(in)shadows a project by olle blomquist
13500416-07.00AM 14910416-07.00AM 15280416-07.00AM 20110416-07.00AM 14911011-0251PM-14911117-07.47AM 15281023-08.00AM-15281112-08.14AM 16510212-12.15PM-16510224-03.15PM 15570103-09.45AM 19500811-07.35PM 20090526-12.31PM
esala year 3 / semester 1 / 2011.12.09 / module code arch10001 / architectural design / explorations / (in)proximity
cataloguing/claryfying/developing/executing (in)proximity introduction and contents
a reflection this portfolio covers the work i have developed over the past few weeks in the unit module ‘(in)proximity’ within the course ‘explorations’. we started the project in september not knowing where we were heading. not being able to see the light at the end of the tunnel might for some people be frustrating. i decided early on that i would embrace the lack of knowledge and make my decisions solely on what felt best for the moment. through this attitude, which in no doubt have been beneficial, i have taken the chance to fully explore my architectural ideas through a brief designed by myself for myself and with different mediums appropriate to the atmosphere of my project. this project is about shadows and not only in the obvious way of using light to create shadows. it is considering so much more. it is about the quality, the atmosphere and the characteristics of shadows. The first site visit enhanced what i had already felt when being introduced to the project. i felt this project had to be something very personal, a poetic and mysterious project with dreamlike qualities in theory but also within every single drawing. inspired by hiroshi sugimoto’s photography series ‘architecture’, i asked myself if a building can be recognised by its shadow and if certain buildings survive the translation from three dimensions to two. in this translation it loses texture, colour, scale and sometimes even its recogniasable features but i believe shadows hold information, all we need is some imagination to be able to picture it. i have, based on my design attitude stated halfway through the project, reversed this translation and created a composition of three dimensional forms from a two dimensional image.
exploring the project through new and interesting mediums.
unit 4 / (in)proximity / chris lowry and clare slifer
(in)shadows part i: cataloguing (in)proximity
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part ii: clarifying (in)proximity
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part iii: developing (in)proximity part iv: executing (in)proximity
14-15 16-31
esala year 3 / semester 1 / 2011.12.09 / module code arch10001 / architectural design / explorations / s0954531 / olle blomquist
cataloguing/claryfying/developing/executing (in)proximity visual acuity and tantallon castle
initially we did research covering a large amount of precedents and concepts. my group focused on ‘visual acuity’(left) and as a trigger text we were handed antonio bragaglia’s manifesto ‘fotodinamismo futurista’ (middle) from 1913. this part of the project concluded with a presentation in week 2 and gave everyone a rich platform of knowledge to base further concepts on. one of the topics we covered as a group and which sparked my idea was the work of japanese photographer hiroshi sugimoto and specifically his series called ‘architecture’ (right).
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unit 4 / (in)proximity / chris lowry and clare slifer
apparatus 1 - site: walking along the shore all the way from north berwick to tantallon castle, i got close to the rocks of the coastline and admired the views towards bass rock. Once at the site I was struck by the vastness of the castle but then started to notice tiny interesting details within it. the idea of birds and other creatures inhabiting the castle was at first a key interest for me that lost its importance as the project went along.
5 esala year 3 / semester 1 / 2011.12.09 / module code arch10001 / architectural design / explorations / s0954531 / olle blomquist
cataloguing/claryfying/developing/executing (in)proximity alliances and initial clarifying drawing
inspired by sugimoto i wanted to test if tantallon castle was such an iconic piece of architecture that it could be recognized by its shadows. shadows are an important feature in any atmospheric and sensual architecture and this was an appropriate main theme for the site and project. starting at visual acuity in generally and shadows specifically, alliances were made with other research themes. most important is the link to ‘duration’. shadows changes over time but also gives a sense of time and can even tell time, as with a sundial. shadows also conform to the landscape or object that they are cast upon and wraps them in darkness. this concept was considered even in the earliest drawings but became more important throughout the project and would later on be used as a tool to solve design problems. in the translation from three dimensions to two dimensions the object loses many of its characteristics such as colour, texture and scale and sometimes even its location. a shadows give away some information but hold on to some.
