Meeting the City. A plaza in Santiago de Compostela with an albergue + bath

Meeting The City

A plaza in Santiago De Compostela with an Albergue + Bath Complex Context Course 2012 Niklas Sebastian Alveberg and Henning Wenaas Ribe

Essay - Approaching Context

Zumthor + Exner

Zumthor + Exner

Islev church

Johannes and Inger

Exner

1.Plan 2. Orgel Orgelet bæres af ekspressive jernsøjler formet som I-profiler med cirkulære udskæringer.

3. Kirkesal Kirkesalen oplyses primært med kunstlys idet en mindre ovenlysspalte langs de rustikke vægges øverste kant dog fremhæves med dagslys.

4.Snit 5. kirkerum og alterparti Vue ned over siddepladsene og møbleringen af kirkerummet med alterpartiet i billedets fjerneste ende 6. Møblering Indtryk af kirkerummets møblering med alter og prædikestol til venstre i billedet.

7. Med nærmest vinduesløse facader fremstår kirkeanlægget tillukket som en middelalderborg - et indtryk der forstærkes af det fæstningsagtige klokketårn til højre i billedet. (arkitekturbilleder.dk)

Tranquil architecture

Inger and Johannes Exner, both born 1926 in Randers, Denmark, and met during high school and continued architecture studies together after the second world war. They formed their office together in 1958. Their first job was the restoration of Sankt Clemens church in Randers, and they continued to draw and make churches and other restoration projects.

Johannes Exner´s philosophy of restoration: “Bygninger er som levende væsener. De fødes, bliver syge, kureres, ældes og dør. Fra ungdoms friskhed gennem livets modning når de til alderdommens særlige skønhed. Bygningens historiske identitet er derfor ikke kun den, der blev dem givet ved fødslen af de arkitekter, kunstnere og håndværkere, der skabte dem, men dannes også af det efterfølgende livs påvirkninger, af forandringer og tilføjelser. Har deres liv været begivenhedsrigt, er det således en alvorlig sag at standse den historiske livsproces og ændre eller udslette de aftryk af menneskers aktivitet, som bygningen har modtaget i sit lange liv. Den almindelige trang til at føre et hus tilbage til fødselstidspunktet er et af restaureringsfagets allerstørste problemer. Under alle omstændigheder må enhver restaurator forholde sig til denne problemstilling.”

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4 keys to restoration: 1. ORIGINALITET Originalitet (oprindelighed) defineres som den grad af ægthed, som bygningen besidder på et givent tidspunkt i sit procesforløb, vurderet i forhold til dens genesistilstand, tidspunktet, da den blev skabt, den eneste gang den var 100 procent original.

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Originaliteten knytter sig udelukkende til den substans, dvs. de materialer, som bygningen bestod af, da den blev skabt. Denne originalsubstans er altid in situ (på sin oprindelige plads). Originalsubstans in situ er det eneste, der kan dokumentere den oprindelige bygnings fortsatte tilstedeværelse og oprindelighed.

Er den flyttet bevidner den ikke originalitet, heller ikke hvis den flyttes tilbage eller erstattes af en reproduktion. Originalsubstansens omfang og mængde bliver med tiden uvægerligt mindre pga. brug slid, vedligeholdelse, fornyelse, restaurering o.l. Det er derfor vigtigt at bevare denne substans optimalt for at sikre bygningens originalitet og ægthed. Senere arkitektonisk væsentlige tilbygninger eller ombygninger besidder hver deres egen originalsubstans.

2. AUTENTICITET Autenticitet (troværdighed) defineres som den ægthed og gyldighed, hvormed bygningen fremtræder. Og som fremgår af dens strukturer, detaljer og overflader, der dokumenterer hinanden i en lang samhørende kontinuitet og således sammen logisk beretter og bekræfter bygningens historie og kontinuerte procesforløb.

Autenticiteten knytter sig specielt til bygningens synlige arkitekturdele, detaljer, overflader, bygningsarkæologiske spor etc. Man bør derfor være opmærksom på ikke uden videre at fjerne ”historisk slid”, slidte stengulve, pudsoverflader, teglfacaders og tegltages patinerede flader og farvenuancer, metallers patinering, strukturer af flere gamle malinglag mm. Sådanne detaljer har, ikke mindst med deres indbyrdes relationer, betydning for opfattelsen af og troen på bygningens alder og historiske værdi. Gamle huse kan blive sat så perfekt i stand at man ikke tror de er gamle, men kun rekonstruktioner.

3. IDENTITET Identitet (fremtoning, eng. appearance)defineres som det udseende, den fremtoning og personlige karakter, bygningen på et bestemt i sit historiske procesforløb har erhvervet sig og dermed udstråler.

En bygning har altid en identitet. En historisk bygning, der går langt tilbage, vil sandsynligvis have skiftet identitet flere gange, forårsaget af nye ejere, ændret brug eller andre hændelser. Identiteten kan fortsat ændre sig, ikke mindst ved nye og væsentlig anderledes genbrug, der implicit har været betingende for bygningens overlevelse.

Identiteten er arkitektens store ansvar og melder sig, hvad enten han forsøger at være anonym eller træder frem med nye tilføjelser. Det er også her, man oplever indflydelsesrige politikere, rådsmedlemmer, smagsdommere og mange andre menneskers mening komme frem på godt og ondt. Mens de f.eks. ikke kerer sig særligt meget om den vigtige originalsubstans.

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4. NARRATIVITET Narrativitet (fortælleværdi) defineres som den fortælleevne, bygningen besidder og har erhvervet gennem livet, og som kommer frem ved bevarede historiske helheder, bygningsdele spor, detaljer og rester fra tidligere perioder og hændelser. Bygningen er i sig selv den mest direkte og originale kilde til bygningens historie.

Narrativitet kunne også udtrykkes som bygningens fortælleværdi eller læselighed: det bygningen selv fortæller, eller det man kan læse af bygningen. Som sådan er narrativitet baseret på de samme bygningsdele og detaljer som autenticitet. Terminologien, hvor bygningen selv bliver ”fortælleren” eller er ”bogen”, aktiverer læseren til selv at arbejde aktivt med stoffet og derved blive engageret i en historisk bygnings liv og væsen.

REVERSIBILITET Ved reversibilitet forstås den fysiske form, et indgreb udføres med, som muliggør, at den kan fjernes senere uden at have skadet bygningen, der herefter fremtræder lige så intakt som før indgrebet.

Reversible indgreb har flere fordele. De berører en historisk bygning fysisk mindst muligt, fjerner mindst original substans, og gør det lettere at skelne mellem gammelt og nyt. De er definerbare i omfang og økonomi, og de er arkitektonisk udfordrende.

Johannes og Inger

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Zumthor + Exner

Zumthor + Exner

Trinitatis´church Sognehus

Koldinghus “Architecture as History”

Sognehuset mellem Pilestræde og Trinitatis plads er et stykke nænsom infill-arkitektur der formår at formidle kvarterets meget forskelligartede bygningsvolumener og materialer med stor indlevelse.

2 Facade og sydgavl Sognehusets facade består af fire antropomorfe partier, hver med to vinduer der agerer øjne og et nedre perforeret murparti der agerer mund. Også sydgavlen med indgangspartiet er forsynet med et dekorativt indslag med markering af den bagvedliggende trappe.

3 Dekorationer I forlængelse af sognehuset med sine to murede etager ligger muren om præstegårdshaven - ligeledes med berappede pilastre og buer. På nordgavlen af sognehuset er udført trappeagtige tegldekorationer og opsat en dekorativ metalugle.

4. havearkitektur Mellem Pilestræde og den højereliggende Trinitatis plads har havearkitekten Sven-Ingvar Andersson skabt en smuk overgang som en chassestensbelagt rampe mellem trin af bordursten.

5. Konsoller Udskiftede konsoller fra Rundetårns top er genanvendt som kunstnerisk udsmykning på Trinitatis plads, udlagt i et diagonalt forløb og behugget med dyremotiver af en billedkunstner.

