THE GRAND TOUR 40 groups, 40 locations, 4 typologies. 2014 September @ KTH-A
Fasterna Kyrka
Route
Surroundings
Typology
Mรถrby Castle
Inside
A PILGRIMAGE TO ORKESTA CHURCH Way to the church _ At Ostra Station, take the train in direction to Viggbyholm until Galoppf채ltet _ Take the Bus 27 in direction to Lindholmen. _ Walk 3km (about 30min) to Orkesta church.
NGUYEN VAN Sarah LOTZ Felix
WEGLIN ELENIUS Anna HEINEMANN Aron
EKMAN FLENBERG Emma SUNDIN Gunilla
Group 2 Orkesta Kyrka
A PILGRIMAGE TO ORKESTA CHURCH KLOCKSTAPELN (THE BELL TOWER) The bell tower were likely raised in the 17th century and then coated in wood panel in the end of the 19th century. Open bell towers of wood was a wide spread tradition in Scandinavia and Northern Germany as a solution to host the larger bells which prior to the towers, and when they would be smaller, were commonly put under a hood attached at the churches roof. And as common were also the later culture of coating them in a simple barnlike and often red painted panel. The baroque roof of the bell tower is also quite typical for swedish bell tower from the 17th and 18th century and is probably the original roof. The bell tower lost its rooster at the top during a roof renovation in the 70s and now has a more abstract decoration in corten steel. The north european wooden bell tower is a translation of the Italian campanile into a wooden architecture which has a strong kinship to the likewise north european tradition of Stave Churches and palisade construction method which derives from building techniques in the viking era. The big bell was given to the church in 1681 but recast by Gerhard Meyer 1741 when he also casted the small bell. Meyer was a successful sculptor and aslo remembered for giving a palace at fredsgatan to the Painting and Sculpting Academy which later became to Royal Art Academy and also the first school of architecture in Sweden
ORKESTA CHURCH Orkesta church belongs to Vallentuna parish and is located on a plain surrounded by hilly forests. In the parish is Lindholmens farm during the late Middle Ages was owned by the Vasa dynasty. According to one tradition it was here Gustav Vasa was born. The church consists of a nave with a narrow abside (oriented east-west) and a chancel in the east. To the north lies the sacristy and in the south a small porch. The nave plan widens slightly to the west, where even the walls are thicker. The church is built of gray stone (Castlerock : granit, gneiss, ...) and corner chains of sandstone. In the southern part of the cemetery stands a bell tower, probably built in the 1600s. From the beginning it was an open structure, but at the end of the 1700s it has been dressed in with boards. The stack has a metal covered roof and hood which is crowned with a vane. Originally vane shaped like a rooster, but in 1977 when the church roof was on, it was changed out to a vane of corte steel. At the top are two bells.
THE LICHGATE
THE CEILING OF ORKESTA KYRKA The mural paintings in the ceiling of Orkesta kyrka are made of lime colours and painted on dry surface with, mainly, a red and green tone. Shapes of plants writhe upwards the bars and grow from them out into the canopies, supposedly representing an arbour in summertime. Before this ceiling was covered with leafs, there were paintings of narrative scenes, now mostly vanished. The figure paintings that still exist, has a star covered background. A speciality for the artist is the mouth of the figures; they are recurrently painted as an”M”. In 1752-53 reparations of the church were made implying the walls being covered by white lime colour, in accordance to the ideas of beauty of the Enlightenment that strives to erase the darkness and superstition of the medieval values. The figure murals was restored in 1910, later darkened by soot from the stoves, and again restored in the 1942 and between 1980-81. Despite these changes, most of the figure paintings we can see today is from the late Gothic period, representing the valley of Mälaren, though the oldest painting discovered is from the early Gothic period. Both style and content are from the late medieval times, uniformly illustrating motives from the Bible (the Old Testament).
Orkesta Church is surrounded by a heavy wall of stone, bogårdsmur. The area near the church was sacred ground, vigd jord, and important to keep separated from the land outside the wall. It also kept the mould in place and animals away. It was strictly forbidden to commit crimes in the church area. It should be a sanctuary, fristad, for everyone and was severerly punished. It was called kyrkfrid. The wall was a physical boarder between secular and spiritual space. The entrance to the churchyard goes through a portal gateway, steglucka, to clarify the differences between the outside and the inside world. Earlier there where three portal entrances but now only one in the south wall. It has been rebuild over time. The earlier were built in wood material. This one from 1790 is white polished plastered masonary. It has a barrel vault and pointed arched nisches in the passage. The mansard roof is coated with corten steel as the church.