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iconic shadow cast upon a landscape of buildings.
location of shadow.
unit 4 / (in)proximity / chris lowry and clare slifer
initial clarifying drawing. keywords: shadows (undulation, wrapping, shape, location, translation), moments, inhabitants (birds - gannets) (man - 1950am), sea, coastline, prison, dovecot, dispalying information.
7 esala year 3 / semester 1 / 2011.12.09 / module code arch10001 / architectural design / explorations / s0954531 / olle blomquist
cataloguing/claryfying/developing/executing (in)proximity
clarifying models
developing clarifying model
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unit 4 / (in)proximity / chris lowry and clare slifer
final clarifying model. the model is testing different types of shadows and materials. it also explores how they can interact with undulation.
9 esala year 3 / semester 1 / 2011.12.09 / module code arch10001 / architectural design / explorations / s0954531 / olle blomquist
cataloguing/claryfying/developing/executing (in)proximity claryfying drawing and mid-term summary statement
13500416-07.00AM 14910416-07.00AM 15280416-07.00AM 20110416-07.00AM 14911011-0251PM-14911117-07.47AM 15281023-08.00AM-15281112-08.14AM 16510212-12.15PM-16510224-03.15
the final drawing is the result of me mapping shadows of the castle at important times in the history of the castle taken from a virtual model and overlaying them. It emphasies my main alliances and conceptual ideas and also introduces other key interests. my main concept for this project is that shadows are translations from three dimensions to two and in the process some information is hidden. The clarifying drawing is in many ways a study of the change in the castle’s shadows over history. These historic shadows could never be reproduced again because the castle is now partly in ruins but I wanted to take these imaginary shapes and traslate them back to three dimensions to construct a modern interpretation of the iconic parts of the castle.
collecting shadows
castle over the centuries: 13500416-07.00AM 14910416-07.00AM 15280416-07.00AM 20110416-07.00AM 10
overlaying
change over time
unit 4 / (in)proximity / chris lowry and clare slifer
5PM 15570103-09.45AM 19500811-07.35PM 20090526-12.31PM
summary statement (written in week 5) a shadow is a dark area or shape produced by a body coming between rays of light and a surface. in this process of translation, details, texture and color disappears. you loose a third dimension as the untouchable image becomes flat but you gain the forth. time. the concept of architecture and time is not new, nor is the notion of a sundial, but the idea of the latter can be used to explore the former. tantallon castle is not what it once was but it is rich in history and tales of mystery. it has gone through sieges and seen people and other beings come and go. the presence of shadows has been consistent and they can tell stories. ‘Deep shadows are essential, because they dim the sharpness of vision, make depth and distance ambiguous, and invite unconscious peripheral vision and tactile fantasy’ juhani pallasma, the eyes of the skin using mapping as a tool to explore the site through time and dimension while paying attention to the specific shapes, patterns and relationship that are created I want to use these in combination with the ‘atmosphere’ of the emotive titles to create space and touch the untouchable.
sieges - period of time: 14911011-02.51PM-14911117-07.47AM 15281023-08.00AM-15281112-08.14AM 16510212-12.15PM-16510224-03.15PM
moments: 15570103-09.45AM 19500811-07.35PM 20090526-12.31PM
11 esala year 3 / semester 1 / 2011.12.09 / module code arch10001 / architectural design / explorations / s0954531 / olle blomquist
cataloguing/claryfying/developing/executing (in)proximity diagramatic plan and final locating drawing moving on from the conceptual stage of the project i started laying out a plan based on the ideas specified in my statement and taken from the shapes produced in the drawing. the shapes were then made into three dimensional forms following the landscape.
diagrammatic plans made for mid-term review explaining progression of siting development
step 1 - drawing: location and scale
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step 2 - itn progress: extrusion
step 3 - Final (current): clarification of space
unit 4 / (in)proximity / chris lowry and clare slifer
locating drawing the location is primarily the result of a respectful attitude towards the castle. visitors should have the opportunity to only experience the castle if so wanted. the location is also a result of studying where you can improve the site experience. this part of the site is less explored and less interesting because there is nothing built in contrast to the northeast part of the site, which is overloaded with potential ‘experiences’. it is also the most undulated part of the site that allows for interesting forms created by the concept. views towards bass rock was also essential and highly informed the exact direction of the building.