Genopbygningen af Koldinghus er et eksempel på, hvorledes et overordnet og enkelt hovedgreb kan løse de til en sådan sag hørende problemer og krav; dels ved at minimere dem, og dels ved at lade dem integrere særlige utraditionelle løsninger, fredningsmæssigt, arkitektonisk, funktionelt, teknisk og økonomisk.

Projektet er udført under ledelse af Inger og Johannes Exner i perioden 1972-1994. (E+N Arkiktekter) Restauringen Den restaurering, som er gennemført under ledelse af arkitekterne Inger og Johannes Exner, bevarer ruinen som et stærkt virkende historisk monument. Ruinen er indkapslet og beskyttet af en ny arkitektur, der indrammer og understreger dens fortælleværdi. Det har været et princip, at ruinen berøres så lidt som muligt. Ruinen er museets største og fornemste genstand.

I erkendelse af ruinens medtagne forfatning er der i kælderen i syd- og østfløjene lagt nye fundamenter, hvorpå der er rejst en konstruktion af laminerede træsøjler, der bærer tag og etageadskillelser. Det manglende murparti mod syd og øst er udfyldt med en let trævæg ophængt i tagkonstruktionen og beklædt udvendigt med spåner af egetræ. I restaureringen er bevidst arbejdet med materialer, der adskiller sig fra de materialer, som Christian 3. og Christian 4. anvendte. Konstruktionerne er udført i lamineret træ og stål, facader er udført i træ eller moderne murstensformater. Originale bygningsdele kan skelnes fra de dele, som er tilført ruinen gennem restaureringen. Koldinghus slotsruin er bevaret som en vigtig kilde til viden om slottets bygningshistorie. Restaureringen blev tildelt EUROPA NOSTRA-prisen i 1993. (koldinghus.dk)

Søgård Hovedgård

11. Facadeudsnit De udvendige facader fremstår som en kollage af gammelt murværk og nye, spånbeklædte partier.

12. Søjler II I loftet folder søjlerne sig ud som et træ og danner smukke, forgrenede dekorationer 13. Søjlefod Limtræssøjlens fod samles i en skålformet stålkonstruktion.

14. Kirke I den forhenværende kirkerum angiver messingbuer og lysekroner de forsvunde renæssancehvælv.

15. Parti af slotsruinen Den stærkt nedbrudte slotsruin 16. Koldinghus under restaurering Nye beskyttende facader og tegltage under udførelse.

17. Før og efter restaurering Billedet t.v. viser bygningen før restaureringen, t.h. efter.

18. Skitse 19. Plan Den skæve planløsning tyder på udbygning over flere epoker.

20. Princip 21. Skitse

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Material conversation

Bit-by-bit restoration / New touching old Koldinghus, a gothic castle from the 15th century, in the early 20th century stood as a ruin, needed restoration, and the Exners set out to do it.

Creating new space within old structure

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“Femti års utvikling på fem” Juscelino Kubitschek-1956

Castle in ruins New structures lay upon

New structures lay upon old.

Village and castle today

Exners thinking about building as a historical element, a body in time, which it would almost be rude to turn her back into a teenager, makes them think that a building is something you touch rather gently.

Exners have the fascination for wearing and tearing, and sees this as an inherent quality in a house. One should therefor not try to revert the building back into its youth, the state it was in in a given moment in time. This discussion leads nowhere but back and into freezing the building as unusable, or it looses contact with the surroundings.

Juscelino Kubitschek monument i BrasiliaFoto:

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Construction conversation

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Hello from the new.

Zumthor + Exner

Gentle touch

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Gentle touch

Zumthor + Exner

Bruder Klaus Chapel “The sand in the stone”

Peter

Zumthor

Bruder Klaus was a farmer himself, but for the last 20 years of his life he lived as hermit at Flüeli-Ranft, about 70kms northeast of Lucerne, Switzerland, surviving, according to legend, on a diet of the Holy Eucharist alone. As a teenager he is said to have had visions of inhabiting a tower in the service of God; he also spoke of a vision, while still inside his mother’s womb, of seeing a star that lit up the world. In 1469, local civic authorities built him a simple monastic cell and chapel – it is still there – where he meditated and dispensed advice to the most powerful politicians of the day. He was declared a saint in 1947. It happens that Bruder Klaus is also the patron saint of Switzerland and a favorite of Zumthor’s mother.

Zumthor took on the job, free apparently, as a gift to his mother. Since its inauguration it has attracted as many architectural pilgrims flocking to see this new work from the hand of the Swiss perfectionist as locals coming to pay their respects to the memory of a hermit monk. In its irregular five-sided form, rising starkly above the surrounding landscape, there are virtually no clues to what lies within. It appears impenetrable, has no windows and it could be, for all you’d know, a modern take on the idea of a “medieval lookout tower”. A narrow gravel path leads from the road directly to its massive, triangular steel door; the only giveaway that this might be a place of pilgrimage: a spindly bronze cross embedded in the banded concrete surface above the doorway.

But the chapel’s simple form is far richer in its significance 37 and more complex in its making than first appears.

The tower rises 12 metres in 24 layers of what Zumthor describes as “rammed concrete” – made from white cement, local river gravel and reddish-yellow sand – the slop mixed together and pushed by hand into wood shutters by farmer Scheidtweiler working with neighbouring farmers, friends and acquaintances.

But before that, the interior of the chapel had to be shaped. For that, 112 slender tree trunks, cut from trees felled in a nearby forest, were arranged in the shape of a tepee over a concrete platform. The outer body of the chapel was then constructed in 50cm layers of concrete, each layer poured one per day for 24 days between the end of October 2005 and September 2006; each band representing an hour of the day.

The tree trunks were later set alight and left to smoulder for three weeks, until they fell away, leaving behind a black-brown, charred concrete shell, its walls scalloped by the timbers that once supported them. A local art founder added a floor of poured lead over a concrete base, melting four tons of recycled tin-lead alloyed with antimony in batches in a crucible and ladling it onto the floor by hand.

The attraction of the tower alone standing in its rural landscape would be compelling enough. But step inside, with the three meter tall steel door shut close, and the visitor enters an aweinspiring spiritual world. The walls lean in and all sense of light vanishes, momentarily, and it feels as if the visitor has been plunged into a dark underground world until, a few paces along, the tiny chapel, barely large enough for two or three people at a time, bursts into view, lit from above by an open, tear-shaped oculus. The light is intense, flaring from above directly on to the molten lead floor; cascading down and illuminating the channels left over by the burnt-out tree trunks.

Three hundred and fifty holes punched into the concrete shell by the shuttering ties are filled with plugs of mouthblown glass; the light passing through them, dancing and sparkling out of the blackened walls. The space is tiny and offers no obvious sense of comfort.

A meditation wheel cast in bronze, similar to the meditation wheel of Bruder Klaus, stuck into the concrete wall overhead; a bronze bust of Bruder Klaus on a slender pillar, by Swiss sculptor Hans Josephsohn; a bench crafted from a single piece of linden wood; steel candle holders; these are the simple objects that fill the chapel. It is, after all, a place for meditation, solace and reflection. Is this Zumthor’s interpretation of the monk’s vision inside the womb?

