see from a far, the ruins and nature. A complex context in which we have tried to adapt our design in order to provide pilgrims with a platform for reflection upon what is behind them, what is to come, and the beauty in natural processes. Arriving Santiago, the first thing on your mind, regardless of religion or how long you have walked is visiting to the old cathedral. The holiest place for a pilgrim and the culmination of the walk. For whatever reasons a person has for walking the Camino, be it meditative or recreational this is the ultimate climax. Upon arrival it is time to rest body and soul and to summarize and readjust to the transition between the camino and normal daily life, full of memories, experiences and ideas. The garden, in which our project exists, is a hidden yet public space, it has an invisible border in the fact that it is not easily found. Our project aims at breaking borders by placing visible elements that reaches beyond the physical boundaries created by the wall. Every building is carefully placed so as not to destroy the beauty and essence of the site, rather emphasize and empower its qualities, by providing hints on where to go in order to experience the site. The structures of the project relate to each other in the same approach, every line revealing a new line, the roof making a landscape open for interpretation. These are either pilgrims or visitors, for the garden is to be kept public. Our program includes sleeping quarters, bath, kitchen, different places to read, a book wall, view points, and a Chapel. We have strive to make the â€œreligion freeâ€? chapel the most important building in the project. It is the resumeSchool of the walk, where the architecture is manipulating daylight and a Bergen of Architecture Autumn use of a2012 familiar windmill. The chapel is designed to be powerful as religious space often does, and as can be widely experienced in Santiago. The monotonicity of the sounds, movements, and light created by the wind turbine and natural processes makes the experience powerful.
Thank you Arild Wage Andre Fontes Kalle Grude Harald RĂ¸stvik For the inspiration and guidance
Nadav Kochavi Mathilde RĂ¸nning
Getting to know
Chapter I Getting to know
Research Essay summery Carlo Scarpa, Sigurd Lewerentz
CARLO SCARPA Born: 1906 Nationality: Italian Education: professorial diploma as an Architectural drawing instructor from the Royal Academy of Fine Art in Venice The drawings were means of exploration and explanation rather than simple representation. A tool with which he communicated with the builders and craftsmen. As stated by Scarpa “I draw because I want to see” this indicates that for Scarpa drawing is a tool for creating a conversation between him and the paper, his consciousness and subconscious. In order to keep a vibrant exchange of dialogue between him and the drawing Scarpa advocated keeping the drawing as vague as possible.
Layering as a strategy to enhance the quality of his work and to create a meeting platform between the past and the present. An important concept explained by Edmund Bacon as the principle of the second man in his book The Design of Cities. The concept stats that “it is the second man who determines whether the creation of the first man will be carried forward or destroyed (Bacon). This idea implies that an architect who designs a new building on a site on which a significant building already exists, must not detract from the value of the work by the first architect, in order to avoid destroying the essence of the place and the role it holds for the community. Scarpa once claimed his approach can be viewed as an intervention as opposed to restoration. In Scarpa’s work the joints is used in order to highlight the qualities and attributes of materials, the design decisions, and create a logical relationship between the past and the present. The joint is achieved both formally and materially. Scarpa’s techniques of alternation and transition between elements in the design resulted in an awareness of the transition, therefore, a coherence of orientation with relation to space and time. According to Peter Zumthor, the joint is the place where the rhythm of a place is created. The detail tells the story of what the construction required may it be; to belong, to separate, to create tension, or to create smooth transition (Zumthor)Just as a joint connect elements so too does architecture mediate between the natural world and our daily lives and between the past and the present.