NGUYEN VAN Sarah LOTZ Felix
WEGLIN ELENIUS Anna HEINEMANN Aron
EKMAN FLENBERG Emma SUNDIN Gunilla
Group 2 Orkesta Kyrka
A PILGRIMAGE TO ORKESTA CHURCH TIMELINE ORKESTRA KYRKA 1100 The building consisting of the longhouse and choir is erected. The longhouse probably has a wooden roof with exposed timber trusses, the exterior consists of brut local granite stone 1300 The wooden crucifix is carved 1400 The Sacristy and Church porch(*1) are added. The brick vaults in the longhouse are built resulting in modification to the roof trusses. The plastered vaults are decorated with frescos depicting the creation and Eden with Adam and Eve. 1490 The longhouse is extended, the walls are built thicker possibly to support a never executed tower 1681 The min bell is donated by countess Catharina de la Gardie. The first bell tower is probably erected for this bell, it is possible that t core of the existing bell tower is from this period. 1741 The min bell is recast in Stockholm, it probably had a crack that mad it sound bad 1750 A round window is cut behind the altar to aid the priests reading of the bible 1753 The interior is renovated on behalf of Lindholmens estate Benches, a balustrade in the back of the church as well as a pulpit are installed. The roof paintings are calked over 1790 A older entrance made of wood in the parameter wale is replaced with a vaulted stone entrance 1791 The bell tower is renovated and clad in wood 1794 The church is rendered and painted white 1817 The windows are enlarged to their present size 1828 The church gets its first organ 1846 The parameter wall is relayed, the work is carried out to benefit the poor in the congregation 1852 The current mapletrees around the churchyard are planted 1854 The calcium stone floor in the chor is lain 1861 The first brick floor is laid in. The benches are painted to look like oak. Imitation painting is typical of this time in Sweden
12th century NGUYEN VAN Sarah LOTZ Felix
WEGLIN ELENIUS Anna HEINEMANN Aron
1880 The wood shingle roof is replaced with sinus corrugated sheet metal. 1910 Restoration under guidance of architect O Österberg. The frescos are re exposed and resorted. The opening between the porch and church is widened and a new door is installed. The benches are painted blue. The window behind the altar receives a lead framed glass painting depicting the head of Jesus. The balustrade is replaced with a balcony for the new organ. 1942 The frescos are renovated again due to them being damaged by soot from the coal fired heating stoves. These are replaced by electric heating under the benches. The north entrance in the parameter wale is replaced by a new hut for the local electric transformer station. 1972 The churchyard is extended westward. A new service building with public toilet for the graveyard and church is erected. 1975–77 The exterior is renovated. The walls are re rendered with lime mortar. The corrugated roof is replaced wit a roof of corten steel. The roof is built up of plates approximately 30x 60cm fastened by underlying clips. Visually from a distance the roof looks a bit like an elderly hammered sheet metal roof but on closer inspection it moor resembles the pattern of a slate or shingle roof. This is probably the only roof of its kind in Sweden 1975–77 The windows are replaced with identical new windows 1980–81 The interior is renovated and the previous organ torn out together with the organ balcony. A new organ is installed and the paintings from the torn out balcony re hung as a wood framed fries behind the organ. New benches are installed in the back of the building in front of the organ. The brick floors are exchanged 1993 The benches in front of the organ are removed 1994 A new memorial grove is built in the churchyard
Orkesta church in 1936
* In Scandinavia the porch of a church is often called by names meaning weaponhouse. Visitors stored weapons there because of a prohibition against carrying weapons into the sanctuary, or into houses in general
Orkesta church in 1936
14th century EKMAN FLENBERG Emma SUNDIN Gunilla
18th century
20th century Group 2 Orkesta Kyrka
A PILGRIMAGE TO ORKESTA CHURCH EXPERIENCIES OF THE SPATIAL ENVIRONMENT Small passenges, secret entrance When approching the church it's hidden by trees, fisrt you see the bell tower, then the lichgate and finally the churche itself. Glade The experience on entring the church is like walking in a dense forest and reaching a glade. The narrow porsh is like a link between outside and inside. The painting on the ceiling reinforced the feeling to be in a glade. Different between ext/int There is a contrast between the simple exterior and the decorated interior of the church. Outside, it seems massive, without embellishment although inside reflects the complexity of different ages. Manageable with the scale Today we experienced the church has a manageable scale but when it was built we can imagine it was an impressive building. Unpreciseness (no straight lines) The unpreciseness of the church adds to our experience of the building a feeling of rustic cosiness and a feeling of a long history being present. Inconsistance / materiality The elements of the church, inside, seem to be part of a collage and give a feeling of inconsistance. The brick floor, the painted benches, the baroque altar and the medieval decorated ceiling present different snapshots of the church's history. Fortification : protected space The area of the church looks like a fortification place: the dry stone wall enclosing the space, the green grass in the middle of yellow fields, the bell tower which looks like a watch tower, ‌ Acoustic The good acoustics adds a feeling of wellness. The sounds enclosed the visitor when someone plays piano or organ. Difference between see a picture and see in reality The documents and darwings give us a good comprehension of the building but it doesn't reveal the real perception of the church. In the distance/closer The church looks very old in the distance but on a closer distance you realize that the building has been renovated and altered.
NGUYEN VAN Sarah LOTZ Felix
WEGLIN ELENIUS Anna HEINEMANN Aron
EKMAN FLENBERG Emma SUNDIN Gunilla
Group 2 Orkesta Kyrka
A PILGRIMAGE TO ORKESTA CHURCH
COMPARAISON The church of San Pietro (Panarea, Aeolian Islands) Along the road to the mountain there is the church of San Pietro, the main religious building, from where the 28 to 29 June stand the eponymous procession. San Pietro is the patron saint of the island and the fishermen. The procession, after a walk through the streets of Panarea, continues in the sea and ends in the evening with the traditional fireworks. The church built around the turn of the nineteenth century, but consecrated many years later, is the proof of people's devotion towards their own patron saint, in which they placed their hopes of a peaceful life and abundant fishing. It was this devotion that caused the inhabitants to build a suitable place where to carry out normal religious activities and that could contain a greater number of the faithful. Unlike Orkesta church, San Pietro is located in an urban area of narrow cobbled roads twisting between small white houses with terrace. We discover the church at the corner of a street, distinguishable from other buildings by its bell tower. The facade faces the sea and offers only a massive wall on the street without openings. By not opening on the street but on the sea, the church takes part to the representation of the city, becomes one with Panarea and contributes to its image. Altough there are not from the same time and style, the Orkesta church and San Pietro's church have some similarities. First, both churches have “protected” access. In one hand, a dry stone wall closing the space reserved for the church and a small porch marks the transition between inside and outside. On the other hand, the door don't open on the street but on a parvis facing the sea. Second, there is a research of different materialities, a play on the colour: frescoes on the ceilings, ceramic flooring, … These elements participate to the dynamism of the architecture. For example, mural paintings are used to enhance the lines of the architecture and sculpture.