The Vals spa—famed among architects for its evocative sequence of spaces and exquisite construction details—presents intriguing correspondences between Heidegger’s writing and Zumthor’s architecture. Writing in his architectural manifesto, Thinking Architecture, Zumthor mirrors Heidegger’s celebration of experience and emotion as measuring tools. A chapter entitled “A way of looking at things” begins by describing a door handle:

“I used to take hold of it when I went into my aunt’s garden. That door handle still seems to me like a special sign of entry into a world of different moods and smells. I remember the sound of gravel under my feet, the soft gleam of waxed oak staircase. I can hear the heavy front door closing behind me as I walk along the dark corridor and enter the kitchen” Zumthor always emphasises the sensory aspects of the architectural experience. To him, the physicality of materials can involve an individual with the world, evoking experiences and texturing horizons of place through memory. He recalls places he once measured out at his aunt’s house through their sensual qualities. Zumthor’s Vals spa recounts the thinking he describes in his essay, making appeals to all the senses. The architect choreographs materials according to their evocative qualities. Flamed and polished stone, chrome, brass, leather and velvet were deployed with care to enhance the inhabitant’s sense of embodiment when clothed and naked. The touch, smell, and perhaps even taste of these materials were orchestrated obsessively. The theatricality of steaming and bubbling water was enhanced by natural and artificial light, with murky darkness composed as intensely as light. Materials were crafted and joined to enhance or suppress their apparent mass. Their sensory potential was relentlessly exploited with these tactics, through which Zumthor aimed to celebrate the liturgy of bathing by evoking emotions.

For Zumthor there is a strong connection between reality and living. This brings him to be oriented towards the concrete, imagining “things” and not “theories”. Emotion reveals the “authentic core” of things. From emotion he passes on to remembrance and memory, which are the central threads in Zumthor’s research.

The man him selfFoto:

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Zumthor + Exner

Steilneset Memorial “Shadow of forgotten ancestors” Here in the country’s northeasternmost town (population: 2,000) above the arctic circle, you now find an arresting shrine to 91 people in the area who were tried and burned at the stake in the 17th century for the crime of witchcraft. The unusual project, sponsored by the town of Vardø, Finnmark County, the Varanger Museum, and the Norwegian Public Roads Administration. Because the memorial brings belated attention to aberrations of justice that occurred long ago, it may seem just a touristic ploy to attract sightseers to the craggy Steilneset promontory off the barren Varanger peninsula, where reindeer gambol and sheep never seem to sleep — at least on sunny summer nights. However, as Sturla J. Stalsett, general secretary of the Vardø Church City Mission, pointed out during the opening ceremonies, the memorial is meant to remind us of the ongoing danger of collectively creating scapegoats. If historical circumstances seem peculiar now, the intent behind the work addresses larger moral claims.

Seeing the chapel from south/east

Inside: the burned tree trunk casting setting the mood of the interior

Inside: the tin-lead floor, the vertical tree trunks and the humble little bench

Inside: the opening showing the tear-shaped oculus, and the tree trunks stretching towards the heaven

Outside: the layered concrete and the punched holes filled with glass

So, here is a small building firmly rooted in the landscape, open to rain from above, rising above a farmer’s field, made from local materials – hand mixed concrete, wood and lead – put together by local labour. Yet it is compelling, interesting in its obsessive simplicity.

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Plan

Zumthor + Exner

“I didn’t want an aggressive, massive monument. Creating a light, delicate structure was best for this rough place.” -Peter Zumthor

St. Benedict Chapel “The Shadow of the past” In 1984 an avalanche destroyed the baroque chapel in front of the village of Sogn Benedetg (St. Benedict). A recently built parking lot had acted like a ramp pushing the snow from the avalanche up against the chapel. The new site on the original path to the Alp above the small village is protected from avalanches by a forest.

As a teenager he is said to have had visions of inhabiting a tower in the service of Godö

The chapel emerges from a very steep slope far above an alpine valley below. In plan the chapel is shaped like a teardrop or leaf. On the outside, curved timber shingle clad walls rise to a horizontal glazed and timber louvred band below the shallow roof. Given the absence of visible support to the roof, and the slenderness of the vertical louvres, the roof ‘hovers’. It appears disconnected to the enclosing wall below. Inside the chapel the roof support is revealed; thirty-six regularly spaced square posts set out from the inner ply wall lining. They connect to the wall, yet separated from it by three rows of steel pins. The simple move of distancing posts and wall affects the interior profoundly in several ways. As visual markers the posts modulate the wall surface, increase the shape definition of the interior space and also accentuate the sense of enclosure.

While Norwegian architects competed for commissions to design the rest areas and look-out points on the scenic routes, the Steilneset memorial, initiated in 2000, was different. Artist Knut Wold, a consultant and curator for the National Tourist Routes, along with colleague Svein Rønning, suggested Louise Bourgeois be commissioned for a different point of view. Since an architect would be needed to enclose her piece, Wold thought of Zumthor, whom he knew from the design of the Zinc Mine Museum in Sauda, Norway, begun in 2002 and now under construction.

Wold discovered that Zumthor and Bourgeois already were working together on an art/architecture project for Dia:Beacon museum in Hudson, New York (2003), that ultimately was not realized. The new collaboration seemed a natural. Since Bourgeois, who died in 2010, was 94 at the start of the memorial design in 2006, she enlisted her longtime assistant, Jerry Gorovoy, to help execute her ideas and asked Zumthor to go to the site first for his impressions. As Zumthor puts it,“She was to make the art installation, and I would make the shell.” Arriving in Vardø, Zumthorwas struck by the harsh, treeless landscape along the Barents Sea, and the indigenous man-made elements such as spindly diagonal wood racks for drying fish, once a major export item. He also found the lamps in the small curtainless windows of the houses had a certain poignancy. To memorialize the 77 women and 14 men who were victims of the witch hunt, Zumthor envisioned a long building with a taut wood-frame structure and a sailclothlike walls, to be perched atop the rocky, granite coast. Inside the elevated structure, he designed small windows randomly punched on both sides to commemorate those executed. In the center of each window would be suspended a single lightbulb. I didn’t want an aggressive, massive monument. Creating a light, delicate structure was best for this rough place, he says. You enter the memorial on the north by a gangplank placed perpendicularly to the elevated Zumthor structure, a 410-foot-long building within which a tensile structure of polytetrafluoroethylene (PTFE)-coated fiberglass fabric is suspended on cables. Once inside, you proceed along a 328-foot wood-plank catwalk about 5 feet wide. As they thread their way through the dark cocoon of the interior, visitors pass 91 windows, each dimly lit by an exposed-filament bulb. Ropelike cords from the lamps form scalloped borders at the edges of the undulating ceiling. The feeling is like being in the stomach of some prehistoric creature, half-fish, half-reptile — except there is a glimmer of light. The extremely harsh climate naturally raises the question about the life of the long house’s fiberglass fabric. Zumthor maintains that it is supposed to last 77.2 years. Let’s hope. Because of the soil and wind, wood is hardly plentiful, and so the framing members were fabricated off-site. The membrane, made in Germany, with panels stitched in the factory, had to be installed in place using heat bags. In spite of the vernacular build-it-yourself look of the long house, its fabrication, depended on contemporary techniques.

To me the Steilneset memorial reflect an interesting approach on contextual design, in Zumthors book “Thinking Architecture” he writes, When I concentrate on a specific site or place for which I am going to design a building, when I try to plumb its depths, its form, its history, and its sensuous qualities, images of other places start to invade this process of precise observation: images of places I know and that once impressed me, images of ordinary or special places places that I carry with me as inner visions of specific moods and qualities. With this I think its a good unification between the historical and the local atmosphere that is encapsulated through the use of material, construction technics and symbolism. The victims of the witch burning is in focus through the building, which to me is important concerning the contextual interpretation.

“As a teenager, Bruder Klaus, was said to have had visions of inhabiting a tower in the service of God”

It was for a tiny chapel on private farmland at Mechernich, a village about 50 kilometres southwest of Cologne, in southern Germany. He talked of how in 1998 he’d been approached by a farmer and his wife, Herman-Josef and Trudel Scheidtweiler, who wanted to build a shrine in one of their fields in honour of Nikolaus von Flue, 1417-1487, a 15th century hermit. They wanted to erect the chapel, they had said, “in thanks for a good and happy life.” The audience sat spellbound as Zumthor described how the chapel was going to be built: of first erecting a tepee of logs, encasing it in concrete and setting it alight from inside, to smoulder slowly until the logs were burnt away, much the same way charcoal used to be made, leaving behind a charred shell, lit only by an opening from above.

