Spectacular Vernacular - A Series of Pioneers in Ratan

Spectacular Vernacular - A series of pioneers in Ratan

Karl Lind Master thesi | 20 Umeå schol of architecture

Thank you Amalia, Robert & Sangram for tutoring and critique Ritva & Börje for their hospitality & knowledge Toms for guidance and support Members of the studio for continuous feedback and discussions Amanda Eliasson for her inspiring thesis Family and friends

What and how we make defines who we are, and communicates who we want to be 0 Daniel Charny

Making architecture A series of pioneers in Ratan

Master Thesis 2022 Umeå School of Architecture Master’s program of Architecture Umeå Author: Karl Lind Examiners: Roemer Van Toorn, Maria Luna Nobile Supervisors: Amalia Katapodis, Robert Mull, Sangram Shirke Written report supervisor: Andrew Belfield

Abstract

Spectacular Vernacular

Site visit 4

Master thesis | 2022

Abstract

Understanding of place is fundamental to architects, a complex topic with many layers. The purpose of this research is to explore how architects can answer to the given conditions of a specific site and through the act of making, explore and provide insights as input for a series of Pioneers (design proposals).

This investigation takes place in a rural coastal village forty kilometers north om Umeå, a tranquil place named Ratan.

Six in-situ artifacts are identified and analysed through an extensive iterative process where drawings and models are made along with reflections and theory, constituting an archive.

A pioneer is among the first to explore and to settle in new territory, it can also be groundbreaking in utilizing new methods or areas of knowledge or activities.These pioneers are just that, objects that pushes boundaries and are willing to try new things. The focus lies in unfolding that process and to explore how that understanding can be achieved through a specific process of making an archive.

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To articulate the past historically does not mean to recognise it 'the way it really was'. It means to seize hold of a memory as it flashes up at a moment of danger 1

Walter Benjamin

The archive has been used as a conscious tool to reflect and learn. In turn, it has provided insights into the three pioneers to be placed back in Ratan on three specific locations representing different typologies.

The aim has been to find methods and strategies of providing insights to be used into creating thoughtful born-outof-place architecture that reflects back to its location and surroundings, to learn through the act of making and to involve all senses into the process.

For architects, the outlined process is relevant as it proposes alternative approaches and methods to understanding space. To make meaningful architecture with character, that is both rooted into the past and the future. Perhaps it is true as expressed by Christer Hollinder that we need a historical foundation as not to be fluttery and rootless.

Keywords: Archive, Making, Identity, Critical Regionalism, Genius Loci

Charny, Daniel. Power of Making, Victoria & Albert Museum. 2011. http://www.vam.ac.uk/content/articles/p/powerofmaking/ (retrieved 2020-10-15).

Walter Benjamin, quoted in Hall, Stuart. "Constituting an archive." Third text 15.54 (2001) p.89: 89-92.

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Contents

Spectacular Vernacular

View from Rataskär lighthouse 6

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Contents

Chapter 1 | Introduction

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Chapter 3 | Pioneers

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Point of departure

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Building the archive

60

Thesis structure 12

Drawings of the site

66

Thesis questions 13

Pioneers 68

Discourse 14

Terminalen

71

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Lusthuset

79

On identity 16

Båken

87

On archival practices

On regionalism

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Visualisations 80

On making 18 On the analogue

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Method 24 Chapter 2 | The archive

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Chapter 4 | Conclusions

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Ratan 29

On process 96

Sites 32

On theory 96

Topography 32

For practitioners 98

Drawings from site

Making it back to Ratan

100

Limitations & further research

102

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Dispersed library 36 Artefacts 38 Fragments 42 Iterating the archive

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Conclusions 58

Karl Lind

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Introduction

Spectacular Vernacular

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Chapter 1

Introduction

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Water level 1749 Karl Lind

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Point of departure

Point of departure

Architecture grounded in place and an influence of both tactility, materiality and an incorporation of the senses provides architecture that is best experienced.2 Today, the sight is the predominant sense which has pushed away other sensory experiences from the human frame of reference.3 For a craftsman, all senses are used to master the process of making.4 The theory of Critical Regionalism forms the foundation of this research as it promotes architecture born out of a place while simultaneously mediating the impact of universal civilization.5 Incorporating the senses into architecture can be compared with the work of a craftsman, utilizing the full body and accompanying tools to become a master in the process of making. Examples for a critical regionalism approach are where materiality and adaptation to context has been key in shaping the spatial experience.

For this research examples and theories have been examined that strengthens the notion of contextual architecture and not the least, architecture grounded in craftsmanship, OR perhaps even architecture that is crafted. Craftsmanship as input for architecture design and development is highly relevant and further strengthened in this research as a fundamental human impulse to do a job well for its own sake. 6

ens the notion of architecture that addresses both the global discourse and architecture situated to its place. Lastly, the notion of making is fundamental to the approach outlined in this research as a method of exploration and research.

This thesis takes its departure in Ratan, a rural coastal village with 81 inhabitants in Västerbotten Sweden. Ratan will be the canvas of investigation. A point of departure and testbed to explore the notion of making, inspired by the landscape, the vernacular and the history. Where it all comes together in the making of an archive.

The process for this thesis is inspired by two theories on context and place.

Aldo Rossi’s concept of analogue architecture where elements and objects can be given new context through unexpected relationships as well as the theory of Genius Loci put forward by Norberg-Schultz where he urges architects to seek for and visualize the identity of a place to make it meaningful.

This thesis strives to answer questions of place and how elements can be condensed and act as basis for new design. The ambition is to propose three site specific Pioneers, structures representing a poetic and tectonic interpretation of Ratan.

It can be argued that the ever accessible and digitalized world further strength-

Appendix A, - Preparatory research in theory and history of architecture and urban design. Karl Lind (2021) Appendix A Sennett, Richard. The craftsman. Yale University Press, 2008.

5 Frampton, Kenneth. "20 Toward a Critical Regionalism: Six points for an architecture of resistance." Postmodernism: a reader 268 (1993).

6 Sennett, Richard. The craftsman. Yale University Press, 2008.

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Rataskär lighthouse 4:th order Fresnel lens Ø 500 mm Anno 1889

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Chapter 1

Thesis structure

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Purpose & Aim

Reading instructions

The purpose of this research is to explore how architects can answer to the given conditions of a specific site and through the act of making, explore and provide insights as input for a series of Pioneers (design proposals). The aim is to find methods and strategies of how to create thoughtful born-out-of-place architecture that reflects back to its location and surroundings. To learn through the act of making and to involve all senses in the process.