13 esala year 3 / semester 1 / 2011.12.09 / module code arch10001 / architectural design / explorations / s0954531 / olle blomquist
cataloguing/claryfying/developing/executing (in)proximity developing a plan and section (nts) most development work was made by hand on tracing paper and in my sketchbook. this is a sample of the work on the plan and the long section. please see separate folder and sketchbook for more detail.
week 6: original plan
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week 7: different types of shadows
week 8: contrasting light and shadow
week 9: finalising details
week 9: testing ink on card
week 10: final cad
week 12: final plan
unit 4 / (in)proximity / chris lowry and clare slifer
week 6: original long section
week 7: beginning to explore the possibility to excavate. making section more interesting while still letting the roof line follow the landscape. this was a key moment of the project.
week 10: working with materiality and contrasting light and shadow.
week 12: final section in full context. 15 esala year 3 / semester 1 / 2011.12.09 / module code arch10001 / architectural design / explorations / s0954531 / olle blomquist
cataloguing/claryfying/developing/executing (in)proximity introduction to the brief and apparatus 2: historic scotland (in)proximity concluded with a third project starting at mid-term and involved the development of a design proposition for historic scotland’s ‘scottish castle initiative’ agenda. we were asked to design a building that could amplify the awareness of scottish heritage to the public but also work as a meeting point for scholars. the brief we were given had a client, a site and a main concept but it lacked a detailed program and requirements. instead our response was to be informed by ‘emotive titles’ and our conceptual design attitude. the titles suggested spaces but were free to interpret.
3b
3c
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it has been my main aim to produce a dynamic design that offer a vide range of experiences. hence, i have treated the emotive titles quite contrasting to each other. the emotive titles and their built response can be seperated into three different buildings. - vault of tales and reconstructing inquiry (460 square meters) - reaching heritage and memory chamber (35 square meters) - dénoument (19 square meters)
3a
The academic part of the building is a very functional building and operates in a normal way. it has been designed through following my own methodology based on the overall attitude towards the site and my conceptual ideas. The two towers stands in stark contrast to it not only in their iconic forms but also in the way i saw the emotive titles. From the very beginning my thoughts on these spaces has been very simple, a very strong sense of atmospehere adn experience but not necessarily very ‘functional’ spaces for the visitor. a poetic response that is a reflection of the activities taking place in the castle and the academic part.
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site roof plan 1:1500 (locating emotive titles) 1. reaching heritage 2. memory chamber 3. academic building a. library b. reconstructing inquiry c. vault of tales 4. dénoument
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group site model 1:200
unit 4 / (in)proximity / chris lowry and clare slifer
reaching heritage and memory chamber the first impression you get of the castle is size. walking from north berwick you should know what you are aiming for, a massive monumental tower (douglas) echoing the glorious days of the castle and amplifying its massiveness. when approaching the site the castle appears as a big block but once in it you start noticing the details and the freedom you once felt disappears while you enter the narrow doorways and staircases. reaching heritage is the starting point of this feeling. the backside of the tower is ‘in ruins’. you arrive to a modern interpretation of the original tower, and you leave in a contemporary ruin. this adds a sense of duration.
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the memory chamber is the inside void of the tower. it is the most poetic part of the program that can be interpreted in any way. several huge skylights bring sufficient light down to the chamber and services, including reception, office and an accessible toilet but it is also trying to spark a certain atmospheric feeling to the coming experience and an enthusiastic attitude towards tantallon castle and other projects of ‘the initiative’. the vast, open and empty volume with its thick surrounding walls is a metaphor for the state of scottish castles and is trying to make visitors aware in a extreme yet subtle manner.