NGUYEN VAN Sarah LOTZ Felix
WEGLIN ELENIUS Anna HEINEMANN Aron
EKMAN FLENBERG Emma SUNDIN Gunilla
Group 2 Orkesta Kyrka
LANDING AT LÄNNA
TIME AND EFFORT EXPERIENCE OF SCALE THE ATMOSPHERE WHEN DOES THE TRIP BEGIN? HISTORICAL LAYERS MATERIALITY PRIOR KNOWLEDGE LANGUAGE VS. OBSERVATION PURPOSE COLLECTIVE EXPERIENCE
Länna Church
JOURNEY CHURCH BOATS Origins The tradition of church boats have old and not very well known origins. Already before christianity was introduced in Sweden there was a system in place organising military defense and tax collection connected to "skeppslag" or boat teams. The older "skeppslag" and the newer "kyrkbĂĽtslag" or church boat teams show many similarities. The boats themselves were often large rowboats and each farm or family in a villlage had a certain number of oars that they were responisble for manning. The big difference is that the older system was mandatory and strictly regulated and enforced as opposed to the church boats system that was voluntary even though church attendance was mandatory at times.
STOCKHOLM
We travelled to Länna in two cars. We left from different parts of Stockholm and headed north separately and ended up arriving at the church from two different directions. On the way back we took the same road and stopped by Penningby castle.
FrĂśtuna kyrka
The boats The church boats vary somewhat in style and technology from different landscapes. The Roslagen area boats are unfortunately not very well documented and it is believed that since many villages and families had boats for other purposes between four and eight pairs of oars with a capacity to carry up to 50 persons. The boats are maneuvered by the helmsman who controlled the rudder and acted as captain. The helmsman was often a village elder.
Going to church The sunday trip to church were not only a time for communion with god but an important social forum and sometimes also a time and place for trade. The boat trip becomes part of this social event and forms subgroups in the parish. Many stories exist that suggest that competition and rivalry existed between boat teams. Races between church boats were common and this has led to boat race competitions that still exist today.
Penningby slott
Länna Länna church lies on the lake Länna kyrksjÜ wich isn't conncted to the Baltic Sea that is close boats and even today the parish maintains a boat and boat house to keep the tradition alive. Some sources say that there were as many as six church boats on the lake.
LÄNNA
FRÖTUNA
=omkr. 1300 =1400-ts förra del. =1400-ts mitt. =omkr. 1300 Fönster
0
0
5
10
15
1
2
3m
SORUNDA CHURCH - the church of contrast
SORUNDA CHURCH - the church of contrast
INTERIOR EXPERIOR
SORUNDA CHURCH - the ch church hurch of co contrast ntrrasst
SORUNDA CHURCH - the church of contrast
SORUNDA CHURCH
SORUNDA CHURCH
- the church of contrast
VÄRMDÖ CHURCH
COMPARISON SORUNDA/VÄRMDÖ
VÄRMDÖ KYRKA
SIX DIFFERENT PERCEPTION S
EXPECTATIONS VS REALITY
! ! "# $ % GROUP 5
|
FRANCESCA PERNIGOTTI
|
KRISTINA BARNISKYTE
|
FELIPE FRACO
|
HILDUR GUDMUNDSDOTTIR
|
BILL LEE
| ANDERS TÖRNGREN
F R O M S L U S S E N , E A S T WA R D B Y B U S
D R AW I N G S
1300’s
%
1430’s
1460’s
% ! !
1480’s
'
1600’s
%
1689
( ) !
1738
(
1750-1759
*
1763-1764
(
1860
+,- ! .
1915
% /
1933
( 0 1
( ) !
1969
1 ! 2 3 % 4 6 7 7 8 9 + .
1991
( )
by Manon Deijkers, Johan Fransson, Pau Massana, Lorena Simone.
on our way
Roslagskulla Kyrka
on location
Kyrkog책rdsplan, uppm Kyrkans grundplan, up och Arvid Fuhre, revid
materiality
furnishing
decoration
technical context
spatial context
The combination of the stone wall and the trees makes a very clear distinction between ... It is a dark space between the enlightned middle of the plot and the surroundings
historical context
Katarina Kyrka
on our way back
sweden
sigtuna
stockholm
Mariakyrkan
sigtuna city
St Olaf
mariakyrkan complex
Administration (Modern) Cemetery Ruins Stone Wall
Gustav Vasa reformation - south convent demolished. Main church structure left intact. churches in Sigtuna demolished.
1530
Major restoration work. Removal of some medieval frescoes. Restoration of the nave. Renovation of interior. Group Visit
1904/05
2014
Excavation Results 2009
Additions / subtraction to existing structure period
Roman Catholic
1960s
Church in poor state. Repairs ordered. Pulpit added.
1950
1641
Inception & Building Period
Most
Repairs to nave, arches and roof. Various structural extensions to nave, sacristy and vaults.
1290
Earlier unknown structure (GPR)
Church nave completed. Full completion
Convent - unexcavated / foundations (GPR)
1255
Convent - excavated (1895-1977)
Church cows inaugurated.
Mariakyrkan
1247/48
1895
Creation of the Dominican order at Sigtuna.