Zumthor was born in Basel 26 April 1943, the son of a cabinet-maker. He apprenticed to a carpenter in 1958 and studied at the Kunstgewerbeschule in his native city starting in 1963. In 1966, Zumthor studied industrial design and architecture as an exchange student at Pratt Institute in New York. In 1968, he became conservationist architect for the Department for the Preservation of Monuments of the canton of Graubünden. This work on historic restoration projects gave him a further understanding of construction and the qualities of different rustic building materials. As his practice developed, Zumthor was able to incorporate his knowledge of materials into Modernist construction and detailing. His buildings explore the tactile and sensory qualities of spaces and materials while retaining a minimalist feel.

Zumthor founded his own firm in 1979. His practice grew quickly and he accepted more international projects.

Zumthor has taught at Southern California Institute of Architecture in Los Angeles (1988), the Technical University of Munich (1989), Tulane University (1992), and the Harvard Graduate School of Design (1999). Since 1996, he is professor at the Accademia di Architettura di Mendrisio. His best known projects are the Kunsthaus Bregenz (1997), a shimmering glass and concrete cube that overlooks Lake Constance (Bodensee) in Austria; the cave-like thermal baths in Vals, Switzerland (1999); the Swiss Pavilion for Expo 2000 in Hannover, an all-timber structure intended to be recycled after the event; the Kolumba Diocesan Museum (2007), in Cologne; and the Bruder Klaus Field Chapel, on a farm near Wachendorf. In 1993 Zumthor won the competition for a museum and documentation center on the horrors of Nazism to be built on the site of Gestapo headquarters in Berlin. Mr. Zumthor’s submission called for an extended three-story building with a framework consisting of concrete rods. The project, called the Topography of Terror, was partly built and then abandoned when the government decided not to go ahead for financial reasons. The unfinished building was demolished in 2004.[1] In 1999, Zumthor was selected as the only foreign architect to participate in Norway’s National Tourist Routes Project, with two projects, the Memorial in Memory of the Victims of the Witch Trials in Varanger, a collaboration with Louise Bourgeois (completed in 2010), and a rest area/museum on the site of an abandoned zinc mine.[2] For the Dia Art Foundation in Beacon, New York, Zumthor designed a gallery that was to house the “360° I Ching” sculpture by Walter de Maria; though the project was never completed. Zumthor is the only foreign architect to participate, with two projects, the Memorial in Memory of the Victims of the Witch Trials in Varanger, a collaboration with Louise Bourgeois (to be completed in June), and a rest area/ museum on the site of an abandoned zinc mine (completion date 2011). In November 2009, it was revealed that Zumthor is working on a major redesign for the campus of the Los Angeles County Museum of Art.[3] Recently, he turned down an opportunity to consider a new library for Magdalen College, Oxford. He was selected to design the Serpentine Gallery’s annual summer pavilion with designer Piet Oudolf in 2011.

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Symmetry and visual simplicity are special aspects of the roof structure. The ribbed pattern of rafters recalls that on the underside of a tree leaf. Whereas conventional roof framing favours a hierarchical solution comprising a longitudinal spine beam that supports transverse rafters, here all roof ribs are the same depth, and each branches from the central spine to bear on a perimeter post. Thin steel plates, welded together to achieve the branching geometry are interspersed between timber laminates to achieve two-way structural action. This reinforcement is skillfully concealed so as not to detract from the timber glue-laminated appearance. Further evidence of detailing refinement is seen in the shape of the spine beam. Not only trapezoidal in section to soften its visual impact, its width tapers in harmony with the building plan, wide near the front of the chapel and narrow at the rear. These details that reflect building form and aesthetic sensibility are indiscernible at the first viewing.

Seeing the monument from south

Outside:

Outside: the unification of the Inside: the corridor of 91 small Inside: a illuminating bold representing the 91 victims of wooden structure and PTwindows and a board with all the witch burning FE-coated fiberglass cloth the names of the victims

My image of Saint Benedict Chapel had changed. Or, more precisely, I could no longer reduce the building to a mere image. I now perceived it as a narrative structure, almost like a movie. Instead of a misty phantasm dissolving into the surrounding landscape, I was facing a contemporary building.

In fact, it was a building so up-to-date that it seemed to have been built just recently, not almost 20 years ago.

I was in a remote part of the Alps, yet this building did not subscribe to any local typological conventions. For example, it was built entirely of wood, not of stone as every other Alpine chapel.

Rather than relating to the local context and historical tradition, this chapel was in dialogue with the international, cutting-edge architectural discourse. Several years before the notion of “topological architecture” appeared, Zumthor had designed a building that seemed to consist entirely of surfaces. These surfaces are superposed on each other, unfolding in layers, and defining or “performing” a topological spatiality, rather than a continuous spatiality. There was no such thing as a “window” that would have better articulated the transition between inside and outside and would have been a sign for a more conventional kind spatial continuity. Instead, the roof seemed to be slightly lifted like a lid on a pot to let in some light. Moreover, the “wall”—the outermost layer covered with shingles that was pulled around the building like a textile membrane—spread apart only as far as necessary to give way to an opening that could hardly be defined as a “door.” Furthermore, the building was anything but earthbound. The few steps before the entrance seemed to hesitate before actually touching the chapel, as if a direct connection between the ground and the building would be impossible. The topography of the Alpine landscape and the topology of the architecture were incompatible and discontinuous.

Seeing the chapel from south

Outside: the timber shingle cladding, unifiaction corner

Outside: timber shingle cladding

Inside: roof beam construction details

Inside: post and beam construction details

Zumthor established his respect for site and materials. The timber-construction chapel is tapered to the extreme shape of the site, which is high on a nearly vertical meadow. The simple timber shingles on the exterior speak to traditions in the region, but the rigid, massive austerity of the space is thoroughly modern. There, as with most of his work, natural light dramatically fills the space.

Plan

I am not surprised that architecture has become so marginalized, having progressively smaller impact on the world at large. Architecture is an experiential phenomenon which requires a person to be present in it to legitimize the experience. Fortunately the second speaker recognizes the engagement of idea with materiality. Zumthor is a sensualist poet creating spatial works that address the human body moving in a specific actual place.

Section

17

18

Section

Plan

19

Albergue typologies - The Wanderer motifs

The essential quality of an albergue, is to give shelter to the wanderer. People have different reasons for travelling, and these reasons, or motives, heavily impact the architectural typology, forming the context the albergue is conceived under. When investigating albergue typologies, one must also understand the context allowing for these things to happen.

Travelling, for different reasons, demand a place to stay overnight, resting, eating, relaxing, preparing for the next day in strange locations. The albergue provides basic functions for the body; water, climateshelter, food. Being a stranger in a place unknown, pushes the human need for familiarity. A bed is well known, to be alone for some time and albergues around the world offer this little space to the travelling person. For whatever reason you are travelling, different architectural typologies erupt and adapt to travellers motifs.

Therefore we will here see ten examples of different kind of albergues / shelters, as we see that the differences are founded in various travelling motifs, impacting heavily on the architectural language.

Scale study of albergue typologies 1:500

The essential quality of an albergue, is to give shelter to the wanderer. People have different reasons for travelling, and these reasons, or motives, heavily impact the architectural typology, forming the context the albergue is conceived under. When investigating albergue typologies, one must also understand the context allowing for these things to happen.

Travelling, for different reasons, demand a place to stay overnight, resting, eating, relaxing, preparing for the next day in strange locations. The albergue provides basic functions for the body; water, climateshelter, food. Being a stranger in a place unknown, pushes the human need for familiarity. A bed is well known, to be alone for some time and albergues around the world offer this little space to the travelling person.

For whatever reason you are travelling, different architectural typologies erupt and adapt to travellers motifs. Therefore we will here see ten examples of different kind of albergues / shelters, as we see that the differences are founded in various travelling motifs, impacting heavily on the architectural language.

BOLIVIA MADIDI NATIONAL PARK

N

CHALALAN ECOLODGE Tourism into the Amazon jungle, Chalalan is a place for the conscious backpacker, giving good guidings into the jungle and also having an educating connection with the local villagers.

