AMBER-GUOUS on interior garden by CIHANG WANG
DALE NKD VILLA FAGERHEIM Final booklet BAS master course 2014/0529
Fall 2013 Week 3-4
This is the last of a series of booklets made by Cihang Wang on villa Fagerheim in Dale. The main topic of this book is a proposal for re-use the villa, as the summary for this semester's work. For detailed explaination on the present situation and former works that has been done on stuying the villa, please see book 1/2/3.
_01 ON THE BASICS OF THE VILLA The villa locates in Dale i Sunnfjord on the west coast of Norway. It's normally called Villa Fagerheim, following its original owner Oddleif Fagerheim and his wife Thora Nitter Fagerheim's name. It was donated to Nordic Council of Ministers in 1976 and is part of Nordisk kunstnarsenter Dale. The villa was meant to be a school according to its design, but was never used as a school. Fagerheim's family lived in the villa for some years and then several NKD officers lived there. It's not in use now since the atmosphere in the villa was considered unhealthy.
Shopping center Church
Dale i Sunnfjord Dale or Dale i Sunnfjord is the administrative centre of the municipality of Fjaler in Sogn og Fjordane county, Norway. The village is located at the mouth of the river Vassdalselva on the southern shore of the Dalsfjorden in the northern part of Fjaler, about 6.5 kilometres northeast of the village of Flekke and about 20 kilometres west of the village of Bygstad (in Gaular municipality). The 1.38-square-kilometre village has a population (2012) of 1,063, giving the village a population density of 770 inhabitants per square kilometre. In December 2013 a new bridge, connecting Dale with the municipality Askvoll on the northern site of the fjord was opened and replaced the ferry route between Dale and Eikenes.
s Va a lv
The village of Dale surrounded by mountains
Søre 800 Laukelands 678
Jøtelshaugen 582 Havreheia 581
Hålandsheia 511 Løsetheia 518 Svidnova 522
Workshop Villa Fagerheim
NKD Nordisk kunstnarsenter Dale (NKD), is an Artist-in-Residence center funded by Norwegian Ministry Of Culture. NKD is a foundation inspired by the vision of Oddleif Fagerheim and his wife Thora Nitter Fagerheim, who donated their house and land to the Nordic Council of Ministers in 1976. The Nordic Artists' Centre Dale is designed by the architects Haga & Grov from Stavanger, in collaboration with architects Hjeltnes and Egge. The centre has five private residencies of various sizes for the selected artists. The largest residence (91m²) has 3 bedrooms, two houses (67 m²) have 2 bedrooms and two have one bedroom (56 m²). The houses have bathroom, combined kitchen and living room and are fully equipped. The centre has 5 identical north-lit studios, each 50 m². The artists studios have common design making it possible to work with various techniques. The studio walls are white, floors are wooden and height to the ceiling is 5 meters. The studios have wireless internet access. Artists have access to the main workshop equipped for working with wood. The workshop is also furnished with welding equipment.
DALE NKD VILLA FAGERHEIM Location: Dale, Sogn og Fjordane (60°21'33.91'' N, 5°24'05.82'') 71m above sea level Owner: Nordisk kunstnarsenter Dale(now) Oddleif Fagerheim(past) Architect: Peter Ristesund Construction peorid: 1968-1970 Construction Area: 733.4m² Land Area: 1546.8m²
First floor plan
Ground floor plan 0
entrance hall courtyard
E1-01 E1-02 E1-03 E1-04 E1-05 E1-06 E1-07
234 234 234 234 234 234 234
84 53 31 20 16 15 08
36 23 13 09 07 07 03
garage living room office hallway bed room kitchen WC
E0-01 E0-02 E0-03 E0-04
220 220 220 220
23 15 05 05
10 07 02 02
N0-01 N0-02 N0-03 N0-04 N0-05 N0-06 N0-07
250 238 250 250 250 238 238
61 71 39 15 10 10 04
24 28 15 06 04 04 01
storage library technical sauna shower
N1-01 N1-02 N1-03
248 248 248
134 62 05
54 25 02
living room meeting room side entrance
S0-01 S0-02 S0-03 S0-04 S0-05 S0-06
250 250 250 217 250 217
41 38 38 35 07 07
16 15 15 14 03 03
bed room corridor bed room basement kitchen toilet kitchen entrance
S1-01 S1-02 S1-03 S1-04 S1-05 S1-06 S1-07 S1-08 S1-09 S1-10 S1-11
238 238 238 238 238 238 238 238 238 238 238
52 37 36 31 18 18 14 11 06 04 04
22 15 15 13 08 08 06 05 03 02 02
corridor east bedroom kitchen west bedroom bath room laundry storage cloakroom dressing room WC WC
S0-04 E0-04 S0-03
N0-02 N0-03 E1-01
_02 THE 1:25 MODEL Group work: A study model of Villa Fagerheimâ&#x20AC;&#x2122;s indoor spaces. The scale is 1:25. Cardboard is the only material used. The model used to enable better understanding of the building. By looking at it from various scales, playing with it, assembling and disembling it, qualities and relations within interior spaces are shown and explored. The The The The The
model can be seen as an object. model can be seen as spaces. model can be manipulated. model is not the building. building is not a villa.