1935
1237
Church Development Timeline Art Deco Neo-Gothic Colonial Modern
Renaissance General Gothic Baroque
Romanesque Convent: multiple programs + structures
1967
Church: singular program + structre Restoration and excavation period
1977
Swedish Lutheran
1945
Cemetary / Burial Place
777 years in function
Skoklosters Kyrka, mid 13. Century
FÄRENTUNA KYRKA CHURCH
NATALIA DAUKSZEWICZ MARTIN ERIKSSON ARVID KALMARU PAVEL MUSAMBA NADIA PEPELS JUSTUS WIKSTRÖM
JOURNEY
KTH THE GRAND TOUR 2014 GROUP 8 FÄRENTUNA CHURCH
FÄRENTUNA KYRKA CHURCH
ATMOSPHERE
FÄRENTUNA KYRKA CHURCH
1100 1690 1450 1400 1300
PROGRAM
FÄRENTUNA KYRKA CHURCH
DETAILS
FÄRENTUNA KYRKA CHURCH
SUMMARY
> OPENESS / SECLUSION > CONTRAST INTERIOR/EXTERIOR > EASTERN TOWER > ALTERED PLAN / ENTRANCES / TOWER > MODEST PARISH HOUSE > CHERRY ON THE TOP > SYMBOLIC DETAILS > REFERENCE
NPB DBUIFSJOF
! " ! !
UJBOMF
I N LN
TJNPO TBSB
À Õ« £ä
- F i > ÞÀ >
Villa Aske
Villa Aske
Villa Aske
Villa Aske
Villa Aske
RÅNÄS SLOTT
RIMBO
VALLENTUNA
ÅKERSBERGA
SOLLENTUNA
TÄBY
RÅNÄS MANOR
DANDERYD
STOCKHOLM
LIDINGÖ
JOURNEY
HISTORY
BUILDING
DETAILS
LANDSCAPE
SITE + LANDSCAPE
the journey - Stockholm - M채rsta - Steninge visionary drawing of steninge
siteplan view from the water
13 STENINGE SLOTT
PLAN + SECTION
plan - entrance floor analysis geometrics and columns
on site analysis of plan + facade section through the staircase + through the dome
13 STENINGE SLOTT
REFERENCES
plan - Vaux-le-Vicomte siteplan - Vaux-le-Vicomte
plan - Lietzenburg - Charlottenburg by Tessin + Roissy en France Brunelleschi Pazzi Chapel - detail of columns + plan + section
13 STENINGE SLOTT
STAIRS + DETAILS
sketches of steninge staircase stircase refrences
analysis of doors - in reference to use and hierarchy study of columns
Staircase in San Giorgio Maggiore, Venice (1643–1645)
Staircase in Nationalmuseum, Stockholm (1866)
13 STENINGE SLOTT
LAYERS
restore or renew? kitschy? knowledge and resources disharmonious or diversified?
13 STENINGE SLOTT
Penningby Slott
PENNINGBY CASTLE , XIV-XV c.
Group 14: Dzenis Dzihic, Tove Jensen, Olga Kuchma, Mattias Pedersen, Axel Zedell
The Journey
At the Site
Quality of experiencing spatial environments in person and as an image from a contextual scale to 1:1, life size SENSES Perception through all human senses. Tactile qualities, smells or sounds that are impossible to perceive through images can be experienced. THREE-DIMENSIONAL EXPERIENCE Perception of depth, perspective and true color and light rendering. OBJECTIVITY Real, true and complete experience. Every user gets the possibility to do his/her own interpretation without any other “authors� framing or manipulation. TRUE SCALE The environment can be put in direct relation to the human body. Dimensions and distances can easily be understood. JOURNEY The journey or the spatial sequence of reaching the destination is part of the experience and brings deeper understanding to the actual site/object.
CHANGES Instant changes (due to weather, sun etc) or over time (material changes, ageing etc) can be perceived and understood. HUMAN INTERACTIONS Possibility to observe and interact with users and visitors of/ within the same space. STRUCTURE Understanding the construction of the environment and the relation between the different elements CONTEXTUAL UNDERSTANDING The object in its delimited context. Relation to neighboring objects/environments is clear and open for interpretation. ACCESSIBILITY Actual possibility to access and interact with the space itself and test/use its possible functions.
Simplicity Through Geometry
LISTER COUNTY COURTHOUSE 1919 - 1921, E.G. ASPLUND
NATIONAL ASSEMBLY BUILDING OF BANGLADESH 1982, LOUIS KAHN
SVINDERSVIK
SVINDERSVIK
SVINDERSVIK
SVINDERSVIK
SVINDERSVIK
Excursion Tyresö Slott Description Description ofof theexcursion excursion Weather: sunny & warm · Weather: sunny & warm Start /End: KTH/ Tyresö Slott · Start/End: KTH/ Tyresö Slott Public transport · Public transport Tekniska Högskolan T-bana
From KTH to Gullmarsplan by metro
Transfer to bus at Gullmarsplan
Tekniska Högskolan T-bana T 14 T 14 Slussen T-bana Slussen T-bana T 17/18/19 T 17/18/19 Gullmarsplan T-bana Gullmarsplan T-bana BusBus 875 875 Tyresö Slott Tyresö Slott Total time: 59 minutes · Total time: 59 minutes On the way, the landscape chang· One the way, landscape changes es from the the urban view into the from the urban view to the suburban countryside scenery. scenary andSlott thenisthe countryside forest. Tyresö close to the nature, · Tyresö Slottbyis the so close to nature. sounded forest. Excursion Map
Vernacular Housing Nearby
Bus 875
Tyresö Church
General layout plan
The view of Tyresö Slott
Building Documentation
Northern Facade
Front Gate
Port in East Wing
Southern Facade
Northern Corner Tower
Southern Corner Tower
Historical Context Tyresö Slott Tyresö Slott in 1661
Tyresö Slott in 1925
Tyresö Slott is a national-romantic castle setting from turn of the 20th century. Even though the three parts of Tyresö Slott are built in different times, the whole Tyresö Slott looks like an integrity.
Tyresö Slott now
Tyresö Slott in 1903
Tyresö Slott in 1925
Tyresö Slott in 1909
Tyresö Slott after 1925
Layout plan of Tyresö Slott and its formation
Spatial Environments
-
East and west wings envelope and protect space before building Forecourt provides a sense of grandeur to the building framing the view of the main castle On approach from the church the east and west wings draw the eye in to the ornate front door of the castle
In the style of an English landscape garden the site has a series of monuments set against a backdrop of picturesque nature.