This booklet is divided into four chapters. Chapter 1, an introduction to the thesis, its research questions, methodology and theoretical discourse. Chapter 2, the archive, a series of design iterations and reflections. Chapter 3, presents the curious design of three Pioneers as output of the design process. Chapter 4, provides discussion and reflection of the outcome.

Delimitations

Methodology

This thesis focuses on a series of fragments identified on location in Ratan whom in turn provides input for the research and the archive. These are a conscious selection from the many buildings and structures present in Ratan. The proposed Pioneers in their respective location are not considering current development plans or the lack thereof. Nor do they take into account regulations regarding shoreline protection or accessibility requirements.

This thesis is made through research by design where making is the main method of both understanding the context and to provide insights for design. The work is put together into an archive which in turn is used as design input for the Pioneers.

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Research questions

How can site-specific buildings and fragments be re-interpreted and used as input for design?

How can making as a methodology be used to constitute an archive as input for design?

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Discourse:

Chapter 1

On archival practices

Stuart Hall discusses the many aspects that are to be accounted for when constituting an archive. He states that the archive may be largely about the past but that the present and the future always allows it to be reread.7 However, the past articulated is not about recognizing ”how it really was” but rather to take control of memory as it flashes before us in a moment of danger.8 The danger being the threat of traditions as well as the recipients themselves. For the archive to continue to be relevant, it is necessary that it is inclusive, meaning open-ended and not finished, not set in stone, using a one-of-akind methodology unavailable for change or reinterpretation. The archive is not inert and always stands in a dialogic, active relation to the questions that the present puts to the past.9 The archive needs input in form of research and information. As a tool, mapping has worked itself into the toolbox of the architect, providing valuable input to decision-making and visualization. Today, it is capable of visualizing complex data, ”allowing one to see the things they’ve always seen but never seen”.10 Amoroso argues that the map as an artifact, art, guide, image, tool or spatial form allows for map-landscapes which in turn can be used as input for the design process. 11

-Albena Yaneva

Mapping is not simply a mean of representation but rather a way to assert agency and power. For it to be effective, the mapper needs to distinguish between tracing and mapping. Tracing is simply reproducing what is identified while mapping can be seen as a productive element representing new things.12 The notion of mapping is utilized in this research.

Following this method, the mapper needs to find elements on the site and when found, visually represent them to tell a story of the site. This is made in three steps; Assemble information, extract insights and lastly, to condensate and visualize. Corner further argues that this method not only reflect a given reality but also provides reflection on seeing and acting in the world. With the help of mapping, the mapper is able to depict elements that otherwise would escape notice.13 The cover image of a symposium titled The Archive: Visual Culture in the Middle East (right), represents a visual of historical typography tools in the Middle East. The symposium discusses the contributions of archives in understanding the past while also acknowledging how challenges both reside and extend from archives or the lack thereof.14 A challenge pertinent also to this research.

Hall, Stuart. "Constituting an archive." Third text 15.54 (2001): 89-92.

Hall, Stuart. "Constituting an archive." Third text 15.54 (2001). p.92: 89-92.

9 Hall, Stuart. "Constituting an archive." Third text 15.54 (2001): 89-92.

10 Amoroso, Nadia. The exposed city: mapping the urban invisibles. Routledge, 2010.

11 IBID 12 Corner, James. The agency of mapping: speculation, critique and invention. na, 1999.

13 IBID 14 Yasmine Nachabe Taan, Melissa Plourde Khoury. The Archive: Visual Culture in the Middle East. Symposium cover. Text by Huda Smitshuijzen AbiFarès. https://www.khtt.net/en/page/29610/the-archive-visual-culture-in-the-middle-east (Retrieved 2022-04-05) 15 Yaneva, Albena. Q&A about her research into the process of archiving architecture. ”https://www.cornellpress.cornell.edu/the-process-of-archiving-architecture/" (retrieved 2022-04-05).

16 Yasmine Nachabe Taan, Melissa Plourde Khoury. The Archive: Visual Culture in the Middle East. Symposium cover. Text by Huda Smitshuijzen AbiFarès. https://www.khtt.net/en/page/29610/the-archive-visual-culture-in-the-middle-east (Retrieved 2022-04-05) 7 8

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Emphasizing the contingent, active and reciprocal nature of knowing, I advocate an anthropology of archiving that would scrutinize the technologies of archive making integral to the work of various practitioners (not just designing architects) and would unravel the underlying conditions of knowledge production in all its forms.15

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Figure 1

The Archive: Visual Culture in the Middle East Symposium cover 16 April 2019

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Löper man efter fortiden vil man aldrig nå den igjen, - kun ved å manifestere nuet får man fortiden i tale. 22

- Sverre Fehn

Chapter 1

On identity

What is the identity of a place and what makes it significant? Architectural historian and Architect Christian Norberg-Schultz searches for a deeper understanding of architecture in his text Genius Loci: towards a phenomenology of architecture (1979)17 and its inherent qualities. He re-introduces the concept of Genius Loci according to its old roman interpretation where It can be understood as an intangible concept that it is the spirit of the place. A photo by Åke E:son Lindman18 (right) is an attempt to capture the Genius Loci through architectural photography.

According to Norberg-Schultz the task of the architect is to create meaningful places, helping man to dwell. In order for the architecture to be meaningful, the architect needs to understand Genius Loci as well as visualize it. Genius Loci is however not about copying old models or histories of a place but instead defining its identity and interpreting it in new, different ways.19 This idea can be further understood through the concepts of structure and meaning. An objects meaning is derived by its relationships with other objects; in essence, what meaning it gathers from

In an article for the Swedish paper Arkitektur Norberg-Schultz synthesize the concept of Genius Loci into one word - identity.21 Investigating architecture through the lens of identity are sometimes associated with conservative advocators seeking to exclude external cultures and influences in favor for navel-gazing research. That is not the aim with this research. In the case of Ratan, a cultural preservation interest in the area helps provide means for restoration and preservation while at the same time, hindering adaptation and development meeting the needs of contemporary residents. Thus, the concept of identity become even more complex deriving from the ideas by Norberg-Schultz.

Norberg-Schulz, Christian. "Genius loci: towards a phenomenology of architecture (1979) p,5 .” Historic Cities: Issues in Urban Conservation 8 (2019): 31. Åke E:son Lindman. Genius Loci #2, [photography]. Print #5 (2/7) 1996. Artnet [online]. http://www.artnet.com/artists/%C3%A5ke-eson-lindman/genius-loci-2-tujR8IRvUM7t_mrR1wDEqA2 (Retrieved 2020-02-15) 19 Norberg-Schulz, Christian. "Genius loci: towards a phenomenology of architecture (1979)." Historic Cities: Issues in Urban Conservation 8 (2019) p.192: 20 20 Norberg-Schulz, Christian. "Genius loci: towards a phenomenology of architecture (1979)." Historic Cities: Issues in Urban Conservation 8 (2019) p. 109: 21 21 Norberg-Schulz, Christian. Genius Loci, om platskvalitet. Arkitektur, nr. 2, sid. 34-37. 1992.