CONTEXT : MADIDI NATIONAL PARK The national park is the main attraction. Going deep in to the Amazon forests is the foundation for these travellers

THE JUNGLE ROMANTICIST TYPOLOGY A mid-jungle community doing guided tours in the Amazon, run by locals. The visitors give back by hospiting as english teachers for the local village children.

CHINA

PLAN OF SLEEPING LODGE There are several of these lodges around Chalalan. Its a one to two beds per room, and two rooms in a building. It has a front porch, raised roof and mosquito nettings in all openings, also above every bed. Also the daytime temperature and humidity requires very high degree of ventilation

FACADE The lodge is lifted from the ground, standing on stilts. Because of insects, reptiles?

Or flood during rain season? Straw roof with openings, ventilation?

NORWAY

TULOU, FUJIAN PROVINCE

HARDANGERVIDDA

N

CONTEXT : TULOU; CULTURALHISTORICAL TOURISM A remarkable building typology as grown in the Fujian region in China. These circular buildings provided shelter, protection and storage for chinese families.

Today some of them, or parts of them are made made into albergues for tourists, as their typology is so interesting in itself.

CONTEXT : VILLAGE GAOBEI Confederation of circular and rectangular tulou´s in the village Gaobei. We are looking at the largest one, to the left in the image; Chengqilou

N

PIECE-OF-THE-PAI OWNERSHIP The tulou is divided from the center and towards its edges, as one unit consist of four floors from the ground and service building towards the center.

THE AUTHENTICITY TYPOLOGY The tulou typology gives a string inside - outside formation. The outside is smooth, with only one entrance, and the inside has individual enterings to each apartment.

PLAN GROUND FLOOR

PLAN 2nd FLOOR

CONTEXT : FINSEHYTTA, NORWEGIAN TOURIST UNION After the industrialization, when people started moving into cities, a new need arose. When people worked in factories, natured called them back, but not to work, but to relax and enjoy it. Enjoying nature is considered a modern phenomenon.

CONTEXT : PLACING AND CONNECTION Finsehytta is a big albergue, placed very near the railway line for convenient access from the cities, yet it is placed spectacularly on this peninzula, emphazising the primary elements water-mountain.

towards train Towards city

MONGOLIA ULAN BATOR

entrance

Towards city

towards water N

N

ADD-ONS The hut seems to be bulit from nine elements, taking in the local building traditions, like sloped roof and panel cladding and dark staining.

THE BOURGEOIS MOUNTAIN TREKKER TYPOLOGY The upper levels holding the more private dwellings have small openings giving more intrvert spaces, while the ground floor connects people to a high degree with the outside through extensive use of large openings, both visual and physical.

ELEVATION Laying on a plane with the mountains looming backdrop.

CONTEXT : ULAN BATOR, THE STEPPES Ulan Bator is the capitol of Mongolia and the meeting point to investigate the special qualities of the mongol culture and geography, the nomades and the steppes.

CONTEXT : URBAN NOMADES Ganas Ger´s lies on the boundary to the regulated city, but yet and a more freely developed area. A ger is a traditional nomadic tent, which you can find alot of in this rather urban setting.

TANZANIA

CONTEXT : FENCED TOWN The nearby area is dominated by a fenced structure draining towards the city. The environment is built by a diversity of house typologies and gers.

THE PSEUDO-AUTHENTIC TYPOLOGY Wanting to keep and offer some feeling of the traditional life, we find these gers in the city, yet, from humorus or functional reasons, four are placed on the roof, and six in the back yard.

Water tower / shower

MT. KILIMANJARO 5896M.as.

Lodges

Lodges

Common house Common house

N HOROMBO HUTS, MT. KILIMANJARO 3720 M.as

N

PLAN AND ELEVATION

THE GER The round tent giving space to four or five beds, a fireplace in the middle.

STRUCTURE Two pillars support a circular architrave with slim beams running towards the outer circle architrave, delimiating the outer wall of the tent.

CONTEXT : MARANGA ROUTE FAIRLY EASY TREKKING TO AFRICAS HIGHEST MOUNTAIN ATTRACTS MANY PEOPLE EACH YEAR, AS THE WANDERING TO THE TOP DOESN´T INVOLVE CLIMBING, ONLY WALKING

BY FEET.

HOROMBO HUTS 3760m The middle stop towards the peak of Mt Kilimanjaro

SITE PLAN AND ORGANISATION Horombo statioin consist 29 resting huts, two larger common buildings.

THE MOUNTAIN CLIMBER TYPOLOGY The Horombo huts offer very basic accomodation.

You arrive late, and leave early. All you need here is rest. Four beds in a small hut and space for backpacks.

ARGENTINA PUNTAS ARENAS, PATAGONIA REGION

N

ROUGH CLIMATICAL CONDITIONS All the huts at Horombo lies with entrances facing the north, probably due to wind conditions. Also the very sharp angle could be to handle snow and wind, or symbolizing a peak

CONTEXT : PATAGONIA NATURE The region has a specially dramatic landscape, and wanderings in this area is conducted in landscape and nature interest.

THE SUBURB-FAMILY-HOME-HOSTEL TYPOLOGY When the kids grow old and move out, why not start offering their old rooms to short- or long-distance travellers?

STRUCTURAL- SPATIAL CONTEXT THE ORGANISATIOON OF SPACE DEFINING A STRONG CONTEXT, IS A STREET GRID WITH TYPICAL SUB-URBAN HOUSING.

URBAN SUB-URB HOSTAL THE ALBERGUE IS FORMED AS A TYPICAL SUBURBAN FAMILY HOME, AND DOES NOT STAND OUT IN THE CONTEXT, IF NOT FOR A SIGN HANGING OUTSIDE, INFORMING THAT THIS IS NOT A LIVING-HOUSE.’

NORWAY

STREET RELATION Laying orthogonal towards the street, the hostel reatracts and hides behind a fence, creating a more enlosed, calm space for the guest. The guest have separate entrances, shower, water, but share dining room with the family.

SPATIAL PRIVACY The spaces are split from eachother so that you have your own room.

TURKEY

NORDMANDSSLEPA

SULTANHANI / SILK ROAD

N

N

Drawing : Johannes Flintoe b.1786-d.1870, from the summer of 1822

THE PRIMAL CLIMATE SHELTER TYPOLOGY Monsbu is an example of a primal shelter which serves a space protected from wind and rain, where you can light a fire, with the most minimal of means: rocks laying on the ground.

CONTEXT : MONSBU, NORDMANDSSLEPA SMALL, HANDBUILT HOUSES OR NATURAL SHELTERS IN STONE FORMATIONS ALONG OLD TREKKING ROUTES ACROSS THE MOUNTAIN MAINTAIN PRIMARY SHELTERING FOR PEOPLE WALKING BETWEEN EAST AND WEST.

PLACING Laying between a big rock and a upwards facing slope, Monsbu finds shelter from dominating winds in the area.

CONTEXT : PROECTING SILK ROAD TRAVELLERS SULTAN HAN IS AN EXAMPLE OF THE TURKISH KINGDOMS 11THCENTURY TRADING COMMUNITY. THE KINGDOMS WELFARE RELIED ON TRADE BETWEEN EAST AND WEST ON THE SILK ROAD, AND HE ASSURED SAFETY FOR TRAVELLERS WITHIN THE CASARAY

GREAT HALL

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CARAVANSERAI : THE SAFE PASSAGE TYPOLOGY Built during the 13th century by sultan Kayqubad I, as a safehaven for Silk road traders on the way to Persia.

STRUCTURE, SPACE AND ORGANISATION The spaces for accomodation, bath and kitchen is located to the west, the warm side. The caravanserai also have hot baths. In the winter its posible to sleep in the large vaulted hall to the north.

Lodges Lodges Lodges Veranda, restaurant

Public square

Lodges

Lodges

Lodges

Lodges N

PLAN The complex has two main entrances, but the interior plan was hard to understand.