The detail focuses on the smoothness of the materials. It is as if the steel was bounded in the wood handrail forever. It is placed at the curved portion of the handrail as too emphasize its curvature and the upward and downward path one’s must take in order to pass over the canal and to enter the museum. The bridge itself acts as a joint between the public space and the private space illustrating the element of the joint as the code for the whole. Scarpa also focuses on the perceptual joints those that holds philosophical meaning and are the element which above all others creates the clarity and coexistence between past and present. This is being carried by the juxtaposition of different materials and the emphasis on material breaks and contrasts
Carlo Scarpa drawings for linking elements
Carlo Scarpa Layering examples
Carlo Scarpa joint examples perceptual and functional
Sigurd Lewerentz Born: 1885 Nationality: Swedish Education: Educated in Berlin and Sweden,Sigurd gradually shifted from the strict, old fashioned ways of the early 1900’s schools of architecture towards national romanticism. Lewerentz was a man of few words, what Sigurd left us with are the testimonies of the people who knew-him, or worked more or less with him. That is also one of the reasons why I find his works so intriguing; the profound feeling of realness and unpretentiousness that seems to be the core of his thinking. Where the materials speak for themselves. Alteration of symmetry In His original design, the chapel was to be placed so that the visitors would enter from the north and leave to the south. This was rejected, as it’s a tradition for chapels to be built on an east-west axis, with the altar in the east-end, the direction of sunrise and rebirth. Lewerentz defied this by indeed building the chapel with the altar east to west. The chapel seems at first glance a simplified version of a neo classicist building, which is exactly what it is. What makes the building so beautiful is the way he’s finds inspiration in an ancient and simple style. Details by making the materials naked and raw, one’s give the opportunity to discover space, this is created due to the contradiction. For Lewerentz, each brick is different. The mortar between the bricks from thin to thick, same goes for the bricks. Sigurd Lewrentz spent hours in finding out how to master brickwork. Lewerentz received a lot of respect from the contractors due to his ability to solve structural and aesthetic problems. The material become the details of the church. The ornaments are kept them to a minimum. You wouldn’t find door-sills, fundaments or roof swills. The windows in themselves are an important asset as they are the light-bringers, a building element that is as important to the room and as the walls it selves. It builds up the atmosphere needed in of a place and give its character. The windows don’t break the continuity, they make the transition of light and dark, inside outside more differentiated and enhanced. The trees becomes pictures and while the inside of the church remains a constant.
Aesthetic. When asked about design decisions He answered it was purely aesthetic. Today, if somebody ask me a question like this, I feel reluctant to give the real answer; “because it’s beautiful.” But why shouldn’t it be? Isn’t beauty some of the qualities that people look for in life?The aesthetics is a
function in itself. THE projects created by Lewerentz are fundamentally different in many ways, however they still bear similarities in principles. The darkness of the brick church and the lightness of the chapel are both extremes The emphasis of light and material in the creation of atmosphere. The connection between the buildings and the landscape are also similar; blending with it, and the use of material strategy. The architecture created by Lewerentz resonant calmness, they indicate strong attentiveness to details,materials,process in the pursuit of the appropriate atmosphere and expression.
Alteration of symmetry: Chapel of the Resurrection Enskede Cemetery Stockholm
Details: Chapel of the Resurrection, St Peter’s. Klippan
The windows: St. Peter’s. Klippan
The Flower Shop 1969
Galicia is situated on the North West coast of Spain, just above Portugal. The name Galicia originates from the Latin name Gallaecia, associated with the name of the ancient Celtic tribe that resided above the Douro river. Galicia has yet to be conquered by the massive tourism, is a highly appreciated destination for travelers. In Galicia it is still easy to find old-time hospitality, which has become harder and harder to find in other parts of Spain.
Galicia A A Coruna B Pontevedra C Lugo D Ourense
Altitude Population Province Economy
0-2124m 2,795,400 Galicia Fishery, agriculture and tourism
Santiago De Compostela
Lavacolla R. Lavacolla
Arzua Castaneda Boente Leboreiro
Melide Palas do Rei Vilar de Donas
Ventas de Naron
Road to - Santiago de Compostela
At eye level
At community level
At spiritual level
Walking up to
Walking down to
Walking forward to
Map meso scale
Melide church Roman-built bridge
Melide was founded in the 10th century. It is closely linked to the Camino de Santiago through It many pilgrims pass on there way to Santiago de Compostela. Located in the geographic center of Galicia. The town has a couple of old streets that appear to date back to medieval times.