22 Grillner, Katja. "Från postmodernism till kritisk regionalism-en längtan efter meningsbärande arkitektur." 1994 7.1 (2015). p.80 23 Åke E:son Lindman. Genius Loci #2, [photography]. Print #5 (2/7) 1996. Artnet [online]. http://www.artnet.com/artists/%C3%A5ke-eson-lindman/genius-loci-2-tujR8IRvUM7t_mrR1wDEqA2 (Retrieved 2020-02-15) 24 Grillner, Katja. "Från postmodernism till kritisk regionalism-en längtan efter meningsbärande arkitektur." 1994 7.1 (2015). p.80 17 18

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its surrounding. Structure refers to the objective aspects of Genius Loci and its formal properties. In creating architecture, human provides a concrete shape of an object and by gathering these objects she symbolizes life in its entirety. An example put forward by Norberg-Shultz of a place with Genius Loci is Prague. This due to it being the very center of the country as well as a city with buildings that condense and gather Genius Loci throughout history. Hence, Prague ”is different and still the same”20.

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Figure 2

Genius Loci #2 by Åke E:son Lindman (b 1953), year 1996, Original size: 86 x 67.5 cm 23

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How to become modern and to return to sources; how to revive an old, dormant civilization and take part in universal civilization. 29

- Paul Ricoeur

Chapter 1

On regionalism

This thesis takes makes its starting-point in a very specific setting, the village of Ratan. Historically a blooming trade and customs village, today facing similar challenges as every other small peripheral village in the contemporary globalized society. Long distances to work and school, limited connections along with a willingness to grow.

A relevant theory applied in understanding Ratan and its identity is Critical Regionalism, put forward by Kenneth Frampton in the 1980s. In describing it, he refers to a lengthy quote by Paul Ricouer, outlining the conflict between one’s root and being modern. A willingness to bridge the past without being consumed by it,24 forming a complex opposition between on one hand strengthening region and tradition while on the other absorb world culture and be inspired by other cultures to avoid stagnation or even regression. Here, the fundamental aspects lies in mediating between elements derived indirectly from the site and the impact of universal civilization.

Focusing on the peculiarities of a particular place.25 In the age of information, what has been considered remote places are now rather accessible and part of a community that is both global and sophisticated. In these

Critical regionalism is dependent upon maintaining a high level of critical self-consciousness. This is explored by Paradeigma Ariadné Architects in their project Slanted House (pictured right) where the building is accepting the features of the landscape while at the same time proposing a question. Can a house respect the landscape by domesticating it?27 Frampton makes a point in distinguishing between critical regionalism and simple attempts to revive the hypothetical forms of lost vernacular which is at risk of becoming a vehicle of populism.

Critical regionalism does not seek to recreate a direct experience of the past but rather a critical perception of reality.28 Much like Norberg-Schultz, Frampton is interested in both the past and the present as a point of departure. No place or story is ever finished as time keeps moving on. Having said this, history and cultural heritage are important aspects informing the existing and providing an insight to the past and the history of a place, while providing insights for the future.

Frampton, Kenneth. "20 Toward a Critical Regionalism: Six points for an architecture of resistance." Postmodernism: a reader 268 (1993).

Crudelli, Andrea. Beyond Critical Regionalism. A conversation with Kenneth Frampton, Dedalo Building Lab. 2018. https://www.dedalobuildinglab.com/ architecture-conversations/beyond-critical-regionalism-a-conversation-with-kenneth-frampton/ Retrieved (2021-03-13) 27 Paradigma Ariadné. Slanted House. ArchDaily. 05 Nov 2020. https://www.archdaily.com/950780/slanted-house-paradigma-ariadnle> ISSN 0719-8884.

(Retrieved 5 Apr 2022).

28 Frampton, Kenneth. "20 Toward a Critical Regionalism: Six points for an architecture of resistance." Postmodernism: a reader 268 (1993).

29 Ricoeur, Paul. "Universal civilization and national cultures." History and truth 271 (1965): 284., pp. 276-7.

30 Paradigma Ariadné. Slanted House. ArchDaily. 05 Nov 2020. https://www.archdaily.com/950780/slanted-house-paradigma-ariadnle> ISSN 0719-8884.

(Retrieved 5 Apr 2022).

31 Charny, Daniel. Power of Making, Victoria & Albert Museum. 2011. http://www.vam.ac.uk/content/articles/p/powerofmaking/ (retrieved 2020-10-15).

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places, possibilities arise for architecture that is still, specific to the place while simultaneously informed by a larger world picture. 26

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Figure 3

Slanted house by Paradeigma Ariadné Photo: Attila Róbert Csóka 30

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History has drawn fault lines dividing practice and theory, technique and expression, craftsman and artist, maker and user; modern society suffers from this historical inheritance. 37 -Richard Sennet

Chapter 1

On making

The act of making has for some architects been a valuable way to learn and to explore. As expressed by David Charny, ”what and how we make defines who we are, and communicates who we want to be.” Craft and making can be considered a way of thinking through the hands as an active way of thinking that can be made without a certain goal.31 For some, making may be the chosen way of thinking while for others, just the joy of making something. The difference between the expert and the unskilled is that when something goes wrong, the expert finds a way around the problem while at the same time, discovering new possibilities when doing so.32 Richard Sennet, a sociologist and author has explored the notion of craftsmanship and argues that craftsmanship names an enduring basic human impulse, the will and desire to do a job well for its own sake.33 It can be argued that designers and architects should be in close contact with both materiality as well as the skill to make things as it informs the design process and our understanding of both space and matter. In many cases, there is a void in between the two. Given that buildings are some of the largest things

The notion of making as method is thoroughly explained by Tim Ingold, a well known anthropologist. He argues that making is a correspondence between maker and material, where the process is the goal. The process in itself feeds back knowledge and learning to the maker.35 The Granaries of Galicia, Spain (pictured right) are surprisingly similar to its Swedish counterparts with the difference that they are made in stone instead of wood.36 In terms of architecture, the process of making and the understanding of how things are made provides immense possibilities. Architects like Peter Zumthor and Peter Salter manages very well to merit the tacit knowledge of craftsmen with the challenges of construction.

