, Greece, 37° 35’46.1”N 23° 04’45.1”E DESCRIPTION

The ancient open thatre of Epidaurus is regarded as the best preserved

acoustics. Due to its acoustics, actors can be perfectly heard by all 15000 spectators and you can hear a pin dropping on stage. It is an example of a classical theatre with space for the orchestra between the seats and the stage. It is carved into a limestone basin and was long covered by a slope of trees before excavations began. Today it the surrounding hillsides, create an integral part of the architecture itself.

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AERIAL VIEW

Fast track, Salto Architects, 2012 Nikola-Lenivets, Russia, 54° 45’26.80”N DESCRIPTION

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35° 36’28.47”E

“Fast track” is a integral part of park infrastructure designed by Salto architects. It is a road and an installation at the same time. It challenges the concept of infrastructure that only focuses on technical and functional aspects and tends to be ignorant to its surroundings.

“Fast track” is an attempt to create intelligent infrastructure that is emotional and corresponds to the local context. It gives the user a

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AERIAL VIEW

MAP

Høse bridge, Rintala Eggertsson Architects, 2008 Norway, Suldal, Sand, 59° 28’51.97”N 6° 15’32.36”E DESCRIPTION

This project was created as a co-work with the local people and Rintala Eggertsson Architects. The bridge connects the Sand town to a vast wooden landscape which is used for recreation by the inhabitants of Sand. This new connection makes the area more accessible for the general public and allows people of all generations to use the area.

This implementation is a piece of it`s own and also acts as a tool to activate the recreational area next to it. On the south side of the river, after crossing the bridge from Sand, a small pavilion in concrete was made to accommodate for small picnics and pit-stops for passers-by. An important issue for teh architects was to capture the power of the river running underneath the bridge. This was developed into an enclosed acoustic space above the middle of the river with a view through a steel grate directly down to the river, which gives the visitor a direct connection with this untamed natural element. The varied audio and visual passage and an elegant interplay of the man made and natural.

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PLAN

Tree Snake Houses, Luís Rebelo de Andrade, 2012 Bornes de Aguiar, Portugal, 41° 32’30.3”N 7° 35’26.8”W DESCRIPTION

The characteristic design associated with the slates and the wood on the base suggests a snake gliding between the trees. Like a wild animal in its natural habitat, the house suddenly appears in the visual of connection with nature at the same time it establishes a coherent image of the proposal into a perfect symbiosis between the house and the Park. The architects made use of new technology already tested in prototypes that allow a weightless easy-carrying construction. Native integration at the same time it confers invisibility to the houses, not allowing these to take the chief role which belongs to the centennial Park itself.

Sustainability and ecology have always been one of the major concerns during the development of the project. The consistency and rationale for the intervention were attained by the layers and reinforced insulation, heating systems, water reuse, water solar panels, the low consumption lighting system using LED technology as well as the option of keeping the soil without any impermeable system, among other solutions. Each house comprises a studio with a bathroom and a kitchen.Thus, the two TREE SNAKE HOUSES of Pedras Salgadas Park are objects that, using similar materials and technologies, point out to our imaginary: the primitive hut and the wild animal.

More models of these houses like the MOUNTAIN SNAKE HOUSE, the RIVER SNAKE HOUSE and the SAND SNAKE HOUSE, whose dimensions and materials are easily adapted to various climates and regions, are being developed and will soon be available to the public. It will then be possible to as coastal areas, riverbanks, mountain or urban environments.

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PLAN

Xiangshawan Desert Lotus Hotel, PLat Architects, 2012 Xiangshawan Desert, China, 34° 40’04.8”N 104° 09’56.4”E DESCRIPTION

Lotus Hotel is located in Xiangshawan Desert, 800 kilometers west to Beijing and middle of Ordos and Baotou. The site is facing Hantai River, a branch of Yellow River, and east to Kubuqi Desert that more than 200 kilometers wide.

Due to the restriction by its special geographic condition, PLaT only steel panels without the help of concrete or water. The panels and the supporting skeleton structures are pre-fabricated, and make the base of the building a large container for sands. Thus, the steel the building. The sands in and out of the structure exert same forces bearing structures in order to reduce the pressure on base. Moreover, architects use local materials in interior design so that people get full experience of desert in Lotus Hotel. For instance, through a series of experiments, they managed to invent a wall-covering material that is made of sands from local desert.

The form of Lotus Hotel not only blends in the desert, but also exhibits a power of the environment and itself. Architects used the traditional Chinese idea of “Zhen”, which is, in simple words, the art of repeating same elements. Rotation of squares in a same angle creates triangles in the process, and made the form stronger. In consideration of structure, shading and wind, architects integrated function, form and landscape, resulting in a form of lotus.

Lotus Hotel is only a part of Xiangshawan Desert planning. There will be more such as sustainable tourism in desert, and developing sustainable architecture that generates electricity and water in its own system enough for supply.

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PHOTO

Cave House, Curt and Deborah, 2004 Festus, Missouri, USA, 38° 13’10.9”N 90° 23’57.0”W DESCRIPTION

A few years ago, the Sleeper family moved from their crowded Missouri empty sandstone cave in Festus, Missouri.

The initial idea to build

insulated space, the Sleeper family took up a new residence – inside the cave.

The older family members helped add more “home” touches to the cave and since the cave’s bare walls shed sand, the Sleepers placed interior roofs or umbrellas over areas like the kitchen that need to stay sand-free.

Other than that, the family truly enjoys the natural feel of the space and have created a comfortable home. “The inside of the house feels like you’re outdoors without the discomfort of hot or cold,” Mrs. Sleeper states.

Modern living meets subterranean splendor in this gorgeous home nestled inside of a 15,000-square foot sandstone cave in Festus, Missouri. Built by Curt and Deborah Sleeper, the underground abode

architecture. Geothermal heating and smart passive design keeps the interior comfortable while completely eliminating the need for a furnace or air conditioning.

The Sleepers built their underground home after trading their tiny Missouri ranch house for a 3-acre parcel of property in Festus complete with an empty sandstone cave. In the past the cave had been used as a roller skate rink and a concert venue that attracted talent ranging from Bob Seger to Ted Nugent and Tina Turner.The naturally insulating properties of the site’s sandstone walls keeps the climate inside comfortable throughout the year.

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AERIAL VIEW

Glacier Discovery Walk, Sturgess Architecture, 2012 Alberta, Canada, 52° 24’22.2”N 117° 21’44.2”W DESCRIPTION

The global list of incredible viewing platforms designed to elevate your heart rate continues to grow, with Canada’s Glacier Skywalk the latest gravity-defying walkway to welcome tourists.

above Sunwapta Canyon.

Located at the heart of the canadian rockies, the ‘glacier skywalk‘ forms a fully accessible observation platform presenting panoramic views across sunwapta valley. conceived by brewster travel canada and engineering.

of jasper national park. the scheme is imagined as an extension of the surrounding landscape, built into the region’s rugged terrain. the use of steel, glass and wood echo the natural environment, while the

Alberta, Canada, the Discovery Walk is envisioned as an extension of the landscape; one that projects from the shear face of the mountainside to not only shelter and educate visitors, but to expose and astound them.

a singular destination, but as a catalyst and gateway where guests experience the untouched environment in a way they never have before.

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The Earth Song, ARCHICURA, 2004 Barolo, Italy, 44° 36’48N 07° 56’46E DESCRIPTION

The project covers a surface of around 1200sqm, and the majority of the volume is underground. All the framings are in steel and inserted in the paths on the green roof. The research for a good environmental plan suggested the hypogean volume, that looks like a stretched out spine level the tasting room that opens to grapes farming on the facing hill.

It’s a earth building that contains, in its mysterious obscurity, the changeover of wine.

The surrounding hills and natural context suggested the designers develop a volume completely covered by green soil.The extension surfaces slope down to the ground, connecting the new volume to the existing site.

the existing Adelaide farmhouse. The new volume thus approaches the existing one discretely yet powerfully.

The enlargement surfaces face the valley to the north with volumes 2.5m high.The green roof is supported on a series of columns that scoop out building, sloping down to the ground.

It hence creates a smooth joint between the new volume and the existing ground level, giving birth to a circular inner yard around which the volume expands itself.

folds of the earth.The glass walls, on the north facade, are supported by structures in metal alloys that are scarcely visible from the exterior.

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Cave Dwelling, Ju Tao, 770 B.C. Loess Plateau, China, 36° 28’34.6”N 108° 46’58.4”E DESCRIPTION

Cave Dwelling is a traditional living form for Loess Plateau, the northwest of China. This “caveman style” houses dating back to 4000 years ago. Cave is widely distributed in the Loess Plateau of Shanxi , Shaanxi , Henan , Hebei , Inner Mongolia , Gansu and Ningxia provinces.