THE MODEL AS OBJECTS
THE MODEL AS SPACES
Parallel scenes Taking out the blocking pieces creates better continuity of spaces and enables more possibilities of movements. It seems that the villa is exposed in an unfinished state of construction, which is similarly shown in the film â&#x20AC;&#x2DC;Le Meprisâ&#x20AC;&#x2122;(Contempt). by introducing characters into the model spaces, an interaction between people and space is demonstrated, with the same activities and emotions, the story becomes yet a different one.
Redefine the space By redefine the space relations that one space is related to another. Spaces that are blur and transparent, where one can experience a continuous flow of time in a simutanious way.
Night Revels of Han Xizai _Gu Hongzhong (937-975), China
_03 AMBER-GUOUS SPACES The idea of amber best represents my thoughts on the qualities of the villa that i want to creat. The color and transparency of the amber represents the my imagination on space, the way amber forms and seals insects represents my view on preservation of memory.
-the ambiguous space which seals time and memory -in which one experience the slow motion of time -with blurred inside and outside
_04 CREATING AN INTERIOR GARDEN The inspiration from Chinese gardens is the ambiguous view on natural and artificial. The plants are natural, the pavillions are artificial, while the fake mountains are between natural and artificial. It is the artificial that reflects the yearning for nature. By manipulating different natural and artificial elements in a garden, one creats his/her own spiritual home that seperated from the outside world. Gardens are normally exterior(compare to buildings), here the wish is to create a interior garden, in a translated way.
Paintings on twelve months, Qing Dynasty, China
KEEP THE FACEDES AND HEAVEY WALLS
REMOVE MOST INTERIOR WALLS
ELEMENTS INSIDE A CHINESE GARDEN
THE SEVEN AMBERS
the slope garden
the light room
the twin room
the dark room
the amber room
1 THE SLOPE GARDEN A slope indicate the floor level that it connects. Slope arises awareness, quiet but not stoping, white wall and red wall. Sit down or go inside, but not stand.
2 THE DARK ROOM The darkest space in the villa, long and narrow, with three doors, three small windows. At the end, a hole, small enough to let the faintest light come through, with a sliding screen, one can see the blur world outside, in a reversed reality.
3 THE AMBER ROOM This room used to be a living room for the Fargerheim family, now it is used as a storage that lock many collections of the family. I call it amber room and keep it as it is.
1, a big fireplace 2, a luxury mirror 3, portrait of Thora Nitter Fagerheim 4, portrait of Oddleif Fagerheim 5, a black old piano 6, a steamship model with a lamp on it 7, a long table with lots of things 8, two chandelier 9, white curtain 10, a desk with a chair 11, a small knight
4 THE TWIN ROOM Two rooms, seperated by a 50mm wall with a window, one room open to the natural view, the other open to the artificial view, which can be reversed. The 300mm floor hight difference is shown by the window between the twin room.
The double screen
5 THE AEDICULUM The name come from a roman name of shrines inside buildings, which is a room inside a room. This room used to be the office, which had a entrance hall that connected to all the rooms, here the entrance hall is kept while the rest is empty. Now the hall is not a space that connect many rooms, but a space that connect sky and ground.
Aedicula of St. Peter, Old St. Peter's 200 A.D. Rome
plan 1:100 1
section 1-1 1:100
section 2-2 1:100
6 THE LIBRARY The idea of blurring inside and outside is tested here, a library consists of one continuous bookshelf, parrallel to the facade, creating a corridor between outside and inside, the walking distance is extended to feel slowness. Bookshelves divide space, but not seperate it. It always give one awareness of people on the other side.
exterior interior exterior
south side-looking in
south side-looking out
west side-looking out
west side-looking in
north side-looking in
north side-looking out
THE LIBRARY WITH PEOPLE FROM PAINTING
7 THE LIGHT ROOM
Light and lightness, the center of the labyrinth, it's not only a room of itself, it's the light house of the villa.
First floor plan 1:100
section 1-1 1:100
section 2-2 1:100
section 3-3 1:100 5m
ground floor plan 1:100