Veranda, restaurant

CONTEXT : TALKING TO THE LANDSCAPE The roofscape of the complex suggest a modern thinking of architecture and landscape, mimicing natural formations.

La trin e

s

CONTEXT : RETREAT-GUISE TOURISM INTO A REMOTE, PEACEFUL LOCATION OFFERING ACTIVITIES TO SPEND SOME TIME HIKING IN THE DESERT SEEING AMONGST OTHERS THE RESERVES SPECIAL WIND-CUT LIMESTONE FORMATIONS.

ABOUT Performed as a student task and resesarch in the course Complex Context, conducted by architect Arild Wåge and André Fontes, aiming to investigate the phenomenon of human wandering and the albergue architecture resulting from these conditions.

This study is made by Niklas Sebastian Alveberg and Henning Wenaas Ribe.

Bergen School of Architecture, 2012

Service?

Lodges

ry

DANA BIOSPHERE RESERVE SPECIAL WIND-CUT LIMESTONE FORMATIONS.

THE LIVING-TRADITION-TYPOLOGY Wadi Feynan is constructed on traditional materials of the area, a mixture of sandstone and possibly concrete. Resembling, but not copying architectural language, makes this building a continuation of jordanic architecture, in a more high-tech world.

Atlas of Galicia - Zooming in on Context

1.Vigo

2. A Coruña

3. Ourense

4. Lugo

5. Santiago de Compostela

6.Vigo

7. A Coruña

8. Ourense

9. Lugo

10. Santiago de Composte-

11. Pontevedra

12. Ferrol

13. Narón

14. Vilagarcía de Arousa

15. Oleiros

16. Pontevedra

17. Ferrol

18. Narón

19. Vilagarcía de Arousa

20. Oleiros

21. Carballo

22. Arteixo

23. Redondela

24. Culleredo

25. Ames

26. Carballo

27. Arteixo

28. Redondela

29. Culleredo

30. Ames

31. Ribeira

32. Cangas de Morrazo

33. Marín

34. Cambre

35. Ponteareas

36. Ribeira

37. Cangas de Morrazo

38. Marín

39. Cambre

40. Ponteareas

Atlas Sample Atlasbox Sample of contextual box of contextual phenomenons. phenomenons.

The Atlas imbodies The Atlasreimbodies re-

and local, maps and picture of the Gallician typologies, gional and gional local, maps and picture samples of samples the Gallician typologies, regarding regarding landscape context, city patterns, and streetthe patterns, thehouse, common the plaza, the landscape context, city and street common the house, plaza, the themonuments, park, the monuments, public,and churches and other historical monastery,monastery, the park, the the public, the churches other historical regional phenomenons that are specific to the contextThe of Galicia. regional phenomenons that are specific to the context of Galicia.

Atlas isThe an Atlas is an active document that will expand the tripwith to Galicia, withand subjectiv and active document that will expand through thethrough trip to Galicia, subjectiv objectiv registrations. objectiv registrations.

The Site Note lines:

1.Ourense

2. Cea

2. Cea

3. Oseira

4. Castro dozon

6. Quintela

5. Xesta

5. Xesta

7. Lalin

8. Silleda

9. Bandeira

10. Oca

10. Oca

11. Ponte Ulla

12. Santiago de compostella

Ourense Note lines:

Scale Measurement

Scale Measurement

2000 ft 500 m

Cea

200 ft 100 m

Oseira

Note lines:

Note lines:

Scale Measurement

Scale Measurement

200 ft 100 m

Castro Dozon

200 ft 100 m

Quintela

Note lines:

Note lines:

Scale Measurement

200 ft 100 m

Scale Measurement

200 ft 100 m

Ponte Ulla

Santiago De Compostella

Note lines:

Note lines:

Scale Measurement

Scale Measurement

200 ft 100 m

The Public Note lines:

200 ft 100 m

1.Ourense

2. Cea

2. Cea

3. Oseira

4. Castro dozon

6. Quintela

5. Xesta

5. Xesta

7. Lalin

8. Silleda

9. Bandeira

Cea

Calle de Espana

10. Oca

11. Ponte Ulla

10. Oca

Plaza Maior

Plaza Mayor- public plaza

Museo catedralicio- public street corner

Praza do Ferro- public shoppingz

Calle del Parque de San Lázaro

Ourense Thermal Springs, Praza das Burgas

Ourense Train station

Antigua carretera

Monastery of Santa María la Real of Oseira entrance

Monastery of Santa María la Real of Oseira

Monastery of Santa María la Real of Oseira

Monastery of Santa María la Real of Oseira

Monastery of Santa María la Real of Oseira

Plaza Mayor

Museo catedralicio

Praza do Ferro

Calle del Parque de San Lázaro

Ourense Thermal Springs, Praza das Burgas

Ourense Train station

Note lines:

12. Santiago de compostella

Praza Maior

Note lines:

Castro Dozon

Ourense

Oseira

Note lines:

San cristovo de cea

(GLÀFLR 0XOWLXVRV

Antigua Carretera

Plaza Mayor

Museo catedralicio

Praza do Ferro

Note lines:

Quintela Note lines:

Calle del Parque de San Lázaro

Ourense Thermal Springs, Praza das Burgas

Ourense Train station

Castro Dozon

Public square in road intersection

Street corner, shop, meeting place

Childrens school

An Atlas Sample An Atlasbox Sample of contextual box of contextual phenomenons phenomenons Incietur, tem.

Incietur, Ver- tem. Ver-

et deri as ducid quam, nimet voluptaecto berum excerfe rumquaro eatiuntero eteatiunte deri as ducid quam, nimet voluptaecto berum excerfe rumquaestiur,faciend cumquat faciend ionseni tasinctur?Istemol uptatia et re porecto tum estiur, tum cumquat ionseni tasinctur?Istemol uptatia et re porecto es inus moluptibus sunt.Adis voloreperisvoloreperis sequatus.Sitsequatus.Sit es inus moluptibus doluptiatiurdoluptiatiur sunt.Adis aut ut audaaut ut auda velent endaeptam sunt re est harchilla dem eum que dewedvenihicae wedvelent endaeptam sunt re est harchilla dem aut eum amaut que de am venihicae fjbeødfbweøhfbwøefbøwfiøDanisi fjbeødfbweøhfbwøefbøwfiøDanisi ipsam elibustem ipsam aut elibustem am dolesti aut am issundem dolesti issundem sit aborem sit fugia aborem acimi,fugia est ullor acimi, serum est ullor ipiciserum ium cus, ipici nitium quas cus, manit que quas re arcimod ma que re arcimod ionsObis utionsObis eossimout lorati eossimo simpereNon lorati simpereNon pratquat ent pratquat fugit, ommodic ent fugit,ideris ommodic alistiuideris alistiu

The Church Farming

The Phenomenon Vernacular streetscapes

The Phenomenon Decay

1.Ourense

2. Cea

2. Cea

3. Oseira

4. Castro dozon

6. Quintela

5. Xesta

5. Xesta

7. Lalin

9. Bandeira

10. Oca

10. Oca

11. Ponte Ulla

1.Farming

2. Farming

3. Farming

6. Dry house

5. Dry house

4. Dry house

1. Ruins

2. Ruins

3. Ruins

6. Ruins

5. Ruins

The Phenomenon

1.Farming

2. Farming

8. Silleda

6. Dry house

12. Santiago de compostella

9. Dry house

Farming

The Phenomenon Sacre

The Phenomenon Water

2. Farming

3. Farming

4. Dry house

5. Dry house 5. Dry house

7. Dry house

8. Dry house

10. Barn

11. fair building

12. fair building

10. Barn

&UXFLÀ[

2. Icon

3. &UXFLÀ[

6. &UXFLÀ[

5. &UXFLÀ[

4. &UXFLÀ[

1.Bridge

2. Bridge

2. Bridge

3. Bridge

4. Bridge

6. Fountain

5. Fountain

5. Fountain

7. Fountain

8. Fountain

9. Dam

10. Dam

10. Dam

11. Dam

12. Dam

4. Ruins

Studytrip Report - Context Spatial Qualities

SPACE AND ATMOSPHERE

SCALE AND ACCEPTANCE

Sequences. The old town is a constellation of long narrow spaces, and kind-of-square spaces. The kind-of-square spaces often have several exits. The lines of a street are seldom very straight, they always seem to curve. Also, many have built arched arcades providing cover from the sun and rain.