Shaanxi-Gansu region in China, a very thick layer of loess, some tens of kilometers thick, Chinese People’s creative use of the favorable highland terrain, boreholes neighbors, creating what is known as green cave, stand-alone form, in which the patron kiln used more often. In the past, a farmer working hard life, the most basic desire is to build a few holes cave. With kiln married and became a family established the industry considered. Man in yellow ground digging, a woman in the cave kiln housework, parenthood. Cave is a product of the Loess Plateau, a symbol of the people of northern Shaanxi, it deposited the ancient land of deep yellow culture.

in which the patron kiln used more often, it is the building presents several steps Distributed up on the hillside, the soil at the edge of the original, and often the mountain, the top of the lower kiln upper vestibule, vision. Sunken cave is dug a rectangular pit, then dig in the inner wall of the cave, the formation of an underground courtyard .

dug a small hole repair stepped on, can the vision, mostly for theft and use, said high kiln. In the kiln side dug a small cave, mostly for storing valuables or food use, called Po kiln. Cave homes due

wells, grinding kilns, kiln cars and so on.Tao Tao complex hole” in the “Tao Point” This is the sunken pit village. This cave is actually

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San Sebastian, Spain, 43° 19’16.3”N 2° 00’18.6”W DESCRIPTION

“I understood I had to do a preamble to the sculptures in a place that is beginning and end of town ... as a symbol of the union of the city with nature. In a city that ends in an absolute that is the sea. .. “ “The work indicates a relationship how to act in town that has a lot to do with the German Romantics, especially with Novalis. These thinkers understood that nature was not something to be exploited, but had to understand and interpret. This work it is a metaphor of that attitude to the city ... “ “The square is a former podium to the sculptures, as before the Parthenon space ... Also contributes a series of devices to the geographical history of the place ...”

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Finisterre Graveyard, César Portela, 2003 Pontevedra, Spain, 42° 53’31.5”N 9° 15’57.8”W DESCRIPTION wanted to do was to give the dead the rest they deserve in a sublime place where architecture could merge positively with nature, as the land, sea and sky have done in the same place since time immemorial.

Just as the lone palm tree is capable of responding to the grandeur of the desert; just as the sail of a boat, however small, responds to the vastness of the ocean; and just as a burst of fragrance responds to the evening and renders it enchanted, with this project I wanted to respond to cultural, anthropological and spiritual concerns and to all humanity, so heedlessly moving towards a globalised society. I wanted to respond to this one-track thinking which, on the pretext of overcoming isolation and backwardness, destroys the diversity, complexity and the world but global villagers; voracious consumers of a multinational market, and conditioning and destroying feelings, philosophy, science and art, everything that shows how rich, deep and marvellous people and life in general can be.

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Mass Extinction Monitoring Observatory, 2014 Portland, United Kingdom, 50° 33’56.4”N 2° 26’14.2”W DESCRIPTION

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The Mass Extintion Monitoring Observatory (MEMO) will comprise a monument to the wolrd’s extinct species and an adjacent biodiversity education centre.Concieved as a continuous spiral stone, it will be carved with images of the 860 species assessed as extinct since the dodo.

It will be an on-going monument, with more stones added when species become extinct. The bell of biodiversity, placed in the centre of the monument, will be rung annually on the internatinal day of biodiversity and to mark further species becoming extinct. Sited on the Isle of Portland on the south on the coast of Britain, each creature will be immortalised in stone along the circular ramp that leads to the top of the 100 foot high Bowers Quarry observatory.Visitors will then walk back down the outside of the ramp to ground level.

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Pinohuacho Viewpoint, Rodrigo Sheward, 2006 Pinohuacho, Chile, 33° 13’57.1”S 71° 08’25.5”W DESCRIPTION

An hour walking down a winding track that soars down the slopes of a hill to reach the top. Walking through forests of saplings and vestiges of an old logging. The conversion of this territory mean to logging and foray into various categories, all of subsistence, like planting

cultivation. What makes this architecture lurking here. Seeking the territory. The work is composed of two volumes 80 meters distant against the Calafquén and Panguipulli lakes. A fence built the boundary edge animals and visitors who access horseback or on foot from the forest. 96 pieces of 10 x 120 inches make up the main body, wine collection that enables these communities to double its production.

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Porto Petro, Spain, 39° 21’09.9”N 3° 12’25.3”E DESCRIPTION built in the area’s yellowish-pink sandstone, known locally as marés stone, making it blend into the landscape. The concrete roof is capped with of yellow tiles while the gables are crafted in the Chinese style, like those of the Fredensborg Houses. The four separate blocks are block houses the kitchen, dining room and study, the second the living room, the third the bedrooms and the fourth contains a guest suite. The approach is reminiscent of the experience he had gained in Finland where he saw how Alvar Aalto had built the Villa Mairea built in the twentieth century.” He further comments: “Uniting mental unmistakenly modern in technique and sensibility yet seemingly as natural and ordinary as the sun, stone and sea whose intercourse it celebrates.”

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DESCRIPTION

The project is situated along the coastal avenue, the mass of the building set below the road level to allow an uninterrupted view to the sea. The program includes two swimming pools, changing rooms and a cafe.

Because of the need to limit construction costs and to preserve the landscape, the project had to make a minimal intrusion into the existing terrain. Since a topographical survey was not available at the time, the architect marked in the terrain the location of the existing rock formations, to come to a design which would require the least blasting.

The large adults’ pool is bound by low concrete walls that extend into the sea and are complemented on three sides by the natural rock formations. The continuity of these walls with the existing topography and the level of the water in the pool which appears to be contiguous with the sea, create the illusion of a seamless transition between the man-made and natural landscape.

The children’s pool, further inland, is enclosed by a curvilinear wall on one side and sheltered from the rest of the site by massive rocks and a concrete bridge at its entrance.

The access to the swimming pools is via a pedestrian ramp, which leads down from the highway. The visitor descends gradually, and losing and canopies of the shower stalls and changing facilities. After passing through its long corridors, partially screened by the cabinet partitions, a path along a high wall leads back into the Atlantic light, but the water still remains hidden from view. A subtle play on the senses, this element seems to slice the landscape in two, leaving only sky visible above and the sea audible beyond. The composition of these elements as building proper is understood only from the perspective of the swimming pools, since from the road they appear as an abstract

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Bjerreds Saltsjøbad, Oliver Lühr, 2004 Bjerred, Lommabukten, Sweden 55° 70’84.10”N DESCRIPTION

Bjerreds Saltsjöbad facilities include enchanting sea views The bath is open all Bjerreds Saltsjöbad

13° 01’84.89”E

is located in the middle of the Öresund. The open-air baths, sauna, dining experiences and over all four points of the compass. year. was built on the initiative of Bjärred’s resi-

baths in modern day Sweden. The baths are accessed by means of a pier reaching some 500 metres into the Öresund, and the design is stated to combine modern aesthetics with the tradition of open-air bathing that was established in Bjärred as early as the 1800s. In just a few years, the new Bjerreds Saltsjöbad has become a popular meeting place for both locals and visitors from near and far.

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Villa d`este, Pellegrino Pellegrini of Valsolda, 1568 Tivoli, Italy, 41° 57’48.03”N 12° 47’44.85”Ø DESCRIPTION

The Villa d’Este was commissioned by Cardinal Ippolito II d’Este in 1550. The plans were made by Pirro Ligorio, Pellegrino Pellegrini and carried out under the direction of the Ferrarese architect-engineer Alberto Galvani, court architect of the Esteas.

A spectacular terraced garden in a late-Renaissance mannerist style, that takes advantage of the dramatic slope of the terrain.

Other projects withwater-play structures in the hills surrounding the Roman Campagna,is the Villa Lante, the Villa Farnese at Caprarola and the Villas Aldobrandini and Torlonia in Frascati.

In general its architectural elements and water features had an enormous The garden stretches over two steep slopes, descending from the palace the palace marks the longitudinal and central axis of the garden. of view created by the villa, as each of these axes terminates in one of the main garden fountains. Even though the central aisle stops beyond the axis of the Hundred Fountains to give way to a network of diagonal paths that make it easier to climb back to the palace, the latter remains the main visual axis.

The water organ, the work of Claude Vénard, was inspired by examples from antiquity: the interaction between water and air produced the ensemble. Four winged dragons emerge from the middle of the large oval basin, spurting out jets of water. The parapet is ornamented with formed of three long superposed basins, its water crossing the entire garden. out of a krater perched in the middle of the exedra. Jets of water were activated whenever unsuspecting people walked under the arcades. holding statues of the Sibylla of Tibur with her son Melicerte (1568) and the river divinities Erculaneo and Anio.

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Pool complex, Mary Miss, 1983-1985 St.Louis Missouri, USA 38° 32’49.11”N

90° 24’56.59”W

DESCRIPTION artifacts, located in Laumeier Sculpture Park.

She converted the grounds of an abandoned 1929 pool into a newly-built and landscaped environment. Once the site of the Hedenkamp family’s Orchard Valley Estate, Mary Miss brings the past into a new social context. The artist highlights the ruins of the estate while we explore her pavilions, platforms and staircases that surround the pool. With the renewal of this dormant structure, and the purposefully evident aging of her own site work, Miss brings attention to the context of history and the continuum of time.