Archways frame views of the surrounding English garden.
Low ceilings give a sense of compression and tension which is then released as one enters into one of the open spaces
Our approach to the building was from around the west wing. So the grandeur of the space was hidden and then revealed
Smaller voids through the walls allow for one to view through to the courtyard beyond.
Reference Object: A Palladian Villa in an English Garden in Sweden
Villa Angarano Bianchi Michiel, Andrea Palladio, 1570, Veneto, Italy
Source: wikipedia.org
Tyresรถ Slott, 1600-1900s, Stockholm, Sweden
Source: wikipedia.org
! # $ the site is similar to the work of William Kent and Charles Bridgeman. The English Landscape Garden itself was inspired the Palladian Villas in Veneto.
The east and west wings of the castle envelope the % ( ! $ $ similar fashion to the Villa Angarano by Palladio. While the initial design for Villa Angarano was by Palladio the
$ ) design from the 1540s. The central villa was rebuilt in the 17th century by Baldassarre Longhena. This piece-meal ) $ * + #
BOAT
BUS
WALK + BIKE
THE GRAND TOUR - ORIENTATION COURSE
FALL 2014
GROUP 19
ULF EDGREN
ÁLVARI HOYUELOS
KAROLINA MELLBERG
EMILIE NÄSSTRÖM
JOHANNA TUULSE
WENNGARN TODAY
“ improvement, openness, integration, involvement and commitment”
-
October 2013
June 2014
Sk책nelaholms Slott THE GRAND TOUR : KTH GROUP 20
THE GRAND TOUR : KTH : SCHOOL OF ARCHITECTURE
HISTORY
THE GRAND TOUR : KTH : SCHOOL OF ARCHITECTURE
SITE / LOCATION
THE GRAND TOUR : KTH : SCHOOL OF ARCHITECTURE THE GRAND TOUR : KTH : SCHOOL OF ARCHITECTURE
CASTLE
GUEST HOUSE
COACH HOUSE
Building detail & hierarchy
THE GRAND TOUR : KTH : SCHOOL OF ARCHITECTURE
Representation floor
Section
Floor plan
Residence floor
Plans
THE GRAND TOUR : KTH : SCHOOL OF ARCHITECTURE
- OBJECT - Cabinet of Curiousities: A Collector’s Tale
THE GRAND TOUR : KTH : SCHOOL OF ARCHITECTURE
Sk책nelaholms Slott THE GRAND TOUR : KTH GROUP 20
THE GRAND TOUR : KTH : SCHOOL OF ARCHITECTURE
“Chi poco vede niente pensa� Filippo Juvarra (1678-
A52O2A Orientation course - FT 2014 Elise Dorby , Olof Jondelius, Samuel LiljetĂśrn, Ă…sa Rhodin, Michelle Vallomy
EXCURSION
MAP - DETOUR
Our Grand Tour started with a Garage Plan.
The eminent driver took as on a...
WHEN/WHAT/WHO/WHY Skebobruk is a typical “bruks�-environment. It means an environment where the settlements revolve around a ! " # ! the lower your hierarchical status were. $% & ' ! ' )*+' ++ , language spoken in that school was French.
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...detour in Norrtälje where...
...all parking lots look the same.
But we made it to Skebobruk!
EXPERIENCING SPATIAL ENVIRONMENTS AT 1:1 = > ! > ? 9 @ ! ! = ! ? 9 !
9 ! ? B ! D K by the sight. ? > : > twisted in a camera lens. ? 9 ! ! > ! ! D possible to get by locking at a photograph. ? Q ! ! ? Z Z could in other words be a lie. This is evoked by a site visit. ? , ! ! [ > ! >
Physical model of Skebobruk - 1800’s
Drawing of Skebobruk today
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South facade of industry buiding
Main facade industry buiding - towars east
THE FORGERY
Section/elevation of the forgery
Section of the forgery
Photo of the forgery from the same view as the sketch to the left
Perspectives of the forgery
Perspectiv of the industry from bridge in the east
Photo of the bridge from wich the skethsh to the left is drawn.
HOUSING In the village, the old workers’ dwellings stand by their particular composition. They seem to want to create a sort a main road. This volontÊe is also marked by the absence house. However we get clearly : x lic space (shared), intermedi " # ! spaces (backyard).
Perspective of workers’ homes
Plan of workers’ homes
Window
Ornamentation of roof base
B`]3f9 34 3 ' j enced by classical dĂŠcor. The sketch above shows "$ K &# "$ &# '
3 ! "$ &# two parts: the top resumes classic dentil decora "$ &#D >
the classic element. Ornamentation of roof base
Fasade perspectve of the housing
Tempio dei Dioscuri (6 d.C. - Roma)
Arco di Tito (1 d.C. - Roma)
REFERENCE
We can compare Skebo Bruk village with some old in ` ' @ , ! " {{)# ' , " {|*# > } ! ' % ! ~ ] " { # These are actually real small industrial villages with the ' some shops. But unlike Skebo Bruk area, Port Sunlight and Saltaire de! ^
' ' produced by employers town planners inspired urbans ' would include all the necessary equipments and agricul ' becausse more and more people want an individual house ! ! ' [ $ & x ~ ] ' !
Site plan of Saltaire, England
Brick
Street in Saltaire, England
Timber
Iron
Event space, wood strusture
Interior of the forgery
Iron detail
Details of brick oor
Details of brick wall
Ortala Bruk Established in 1586 Owned by the state (Kronan) Burnt down in 1719 by the Russians as an effect of the war with Karl XII The Mill 1747 Cole house was built in 1789 Main building 1864
Ore from the mine in Herräng was
1758 when it was bought by Finlay Jennings.