DIFFERENT APPROACHES. Building in this environment provides different options when it comes to scale. The vernacular, which gently adapt in to the other(1), the conscious strong(2) or the stand-alone(3). In Santiago two very famous architects, among many good, have worked, and their approach to scaling the project provides fruitful input to making a project that is accepted and used as a part of the town. One of them is now vital(2), another is failing to be completed, abandoned and left without interest. Its not a part of town(3).

1. Main street towards the cathedral, arcaded. 2. Odd square, Praza des Praterias, south of cathedral.

1. Streetscape, central part of Santiago, vernacular architecture 2. Museum of Contemporary Art, on outer circle of old town, Alvaro Siza 3. Center for Galicien Culture, alone on a hilltop outside town, Peter Eisenman

1. v 1. v

2.

3.

TRANSITIONS AND PASSAGE

HOUSING TYPOLOGY

PASSING THROUGH THE CITY. The scale buildings and streets are well adapted to the human size and the size of the caravan. When walking, one suddenly meet new spaces, passing narrow between, into a new space. Its full of surprises, and it´s hard orientate.

1.

2.

3.

4.

5.

Typology of the medeaval Santiago. A typical street in Santiago is made up from several entities. At the bottom is the shops, the commercial line, above 2 or three floors, the inhabitants live, the shopowners etc. The entities is about 5m wide, constrained by the possible length of timber to construct the beams to lay the floor on.

1.Vertical Border. Vertical lines indicating the splitting of the volumes, markating the boundaries within the built line. 2.Silhouette. The silhouette, the way the composition meets the sky, indicates conform individuality. One is to stretch a little, but always with an eye to the neighbour. 3. Horizon. The horizontal lines, wether the are terrasses or concrete details, marks the individual of the building. 4. Openings. Almost in line, but not quite, creates interesting and pleasing variations to the eye. 5. Verandas. Different house, different expression.

PATTERNS

ELEMENTS SMALL COMPONENTS OF THE GREATER LARGE. A city is composed of elements which, in most cases, are not larger than the human body. Sometimes the size of the hand, and sometimes even smaller. These are formed in to the service of human, shaping the abstract notion of what we call the city. Following is a collection of some, only a small portion of what can be considered to create Santiago, but specific elements giving vital shape to the constructional, urban condition.

Street carpets. The streets are covered in stone. Although the material is common to the entire old city, the patterns vary, creating another layer to the space, and marking different functions in the urban landscape.

1.Praza da Quintana. Complex pattern marking the main space of the square, belonging to the cathedral? 2.Transition/End. Where the plaza meets the stairs, it is marked by another pattern, indicating very subtle the end of the plaza.

3. Entrance. In front of one of the cathedrals entrances, is also a complex pattern layed, building importance to the entrance 4. Commerce. Not very special carpet pattern. 5.

Main street. On top of the stairs, is the pattern used in all of the streets, making it connected to the rest of the city.

1.

2.

3.

4.

5.

6.

4.

1.

3.

2.

1.

5.

1. The width, depth, length and curvature of a stair is highly important to signalize what kind it is. This is from Praza da Quintana, on the eastern facade of the cathedral. 2.Stairs; foreground and background.

3. Topography. Santiago de Compostella lies on the top of a hill. That means that the public architecture must deal with these topographical conditions, creating interesting rhythms in stairing the city. 4. Dealing with water.

Many older buildings stretch their rainwater away from their bodies and land it in the streets, so that the stonecovered pavement, at raintime, create small rivers of overflowing water. 5. Form language. Giving formal complexity to basic constructional elements, make the urban image more complex and tempting. 6. Public seating. Buildings and topography working together inviting the public to engage with architecture.

3.

DETAILS Parts and wholes. Architectural details make the tactility of the building. The way it approach the senses and makes it more pleasurable, but also more expensive. Details can be specially handcrafted, artistically made or from the repetition of certain elements on a plane.

5.

1. Very detailed entrance. Strong color, making the door important. 2. High repetition of wooden element in roof.

3. Stone carving ornament. The square and the organic bow. 4. Simple stone cubes towards a wall, form a stair, a connection to another part of a park . 5. Stone elements of rounded corners make the city softer. Common design grip on many of the buildings.

1. v

2.

4.

5.

ACTIVITY 1.

2.

3.

ACTIVITY : ARRIVING. Early morning, the first pilgrimmers come in to town to reach their final destination; the cathedral of Santiago de Compostella. As they enclose their target, the streets quietly become narrower, more crowded, carpeted with cut stones, floors and stairs and people, inhabitants of the city, old and young. After walking for days, weeks or months, they approach a city with its life, cafees, restaurants, traffic etc, but where is the church? Where are they going to put their bags? Where to rest their feet?

4.

5.

ACTIVITY : SITTING. In the city, there are alot of good spaces to rest, sit about, go for a coffee. Whilst there are alot of private cafĂŠs the buildings themselves often provide a public or semi-public way of sitting, so you can look at the life of Santiago passing by in your own pase.

1. Cafes, 2. In-wall bench, 3. Generous outdoor stairs 4. Arched hallways 5. Wall-becoming-bench

Albergue + Bath

Program: Albergue+Bath. When the pilgrim arrives in Santiago de compostella he only have 2 things in mind, Where is the Chatedral and were is the Albergue. His legs and feet are tired from walking, his body is aching and his mind is focused. After wandering the camino for days, weeks or months, the pilgrim may want to cleance him self from the journeys physical strive and punishment. We want to give pilgrim the possibility to rest and clean himself so he can continue further on his cultural or spiritual journey in Santiago De Compostella.

Site

Santiago De Compostella-A street in the city Site: Rua de belvis is a side street to the main street, Rua de san pedro, were Camino Francees meet the city. At the end of Rua De Belvis you also have the Camino Rua Da Prata entering the city. So Rua De Belvis is located in between the two caminos. This is a quiet/tranquill street with privat housing and a daycare center for childeren. Located right next to the street is also on of Santiago de compostelas largest parks, parque de belvis.

Rua De San Pedro

Rua De Belvis is less public and less busy then Rua de san pedro, whitch is packed with nite resturants, cafes, shops, plazas and other public services. Rua de belvis is also in the shift between the old and the new city, making the distances to the main goal for alot of pilgrims “Santiago de compostell Chatedral� only 5 minuttes away. The site we have choosen is the ruin of an old communal bakery, situated in Rua de belvis.

Rua De San Pedro The Cathedral

Rua De Belvis

Via Da Prata

Rua De Belvis

The Old City And The Caminos

1. The city with a surrounding wall(made to keep robbers and plunderers out), and the caminos leading in to the city.

Looking for site: As the old city is so dense and loaded with historical interest and values, we decided to walk out from the old city center, on one of the camino arms, the french camino, Rua de San Pedro.

After about 200m from the old city, the street branched out into a plaza and a new street, Rua de Belvis.

Sequence 1 Rua De San Pedro meeting Rua De Belvis

Sequence 2

Sequence 3

Sequence 4

Sequence 5

Registrations

Site registrations

Ruin: The site has the remains of an old wall which is believed to be a former communal bakery.

Street: The street is dominated by a wall of private houses, with expressive facades

Connection: If you move a meter or two above the ground, you see the skyline of the city, with the towers of the cathedral.

Typologies: Building typologies of the neighbourhood.

Programme and typology: The relation between building and typology in the area is, when commercial, double: commercial towards street, and private upstairs. When public programmes; one programme one building.