The artist Mary Miss was born in 1944 in New York. She received her B.A. at the University of California, Santa Barbara in 1966 and her M.F.A at Maryland Art Institute in 1968. Her early landscape works dealt location in a temporal work. Later works draw on the architecture, landscape design, gardens and history of worldwide cultures. Miss has collaborated closely with architects, planners, engineers, ecologists and public administrators on diverse projects. A recipient of multiple awards, Miss has been the subject of exhibitions at the Harvard University Art Museum, Cambridge; the Brown University Gallery, Providence, Rhode Island; the Institute of Contemporary Art, London; the Architectural Association, London; Harvard University’s Graduate School of Design; and the Des Moines Art Center.

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Selja Monastery, Benedictine monks in the early 1100s

DESCRIPTION

The ruins of Selja monastery,is perhaps the oldest monastery in Norway.

The monastery tower is still intact.

This was the main aim of the coastal pilgriamage route in Norway from Kinn to Selja in the middleage. Also in use today by pilgrimages and travellers from across the world. There are also several routes in the inland , and other aims was Nidarosdomen in Trondheim, Røldal stavechurch and Bergen.

The monastery was built by Benedictine monks in the early 1100s, in country when King Olav Tryggvason found relics in a cave on the island.

Norway has two male saints, (St.Olav and St.Hallvard) and one female, St.Sunniva, the patron saint of Western Norway. She came ashore on the island of Selja. The St.Sunniva cave, where Sunniva died, is a large Michael. From 1068 to 1170 Selja was the diocese for the entire West Coast.

“Acta Sanctorum in Selio” - The story about the saints of Selja The story tells that the Irish princess Sunniva escaped when her country was overrun by heathens and the new king wanted to marry her.

Wind and currents led them north. The boat Sunniva was in stranded in the harbor at the end of the island of Selja. Here they lived in caves.

The earl Håkon, who had previously conquered all of Norway, was now on his way to the island after hearing rumors about the uninvited guests.

When they saw that Hakon Jarl and his companions were on their way, they went into the cave and prayed to God that he had to “give their souls the everlasting rest and let his angels break down the mountain and bury them under it.” The prayers were heard, and the rock came down. Unexplained things happened at Selja, and more and more stories reached the new king Olav Trygvason. The found remnants of the irish and in 996, they found the body of Saint Sunniva, whole and unharmed They built a church on the island, and the story says that “God has made signs and great deeds to this day” on the island of Selja. .

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USA, Nevada, Moapa Valley, 36° 37’00.7”N 114° 20’40.6”W DESCRIPTION

Double Negative consists of two trenches cut into the Nevada desert, on the verge of the Virgin River Canyon. The trenches measure together roughly 460 m long, 9 m wide and 15 m deep. They line up across a large gap, formed by the natural shape and form of the canyon edge and were created by the removal of almost 250.000 tons of rocks and that are typically known as “land art”, that use the the earth itself as their medium. In its essence, Double Negative essentially consists of the “was” rather than the “is”, the void of what is not there anymore, the “missing”. It blurs out the distinction between the sculpture -”art”, and the ordinary object - “non art” and arises the question of how the excavated soil relates to art. The considerable scale of art and the relations between art and viewer and art and the museum. In the words of the artist, the artwork is described as “There is nothing there, yet, it is a sculpture”. According to the artist’s wises, no preservation work should ever be done on the site, letting nature reclaim possession of the piece over time.

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The Blue Lagoon, Basalt architects, 1995 Grindavík, Iceland, 63° 52,8147N 22° 26,9334W DESCRIPTION

The history of the Blue Lagoon begins in 1976 when a lagoon appeard from a drilling hole from a company called HS energy in Iceland. It became a popullar bathing place and later revealed that the water The Blue Lagoon is placed on the egde of a lava called Illahraun. A 200m man-made lava crack leads visitors to the main entrance of the and shape of the interiors. technology and the unique nature.

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Eggum Lofoten, Snøhetta, 2007 Lofoten, Norway, 68° 18,4757N 13° 39,1835W DESCRIPTION

The Eggum is one of the 18 Norwegian tourist routes. The building is situated in a dramatic landscape, where the ocean meets the mountains in a small area of Norway’s breathtaking cultural landscape. Also on the site is a remains of an World War II german radar station.

The building is devided into two main volumes. One from concrete which is pushed into the hill where the toilets are located. And a wooden structure which stregdes out of the hill with multi-purpose room and a small kitchen.

The terrain determined the location of areas for camper vans, car parking and the building, all sited in an excavated hill. The car park was designed so that every parked vehicle will have a view of the sea.

stone from the site excavation, and the building’s wooden walls were built from driftlogs found on the nearby beach. The emphasis has been on using rough, natural materials with consistent detailing.

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Tungeneset, Code architects, 2007 Senja, Norway, 68째 18.4757202N 13째 39.1835123W DESCRIPTION Senja is an island in the north of Norway, the project is located at the tip of an penninsula between two fjords. The view is spectacular, with the North sea to the west and the Okshornan-peaks to the north.

The project starts at a carpark, directly by the road. The railings by the carpark is lit up in winter, to mark the area, and also to limit the use this time of year. From there a 80m long structure makes its way down towards the barbacue-area, located on the costal rocks. between the road and the coastal rock. At the end of the concrete ramp, there is a small viewpoint; the safest place to stop on days with bad over the rocks. The brigde and its irregulare railings is an echo of the way it feels move through this type of terrain. The brigde ends for several ways of use. The grey concrete has the same colour as the rocks, and looks like it is cut out of it.

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Moses bridge, RO&AD architects, 2011 Halsteren, Netherland, 51° 31’42.8”N 4° 18’02.4”E DESCRIPTION

The West Brabant Water Line is a defense-line consisting of a series of fortresses and cities with inundation areas in the south-west of the Netherlands. It dates from the 17th century but fell into disrepair in bridge across the the moat of one of the fortresses, Fort de Roovere, was needed. This fort now has a new, recreational function and lies on several routes for cycling and hiking.

It is, of course, highly improper to build bridges across the moats of defense works, especially on the side of the fortress the enemy was expected to appear on. That’s why it is designed as a invisible bridge.

Its construction is entirely made of wood, waterproofed with EPDM foil.

The bridge lies like a trench in the fortress and the moat, shaped to blend in with the outlines of the landscape.

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A path in the forest, Tetsuo Kondo Architects, 2011 Tallin, Estonia, 59° 26’24.59”N 24° 47’42.56”E DESCRIPTION

In the elegant woods of Kadriorg, we added a path. A path which relies age.

I feel that the appearance of the woods slightly changes when you walk along this path. We no longer are looking up at the woods from the ground but we get closer to the leaves and sliver through the branches.

It is a piece of architecture which exists for the woods as the forest exists for the architecture. We can not change the form of the forest but we think the various elements in a forest can become one entity in this condition.

I hope that we can experience a forest, architecture, and an environment which we do not know yet.

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SKETCHES

Piedra Tosca’s Park, RCR Arquitectes, 2004 Girona, Spain, 42° 9’2.59”N 2° 28’51.51”E DESCRIPTION

In the Natural Park of the Garrotxa Volcanic Zone in Les Preses, near Olot, is a very special place, a sea of rocks, product basaltic volcano Croscat wash and hard work of man in his struggle for a small piece of land for farming, leveling and breaking plots and accumulating all the rocks, stones and slag thick walls, mounds and barracks. Morphological and tactile roughness retains perception.

The project seeks to enhance the uniqueness of this landscape and to activate the wow factor in its discovery. A narrow dashed line, steel, lets you navigate the space, and steel, in certain episodes, holds the tombs that are crossed. The broken lines shaped steel contrasts with the plump rock masses and establishes “new light” on initial and intermediate acts.

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Lookout, Angus Ritchie + Daniel Tyler, 2014 Balloch, UK, 56° 12’55.84”N 4° 38’14.52”W DESCRIPTION

The Lookout sits within the landscape disappearing and reappearing from view as you move towards the object. Two seats, one for two, the other for one, frame views up Loch Voil and Loch Doine whilst a third view The initial concept of a room with a view was realised over 2 months and built by hand by architecture students Angus Ritchie and Daniel Tyler.

The Lookout is a timber frame structure clad in mirrored stainless were the kernel of the design as the small budget and concern for minimising wastage were paramount. The result is a 2440 x 2440 cube with volumes carved out to frame views and allow users to sit or stand.

The edges of which are exposed, and treated, to frame the object in the landscape. The cladding for the seats is a Frake Hardwood, supplied and sponsored by Russwood, planed to 24×24 mm sections and assembled in a Japanese style.

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Aurland lookout, Saunders Architecture, 2006 Aurland, Norway. 60.89700º N 7.22235º E DESCRIPTION

The site is above Aurland, a small town in Sogn og Fjordane, one of the larger fjords on the West Coast of Norway. Aurland is three hours opened in June 2006.

The place has attracted people from all over the world. They called the competition entry «640m over Aurland and 20120 km from Tokyo», keeping in mind the uniqueness of the place in the bigger picture.

Today there are many people stopping at this site to enjoy the phenomenal busses. The construction is a bridge that one can go out onto, as a structure in the air. The structure is 4 m wide, 30 long, and 9m high out at the very end.