Making may or may not be the goal of working with one’s hands, however, it inevitably produces an outcome. It can be both tangible and manifested in a series of material explorations that can be used as input for the archive.

Charny, Daniel. Power of Making, Victoria & Albert Museum. 2011. http://www.vam.ac.uk/content/articles/p/powerofmaking/ (retrieved 2020-10-15).

Sennett, Richard. The craftsman. Yale University Press, 2008.

Heatherwick, Thomas. Thomas Heatherwick: Making. The Monacelli Press, LLC, 2015.

35 José Ortiz Echagüe. (no date) Granaries of Galicia, Spain. In: Rudofsky, Bernard. Architecture without architects: a short introduction to non-pedigreed architecture. UNM Press, 1987.

36 José Ortiz Echagüe. (no date) Granaries of Galicia, Spain. In: Rudofsky, Bernard. Architecture without architects: a short introduction to non-pedigreed architecture. UNM Press, 1987.

37 Sennett, Richard. The craftsman. Yale University Press, 2008.

38 José Ortiz Echagüe. (no date) Granaries of Galicia, Spain. In: Rudofsky, Bernard. Architecture without architects: a short introduction to non-pedigreed architecture. UNM Press, 1987.

39 Malacarne, Gino. "Aldo Rossi, logika i inwencja projektu." Pretekst (2019). p.53.

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made, Thomas Heatherwick describes his own drive for learning of materiality and making as a conscious way of understanding architecture and to fundamentally understand design in a three-dimensional way.34

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Figure 4

Granaries of Galicia image by José Ortiz Echagüe 38

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…‘logical’ thought is the thought expressed in words, that addresses itself to the outside world as a discourse. The ‘analogical’ or fantastic thought is sensible, figurative and mute, it is not a discourse but a rumination, material of the past, an act of revolt. The logical thought is ‘thinking in words.’ Analogical thought is archaic, unconscious and practically inexpressible in words.44 Carl Jung

Chapter 1

On the analogue

One major inspiration for the archive has been the concept of analogue architecture as put forward by Aldo Rossi.

Where collective memories, materials from the past and urban artifacts employ new meanings when entering new relationships. The technique of collaging is interesting as projects and things, real and invented, juxtaposed and cited proposes an alternative to reality. It allows for both following the rules while adhering to the tradition of craft.39 According to Rossi, a logical process where the elements are predetermined and formally defined while the outcome of the process is both authentic and unexpected.40 The 'material of the past’ could be used as input for design, and used as a conditioning element for architecture that is new. This is achieved by ignoring the cultural context out of which certain primary forms emerge.41 For Rossi, the

analogue ”involves the suspension of time and the transposition of space”42, to draw inspiration from history whilst exchanging spaces from one place to another.

It is through the personal experience, the choice of characters and the proposal of brand new juxtapositions that makes the system extraordinary alive. It also exposes the story of a place for multiple interpretations through the elementary figures, exemplified (right) in Aldo Rossi's drawing Domestic Architecture 43 where he provides new form and meaning to everyday objects like the coffe-pot.

Aldo Rossi further introduces what he calls the character of a building. Without character and theme, a building is left without meaning and significance, only serving a function.

Malacarne, Gino. "Aldo Rossi, the logic and invention of the project." Pretext (2019).

Peter Eisenman, “The House of the Dead as the City of Survival” in Aldo Rossi in America: 1976 to 1979 (Cambridge, Mass.: MIT Press), 6. Quoted in 42 42 Anderson, Ross. "Analogue Architecture: Between Imagination and Memory." (2013): 4-8.

43 Aldo Rossi, Architettura Domestica. Drawing May 1974. In Archive of Affinities. 2014 https://archiveofaffinities.tumblr.com/post/99381462000/aldo-rossi-architettura-domestica-may-1974 (Retrieved 2022-03-22) 44 Carl G. Jung, in The Freud/Jung Letters: the Correspondence between Sigmund Freud and C.G. Jung (March 02, 1910), William McGuire (ed.), trans. Ralph Manheim and R. F. C. Hull (London: Penguin Twentieth Century Classics, 1991), 160 In: Anderson, Ross. "Analogue Architecture: Between Imagination and Memory." (2013): 4.

45 Aldo Rossi, Architettura Domestica. Drawing May 1974. In Archive of Affinities. 2014 https://archiveofaffinities.tumblr.com/post/99381462000/aldo-rossi-architettura-domestica-may-1974 (Retrieved 2022-03-22)46 Zimmerman, John, and Jodi Forlizzi. "Research through design in HCI." Ways of Knowing in HCI. Springer, New York, NY, 2014. 167-189.

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Figure 5

Architettura Domestica 45 drawing by Aldo Rossi May 1974

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Method

Chapter 1

Process oriented approach

Through an iterative and extensive process of mapping and making, this research aims to provide new learnings and insights from Ratan. The method applied is Research through Design (RtD), where making is the main technique of understanding context and to provide insights for design. In essence and regardless of context, RtD is a process-oriented approach where reflection and continuous iteration leads to a deeper understanding of people, problems and context in situations put forward to researchers.46 RtD takes pride in its aptitude in speculating, exploring and diversifying and in particular, its ability to manifest the outcome and result in new, conceptually rich artefacts, an outcome and ambition shared in this research.47 The continuous input from this process is to be put forward and materialized into an archive. The archive in it-

self is then re-interpreted and reiterated through making to further inform the process forming the first part of this thesis. This first part, making an archive is then used as input for the second part Utilizing the archive, where it is utilized and read again as an input for the final proposal, a series of Pioneers to be proposed in Ratan.

Even when open-ended and experimental as in above mentioned exploration, craft and making observes rules. It involves parameters imposed through the body of the maker as well as materials, tools and scale.48 Even when open-ended and experimental, craft and making observes rules. It involves parameters imposed through the body of the maker as well as materials, tools and scale which in turn affect the outcome.

Zimmerman, John, and Jodi Forlizzi. "Research through design in HCI." Ways of Knowing in HCI. Springer, New York, NY, 2014. 167-189.

Gaver, William. "What should we expect from research through design?." Proceedings of the SIGCHI conference on human factors in computing systems.

2012. p. 1 48 Charny, Daniel. Power of Making, Victoria & Albert Museum. 2011. http://www.vam.ac.uk/content/articles/p/powerofmaking/ (retrieved 2020-10-15).