Map macro scale
Information B 458m 7901 La Coru単a Agriculture, Meat,Tourism
Atlas layout example
* Full copy of Atlas attached to the last page
Typological models: albergues/ hostels analysis
Tent Location: Trollstigen, Norway 62° 28’ 0’’N, 7° 40’0’’E
Cullen harbor hostel Location: Cullen, Scotland 57° 41’40.92’’N, 2° 48’ 54.9’’W
Cabin Location: Anywhere, Norway 61° 0’ 0’’ N, 8° 0’ 0’’E
Capsule Hotel Location: Tokyo, Japan 35° 41’22.22’’N, 139° 41’ 30.12’’ E
Gyreum Eco-lodge Location: North-West, Ireland 54° 4’45.12’’N, 8° 22’ 33.96’’W
Silent Arrow Location: Mitzpe Ramon, Israel 30° 36’ 28.8’’ N, 34° 48’ 10.8’’E
Kadir’s Tree House Location: Olympus, Turkey 36° 24’ 10’’ N, 30° 28’ 28’’ E
Coober Pedy Underground Location: Coober Pedy, Australia 29° 0’ 40’’ S, 134° 45’ 20’’ E scale 1:100
Tong-Len Hostel Location: Dharamsala, India 32° 13’ 19.2’’ N, 76° 19’1.2’’ E
Hakka Tulu Location: Fujian Province, China 25° 1’ 23’’ N, 117° 41’ 9’’E
Chapter II Walking together
Leon: Analysis of modern architecture with relation to the old city, and the immediate context.
Leon: The old city is beautiful. There is something about old cities that make me feel very comfortable. The streets are designed for pedestrians and the idea of a plaza is realized to its full potential.
Leon: analysis of a plaza This plaza is a powerful space, quite yet dynamic, private yet accessible. A place I could sit and draw for hours.
Between Ourense and Cea Image: tectonic detail The recurring element of the small storage structure A reminder of an older approaches to basic needs as it transforms to landscape sculptures, or modified to meet new needs.
Elevated as a platform above ground the structure emphasis its location between heaven and earth. It shows the delicate work of construction and the heaviness of the stone. It is a beautiful example of a need and a solution. The staircase that leads to the structure is a unit by itself. It almost reach the platform but doesnâ€™t, because it doesnâ€™t need to. This detail fascinates me, it is as if I look at stalagmites in a cave. I know that I will never be able to see them connect due to constrains of time, but I really wish I could.
Typology: study diagrams along the rout
The Albergue at Cea, a destination reached after 22 km of hiking in beautiful landscapes. The new albergue has a remarkable terrace. It provides space for socializing and drying wet clots. The noise at night and the morning was frustrating.
A model illustrating a proposition to use high ground as a platform for reflection, supplemented by the monotonic noise created by the water tower.
Oseira: first corporation project, designing an albergue in a complex context situated in the monastery grounds. The charette type work emphasized quick decision making and short presentation time. This forced us to make critical decisions based on hierarchal essence.
Botos: Project drawings and diagrams
4 km before Silleda: The â€œRuinâ€? It stands there as it always was, it is empty, it is quite. Should it stay that way? Should it be modified, if so how?
I walk , I think about the place Iâ€™m going to and where I came from, I think about how would it be and when I will get there. I wish it to be constructed from stone. I enjoy walking from ruin to ruin and observe how vegetation grows around above and under what used to be a structure, today as if a sculpture. A reminder that things eventually end and new begin.
A pilgrimage shelter â€œWhat is an Albergue? Be careful from restricting yourselfâ€?
1 Kalle Grude
Santiago De Compostela: site project analysis The site interested us because it deals with voids of spaces. spaces which once was and no longer. They raise questions about the link between old and the new, local identity and the â€œdynamic of changeâ€?1.
1 Andre Fontes
Investigating optional sites along the Camino
Bridging Gaps between public spaces
Initial project proposal. The project is to create a better connection for pedestrian movement and to provide public and private programs. Thus creating a richer space for citizens and pilgrims in Santiago.