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DESCRIPTION

High above the resort town of Zermatt lies the Monte Rosa SAC Lodge, sustainably built with the latest technologies. The building intends to serve as a model for the successful linkage of architecture with building is encased in a shining aluminium shell. The south faรงade includes a photovoltaic array that produces electricity. The building is able to supply almost 90 per cent of its own energy.

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Villa Vals, Bjarne Mastenbroek and Christian Müller, 2009

DESCRIPTION

Their design plan was to completely integrate the villa into the landscape to avoid disturbing the unspoiled nature. That is why access to the villa is only possible via the nearby wooden Graubünder shed, through an underground tunnel which runs straight through the mountainside.

The façade of the house is slightly slanted, adding to the view of the mountain scenery across the valley opposite of the house.

The house, which was completed in 2009, was built and furnished in cooperation with a large number of Dutch designers and companies that industrial architecture of the villa. Pieces and objects of, amongst others, Hella Jongerius, Demakersvan, Scholten & Baijings, Marcel Wanders, Claudy Jongstra, Royal Tichelaar Makkum and Vitra Nederland were used. The spacious interior is an eclectic, but balanced mix of contemporary Dutch Design. A unique combination of architecture, interior and styling.

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Pig sty, FNP architects, 2004

DESCRIPTION

A dilapidated pig sty is probably the last place anyone would thing to put a brand new home. However, there is something immediately compelling about the juxtaposition of an old aged shell and a starkly modern interior box that makes this hybrid of old and new immediately more engaging to the eye. The building was originally built in 1780 and used as a pigsty (Saustal in German) for most of its life and sustained age damage over that time and then was nearly destroyed during the cost-prohibitive so the architects came up with a brilliant workaround: they simply inserted a brand new building into the shell of the old one and lined up the windows and openings with the existing perforations in the shell of the sty.

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Floating roof, Oton Jugovec, 1970 Drama pri Šentjerneju, Slovenia, 45° 52’18.3”N DESCRIPTION

15° 20’10.9”E

The object is nothing more than a roof over the ruined remains of a medieval chapel called St. Mihael in the town of Gutenwerth. The town was burnt by the Turks during their invasion of Slovene lands in the year 1473 and was later left completely abandoned.

Parallels can be drawn between the roof’s construction principles and and clean form represents the core of Slovene building-making. The simple concept of a protection is reduced to its’ complete minimum remain completely intact, whereas the old walls of the chapel are actually in the ground level. The construction is modernist and daring, as it depletes the hayrack construction into a single plane. The two pillars that serve as contact with the ground carry wooden lattices connected with steel diagonals and on top of that is the light volume of a hay roof.

The use of an archetype serves for symbolically emphasising the meaning of what it actually protects while trying not to disturb the landscape.

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Public swiming pool, Aurelio Galfetti, 1967-1971

DESCRIPTION Ticino and the old town. The Architect Aurelio Galfetti’s scheme, won as a competition, makes the most of this stunning setting . The swimming pool complex consists of a 400 meter long linear element, three distinct tectonic levels. The uppermost level is contrasted as a long span in situ cast concrete as a public walkway. The middle level consists of a predominantly of changing facilities contained within thin steel framed enclosures, and lower level is either either open or built as clockwork enclosures containing other programs essential to the day to day running of the pools. Interestingly, the linear element is oriented perpendicular to the valley, this not only allows for a pedestrian connection between the river and the old town but also high tens the awareness of the mountains when one walks along the walkway.

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Stadtlandschaft Lichterfelde Süd, Florian Biegel & Philip Christou ARU, 1998 Berlin, Germany, 52° 24’35.28”N 13° 18’41.16”E DESCRIPTION

This project was a winning design in the 1998 Lichterfelde Süd International Landscape and Urban Design Competition1 for the regeneration of a former military training ground on the southern boundary of Berlin. The architect is was Florian Biegel and Philip Cristou also known as Architectural Research Unit (ARU). The brief was for a new urbanism of the periphery, with approx 3200 dwellings on a 115 hectare site. The design is a continuation of research embracing conditions of uncertainty and change on mainly post-industrial or former military sites.It could be described as a fragment of an infrastructural urbanism in anticipation of an unpredictable diversity of architecture.

A spatial concept: architecture is individual, landscape one shares.

The point of departure for this research, in this situation of change, diversity and instantaneousness of city and landscape is the design of a landscape infrastructure. It provides a framework for a diversity of architectural developments to happen in time. Landscape infrastructures are thought of as catalysts for architectural development. We intend to introduce landscape elements that make a common ground for unknown futures, making diversity enjoyable. The landscape infrastructures emerge from a selective reading of the landscape history of the site

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Ebeltoft Entrepenørskole, Friis & Molke, 1968 Ebeltoft, Denmark, 56° 11’36.71”N 10° 41’16.98”E DESCRIPTION

On the east coast of Denmark lies the peninsula of Ebeltoft, largely that name nestling in the bay. Hidden away in the dunes is accrete building concealing a world full of surprises.

In the sentry of the peninsula, high above the bay and the town, stands a school for contractors, the Entrepenørskolen designed Friis and Molkte. Its autonomous rectangular parti has a distinct front and rear, in response to its position just below the summit of a ridge of dune. the rear barely rises above the hills, while the front has a striking double hight facade anchored in its grass setting by a screen of piers placed at right angels. A large opening in the walls draws the dune landscape into the building to be abstracted into a courtyard. the tops of the pines rising above the roof gives the impression that the landscape continues unhindered inside the building.

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Paju Book City, Florian Biegel & Philip Christou ARU, 1999 Coreea, Paju , 37° 42’38.57”N 126° 41’04.95”E DESCRIPTION

In the spring of 1999, ARU made the landscape and urban design of the very large site (approx. 396,000 square meters) next to the Han River north west of Seoul. There are now more than 50 completed separate facilities at Paju. The 2nd Phase urban plan is currently being planned.

Making an urban wetland The central theme of the design of Paju Book City is that it should become a built collective memory of the ancient and large landscape of the Han River at the foot of the Simhak Mountain at Paju - the guardian of the new city. This is an epic landscape. Viewing the river and the blue hills beyond when one stands on the slopes of the mountain makes one think about the human condition and about our potentials or our weaknesses. Paju Book City should tell the story that it is built on land claimed from the River.

Paju Book City will become a territory of co-existence between nature land and urban structures. One of the fundamental aims for Paju Book City is to be a sustainable development, an ecological urbanism of the early 21st Century.

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Venice, Italy, 45° 26’12.03”N DESCRIPTION

12° 20’27.35”E

The Foundation Querini Stampalia was founded in 1869 by the will of John Conte, the last descendant of the family of Venetian patrician Querini Stampalia. It is the only example where, of an ancient family, they preserved heritage, home, library, archives, collections of art, furniture and furnishings. The sixteenth century palace, located between Rialto and San Marco, houses a library, civic center and historical museum. to start the restoration of some parts of the Palace.

which were in very bad conditions. reconstruct the entrance of the Palace by moving it onto the Campiello area) unusable for exhibitions, congresses and other initiatives due

The renovation works by Scarpa are based on a balanced combination of old and new elements, as well as on a great workmanship of the materials.

Water is the main character: it enters from the channel which the Palace overlooks through water gates along the inner walls. It is located in the garden, in a capacious many-leveled copper basin made of cement and mosaic and in a little channel with two labyrinths sculpted in alabaster and Istrian stone by the sides.

In the Querini Stampalia Palace the great master’s work of the Italian architecture of the 18th century represents four themes: the bridge as the very light connecting arch completed in Venice in the last few centuries; the entrance with its safety bars from high level of water; the portego and the garden.

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Srebrnice cemetery, Ales Vodopivec, 2000 Srebrnice, Slovenia, 45° 47’26.5”N 15° 08’09.3”E DESCRIPTION topography of a forest’s edge along with its’ topography and even existing trees, instead of creating a ideal cemetery landscape as was the tradition of creating new cemeteries in Slovenia. The buildings added relate to the special characteristics of the site and the goal the forest.

A clear and straight axis leads through the funeral hall to the forest attention is therefore focused on narrow, gradually unfolding views until the entrance complex of the funeral hall appears as a climax point of the sequence. Long lines of a concrete wall and timber screen form the main complex buildings, while the main funeral tract appears perpendicular to them, crossing the main axis. On the opposite side of

timber screen ends with a contemporary death bell or a sound mobile, while the the natural scenery forms the background.

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Kampor Concentration Camp Memorial, Edvard Ravnikar, 1955 Rab, Croatia, 44° 46’57.4”N 14° 42’45.2”E DESCRIPTION

The memorial is in a plain inbetween two green mountains on the island of Rab with views of the Mediterranean sea. A wall of white Istria stone runs along the plain, which architect uses as a mediator for the relationship between architecture, the past and landscape. The idea of the memorial is to envoke an image of archeological ruins, resulting in low walls in perspective sequences and construction elements reinforcing the perception of boundaries between interior and exterior.

The path is paved in herringbone pattern, adjusting to the slope of the site. Memorial stones and tombs emerge on either side as prismatic blocks as well as stunted columns, memorial stones and altairs all arranged according to perspective axes. The centre point of the path is a vestibule framing the overall view of the memorial. The path ends when it meets the ends of the enclosure but theoretically the path continues in the sam straight line between the hills towards the sea.