Journey there
! or why the hell should I go there. " # $"
its 3-dimensionality it has to be % " & ! ' ! there. " ! % * ! % " + !
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! % , ! the human eye and a camera react very differently to differences in lighting. " / !
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LANDSCAPE THE JOURNEY
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PERCEPTION VERTICAL_HORIZONTAL & & 0 *& + 0 % * + F & % & * + & *
relation between scales
The area of the harbour is very much determined by a horizontal net + + + & ** * & % % + ++ * + &
density of goods
The observer´s eye struggles to assess the buildings in regard to height
+ * = river = railways = highway = roads
subjective perception of scales
Residential House
Storagehouse
SĂ&#x2013;DERTĂ&#x201E;LJE HAMN | FLOWS
relation between scales
Lamp pole
Trucks
Cranes
Piles of Material
Man
Grain Silo
Storehouse
Bridge
Trees
Tanks
DAICHI SATO_MARGAUX HAUCHECORNE_MARIE MAGHE_REBECKA TISELIUS_STEFANIE DAHN
MODERNIST INSPIRATION GRAIN_SILO : LANTMĂ&#x201E;NNEN
CitĂŠ Radieuse Le Corbusier
Marina City Bertrand Goldberg
Le Corbusier said in â&#x20AC;&#x153;Vers une architectureâ&#x20AC;? : â&#x20AC;&#x153;Primary forms are beautiful forms because they can be clearly readâ&#x20AC;? and â&#x20AC;&#x153;Cubes, cones, spheres, cylinders or pyramides are the great primary forms which 0 ?
Industrial architecture has inspired a lot the modernist mouvement such as silos. These landmarks are anchored in the collective memory. Their forms are known by everyone. SĂ&#x2013;DERTĂ&#x201E;LJE HAMN | BUILDINGS
Crown Hall Mies Van Der Rohe
DAICHI SATO_MARGAUX HAUCHECORNE_MARIE MAGHE_REBECKA TISELIUS_STEFANIE DAHN
T
O
U
C
H
MATERIALITY
SÖDERTÄLJE HAMN | MATERIALS
DAICHI SATO_MARGAUX HAUCHECORNE_MARIE MAGHE_REBECKA TISELIUS_STEFANIE DAHN
non-place
mental tour
texture
tessellation experiment
mood palletes
DIAGRAMS
THE GRAND TOUR _ KTH ARKITECTUR _
Sept 2014 _ A4201A + A5201A _ LEARNING FROM BARKARBY GROUPE 25 _ Delfau Marie - Friberg Elin - Kotvan Michal - Olsg채rde Joel- Wawrentowicz Agnieszka
28
0m
L
IKEA is a two storey building without windows to keep focus on the products they selling.
83m
M
One storey building still with focus introvert.
230m
S
One storey buildings designed as a village for pedestrians with focus on the exterior.
MATERIALS
THE GRAND TOUR _ KTH ARKITECTUR _
Sept 2014 _ A4201A + A5201A
_ LEARNING FROM BARKARBY
GROUPE 25 _ Delfau Marie - Friberg Elin - Kotvan Michal - Olsg채rde Joel- Wawrentowicz Agnieszka
REFERENCE
>ĞĂƌŶŝŶŐ ĨƌŽŵ >ĂƐ sĞŐĂƐͺ ZŽďĞƌƚ sĞŶƚƵƌŝ ĂŶĚ ĞŶŝƐĞ ^ĐŽƩ ƌŽǁŶ
THE GRAND TOUR _ KTH ARCHITECTURE _
Sept 2014 _ A4201A + A5201A _ LEARNING FROM BARKARBY GROUP 25 _ Delfau Marie - Friberg Elin - Kotvan Michal - Olsgärde Joel- Wawrentowicz Agnieszka
GR26: GUSTAVSBERG
OUR TRIP TO WIRA BRUK
WIRA BRUK
STOCKHOLM
GRANDTOUR#27 Mimmi Gustafsson, Lukas Petko,Tobias Lidman, Tobias Stenberg and Valný Aðalsteinsdóttir
WIRA BRUK
After a long and tedious 1,5 h car ride, it was with great relief we reached the site of Wira Bruk. We were welcomed by a rich and luscious greenery, sprinkled by the small, red, white framed, wooden houses, so typical for the Swedish rural idyll. It was like entering one of the many stories by the famous author Astrid Lindgren. We walked along the small lake, around which the buildings of Wira Bruk were clustered, to reach the old forge. It was a long intriguing building, with a large chimney inside. Situated close to the steep fall of the streaming whater, it was also a very beautiful place to be at. It didnâ&#x20AC;&#x2122;t take long for us to reach back to the starting point of our route around the lake. We were Indeed happy and quite satisfied with what we had seen. SMALL FAKTORY
COFFEEHOUSE
MUSEUM
SHOP
BIG FAKTORY
HISTORY OF WIRA BRUK During the golden age of Swedish military power, the so called â&#x20AC;&#x153;stormaktstidenâ&#x20AC;? (1611-1721), Wira Bruk was the location of the most prominent weapons forge in Sweden of that time. Thus Wira Bruk served a much darker purpose, than one might imagine from its charming looks. The vertical force of the stream, around which Wira Bruk was built, served as a power supplier to the sledge of the forge (on which a major part of the business was dependent). Wira Bruk served both as a working place and a living place for the smiths, hence housing, a court house, even a pub/restaurant constituted the surrounding building complex of the two main forges. Wira bruk was founded around 1630, by Claes Fleming - a powerful military man and politician at that time. Wira bruk survived his death in 1644 and continued to supply the Swedish army until the end of the 16th century. Wira bruk , since being the top provider of weaponry to the Swedish army, could benefit from a number of royal privileges - for example; a) the exclusive rights to deliver rapiers, sabers and bayonets and b) tax relief. As Sweden gradually became a more peaceful country, Wira Bruk changed its main production from weapons to farming tools. By 1948 the forging stopped completely. 1965 the Swedish state took the initiative to renovate the buildings of Wira Bruk, from then on the site was preserved as a museum for people to visit and relive what Sweden used to be during its time as one of the greatest powers in Europe.