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On archival practices Making MAPS

Models

Maps

Models

Drawings

Crafted architecture

MODELS

Identity

Theoretical background

Critical regionalism CHAPTER 1

Site Understanding place

Topography

Making an archive

Fragments Buildings

Translation

Forms

CHAPTER 2

Language models

Expression

Pioneer 3

CHAPTER 3

Pioneer 2

Reading an archive

Utilizing the archive

Design iterations

Pioneer 1

Pioneers

Born out of place

CHAPTER 4

Conclusions

Research framework Karl Lind

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Chapter 2

Spectacular Vernacular

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Chapter 2

The Archive

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Mareograph foundation Karl Lind

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Materiality

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Ratan

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Regional map

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Ratan

In order to describe Ratan, the words of late Christer Hollinder (1945 - 2021) seems quite suitable. He was a major driver in the documentation and preservation of Ratan's history. The following text is taken from the book Ratan - the story of a people which history has passed on (2007)49. Freely translated from Swedish.

It was rumored that the lighthouses would be extinguished. Both of them. The approach lighthouse on Ledskär and the lighthouse on Rataskär. Thus, the last tangible active evidence of the village’s professional maritime life would disappear. The whole cycle seems to be completed in some way, if crass economy were to prevail. Hundreds of years ago, someone discovered the fine harbor with the strait, in which anchorage, berth, settlement and security are offered.

A piece of the countryside that through its natural conditions will provide it with a window to the world. The ships that in their wake figuratively took with them tavern - customs - telegraph - sawmill - pilots - post - lighthouses … And so the PEOPLE. The people whose pursuits became obsolete, and who in time saw their institutions discontinued in about the same order mentioned here, associated with melancholy and anxiety. Development all too often also leads to dismantling, although

the word “outdated” should preferably be related to something. In the case of Ratan, that word probably became synonymous with “non-cost-effective”. However, a place does not arouse significant interest among outsiders unless there are living, active traces of what one is trying to document …

As is the case with Ratan. … Today, a rarely conscious population is fighting the final total darkness over the sea. They have discovered the value of conservation through continuity and that development is not always synonymous with decommissioning.

For if God and (especially) the Swedish Maritime Administration want it, the lighthouses will continue to be operated - but under the auspices of the village, as well as the pilot site buildings in general.

The digital world we live in somehow requires us to be firmly rooted in a historical foundation so as not to become fluttery and rootless, and we believe that the future will thank us for our efforts in this regard. 50

In the following page, three sites across Ratan have been identified.

These are of special interests as they represent a diversity both their location and in their relationship to the landscape.

49 Hollinder, Christer. Ratan - Berättelsen om ett folk som historien har fört vidare. Umeå. Föreningen Ratans historia. 2007, p. 8.

50 IBID

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Chapter 2

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Ratan map CONDITIONS: sea, water; island THE VILLAGE

THE STRAIT

THE ISLAND

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1. The land The site of an an anchor, firmly rooted to the ground and the mainland, overlooking the strait and Rataskär with its iconic beacon.

Providing access.

2. The strait Located along the very edge of the ships route into the harbour. A location in the water providing a direct connection with the strip of water that divides Rataskär from the main land as well as the Gulf of Bothnia and beyond.

3. The island On the Rocky slopes, this site is secluded.

Not far from old fisherman settlements, this site overlooks the sea, contemplating the very history of the place.

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Landscape

Ratan, equivalent to almost one centimeter per year, making Ratan a point of interest for scientists, even so that Samuel Schydenius, student of Carl von Linné visited Ratan and made a marking of the current water level 1749 on Ledskär, the first stumbling on the 'water reduction' which later is determined as the land rise. Much like the archival method of this research, the topography of Ratan is ever changing providing different experiences and in the long term will erase its very existence of being a protected harbor, placing it on land.

Chapter 2

As expressed by Christer Hollinder51 the site of Ratan was probably discovered many hundreds of years ago with its remains of ancient fishing hamlets. It is its location together with its topography that has provided it with a protected harbor in a greater geographic location providing little protection for sea travelers and transportation northbound. It is this history which inevitably has provided Ratan with its roots, still visible today. Before that, the ice sheet covering large parts of the baltic, the nordic countries as well as great Britain 20 000 years ago has also enabled a fast land rise in

Year 1749 1800

1900

Land rise model 15x15 cm plaster

2000 2022

51 Hollinder, Christer. Ratan - Berättelsen om ett folk som historien har fört vidare. Umeå. Föreningen Ratans historia. 2007, p. 8.

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Topography model, 15x15 cm Maple Scale 1:10000

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Dispersed library

Chapter 2

Following the concept of analogue architecture and Genius Loci, this archive is taking form in a search for meaning.

What is collected and analyzed can be said to form a dispersed library of artifacts. It consists of buildings and elements in a conscious collection found in Västerbotten. From the dispersed library, a selection of six place-specific elements are chosen, all found through research and site visits. These forms the physical departure of the archive as a site-specific element exploration to be further analyzed and juxtaposed in order to provide new and meaningful relationships. These will help inform the design process of the Pioneers.

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34

Malacarne, Gino. "Aldo Rossi, logika i inwencja projektu." Pretekst (2019). p.53.

The attempt is to build a “useful” beauty and to have the capacity to propose an alternative to reality through the imagination53

Gino Malacarne on Analogue Architecture

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Dispersed library Karl Lind

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Artefacts

Beacon

Chapter 2

01

This beacon standing 18,5 meters tall was erected 1828, replacing a former landmark. The beacon painted in red and white were also used as a lookout for pilots.

Mareograph

02

Built in 1891 this enigmatic building has been designated to protect and house measuring devices tracking the sea level day and night.

Sideral-light

03

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In 1878, this parabolic shaped device powered by a simple lantern were a welcome addition to the sailors, guiding them into the strait when dark.

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Mistwatch

04

Lighthouse with mistwatch completed in 1874. The Lighthouse has since been restored while the mistwatch remains to be rebuilt.

Cold bath

05

Commissioned by master pilot Nils Blomgren in the beginning of the 21st century this cold bath provided tourists with a chilling experience.

Stone coffin

06

This marks on out of two stone coffins elevating the former jetty of the pilot boats. Originally only rocks and timber, since added with steel and concrete.

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Mareograph

Beacon

Contrast: tall, window

Functional: enigmatic, measurement

Sideral-light

Image

Chapter 2

Elevation

Additional

Top

Site

Keywords

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Condensation: concentric, light

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Mistwatch

Cold bath

Stone coffin

Suspended: roof, protection

Privacy: accessible, framed

Foundation: mass, elevate

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Stone coffin

Chapter 2

Fragments

Foundation through mass of concrete & rocks. Elevating a path, protected from ice and water.

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Beacon

Contrast on the horizon, a tall structure acting as a window to the sea

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Spectacular Vernacular

Chapter 2

Mareograph

Functional fragment, from the outside enigmatic, while inside providing advanced measurement 42

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Mistwatch

Suspended structure with overhanging roof, offering protection, providing orientation.