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Steilneset Witch Memorial, Peter Zumthor, 2011 Vardø, Norway, 70° 22’08.2”N 31° 05’33.8”E DESCRIPTION

The memorial dedicated to the witch trials of Vardø comprises of two objects - a long vernacular object adjacent to the shore line that leads visitor to a separate glass cube. The vernacular object can be connection to the sea. It sits right on the edge of the shore, creating a midpoint between the surrounding urban area and the sea.

It has a canvas cocoon suspended on its vernacular construction system, white on the ouside and black on the inside, leading visitors through a linear hall of memory to the second object. The glass cube houses an north Norway from behind the glass panels.

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Tierra del Fuego Memorial, Martin Massé , 2014 Isla Grande, Argentina, 52° 52’26.82”S 68° 45’55.94”W DESCRIPTION

The French architect Martin Masse has shared with us his project designed memorial in honor of the Amerindian village of selk’nam or onas. This tribe lived formerly Tierra del Fuego, at the southern tip of Chile and Argentina, and its members were gradually disappearing in contact with the white man, leaving no traces on the territory.

The enormous and dramatic inverted pyramid looks to become a milestone for coming out of oblivion; structure sinking into the bowels of the earth to take visitors on an underground space, where an interactive experience using holograms, sculptures and a huge painted mural.

The project aims to reinvent the idea of the monument, the search for new architectural forms and means to express the memory. Architecture is used for the stage, and make very visual emotions - to transmit sensitive memory via spatial experience. It is used to reconstruct the architecture where everything has been destroyed, and to face history.

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Ring of Remembrance, Philippe Prost, 2014

DESCRIPTION

To commemorate the centenary of the outbreak of World War I, an elliptical monument of dark concrete rises in Notre Dame de Lorette, France’s largest military cemetery, situated in the Ablain-Saint-

Designed by the Paris studio of Philippe Prost and with an outer

in this French region are engraved on the metal panels that clad the interior. Hinting at the fragile nature of peace, part of the structure is suspended almost sixteen meters above the ground.

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re-used landscape

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A habitat for urban wildlife, Ifat Finkelman_Ofer Bilik, 2010 Israel, Tel-Aviv, 32° 5’34.47”N 34° 48’25.98”E DESCRIPTION

A proposal for a new usage for widely spread old water towers in Israel. and empty at the moment. Archtitecs propose the water tanks with their height, unique structure and strategic locations, to act as an impetus for encouraging an urban wildlife. Their obvious characteristics as urban landmarks and meeting places suggest expanding their designated this strategy to urban water towers in general, using the Ramat HaNasy Tower in Bat Yam as a pilot to examine the physical and programmatic actions, methods and procedures necessary. The goals of the design are saving biodiversity and reintroducing species that previously existed in the region, also water sources would attract migrating birds in the autumn. To bring the nature closer to people the towers will introduce signage, explanations, viewing platforms, seasonal and daily activities, special events and guided tours, internet platforms for continuous updates.

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Rummu mining and prison Estonia, Harjumaa, 59° 13’35.68”N DESCRIPTION

24° 11’46.35”E

Rummu minig and prison were built in 1938. The place was a limestone mining site where the prisoners were used as working labour. After Estonia gained it`s independence the mine was closed due to decrease of demand for the limestone produced and canges in teh alws about prisoners was constantly pumped out previously. Part of the ruins of the prison swimmers and divers. The limetone makes the water light blue and the some of the used land has created an exotic location in the middle of

object.

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Croast Volcano, Antoni Bramon, 1994 Girona, Spain, 42° 08’22.6”N 2° 30’42.5”E .

DESCRIPTION

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The restoration project Croscat volcano in the Natural Park of the Garrotxa, created by Antoni Bramon and Lluis Vila, is an example of landscape architecture, that at the same time that transforms spaces in beautiful gardens, retains the original atmosphere of volcán.

The restoration Croscat volcano (1992-1994) is a territorial scale landscaping project in which Nature is induced to cure the wounds caused by human intervention, without wanting to completely delete the traces of mining activity carried out in the volcano for more than a century.

To do this, engineering Aspecte Paisatge, get back the enclave for interpertación the natural environment and the enjoyment of visitors.

The gravels of the main quarry highlighted in the lush slopes of the volcanic cone. This contrast serves as a thread throughout the performance.

The inert materials such as gravel and steel (used paras contentions land and roads), interspersed with live material of new plantations, gradually covering the slopes

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Westergasfabriek, Gustavson Porter Landscape Arhitects, 2004 Amsterdam, Netherlands, 52° 23’14.0”N 4° 52’18.8”E DESCRIPTION

The landscape design for the Westergasfabriek park illustrates in a contemporary form man’s changing views and attitude towards the environment and its resulting landscape types.

It also highlights the project’s placement between city and nature.

This project for a new public park on the heavily contaminated site of a former gas factory presented the arachitects with a problem that was responded with an ecological view. Polluted soil could not balance was calculated, bringing in new soil to displace polluted soil, retaining existing ground levels around the buildings and creating a new undulating terrain that was the consequence of surplus soil.

The use of the park is two-fold, a green park environment and a cultural centre with indoor and outdoor activities. A central promenade ‘The Axis’ links the town hall with the Cite des Artist and a variety of spaces between. The adjacent spaces give it a varied ambience. A mix of native plants and selected varieties express a dynamic between human needs and natural order. At the east end the ambience of the

for sports, leisure and recreation. The north-west Overbracker polder

environmental harmony must be achieved with man as a participating partner.

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Roombeek the Brook, Buro Sant en Co Landscape Architecture 2003-2005 Enschede, The Netherlands, 52° 13’52.5”N 6° 53’36.8”E DESCRIPTION

Roombeek is a commercial street and also the urban core of the district.

The project has restored and brought back the stream to the surface and the life of the city agan.

Now the water is part of the urban environment and has become the district’s new central point. Its asymmetrical design, which widens and The base of the stream is treated with a rough structure that reduces on the water surface. A distinctive composition of sharp edged stepping stones refers to the randomness of natural processes and is also a passers by, an oppurtunity to engage, or observe others crossing. as something clear and near although places in an urban landscape.

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Tudela-Culip Restoration Project, EMF, 2010 Cap de Creus, Spain, 42° 19’23.63”N 3° 14’41.83”E DESCRIPTION

The project is related to an important aspect of what landscape architecture is about, namely identifying, unveiling and eventually

to conceive the conditions for its experiencing. To do so, the process involved in-depth site reconnaissance and precise on-site cartography making. During the 5 years process, including the 14 months of work, the designers walked more than 200km on site, took and studied more

Constructively a minimalist approach was taken, reducing materials to those on site plus Cor-ten steel, for its landscape integration and its resistance to sea exposure, and using only few consistent construction details repeated through the site. ‘Robustness’ for a landscape that accepts little domesticities.

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Restoration of Vall D’en Joan’s Dump, Batlle i Roig Arquitectes, 2010 Barcelona, Spain, 41° 17’50.04”N 1° 55’59.00”E DESCRIPTION

Thanks to the landscaping project,it was achieved to rehabilitate 85 hectares of natural concavity to become a public park; highlighting the soil reminiscent .

depression of the Garraf massif, where for more 30 years they went depositing all the trash of Barcelona metropolitan area.

The project - which became the gateway to the Garraf Natural Park layer, a layer of draining gravel one meter thick and a geotextile with native species, agricultural crops on the terraces trees and shrubs on the slopes were planted, while the ramps were reserved for pedestrians and bicycles.

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Rallarvegen, Flom Norway. 60.82528o N 7.15583o E

DESCRIPTION

A 100-year-old man-built transport road designed for the conveyance of men and materials during the building phase of the most mountainous sector of the Oslo - Bergen Railway Line.

Rallarvegen, following the outskirts of the Hardangervidda Plateau, leads you along the Bergen Railway Line from Haugastøl via Finse, Hallingskeid, Myrdal and down to Flåm.

It is also possible to follow the road down to Voss. The road by itself is an attraction, but it also brings you through a fantastic highland area starting at 1000 meters above sea level(a.s.l.), peaking at 1300 meters for then to lead you back down to the fjords at sea level.

Rallarvegen was opened for cycling in the summer of 1974. For who rode the track from Haugastøl to Myrdal. Rallarvegen as a cycle destination became famous in the late 1980s after a become more and more famous, and the interest for cycling in the mountains has increased.

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DESCRIPTION with approximately 908 steps in Bergen against Sandviken mountain.

Every year in September, the sports club Varegg arranges the uphill of Bergen secondary station, and up to pan under Sandvik wing. It was of Fjellveien.

has resulted in a huge need of repairs. The spring of 2009 the wooden staircase in the top part replaced in its entirety.

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Fresh Kills Park, Department of City Planning New York, 2011 2040 Staten Islands, New York, USA, 40° 34’40.4”N 74° 11’09.7”W DESCRIPTION Central Park and the largest park developed in New York City in over 100 years. The transformation of what was formerly the world’s largest the park a symbol of renewal and an expression of how our society can restore balance to its landscape. In addition to providing a wide range of recreational opportunities, including many uncommon in the city, the park’s design, ecological restoration and cultural and educational public concern for our human impact on the earth.