Santiago De Compostella “The evolving city�

1. The city with a surrounding wall(made to keep robbers and plunderers out), and the caminos leading in to the city.

Every time the logic of the city branches out, it makes a plaza, with some sort of public programme around it.

Placing the bath on the new branch going back to the old city, makes it plausible to create a new plaza, the third, in the logic of the city.

2. With no robbers and plunderers to be afraid of, the city expands beyond the inner city wall and along the caminos.

3. New branch points get added to build around the inner city and between the differet caminos.

Illustrations by Andre Fontes

1. Rua De Belvis is located only with in a 7 min walk to Santiago De Compostella Chatedral, making the main goal for the pilgrim right around the corner..

The Cathedral

Rua De Belvis

4. The local recriational and agricultural Parque de Belvís is located right next door to the site, this is one of the biggest park in the city centrum.

Our site

Rua De Belvis

The Chatedral

Our site

Parque de Belvís

7 min

2. Línea 13: Belvís / Praza de Galicia / Xeneral Pardiñas. Connecting the old city, the commercial center in the south and new urban development in the north, line 13 is passing just outside the door in Rua De Belvis.

5. In the camino Rua De San Pedro you have stores, restaurants, cafes and bars.

Rua de san pedro street programs

The site

Our site

Our site

The line 13

Rua De Belvis

3. The local baths in santiago de compostella is located outside the inner city, on the map you can see that rua de belvis isalmost alined and centered in relation to the two only baths in santiago de compostell.

6. Rua De Belvis is a tranquil and mixed street, with residential housing, a daycare center for children, two chapels and one monestery.

Our site Residential housing Daycare center Chapels

Our site

Exsisting baths

Monestary

The shape of a Plaza Studying the plazas of santiago, we find it interesting to see how spatially rich the medieval town is.

Rua De San Pedro

7. The located in betwwen two caminos entering the city, the frenche camino and Via de prata. french camino

Rua De Belvis

Our site

Via Da Prata

via da prata

8. There is a exsisting passage between Rua De Belvis and Parque Belvis, that is seald up to day..

(GIANT)

SCALE AND ATMOSPHERE

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Intention

INSERTING A PROGRAMME

Strategy : Working with the idea of complementing a place, and not competing with it, we use this as a strategy when discussing the complexity of the context.

Scale: Scale, programme and body of a building. Finding local programmatical typology. As the typology in the area seems to that of one building, closely connected to a series of other buildings, with two programs; commercial downstairs and private upstairs, we find it reasonable that the project should adapt to this. That two commercial, or semi-commercial programs like albergue and bath should be united into one building, seems unreasonable compared to the logic of the site, there we split the programs; albergue+bath, whereby the albergue is a semi-public/semi-private program relating to the pilegrime only, and the bath is a public program, relating as well to the general public of Santiago.

Activity: By entangling the programme to the programmes of the neighbourhood, we wish to enhance the contact points between the pilegrime and the locals. Not including to many activities in the albergue, like eating, washing, socializing, the pilegrime has to make use of the local programmes, and thereby contribute to the social and economical development of the city.

The second layer, the bath, offer a new public activity, in the central part of Santiago, that is not there at the moment. Santiago has two bigger sportsbaths, and this project will provide a third one, but with the character of a restitution bath, which is a new service in town.

Concept

What we want to do

PUBLIC

SEMI-PUBLIC / PRIVATE Modelling: By discussing the project through sections, plans and models 1:500, working from outside-in, the focus in the work is on how to connect the programs, and for the body of the project to have a dialogue with its immediate surroundings.

Concept: The project is divided in two parts, buildings, or forms. The get separated entrances. This is to ensure the publicness of the bath and the privateness of the albergue. The architectural discussion in this project will focus on how to, in architectural terms, mold these programmes together in one or two buildings, that at the same time being separate, also complementing the context of buildings its being born into.

BATH

ALBERGUE

PUBLIC HEAVY TRANQUIL

SEMI-PRIVATE LIGHT EXPRESSIVE

A New Connection-A point of departure

New Connection

New plaza

Process

Contextual Dialogues- Meeting the City

Concept Model - Meeting the City

Volume Concept - Directions, Dialogues and Circulation The city(mezzo)

The city(mezzo)

The Camino(macro)

Entrance Bath

Albergue

The Camino(macro)

Entrance Bath

Albergue

The Street(micro) The Street(micro) The volumes of the potential buildings are opening in the direction of different programtical itemes that is of importance for the project. The Albergues entrance is pointed in the direction of the camino and the street life in Rua De San Pedro, The public Entrance(transition point) refering directely to the street as a invitation and the Bath volum relates to the old city, accentuating a visual connection.

Detaching the entrance volum and replacing to creat plaza or more open space

The city(mezzo) Entrance

The Camino(macro) Entrance Bath

The Street(micro) Potential volume circulation- To the city

Albergue

Bath

Albergue

Moving pieces

From the privat towards the public

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A + B

Our volumes studies gave us a starting point to discuss the organization of the three volum pieces that were choosen. The first one shows a more narrow passage way between the different volumes, with the street on one side and the city on the other.We think that this organization makes a static relation between what is privat and what is public.

A + B

By detatching the pices, we have created a more public and dynamic courtyard with the volumes, and made it more clear in what is privat and what is public. The center piece becomes a reception building for the different activities. The idea with this organization is also if it can be easier to add more volumes over time? and in this case, a new street can emerge by attaching what is there and what to come.

Negotiated Item - Walls, Dimensions and Possibilities

The Rua De Belvis walls

6m 60 cm

The Rua De Belvis wall dimensions 3m 2m

60 cm 60 60 cm cm

Our negotiated item is inspired by a local phenonomen that is in Rua de Belvis. A great old city wall that we dont know when was built. The interesting thing is the different dimensions and hights of the walls, and of course the materiality. We ask ourself if this could have a great potential in the designing of the Albergue and Bath? What are the possibilities of the wall and what can we achive by using this as the negotiated iteam?

Spatial organizer

Indoor spatial divider and elevation

Shelter

Loade barrying element

Sitting and dividing hights

Storage

Existing Structure

Lifting the roof Elevation

Introducing new volume

Narrowing the roof, opening around the old structure

Many small pillars

Penetrating the roof with volumes

Filtrating

Pillars

Overhang+passage

Resting

Light ouching

Steps and connection

Constructive

Standby

Opening the new structure to have a dialouge with the old

Adding volumes inside and new openings in the roof

Hollowing Using the old chimmnies as structural and spatial elements

Hights and divders

On the inside

Penetration

New Volum add roofs

Low and tall spatial dividers with levels

Shaping

Balancing

Excavation

Eucalyptus Blue Gum

Material Strategy

1. Eucalyptus is in abundance in Spain and Portugal overtaking local biologies. Using it, will help a sustainable local environment. 2-4. The strengths of the Blue Gum lies within its loadbearing properties. As they are fast growing, they are not suited for outside cladding,, as the begin to deter rather rapidly. 5. The bluegum used in boat construction, reveals its structural qualities. 6. Surface qualities of blue gum.

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Structural Concept - Directions and Circulation, Walls and Pillars

Project

Landscape Plan

Landscape Section

Site

Site

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Site Plan

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Ground floor Plan

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The Albergue Roof Plan

Grid Construction

West Section

Compartment Roof

Floor Plan

Wesr Elevation

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5. Common Area

1. Sleeping Compartments 2. Toilets 3. Common Area 4. Library

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The Bath Roof Plan

Second Floor

North Section

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West Section

1. The Cooling Room 2. Sauna

Ground Floor North Elevation 4.

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1. The Water room 2. Toilets 3. Showers 4. Wardrobe

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The Reception Roof Plan

Grid Construction

North Section

Ground Floor

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1. Toilet 2. Storage 3. Reception 4. Sitting Area

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The plaza

The Reception

The Albergue

The Albergue

The Bath Water room

The Bath Water room

The bus waiting bench

a + b albergue & bath