RESEARCH At first glance, the architecture of Wira Bruk may seem homogenic . The buildings are all in the same material, red-painted in classical “falurött” with white painted window frames. But after further scrutiny one can easily see that within the seemingly conformistic architectural expression of Wira Bruk, there is a great deal of variance. Coloring and materials may be the same from house to house, but the shapes of roofs, windows and doors are very different. Also the positioning of windows and doors varies a lot from building to building as well as the shapes and sizes of the buildings.
REFERENCES Colourful architecture in Greenland The colourful tradition of the characteristic, brightly coloured houses began in 1721 when Hans Egede first came to Greenland together with a wooden house kit sent up from Scandinavia. The colours were practical and indicated the function of the building: Commercial houses were red; hospitals were yellow; police stations were black; the telephone company was green and fish factories were blue. Combining old and new styles came with establishment of Home Rule in 1979. It signalled a shift towards architecture which linked old and new expressions. Big towns saw a return to the colourful wooden houses typical of the colonial period and spacious, light dwellings were erected standing two-three storeys high. A wide range of colours were used, and purple, pink and orange also appeared in the urban landscape. Fisherman architecture in Lofoten, Norway Rorbu is a seasonal house used by fishermen, normally located in a fishing village. The buildings are built on land, but with the one end on poles in the water, allowing easy access to vessels. The style and term is used along the coast of Western Norway and Northern Norway, and is most common on Lofoten and northwards to eastern Finnmark. When it became customary to paint the cabins, red paint based on cod-liver oil was cheapest and commonest. The use of rorbu for fishing has diminished and the style of housing is now largely used to rent out to tourists. To preserve the character of the villages where rorbus are located the new houses are built in the same style, painted in the same colors.
GROUP 28
GROUP 28
GROUP 28
GROUP 28
GROUP 28
THE
GRAND
I R M A G G L I E no 30 RINDÖ P
SARA LUNDMARK, SOFIA SKOGSEID, ALESSANDRO COMOLI, ANNIE FLODSTRÖM, ALEXIA STAAF
2 1 3 4
5000 m
Oskar-Fredriksborg
Reference: Fortress of Suomenlinna
PLAY
EXPERIENCING ”Architecture domesticates limitless space & enables us to inhabit it, but it should likewise domesticate endless time & enable us to inhabit the continuum of time”. Juhani Pallasmaa “The eyes of the skin” 2009 “What I am thinking of are my human surroundings and of the building becoming part of people´s lives… That is the first transcendent level in my work: The attempt to conceive the architecture as a human environment”. Peter Zumthor “Atmospheres” 2006 ENTRANCE “Architecture occurs at the meeting of interior & exterior forces of use & space”. R. Venturi “Complexity & contradictions” 1966 The entrance to a building, the passage between inside & out, that portal where we leave the limitless space of our planet´s atmosphere to enter the safety & enclosure of man-made form. It is a place where the physical experience of the building itself begins. PROMENADE – PASSAGE “The movement between rooms is as important as the rooms themselves, & its arrangement has as much effect on social interaction in the rooms as the interiors of the rooms” Christopher Alexander “A pattern language” 1977 Movement between spaces is an important element in the creation of surprise.
1. Lower works 2. Entrance 3. Living quarters 4. Front battery 5. Flank battery 6. Toilets 7. Covered walkway 8. Upper defence works 9. Fixed battery 10. Courtyard 11. Dungeon 12. South caponier - entry 13. North caponier 14. Power station
PROTECTION Represented in thick walls, small windows, local materials “We have lost our sense of protection & preservation” Luis Barragan
â&#x20AC;&#x2DC;The hands want to see, the eyes want to caress. Johann Wolfgang von Goethe Peripheral vision integrates us with space, while focused vision pushes us out of the space, making us mere spectators. Juhani Pallasmaa
LADAN Kungs채ngen Rural vernacular
Group 32
JOURNEY
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â&#x20AC;&#x153;Through electric fence, I see a barn far away, and hear a tractorâ&#x20AC;?
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“We passed by a barn, too bloody quickly, damn it, no time to draw well”
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“Details of a tree, the bark kind of speaks to me, or should I see barks?” “A red wooden wall, a windo not large, nor small, it’s medium sized”
34. K책rsta, Backa g책rd
34. K책rsta, Backa g책rd
34. K책rsta, Backa g책rd, 1:200
34. K책rsta, Backa g책rd
34. K책rsta, Backa g책rd
34. K책rsta, Backa g책rd
34. K책rsta
34. K책rsta, Backa g책rd
34. K책rsta, Backa g책rd
FRÖSUNDA RURAL VERNACULAR
2
3
4
1 5
6
BARN - Odensala In Urban sc ale the barns do not
area howeve r at a single scale they are laid out.
Urban Scale
Stavros Chrysovergis - Elsa Jannborg - Lonneke Oosterwaal - Rebecca Mooney - Zhao Weiyong
BARN TYPES Three-Bay Threshing
Hewn Log Barn
Reference
Linear-Cattle Pen
Three-bay Oak Framed Barn - John Daborn- Surray
Blake Place Cabin - David Hall - Shaw Island
drawing
Connecticut USA
This is a L-shaped barn with the main 1 and a half story gable-entry gambrel-roof barn intersected by a 1 and a half story gable-roof barn on its Features
eastern -facade.