In 2001, the City of New York, led by the Department of City Planning and supported by the New York Department of State’s Division of Coastal Resources, conducted a master planning process for Freshkills Park that resulted in an illustrative park plan, also known as the Draft Master Plan. In 2006, NYC Parks assumed responsibility for implementing the project using the Draft Master Plan as a conceptual guide. The basic framework of the plan integrates three separate systems—programming, wildlife, and circulation—into one cohesive and dynamic unit.

History: before there was any large–scale development on the west shore of Staten Island. The Fresh Kills site in its natural state was primarily tidal creeks and coastal marsh. By 1955, Fresh Kills was the largest garbage collected in New York City. At its peak of operation in 198687, Fresh Kills received as much as 29,000 tons of trash per day and of approximately 150 million tons of solid waste.

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Philopappos Hill, Dimitri Pikionis, 1954-1957 Athens, Greece, 37° 58’13.09”N 23° 43’08.72”E DESCRIPTION

The landscaping of the Acropolis of Athens includes a system of paths and architectural interventions designed by Dimitris Pikionis, an architect and teacher at the School of Architecture at the National Technical University of Athens, in participation with his students from 1954 to 1957.

The general idea of the plan was laid out in marking the paths and selecting a series of points related to orientation and views. This was done by Pikionis’s intuition. Pikionis wanted to provide a sequence of emotions such as surprise, admiration and curiosity to the visitor before he could reach the Acropolis or Philopappos Hill. Classical and

tradition. Pikionis collected marble and clay shards left over from the demolished buildings of nineteenth-century Athens and composed them into a collage in the paths. These pieces were put together with new marble stones and concrete elements into ornaments and fragments referring to the past and based on traditional elements. All patterns and shapes of paving, gutters, steps and seats merge naturally into an art piece.

The project was done with Pikionis’s intuition and aesthetic sensibility about the site. A general idea was laid out; however, the design the construction which was carried out by small construction teams that Pikionis supervised and guided through suggestions, examples and dialogue. He quoted: “The common architectural supervision would be totally inadequate and the architect should build the work himself through the hands of his craftsmen”. By supporting craftsmen’s creativity he achieved a perfect result between his guidance and the workers’ execution: “Try it as you know; you have your own way.

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Ljubljana, Slovenia, 46° 04’00.5”N

14° 28’12.7”E

DESCRIPTION landscape park surrounding the western edge of Ljubljana, Slovenia.

It was created by irrigation pumps test in a former clay pit. It is a popular pastime destinations for nearby inhabitants both in summer as in wintertime. It serves as an interesting gradient between the built enviroment of modernist neighbourhoods and the green outskirts. It is also one of sites of the Path of Remembrance and Comradeship encircling be during the 2. world war.

The Path is incorporated into the design of the waterbank, creating The pontoon has three levels and is used a communal bench by the water, through visitors can either access the river or spend their time sitting or sunbathing by it.

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Pärnu Beach promenade and reserve area Pärnu, Estonia, 58° 22’15.75”N 24° 30’33.79”E DESCRIPTION

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Pärnu is a historical beach town on the west coast of Estonia. A lot of the architecture from the 1930s is related to summer guests and actvities. The most famous is the beach house designed by the city architect Olev Siinmaa. The promenade bult in 2006 connects the urban areas and parks with the beach and preserve areas on the south-east along the coast. The preserve areas have a unique natural habita of beach meadow. To help preserve this it is neccesary to maintain and mow it every year to prevent the reed to take over. On the 250 hectare area a cattle of 36 animals is doing the task of lawning. By bringing the animals to the meadow the municipality is keeping costs of the maintaining low. The urban cattle draws attention to the preserve area and locals have gotten used to the animals. The cattle is a sight object of its own.

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Kakerdaja bog Estonia, Järvamaa, DESCRIPTION

59° 11’18.62”N

25° 30’37.03”E

Kakerdaja bog is one of many in Estonia that is made accessible for tourists. A bog is attracting visitors and hikers with it`s uncommon beauty. To protect the fragile natural habita from extensive human interaction and pollution there is a boardwalk through the swamp. The 3,3 km wooden path starts and ends with parking lots and camping sites. bog. The simple traditional design of two wooden boards next to each other is a functional and minimal way of making the wet area accessible.

The path is so narrow that you can not walk side by side with anybody, it is only you. There are wider areas for stoping near the lake for a swim. The narrow boardwalk reminds you that you are a visitor in this rare natural envirnment and stepping aside from the boardwalk leaves a trace for centuries. The path is creating strong mental boundary between you and the nature without really any built borders.

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Tel Aviv Port, Mayslits Kassif Architects, 2008 Israel, Tel Aviv, 32° 5’49.71”N 34° 46’22.63”E DESCRIPTION

Tel Aviv Port Public Space Regeneration Project has managed to restore a unique part of the city, and turn it into a prominent, vivacious urban landmark, where used tobe abandoned docking ports.

The public space design was a winner of an open competition, initiated in 2003 by the new port management as part of an ambitious new vision they set for the port’s regeneration, which included public space renewal and the restoration of the port’s old hangars.

The architects viewed the project as a unique opportunity to construct a public space which challenges the common contrast between private and public development, and suggests a new agenda of hospitality for collective open spaces. The design introduces an extensive of the mythological dunes on which the port was built, and as an open invitation to free interpretations and unstructured activities.

Various public, political and social initiatives – from spontaneous rallies to artistic endeavors and public acts of solidarity – are now drawn to this unique urban platform, indicating the project’s success in reinventing the port as a vibrant public sphere.

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Nygårdsparken, Wiesner - Hanssen, 1880 Bergen, Norway, 60.79239o N 12.10440o E DESCRIPTION

Nygårdsparken is a public park located in the city centre of Bergen, Norway, between the neighbourhoods of Nygård and Møhlenpris. Covering 172.896 square meters, Nygårdsparken is the largest urban park in Bergen.

Nygårdsparken was conceived by the physicians Joachim Georg Wiesener and Klaus Hanssen, who founded the Park Association of Nygaard (Nygaards Parkselskab) in 1880. A typical English park, it was laid out by the Danish gardener S. Lund Leiberg.

In 1898 the “Bergen exhibition” changed the park into an exhibition botanical garden, study objects from Nansen’s polar expeditions, and take the elevator to the top of Wisbech & Meinich’s “Panorama tower with electric elevator”. A lift attendant in uniform was in charge of

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Rainham Marshes, Peter Beard, 2007-2012 London, England, 51° 30’44.81”N 0° 10’55.45”E DESCRIPTION

The designs for public access elements across Rainham marsh were developed through detailed studies of individual paths and landscape features. The architeact is Peter Beard. These studies drew on analysis of the historic landscape structures and current landscape character

seating, installation elements and informal play areas. The project also looked at a range of strategic options for a new public access path to link Rainham village directly to the Thames waterfront.

Design judgements were guided throughout by a review of hydrological and ecological conditions and close consultation with the RSPB, choice of path route, an integrated solution which takes advantage of opportunities for habitat creation and water management across this part of Rainham marsh.

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Estonian Song and Dance Festival, since 1869 Tallinn, Estonia, 59° 26’40.51”N 24° 48’24.32”E DESCRIPTION and dancers dressed in colourful national garments, the roots of this lively outdoor festival stretch back as far as 1869, the dawn of in Tartu (1869), the growing interest and popularity meant that the festival soon needed a place to call its own. From 1928 onwards the home of the much-loved festival has been the Tallinn Song Festival Grounds in the midst of the scenic pine grove on the coast of Tallinn. Dance celebration is a more recent tradition dating back to 1934 and today the two traditions are seen as inseparable by the modern audiences.

Tallinn Song Festival Grounds boasts unique architecture and serves as a symbol of freedom and independence thanks to the many national song celebrations held here since the beginning of the 20th century. Unique in Europe, this impressive construction is situated with its rear to the bay while the audience gather on a green grassy slope rolling down to the stage. If you are eager to experience the Song Celebration spectacle to the fullest, make your way to the top of the hill to enjoy some great views of the glistering Tallinn coast. During the Song and Dance Celebration, more than 20,000 singers and instrumentalists perform under the massive arch to an audience of roughly 100,000 people.

The Dance Festival is a complete performance with a certain theme. The dancers in their bright national costumes form colourful patterns on as the Song Festival. These two festivals commence with a united festive parade through the city from the centre of Tallinn to the Song all together aproximately 8000 performers.

In November 2003, UNESCO declared Estonia’s Song and Dance Festival tradition a masterpiece of the Oral and Intangible Heritage of Humanity.

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Easter Week Procession, 2006.

Hellin, Spain, 38° 30’24.61”N 1° 41’59.97”W DESCRIPTION

During the Easter Week the streets of several cities and villages in Sapin hold the dead anr resurrection of Christ. In the village of HEllin in La Mancha, over 20000 people are playing the drum during more than 100 hours. With a black tunica and a red kerchief everybody enjoys playing the drum in the several ways of doing it that they have.

whole week the village is covered processions the days of wednesday, only stop during friday night, when the whole village. They start again resurrection of Christ.