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Chapter 2

Open air bath

Privacy for bathers, providing accessibility to the strait. Framing the sea and the sky, focusing the experience 44

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Sideralsken

Condensation of light through a repetition of concentric circles in a parabolic profile

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Materiality

Spectacular Vernacular

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Collage of framgment models

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Chapter 2

Iterating the archive

In order to further understand and explore the artifacts, another iteration is made, abstracting the previous identified keywords into architectural scale models. From the artifacts certain elements, shapes and properties have been juxtaposed as a play of scale and function.

The idea is to, through the expressions of the artifacts generate new experiences and expressions.

In line with the previously outlined theories, this research is not seeking to simply preserve the past or providing a romantic view of history, but rather to use it as a departure point, mixed with contemporary global influences on architecture. The collage (right) is made as an exploration trying to some extent explain the scope of this research. In the collage, parts of Wingårds Liljewalchs+, an art gallery finished in 2021, is juxtaposed with a photo taken by Sigurd Lewerentz on one of his study trips during the 20th century.

On the following pages, the artifacts have been reiterated and remodeled into new architectural models and situations.

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Collage by author Image by Sigurd Lewerentz coollaged with fragments of Wingårdhs Liljevalchs +

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Spectacular Vernacular

Chapter 2

Mareograph

A functional fragment, from the outside enigmatic, while inside providing advanced measurements.

Translated into an enigmatic structure, closed to the exterior. Proportions and geometry is kept but translated into a structure of lamellas that further strengtens the functional aspects.

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Mistwatch

A suspended structure with an overhanging roof, protecting and providing orientation.

Reinterpreted into a shelter, the roof itself, this time not suspended but placed on the ground.

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Chapter 2

Open air bathouse

A bathouse providing privacy for bathers and accessibility to the strait. Framing the sea and the sky, focusing the experience.

Again placed in its original setting, this time with a focus on a timber structure, suspending it above the water line.

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Beacon

Contrast on the horizon, a tall structure acting as a window to the sea.

The interior structure, reprented by sections has been mirrored and the original tapered structure of the beacon has been exagerrated as well as its original one window, now being four, one for each point of the compass.

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Chapter 2

Sideral-light

Condensation of light through a repetition of concentric circles in a parabolic profile.

The parabolic sideral-light has been magnified and elevated, now placed on top of a tall tower, providing a 360 degrees view for anyone entering its base looking up.

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Stone coffin

Foundation through mass of concrete & rocks. Elevating a path, protected from ice and water.

The concrete is poured on top of rocks and stones and its structure is elevated generating an imaginary scenario, still protected from ice and water.

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Chapter 2

Conclusions Chapter 2

The making of an archive should not be limited to a specific method or way of exploration and it should be acknowledged that different approaches may yield various results. This method of making and craft is not a linear process but rather a correspondence between maker and material which has been helpful in exploring the characters and in the search of Ratan's identity.

Materiality - All buildings in Ratan are made using conventional materials that are locally available mainly timber and granite along with later additions of concrete.

Landscape - All buildings are sensitively placed in the landscape corresponding to their specific function. The beacon standing on top of Rataskär for maximal visibility, the Sideral-light located at a bedrock at the inlet of the strait and the Mareograph, at the time, located at the very edge between sea and land.

Making this archive has provided insights in materiality as well as structure

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and a greater understanding of how things are made. At the same time, it has been useful in identifying keywords and a critical perception of reality where the beacon can be condensed to a window to the sea, connected with a ladder.

This has further been explored through the last iteration where the artifacts, their materiality and their properties have been explored along with a play of scale.

This archive is indeed mainly of the past in the artifacts chosen, it is however constantly re-read in the light of the present as well as the future. This is also the goal of making this archive, to learn from the process while simultaneously allowing for an active relation between the present and the past as a departure point when moving forward. The goal of the archive has been to provide insights and learnings to be put forward in the design of the three Pioneers that are the physical outcome of the archive explorations.

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View from Rataskär Karl Lind

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Chapter 3

Spectacular Vernacular

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Chapter 3

Pioneers

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Mareograph interior Karl Lind

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Building on the archive

Chapter 3

Insights The following chapter focuses on the previously gained insights of the place, its identity and its artifacts where the insights are brought forward into three proposals. As previously emphasized, the aim is to design architecture and spaces that are influenced by the place. Now, the archive is interpreted and utilized in order to generate conscious and meaningful architecture of the Pioneers.

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Towards the pioneers Up to this point the archive has helped in generating the setting and context in which this thesis operates. Working with the atlas has provided an understanding of the site's topography, the materiality of artifacts found in Ratan as well as learning of its history by takin part of the book Ratan - Berättelsen om ett folk som historien har fört vidare. The title itself, freely translated as Ratan - the story of a people that history has passed on, manages to condense the setting, a rich history looking past and how they are living and adapting throughout the centuries.

Chapter 3 focuses on the previously gained insights of the place, its identity and its artifacts where the insights are brought forward into three proposals. As previously emphasized, the aim is to design architecture and spaces that are influenced by the place. Now, the archive is interpreted and utilized in order to generate conscious and meaningful architecture of the Pioneers.

Collaging drawings By collaging the artefacts together in plan and elevation drawings, shapes and structures are starting to become visible. The artifacts’ elements combined provide insights in their predominant shapes, telling a story of its architecture and how the shapes are connected to its functions.

The drawings are not concerned about scale but rather their proportions and how the objects can be combined and compared in close proximity to each other. The intention is to extract proportions, elements and structures that provide input to elements and shapes for the pioneers..

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Fragment models Karl Lind

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Structure and shape 62

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Structure and shape Karl Lind

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Collage of artifacts 64

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Collage of artifacts Karl Lind

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Chapter 3

Drawings of the site

Transition & Addition 66

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Equilibrium Karl Lind

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Pioneers

A series of interventions

Chapter 3

A pioneer is among the first to explore and to settle in new territory, it can also be groundbreaking in utlizing new methods or areas of knowledge or activities. These pioneers are just that, objects that are pushes boundries and are willing to try new things.

The Beacon on Rataskär were a pioneer of its time, utilizing the knowledge of structure, material use and its collaboration with landscape at the time. As is the case with all artefacts. The new pioneers break ground again while learning from the past and their surrounding.

The three pioneers have all been equipped with a program that somewhat links it with the history of their respective location. The first being a terminal for rowing boats on the shore, the second a bath pavilion in the strait and the third a lookout on the island.

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1.

3.

2.