In order to break the perfectness of our place, It is crucial to tear down what society strives to rebuild, but failed to succeed. The park should reflect something more of a forest, the ruins, let them be ruins and not some artificial, confused symbol of power. The first step would be to remove the unnecessary, even though it might be crucial for our understanding of what it used to look like, but do we really need that? The mysteries of the past is called a mystery for a reason. What happens when we can’t dream, but is served the truth? A truth which isn’t even a real truth, but voids and empty spaces, pretending to be useful. Wouldn’t it be more useful to revive the curiosity in order to eliminate the confusion of the human mind? The ruins should not be reconstructed, but left bathing in their own decay. Then what do we have? We have a platform to be free, an open form that ignites the brain of the architect. A space in which we can think freely and work WITH, not around. The purpose was not to have to deal with the limitations of the already created landscape, but nature, in it’s true form. What we get as pilgrims on the Camino. The place where we became children and could think and reflect freely while walking. One should never under estimate the power of nature. Nature emphasizes so very well the man-made. Especially if it’s well done.
Site plan 1750
Bridging Gaps with relation to history
Stools Case study: improving accessibility and creating programs. Exercising physical manipulations on site as a strategy for accurate analysis.
Site drawing: Depicting qualities Simplifying complexity.
branching phase A
branching phase B
Bridging Gaps between branches
Diagram: Evolution of the city Santiago De Compostela
Final proposal: Emphasizing hard movement and easy movement.
Chapter III Working together
Concept model Next page: Study models
Light and volumetric studies
1-1 Negotiated item: Relationship between the wall and the project.
Chapter IV The project
Our project is about a garden and itâ€™s surroundings, the people of Santiago and the travelers, the nearby buildings and the oneâ€™s you can see from a far, the ruins and nature. A complex context in which we have tried to adapt our design in order to provide pilgrims with a platform for reflection upon what is behind them, what is to come, and the beauty in natural processes. Arriving Santiago, the first thing on your mind, regardless pf religion or how long you have been walking is to visit the old cathedral. The holiest place for a pilgrim and the culmination of the walk. For whatever reasons a person has for walking the Camino, be it the meditative or recreational this is the ultimate climax. Upon arrival it is time to rest body and soul and to summarize and readjust to the transition between the Camino and normal life, full of memories, experiences and ideas. The garden,in which our project exists, is a hidden yet public space, it has an invisible border in the fact that it is not easily found. Our project aims at breaking borders by placing visible elements that reaches beyond the physical boundary created by the wall. Every building is carefully placed so as not to destroy the beauty and essence of the site, rather emphasize its qualities. The structures of the project relate to each other in the same approach, every line revealing a new line, the roof making a landscape open for interpretation. Ether pilgrims or visitors, for the garden is to be kept public. Our program includes sleeping quarters, bath, kitchen, different places to read a book wall, view points, and a chapel. The chapel is the resume of the walk, where the architecture is manipulating daylight and a use of a familiar windmill. The monotonicity of the sounds, movement, and light created by the wind turbine and natural processes makes the experience powerful.
Panorama view from the site
N A Santiago Cathedral B Belvis Monastery
C Albergue Seminario Menor Project
A The project as a hinge between branches of the city
B Camino routs into the city The Portuguese rout
The Spanish rout
Macro relations A Hinge between branches B Camino routs C Project and cathedral
C Relationship between project and cathedral
View p oint A
View point B
B A C
nd level plan 0
Ground level/Underground level plans
Section view: from units to view point B
Section view: from garden through view point A
Movement and Rhythm
A Pedestrian movement curved in mass B Movement of structure on the landscape
C Rhythm created by openings D Rhythm created by roof variations
To puncture a path
To Bring the wall to the interior
To puncture a view
To shelter the wall
To build next to the wall
To capture the wall
Strategies for dealing with the wall
Existing Wall/structure detail
Units with relation to context
Joint detail detail
Unit exploded axon
The Chapel A response for the other pilgrim. The one that is not searching for a higher spirit. The chapel as a system is in essence self operated. The use of mechanical systems emphasis the beauty in processes that are exposed and elemental.
Chapel exterior view Next page: Chapel interior view
Chapel perspective top view Previous page: Interior view looking towards the sound system
sis analy e pilgrim t h g i th L el for Chap
Sketch illustrate relation between main structure and chapel Previous page: South West view towards the monastery and chapel
Images depicting site and space Qualities
Conceptual view bath and kitchen
Relationship to street and platforms
West view towards the cathedral from cantilever structure