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by this black spot. Folling the thursday, friday and Sunday they christ has dead and silence takes on saturday night to announce the

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Shaanxt province, China, 28° 50’58.3”N DESCRIPTION

104° 04’16.6”E

The project follows after a large regional intrafstuctural project cut

reconnect the nearby walnut orchard so that produce could be harvested and transported so that the local economy of the villagers would be re-instated. The concept was to create a bridge that would link two levels of the riverbanks with an additional arm that would connect to the river. The bridge can be a meetingplace in the daily routes of the people of the village, providing steps for seating, shaded areas for relaxation and as a meeting point for trade and commerce. The bridge is constructed from cast-concrete that is dyed with black pigment to distinguish itself from the typical grey concrete of the highway viaduct that sits adjacent to the crossing and to give it a distinct identity.

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Kongsfjord naturrom, Biotope, 2014 Norway, 70° 72’942”N 29° 36’962”E DESCRIPTION peninsula. Is is treated with irinvitrol on the outside giving it a heavy grey colour that is corresponding with the hardness of the landcape around. The inside is untreated pine that adds a warmer tone to the interiour. A large window gives the view to the Barents see .

This building can also be calle a stormcabin, and being inside in a storm can be a massive and spectacular experience.

The project is a initative from the municipality of Berlevåg and

architecture.

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Verslunarmannahelgin, since 1874 Vestmannaeygjar, Iceland, 63° 26’36.4”N 20° 17’53.9”W DESCRIPTION have their annual shopkeeper’s holiday, named Verslunarmannahelgi. All over the country they celebrate in their own tremendous way by numerous parties and festivals. The most known as well as the biggest one is Þjóðhátíð, located in Westman Islands, an island outside the mainland with the capacity of around 4200 people.

anniversary of the settlement celebrations took place on the mainland.

The reason for the special festival in Westman Islands, is that the local residents couldn’t sail over to celebrate with the rest of the nation due to bad weather and instead of sitting with long faces they ever since.

Today Þjóðhátíð is the biggest festival in Iceland with around 16.000 people participating and ironically now around 11.000 -13.000 people

One can not describe the festival without mentioning the people of Westman Islands. You would expect the residents to be less than tolerant when the massive invasion begins but the truth is that you will discover people one of their kind. Hospitality such as theirs can not be found anywhere else in the world. As the locals have their own white “house” tents in the middle of the valley, all in white, guests are invited for their so-called private parties inside of them where the residents will down with something appropriated.

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Marmorøyene, Bergen, Norway. 60.32354o N 5.32868o E

DESCRIPTION

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East in Nordåsvannet is Marble Eye, Flatøyna and Ulvøyna.

Island farthest northeast is named after a marble quarry that was established in 1702. Previously it was eye Hopsholmen. In the 1700s it was sent marble from here to Copenhagen. Islands and marine area is now a widely used bathing and recreation area. Diving board and mooring bolts. Tent Opportunities in the islands.

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production landscape

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Secovlje Saltworks, since 13th century Secovlje, Slovenia, 45° 29’09.5”N 13° 36’36.4”E DESCRIPTION the Mediterranean. It lies at the mouth of the river Dragonja, nestled between the hills Crveni vrh in Croatia and Korte in Slovenia. Since before salt production began, the place was a wetlands area due its inhabiting the place.

Nowadays, salt production is still carried on to preserve both the cultural as well natural heritage of the site.

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Lipica quarry, since 1933

DESCRIPTION

There has been a marble quarry tradition in the Karst region of Slovenia and Italy since the Roman times - which is why many houses and villages have certain marble elements incorporated in their traditional architecture. The quarry in Lipica has been intensely used and excavated since 1933 and has dramatically changed the Lipica hillside. The quarry uses both systems for quarrying above ground, as well as systems for getting marble from tunnels below surface. The hollow-earthed Karst region as well as manmade excavations have created a complex underground tunnel system of extreme dimensions.

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Arctic Harvester proposal, Courtesy of Design Team, 2013 Greenland, 68° 14’33.34”N 56° 15’18.09”W DESCRIPTION

Arctic Harvester is an itinerant soil-less agricultural infrastructure designed to drift the circulating ocean currents between Greenland and Canada, exploiting the nutrient-rich fresh water released by melting icebergs as the basis for a large-scale hydroponic-farming people, inspired in its compact urban form by vertically oriented, bayside Greenlandic villages and their social, cultural and economic relationship to the sea.

The project was instigated as a response to Greenland’s agricultural dependence, requiring the importation of almost all of required fresh fruit and vegetables from its less climatically and soil-fertility challenged neighbors. The solution proposed seeks not only to provide for that need, but also a reproducible model that, in the future, surplus.

Arranged in a circular form, it delivers icebergs into its central bay, from which the harvested fresh water is directed to the hydroponic farming levels, and later to the osmotic energy plant in a process that values and retains fresh water as a re-usable resource. The central bay is thus the heart of the Harvester’s agricultural process, the centre of its sustainable energy production, as well as an ice garden, inhabitants.

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Hemels Gewelf, James Turrell, 1996 Den Haag, Netherlands, 52° 03’47N 04° 13’07E DESCRIPTION

Hemels Gewelf’ (celestial vault) is an art work by James Turrell in the dunes of The Hague where the presence of light can be so tangible. look at and enjoy the sky. The elliptical, natural bowl is 30 metres wide and 40 metres long. On another dune nearby, there is another

look at light and colour.

In the dunes of Kijkduin, which I’ve heard that come from the mountains of rubble from demolished buildings along the art of WW2, Turrell in 1996 created a “Celestial Vault”, invited by Power hcbk. At the top of a sand dune is a bowl constructed which can be accessed only by a concrete passageway of 6 meters. Here, in the middle of the grassy shore, then take your place on a stone bench that something resembling a catafalque Backwards Lying see only the sky and what passes therein.

Slowly the heavens deforms into your awareness. The sky over your curves into a dome on the edge of the bowl rests. On a nearby dune same bank, but now with a view of the surroundings and the distant sea. Again you can lie down again and notice that the dome is manifested much less looks a bit like a crater. This is not surprising when you consider that Turrell over 20 years in a huge crater in the Painted Desert of in which he expresses his vision of light and space in day and night.

It is a steep climb to the Celestial Vault along a staircase of approximately 40 meters. A little more gentle, but longer route for strollers starts at the corner of the intersection. The Celestial Vault to combine the interfering worth a visit and good with other museum visit. Set aside a day for a tight air and preferably a cloud here and there.

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The historic postalroad, Initiated by the King, 1785-1804

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The postal road between Bergen and Trondheim was initiated by the king resolution of 13th of may 1785. The weekly sending of post was the aim, which earlier had gone via Oslo and was to time demanding. Along the road are traces of former cultural landscapes, and impressive works of stonebridges, walls and houses, sutle placed in the dramatic terrain.

Milesticks marked the distance to Bergen in whole and half miles. The kings order was that the road should be 9 “alen” wide, and in addition a couple of alen for ditches along the sides. The postalroad took the shorcut up and down the hillsides, often on the same track as the animals had used before. There were marks called “Rodestolper” that marked who had the duty of maintenance. People had to travel for miles on land or by boat, to work on the road. In addition the farmers coild be imposed the duty of escorting/ transport.

The route was in use until 1868, when the post was transported by steemboats.

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Sørfjorden, Vikebygd, Local farm traditions, since 1970

DESCRIPTION mild summer in the lower areas produce fruit such as apricots, cherries and plums, while the glacier on the top of the mountain is glittereing white of snow all year around.

In this landscape the water plays an important role, both as a divider in form of between properties, or a danger in case of heavy storms and houses that were places along the rivers and was habitual used by both men an woman together on teh “laugardag”/ lørdag/ saturday. This was a living tradition far out in the 1800 but was deemed unmoral form the church perspective.There are still remnants of these houses and constructions, as well as small mills, and sawiing houses used in timber production.

The water was a key.

But also a problem when coming from the sky and meeting the blooming or fruitfull trees. Exploding cherries due to the osmotic pressure the waterdrops would create, and the farmer would in an hour loose his fortune of the year.

To deal with this everso conatant luring of thundering skyes the farmers have built a wooden structure and combined with crossgoing steel wires, this is the support for a rapid covering of the small fruittrees. It look like a hybrid between an umbrella and a classical long saddle roof. When sun comes back, this dynamic and protective roof is drawn back again, and folded as a curtain.

In summer the whole fjordside is green and in a weathershift, becomes the fjord and up.

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Wiltshire, England, 51° 21’08.5”N 2° 01’34.0”W DESCRIPTION

The 29 locks have a rise of 237 feet in 2 miles (72 m in 3.2 km) or a 1 in 44 gradient. The locks come in three groups. The lower seven locks, Foxhangers Wharf Lock to Foxhangers Bridge Lock, are spread over 1.2 hillside. Because of the steepness of the terrain, the pounds between these locks are very short. As a result, 15 locks have unusually large sideways-extended pounds, to store the water needed to operate them. engineer John Rennie’s solution to climbing the very steep hill, and was the last part of the 87 mile route of the canal to be completed.