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Pioneers The first to settle Three typologies

1. Terminalen The Terminal

2. Lusthuset The Gazebo

3. Båken The Beacon

Landscape

Water Sand

Water Strait

Bedrock, Island

Area

80m2

25m2

13m2

Space

Public

Semi-private

Public

Location & typology Karl Lind

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Image of the old pilot jetty, Ratan 70

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Pioneer one

Terminalen

Connecting the dots This pioneer flirts with the past and the rich commerce and customs operations once active in Ratan. A terminal for incoming ships but this time, the ships are replaced with rowing boats, allowing for visitors to travel across the strait to the island in the very same fashion as it has been for a very long time, in close connection with the water. The structure placed on a massive foundation right in the shallow edge of the strait and topped with a lighter structure.

On her way to the lighthouse she rowed from home... 53

Christer Hollinder

53 Hollinder, Christer. Ratan - Berättelsen om ett folk som historien har fört vidare. Umeå. Föreningen Ratans historia. 2007,.

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A

Spectacular Vernacular

Plan

Scale 1:100 72

0

0,5

1

5

(m)

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South Elevation Scale 1:100

1.

0

25

100

200 (m)

Location

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Section

Structure and roof with lanterns

Scale 1:100 74

0

0,5

1

5

(m)

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Terminalen

Roof lanterns in the wooden roof-grid overlooking the milky way

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Terminalen Ratan

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Terminalen Ratan

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Image of the old pilot jetty , Ratan 78

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Pioneer two

Lusthuset An enigmatic floating device The second pioneer looks back to the once blooming tourism in Ratan, bringing forth the experience of submersing yourself into cold water. The bath pavilion is referring back to the cold bathouse but also to the carpentry-love follys used to share a dring overlooking the strait as well as the maritime measurement equipment in providing a somewhat enigmatic expression to be brought back into Ratan. Its connection with the strait is crucial and paramount and therefore it is placed right into it, with a floating foundation.

In the southern part of his harbor plot, Nils Blomgren had a cold bath house built in 1904 of considerable dimensions and of the same character as found among the upper class villas in the Stockholm Archipelago.54 Christer Hollinder

54 Hollinder, Christer. Ratan - Berättelsen om ett folk som historien har fört vidare. Umeå. Föreningen Ratans historia. 2007,.

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Lusthuset Strait of Ratan

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Lusthuset Strait of Ratan

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0,5

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5

(m)

Scale 1:100

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Plan

Scale 1:100 82

0

0,5

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Elevation Scale 1:100

2.

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25

100

200 (m)

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Spectacular Vernacular

Lusthuset Strait of Ratan

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Lusthuset Strait of Ratan

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Spectacular Vernacular

Image of the old pilot jetty , Ratan 86

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Pioneer three

Båken Providing an outlook The third pioneer is placed on Rataskär, the island. Its closest neighbours are the beacon and the pilot house, both vertical structures with a minimal footprint.

This structure investigates tectonics, contemporary techniques of minimizing footprint and the experience of the pilots, climbing up a narrow space only to reach a small window overlooking the sea.

... Going up or down the ten meter high ladder, in lack of all safety equipment, being a link between the uncompromising cobblestone floor and the small hatch, through which one makes the entrance to the cold space that is the guard room.55

Christer Hollinder

55 Hollinder, Christer. Ratan - Berättelsen om ett folk som historien har fört vidare. Umeå. Föreningen Ratans historia. 2007,.

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Spectacular Vernacular

Båken Strait of Ratan

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Båken Strait of Ratan

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(m)

Scale 1:100

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Båken Strait of Ratan

Scale 1:100 90

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Båken Strait of Ratan

100

200

(m)

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Chapter 4

Conclusions

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Pilot jetty Karl Lind

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Conclusions

Chapter 4

On process This research was set out to investigate whether site-specific buildings and artifacts can be used as input for design and how making as a methodology can be used to constitute an archive.

The greatest impact is perhaps not in the final outcome but rather in the process of mapping and making, in building an archive that brings to the presence both the peculiarites of the site as well as the past, the present and the future.

There is undoubtedly countless ways of coming to concusions in term of the site and later a design proposal, however, a somewhat guided process with an open ending has proved to be helpful in that regard, leading to insights that may otherwise been missed. For one, the tectonics of buildings, their materiality and a greater understanding of details and how the buildings are landing on the ground.

The process of investigation in making the archive is in itself a reflection without words. The creation of objects and design thinking have been used as central activites which is the outcomes of outlined processess and investigations.

This is true both for this research and for the methodology of design research.

It is important not to stop the research and iterations at the initial stages but to carry on throughout in order for a sucessful project.

On theory As emphasized by Albena Yaneva56, the archive and its iunderlying technology should be scrutinized and be made integral to the work of various practitioners, a conclusion shared and strengtened after making the archive for this research.

These artefacts gather their meaning not by themselves but through their surrounding. That is is also the aim for the proposed pioneers when placed back into Ratan. By themselves they are merely objects, together, they become meaningful which also resonates the theory of Genius Loci.

To put this research into context, without limiting it to cultural preservation or attempting to mimic the past, the theory of Critical Regionalism has been helpful.

As outlined in the theory, the attempt has been to allow oneself to be linked with the past without being limited to it.

Having this as a guidning principle has allowed for a greater freedom in the pro

56 Yaneva, Albena. Q&A about her research into the process of archiving architecture. ”https://www.cornellpress.cornell.edu/the-process-of-archiving-architecture/" (retrieved 2022-04-05).

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Reflections f the pilot jetty

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Chapter 4

cess of making an archive while simultaneously being reminded of the context, not forgetting tradition, culture and the sites' peculiariteis. The chosen artefacts of ratan have helped in understanding the past, the history as well as the tectonic which provides input to the pioneers.

The act of making has been the overarching modus operandi for this research and the main tool of exploration. This has allowed for a hands-on approach of understanding tectonics, textures as well as spatial and material qualities. Sketching has also been helpful for thinking through the hands, where details and scales quickly can be examined. The theories on the Analogue put forward by Aldo Rossi allows for the creative freedom of exchanging spaces from one object to another which has been helpful in understanding primary forms and materiality as input for the pioneers.

For practitioners This research is relevant for architects as well as other practitioners in providing a different approach to understanding

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architecture. The outlined theories all agrees that meaningful architecture is helped through investigating context, history and inter-relationships. To allow oneself to glance at the past when looking into the future. In combining these theories and concepts, the architecture becomes grounded and meaningful while still looking forward, being influenced by contemporary materials and methods of construction.

