Locus Sossivka

JENNY FETVEIT // RAGNHILD PEDERSEN FOSS

LOCUS SOSSVIKA

// WHAT IS THIS PLACE, REALLY? Once upon a time this harbour at Sossvika used to be an important place in the local society. Here boats would land with loads of fish to be refined at the sloped sea rocks dominating the area. People used to gather to participate in this activity, and people used to know the value of this place. As time passed by, the new generations may not seem to understand the beauty and the qualities of this place anymore. The priorities have changed and the waterway connecting Stokkøya and Linesøya was to be replaced by a bridge construction. Made by man, dedicated to machines, nature looses and scars remains.

Our aim is to re-establish the harbour of Sossvika as a locus, as an important place, and to emphasise its unrecognized qualities. We wish to highlight the scale of this major nature, because it is too big for human to understand. Finally we see our project as a response / comment to how man treats land.

To do this we introduce a strong geometric shape to pull attention to the surroundings as people pass by. We build a circle of yellow pipes to frame the harbour. Each pipe is 30 meters high with a diameter of 1,2 meters. Together the circle defines a spot, an area, and within this circle each spot marks its own locus. The circle has a diameter of 300 meters and touches ground in a way that raises discussions of what is inside and what is outside of the harbour. Where are the limitations really?

The pipes are made of steel, coloured yellow to stand out from the surroundings. They are all organ pipes witch gives them the qualities of giving a direct response to the conditions at its own spot. The landed pipes are wind organs, responding to the currents of air, while the water planted pipes are ocean organ, providing sounds of the pulse of the sea.

The mouth of the pipes is located so the sound they sing will be harmonious. As a result of the grand demotions it will be a fundamental tone framing the harbour. The sound of the organ will be a direct result of the weather conditions, it will tell the story of the past; hurricanes of yesterday and boats passed by.

For human to be able to understand landscape, a reference scale is needed. By introducing these equally sized pipes, this reference is made. By approaching them, by touching them and by being able to measure them with the size of our body, we become more capable of understanding the dimensions of them; thus our understanding of the landscape and its scale increases. The pipes will stand out by shape and colour, but the spatial dimensions of the landscape provided the sizes of them. The contradiction between the understanding of its sizes from a distance and the close up dimensions are prominent, and further enhancing the fact that the scale of the landscape is hard to grasp.

The circle´s qualities of defining an area, is prominent. It marks a spot where most do not see any, equal to how crop rings pins out one specific spot in a uniform field of corn. It almost stands out as a religious manifestation, not bounded by manmade transitions, as a comment or response to how man treats nature.

THE ORGAN IS A TOOL TO GAIN A COMPREHENSIVE EXPERIENCE OF LOCUS SOSSVIKA.

OPEN TOP When the pipe is open in the top, the length of the resonator is about half of the wavelength of

GENERAL SECTION, PIPE ON LAND M=1:100

GENERAL SECTION, PIPE IN THE SEA M=1:100

1 // TOP 30 M

1 // TOP 30 M

2 // RESONATOR VARIOUS LENGTH

2 // RESONATOR VARIOUS LENGTH

RESONATOR / PIPE BODY The length of the resonator determines the sound produced. The relation between the length of the resonator L and the wavelength of the sound WL is L = 2WL The diameter of the pipe affects the character of the tone produced. “A pipe with a wide diameter will tend to produce a flute tone.. A large diameter pipe will favor the fundamental tone and restrict high frequency harmonies”1 The diameter of a flue pipe is referred to as the scale of the pipe.

MOUTH The sound is produced when a stream of air is focused onto a sharp edge in the mouth - the upper lip. As the wind strikes the lip, its smooth flow is disturbed. In the resulting disturbance, a vibration is set up in the air column contained in the pipe body, producing an audible sound wave. 2 To get different tones from the different pipes, - all pipes being 30 m long - the positioning of the mouth varies from pipe to pipe, and thus the length of the resonator.

3 // MOUTH VARIOUS POSITION

3 // MOUTH VARIOUS POSITION

HIGH TIDE 4 // FOOT

FOOT // ON LAND The wind enters the pipe through a circular hole of 60 cm diameter. It is led upwards by a inclined plate, and the pipe walls. The size of the foot has no impact on the sound1, so the entrance hole can be placed in variating

4 // FOOT VARIOUS POSITION

VARIOUS POSITION LOW TIDE

0 m

0 m

-5 m

-5 m

heights depending on where the pipe is standing and the wind conditions at that exact place.

GENERAL SECTION, PIPE ON LAND M=1:20

MOUTH // TOTAL LENGTH OF the MOUTH: 2.40 m

// UPPER LIP // LANGUID // LOWER LIP

WIND ENTRANCE OPENING // CIRCULAR DM:60 cm

0 m

CONCRETE FOUNDATION -5 m

cm:

3 10

120

3 10

THE COLOR OF THE SURFACE

THE STRUCTURE OF THE SURFACE

The surface reflects the sunlight, enhancing The pipes are given a yellow the character of the steel. The dimples in the color, so that they really stand surface will break the light in different angles, out in the landscape. like the light reflected from the water surface.

The surface is not smooth, but rough, like the surface of a golfball. Each dimple has the size of a finger, so that when a hand touches the pipe, it can get an understandeable response.

PARKING HOUSE, BERGEN, NORWAY // 4B ARKITEKTER

The dimples also serve a constructive purpose, as they will decrease vibrations from the wind on the outside of the pipes, making it both more stabile and putting first the vibrations on the inside, the ones that give the sound.

CHRISTO AND JEANNE-CLAUDE: THE UMBRELLAS