Whilst the locks were under construction a tramroad provided a link be seen in the towpath arches in the road bridges over the canal. A brickyard was dug to the south of the workings to manufacture the bricks for the lock chambers and this remained in commercial use until the middle of the 20th century.

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Gut Garkau, Hugo Häreing, 1924-1926 Klingberg, Germany, 54° 01’44.77”N 10° 41’07.19”E DESCRIPTION

Good Garkau was built from 1924 to 1926 after plans by the architect Hugo Häring and is considered his most famous masterpiece. The owner was Otto Birtner. From the initial planning of the goods as the single

oriented in a north-west / south-east courtyard. At the northwestern end of the courtyard is built of the red-violet brick barn with its The pear-shaped arrangement of the animals around a central “feed table” allows feeding through openings from serving as food storage upstairs, so the construction of the building, reminiscent in shape of a sculpture is its function meet(!)

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The Slash - western part of USA-Canada border, International Boundary Committee, since 1908 Washington, USA, 48° 59’58.6”N 120° 13’20.5”W DESCRIPTION Canada border is the longest border spanning between only two countries. alike. Thanks to the ongoing forest-cutting work of the International neighbouring countries, there is a very visible line in the treeline where the border crosses forests.

It is a 6 meter narrow clean cut spanning 2170 km across land that seemingly belongs to noone and is sometimes very far away from dense or rural urban areas. There are also obelisk shaped markers, reminding potential hikers that they are crossing over to another country.

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Capbreton, Landes, France, 43° 38’38.0”N DESCRIPTION

The Capbreton beach is mostly full the Hossegor-Soorts-Capbreton area The sight of a typical beach on a France’s west coast until Bretagne of the sand.

1° 26’49.1”W

of both surfers and beachgoers, as is a popular summer destination. sand dune that runs the length of is broken by bunkers sticking out

These modern day ruins are remnants from the World War 2 era when German forces created these kind of bunkers in sand all along the Europe’s Atlantic coast from the south of France as far up as Grenen in Denmark and Kristiansand in Norway.

The Capbreton bunkers are one of the better preserved bunkers but besides being a tourist attraction, they also serve a higher ecological purpose. They help hold the sand of the dunes in place, as it is prone to erosion from winter storms. Each winter they get pushed into deeper sand, slowly slipping out of it each summer season. The most dramatic on the ocean surface just metres from the shore.

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Hole stones in Estonia, 1100 BC Estonia, 59° 20’9.95”N 25° 49’8.92”E DESCRIPTION stones have one or many round holes with the diameter of 1-10 cm and the depth of the holes varies from 0,5-5cm. Most stones have up to 10 holes but the record in number of holes on one stone is 405 man made holes.

The holes in the stones appeared when people started to cultivate the

The reason of making holes in the stones is unclear untill today. and swamps. Therefore they are thought to be related to marking the boundaries of the land and ownership, also . Tey are also thought to teh stones and holes being connected to astronomical understandings of old estonians.

The hole stones are found mostly in the south part of Scandinavia but making holes in the stones has been recorded all around the world.

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Vertical forest, Stefano Boeri, 2011 Milan, Italy, 45° 28’30.9”N 9° 11’21.8”E DESCRIPTION

Vertical Forest is a model for a sustainable residential building, a project for metropolitan reforestation that contributes to the regeneration of the environment and urban biodiversity without the implication of expanding the city upon the territory. It is a model of

the centre of Milan, on the edge of the Isola neighbourhood, and will host 900 trees (each measuring 3, 6 or 9 meters tall) and over 2000

each Vertical forest equals, in amount of trees, an area equal o 7000 of single family dwellings of nearly 75.000 m2. The vegetal system of the Vertical Forest aids in the construction of a microclimate, produces humidity, absorbs CO2 and dust particles and produces oxygen.

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The Observatory, Robert Morris, 1971 The Netherlands, Flevoland, 52° 32’58.5”N 5° 33’57.3”E DESCRIPTION

“The Observatory” was for the open-air exhibition “Sonsbeek buiten de perken” (“Sonsbeek out of bounds”), and built on the sea dunes adjacent to Velsen. The Netherlands. The following year the artwork was dismantled and later rebuilt in 1977 in Flevoland, some 70 km (air distance) away from the original location. The artwork consists of two concentric earth mounds, the external measuring a diameter of 71 m and the internal of 26 m in diameter, crossed by 3 V-span openings and divided by a ditch. The internal circle is constructed by a wooden structure which supports a soil mound, covered in grass and which includes 4 openings, one of them serves as the main entry. The other 3 openings in the internal circle are oriented in order to frame the visor shows the sunrise on the equinoxes. On the northern and southern sides of the circles are two stone wedges, through which the sunrise is visible during the summer and winter solstices. According to the artist, the art piece was aimed to be easily accessible and used, resulting in its chosen locations.

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The Berg, Jakob Tigges, 2009 Berlin, Germany, 52° 28’27.31”N 13° 24’15.71”E DESCRIPTION

German architect Jakob Tigges has projected a new and visionary landmark in Berlin. He plans to build a mountain of 1,000 meters high called “The Berg”, which would become a never-before-seen tourist destination in the German capital city.

The objective is to create a natural habitat for the mountain’s wildlife and at the same time, become a recreation space for everyone in the city. “The Berg” would take the place of the Tempelhof Airport, a space currently under discussion.

The Berg Manifesto: While big and wealthy cities in many parts of the world challenge the limits of possibility by building gigantic hotels with fancy shapes, temples, Berlin sets up a decent mountain. Its peak exceeds 1000 metres and is covered with snow from September to March…

Munich starts to feel ashamed of its distant Alp-panorama and planners architectural utopia immediately design authentic copies of the iconic Berlin-Mountain. Tempelhof no longer only is on Berliners’ minds: People come in focks to – not to see the mountain.

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DESCRIPTION

Valles Marineris (Latin for Mariner Valleys, named after the Mariner 9 Mars orbiter of 1971–72 which discovered it) is a system of canyons that runs along the Martian surface east of the Tharsis region. At more than 4,000 km (2,500 mi) long, 200 km (120 mi) wide and up to 7 km (23,000 ft) deep,the Valles Marineris rift system is one of the larger canyons of the Solar System, surpassed only by the rift valleys of Earth and (in length only) by Baltis Vallis on Venus.

Valles Marineris is located along the equator of Mars, on the east side of the Tharsis Bulge, and stretches for nearly a quarter of the planet’s circumference. The Valles Marineris system starts in the west with Noctis Labyrinthus; proceeding to the east are Tithonium and Ius chasmata, then Melas, Candor and Ophir chasmata, then Coprates Chasma, channel region containing chaotic terrain that ends in the basin of Chryse Planitia.

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Million Donkey Hotel, feld72, 2005 Prata Sannita, Italy, 41° 26’01.6”N 14° 12’13.3”E DESCRIPTION

Nearly three-quarters of Europe’s population now lives in cities and cities and suburbs, but the disappearance of familiar cultural and natural landscapes. Migration and its consequences forms the theme of the Million Donkey Hotel, a project by feld72, a collective of Italian, French and Austrian architects based in Vienna.

In August 2005, a group of artists was invited to address questions of identity, territory, social space and landscape in Prata Sannita, a village in the Matese regional park near Naples, by means of art projects involving the participation of the local population. Prata Sannita is divided into a mediaeval borgo, known as the Prata Inferiore, which cascades down a hill from a castle, and a newer part, the Prata Superiore.

During the last century, Prata Inferiore was dramatically impacted by migration, and is now mostly inhabited by the elderly, with many empty buildings, some of which are now in ruins.

The response is to view Prata Sannita as a large, scattered hotel that has rooms available in the abandoned buildings. These are refurbished and brought back into use. At the same time, the Million Donkey Hotel becomes an extension of public space, since in the low-season, the hotel rooms can also be used by the Pratesi locals.

The project was remarkable for its tight, one-month timescale, low budget (10,000 euros) and the imaginative use of only the most basic materials and construction, coupled with the services of 40 volunteers.

The initiative is now overseen by a small group of locals, who were involved in its inception, and there seems little doubt that it has given a new impetus to social and civic life.

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STUDENTS hammersland audun høvik hedberg gustav israel lior luo jiancong nå guro odinsdottir hallgerdur kata pihu liina-liis rucigaj urh

TEACHERS thomas wiesner hedvig skjerdingstad

CLASS DESCRIPTION International Master’s Studio; Bergen School of Architecture, Spring 2014 Challenged by the planned massive urban development of the Haukaas area, just outside the city center of Bergen, Norway, we encounter the question of how to preserve and develop the potent blue/ green presence of the site. The course’s work is to investigate the haukaas; understanding its topography and history, social complexity and sustainability constrains. Based on this study our own architectural/artistic inserts into the site, aiming at enhancing the experience of the merely untouched, natural recreational green belt around the urban density, hence, of an otherwise, stretch of land.

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BAS Spring 2015