Extensive mapping into elements, materials, objects and buildings and their inter-relations as outlined in this research allows for architecture grounded to a place and informed by its context. Utilizing this knowledge as input for design decisions makes for buildings with character in the words of Aldo Rossi.

The process oriented approach strenthens the research as input for practitioners in its applicability. The emphasis on place, identity and artefacts are equally important and applicaple regardless if the project is rural or urban, or in a new or old context.

Foundation for Rataskär lighthouse Master thesis | 2022

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Making it back to Ratan Having focused on physical explorations and the making of an archive, this research is this largely physical. Along with printed key drawings and illustrations, the research has made it back to Ratan.

This is thanks to Toms Kokins, offering up two windows in his house facing the road, allowing anyone passing a view of the work, which is to be exhibited during the summer 2022. It is wonderful to have the opportunity to bring the work back to the place which, along with its people make the project and what is has become which I am very thankful for.

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Exhibition in Ratan Karl Lind

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Chapter 4

Limitations & further research

As outlined previously, the artefacts consists of six selected objects found in Ratan and it is these elements that together with the place and its history forms the foundation from which the archive departs. Limiting the selection to six buildings, most of which are constructed prior to the 21st century accounts for a rather narrow selection given the context and other buildings in Ratan. The selection is however conscious, telling a story of the rich maritime history for Ratan and its rich past while also informing the context and relation to the ground.

The theories have been helpful in understanding how theory can be combined with design research as input for design.

The chosen topics are however all extensive and could individually be subjects for their own thesis'.

The process of exploration and proposal of the three pioneers have been focused

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not on program or history but rather an investigation of them as objects and how these objects relate with eachother and their site. Had the aim of this thesis been for instance to develop the best 'program' or the 'most affordable' housing another approach and selection of artefacts may have been a better choice.

However, the process oriented approach may very well be suited to generate insights as imput for design in the above mentioned cases.

For future research, it is encouraged to develop and explore architecture through an archive also for other applications than outlined in this research which may help in providing architecture that is both meaningful and possessess the peculiarities of a place while still being critical to its context.

Retaining wall

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Chapter 4

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104

Building is a brutal confrontation between nature and culture, and in that confrontation one can find balance and beauty

Sverre Fehn

Ratan wharf, concrete on top of old timber structures

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List of references & illustrations

Amoroso, Nadia. The exposed city: mapping the urban invisibles. Routledge, 2010.

Anderson, Ross. "Analogue Architecture: Between Imagination and Memory." (2013): 4-8.

Carl G. Jung, in The Freud/Jung Letters: the Correspondence between Sigmund Freud and C.G. Jung (March 02, 1910), William McGuire (ed.), trans.

Ralph Manheim and R. F. C. Hull (London: Penguin Twentieth Century Classics, 1991), 160 In: Anderson, Ross. "Analogue Architecture: Between Imagination and Memory." (2013): 4.

Charny, D (2011) Power of Making, Victoria & Albert Museum, http://www.vam.ac.uk/content/ articles/p/powerofmaking/ (retrieved 2020-02-15).

Bibliography

Corner, James. The agency of mapping: speculation, critique and invention. na, 1999.

Crudelli, Andrea. Beyond Critical Regionalism.

A conversation with Kenneth Frampton, Dedalo Building Lab. 2018. https://www.dedalobuildinglab.com/architecture-conversations/beyond-critical-regionalism-a-conversation-with-kenneth-frampton/ Retrieved (2021-03-13) Frampton, Kenneth. "20 Toward a Critical Regionalism: Six points for an architecture of resistance."

Postmodernism: a reader 268 (1993).

Grillner, Katja. "Från postmodernism till kritisk regionalism-en längtan efter meningsbärande arkitektur." 1994 7.1 (2015). p.80 Hall, Stuart. "Constituting an archive." Third text 15.54 (2001): 89-92.

Heatherwick, Thomas. Thomas Heatherwick: Making. The Monacelli Press, LLC, 2015.

Hollinder, Christer. Ratan - Berättelsen om ett folk som historien har fört vidare. Umeå. Föreningen Ratans historia. 2007, p. 8.

José Ortiz Echagüe. (no date) Granaries of Galicia, Spain. In: Rudofsky, Bernard. Architecture without architects: a short introduction to non-pedigreed architecture. UNM Press, 1987.

Peter Eisenman, “The House of the Dead as the City of Survival” in Aldo Rossi in America: 1976 to 1979 (Cambridge, Mass.: MIT Press), 6. Quoted in Anderson, Ross. "Analogue Architecture: Between Imagination and Memory." (2013): p.4.

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Norberg-Schulz, Christian. "Genius loci: towards a phenomenology of architecture (1979) p,5 .” Historic Cities: Issues in Urban Conservation 8 (2019): 31.

Norberg-Schulz, Christian (1992), Genius Loci, om platskvalitet. Arkitektur, nr. 2, sid. 34-37 Ricoeur, Paul. "Universal civilization and national cultures." History and truth 271 (1965): 284., pp.

276-7.

Sennett, Richard. The craftsman. Yale University Press, 2008.

List of illustrations Figure 1 Yasmine Nachabe Taan, Melissa Plourde Khoury.

The Archive: Visual Culture in the Middle East.

Symposium cover.. https://www.khtt.net/en/ page/29610/the-archive-visual-culture-in-the-middle-east (Retrieved 2022-04-05) Figure 2 Åke E:son Lindman. Genius Loci #2, [photography]. Print #5 (2/7) 1996. Artnet [online]. http:// www.artnet.com/artists/%C3%A5ke-eson-lindman/genius-loci-2-tujR8IRvUM7t_mrR1wDEqA2 (Retrieved 2020-02-15) Figure 3 Paradigma Ariadné. Slanted House. ArchDaily. 05 Nov 2020. https://www.archdaily.com/950780/ slanted-house-paradigma-ariadnle> ISSN 07198884. (Retrieved 5 Apr 2022).

Figure 4 José Ortiz Echagüe. (no date) Granaries of Galicia, Spain. In: Rudofsky, Bernard. Architecture without architects: a short introduction to non-pedigreed architecture. UNM Press, 1987.

Figure 5 Aldo Rossi, Architettura Domestica. Drawing May 1974. In Archive of Affinities. 2014 https:// archiveofaffinities.tumblr.com/post/99381462000/ aldo-rossi-architettura-domestica-may-1974 (Retrieved 2022-03-22)

Ratan wharf, rocks on top of old timber structures

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Today, a rarely conscious population is fighting the final total darkness over the sea. They have discovered the value of conservation through continuity and that development is not always synonymous with decommissioning.

Christer Hollinder

Master Thesis 2022 Spectacular Vernacular - a series of pioneers in Ratan