An average three-bay barn measures 30x40 ft and has a large double wagon door on its lateral side. The interior of the barns are characterized by a center similar to the breezeway of a crib barn. The double doors generally opened onto the center drive which divided the building grain storage and the other for livestock.
These are simple 1 or 1½-story struc
ticated than another barn type. Log cabins were constructed with either a purlin roof structure or a rafter roof structure.
Linear-Cattle Pen analytical Sketches
The barn
s and the
houses....
Three-Bay Threshing Analytical sketches
ent. t s i s n o c e arns wer b e h t f o lity only. a i m r m e t o a c t m s The used mo s a w d o Wo
Grass
Hewn Log Barn Analytical sketches
d Rough re
Through ou noticed th t our walk in Odd e e colours of the bar nsala we same. Th ns stayed e dark re the d wooden posed by walls jux tithe green grass.
wood
The Grand Tour #38 Turinge
The Grand Tour #38 Turinge
The Grand Tour #38 Turinge
The Grand Tour #38 Turinge
The Grand Tour #38 Turinge
THE JOURNEY
SITE PLAN
THE FOLDING EXPERIMENT
THE WHISPERING GAME
VISUAL REPRESENTATIONS
OLD VS NEW
FARM PLANNING The buildings should be oriented in accordance with regard to the surroundings and different climatic conditions. A high and dry location, preferably with a free and beautiful view. Good communications. Small openings oriented towards the south for northern climates. The dimensions of the house is adapted to the size of the farm and the amount of farm produce. Barns, brew houses and storage for hay should be built fairly far from the house to avoid fire risks. Flammable activities should be situated outside the farm. Measures should be taken to ensure that all buildings are well lit by daylight. The economy buildings were centrally placed within the arable land whereas the residential buildings could be isolated some ways off. Recommended: upland south facing position with plentiful water and proximity to a bigger community and also access to good land or waterway. Animal accommodation should be adjacent to the hayloft. THE IMPORTANCE OF CARDINAL DIRECTIONS Place the farm in accordance with the cardinal directions. Rooms for the storage of grains should be situated high and facing north or northeast, as this will ensure the grain will not warm up and will be cooled by the wind. If the rooms are situated differently pest insects, likely to ruin the grains, will generate. Vitruvius’ example: light should flow from the east, as this will calm the animals. THE EXPERIENCE A building looks entirely different from up close than from a distance when situated in a high location. A building situated within an enclosed site gives a radically different impression than a building in open terrain. We didn’t experience the feeling of intruding on the barns situated in open terrain even though they were on private property, an exemption from this were barns placed in clear u-formation. STRUCTURAL/TECHNICAL Important to see to the water runoff. The roof has likely been replaced, now corrugated sheet. Every one of us had drawn the roof in some detail on our common sketches – something that was unconsciously noticed. Commonsensical rational solutions. The spaces primarily address the functional needs of keeping the produce in good condition rather than endowing the building with elegance and beauty. The rustication, the proportion of the windows. Window-to-wall relationship. What color is acceptable and used. The choice between wood and stone – a matter of structural engineering. Were there even blueprints for the building? A sort of basic plan drawing was always made whereas the technical construction of the roof and walls were the result of a traditional construction method. The esthetic design of the facades and roofs in the form of doorways, shutters and windows was characterized by a quest for symmetry. Cost efficiency: master timber builder and/ or a local work force consisting of neighbors or a corps of hired carpenters working with locally sourced materials such as stone and wood.
Låssa
DECORATION The decoration of buildings is often a question of social matters – esthetic ideal of order, bearer of social symbolic values, nonideological function and tradition. Mostly decorated entrance portals and doorways. Symmetrical relationships between the different buildings, the design of the facades and in the construction of gardens, avenues and roundabouts. Silted economy buildings painted with falu rödfärg. TRADITION A profession across the generations, the farmer erects his buildings in accordance with the same model as his father and grandfather before him.
BRO STATION
MOT STOCKHOLM
LÅSSA
TIMELINE 9.28 10.00 10.15 10.25 10.45 11.05 11.10 11.43
Departure from T-Centralen Arrival at Bro and beginning of walk. Discovery of rune stone. Bro Kyrka and graveyard. First sightings of barns, modern examples. Stopping at interesting barn. Found old barn with an interesting ramp Lunch sitting on the ramp.
12.15 12.30 13.15 13.25 14.45 15.29 16.07
Exploration of the area Discovery of old school Collaborative sketching Individual drawing and sketching Quick walk back Journey back towards Stockholm Arrival at T-Centralen, Stockholm. End of tour.
LÅSSA
STOCKHOLM C
REFERENCE OBJECTS: CHEMOSPHERE / HIGH LINE The similarities between these two projects, the vernacular barn and the modernist home, are quite clear. The entrance is above the ground in both cases as they are located on a steep slope, making it necessary to enter by a ramp and a bridge. The visitor passes from the surrounding nature and into the buildings, with the green actually following the ramp a bit on the way. The Chemosphere is placed on a concrete pillar, with the building itself consisting of a lighter material (wood). In the same way, the ramp leading up to the barn is built with heavy stones, where the top is a light wooden handrail and a wood bridge crossing the gap towards the entrance. Similarly, it is possible to draw parallells to another reference; The High Line in New York. The main connection is of course the elevated park land, quite similar to the grass growing on the ramp. The High Line project is built on top of an old subway line, thus referencing once again to the recurrent theme of old and new, then and now. The wooden beams holding up the bridge to the barn have also a clear relation both to the steel beam counterparts but also to the wooden railway sleepers following the rail. ANDERS BERGSTRĂ&#x2013;M, DAVID LINDMARK, FLORIAN SPANN, RAGNAR SKARE PERSSON, THERĂ&#x2030;S FORSBERG