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2b 4
2a 1
roof plan 1:500
1. reaching heritage 2. entrances a. main b. staff 3. memory chamber 4. reception and office 5. accessible toilet 6. exit
ground flor plan 1:500
reaching heritage: arriving at tantallon
17 esala year 3 / semester 1 / 2011.12.09 / module code arch10001 / architectural design / explorations / s0954531 / olle blomquist
cataloguing/claryfying/developing/executing (in)proximity plans 1:500 (note that this layout had to be modified, original layout for hardcopy was a three pages gatefolded verison) all my development drawings were handrawn (see seperate folder) and i wanted to include the handcrafted elements into my final design. the plans are drawn with pen and ink on card. using the ink in different ways i have tried to convey different aspects of my project. the conceptual roof plan is locating the building within its undulated context. The pen strokes bleeds through the ink to suggest that there is hidden information within the building.
conceptual roof plan 1:500
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unit 4 / (in)proximity / chris lowry and clare slifer
5b
1d
5a
6
3
4
1c
2
1b
1a
1. 2. 3. 4. 5.
entrances
a. b. c. d.
south (accessible lift) east (library) west (library) north (reconstructing inquiry)
library vault of tales accessible toilet reconstructing inquiry a. meeting room b. private study 6. DĂŠnoument
underground floor plan 1:500
ground floor plan 1:500 (clarifying entrances)
19 esala year 3 / semester 1 / 2011.12.09 / module code arch10001 / architectural design / explorations / s0954531 / olle blomquist
cataloguing/claryfying/developing/executing (in)proximity exterior articulation
final model. The exterior form and material of the building represent the obvious qualities of shadows. dark and matt shapes lacking a strong sense of texture is achieved by the use of dark concrete. The building’s roof line follows the landscape and where they meet, one follows the other.
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unit 4 / (in)proximity / chris lowry and clare slifer
visiting the castle for the first time is about exploring, people should explore the new building too. there are no signs of where entrances or different rooms are. it is my intent that you should know by the atmospheric feeling if you are in the right place. there will be several entrances but they will not be obvious. The whole building is accessible by wheel chair. the hinged doors are thick (60mm) and they are made of steel. they are designed to be flush with the exterior wall and raised up (200mm) to keep weather out of the building. the sound of the steel doors slamming against the concrete, echoing throughout the whole ‘bunker’, is an important detail in this piece of architecture.
Precedents: abandoned yugoslavian post world war two monuments, photos by jan kempenaers.
left: final model. aerial view of end studies of ‘Vault of tales’ and ‘reconstructing inquiry’ with ‘dénoument’ in background. the two former underground structures articulates themselves as very long and quite narrow volumes that ends with large windows projecting out from the cliff face with views towards the sea and bass rock. above: exterior view approaching west entrance.
21 esala year 3 / semester 1 / 2011.12.09 / module code arch10001 / architectural design / explorations / s0954531 / olle blomquist
cataloguing/claryfying/developing/executing (in)proximity interior articulation - vault of tales and reconstructing inquiry
the shadows hold information secret so when moving from the exterior to interior another ‘translation’ is happening. the ‘shadow ruin’ form of the roof plan extends to take shapes that are similar to what the shadow would have looked like when the castle was intact. in addition, the material of the interior is much richer in its texture, colour and touch. The material of the walls is rammed concrete. this can also be seen as a metaphor for being underground and being surrounded by sediment rock. the floor is made out of polished dark concrete and furniture and details are made from dark timber. on the inside the play of natural light becomes a very important feature, just as in the memory chamber. strips of roof lights are running along the building next to specific walls and at the place where the change from roof volume to underground volume occurs. this enhances the richness of the material and crates a mysterious play of light and shadow dimming the narrow corridors but illuminating important features with direct light. the vault of tales is a place for the public to get involved in historic scotland and its different ‘projects’. a huge collection of books, drawings, maps, photos, surveys, stories, screenplays can be stored. there is efficiency to this container of knowledge through sharing it with the more private and professional part of the academic building (reconstructing inquiry). the shape has its origins in the shadow of the east tower. it articulates itself as very long and from the outside narrow but is more spacious once inside. it is intended to be a quiet space with 5-6 single person tables. the corridor ends in a large glass window, which overlooks bass rock. visitors will automatically be drawn towards the window and so produce the sounds of steps against the stone floor echoing up in the narrow, dark and tall roof space, this acoustic intervention is very important for the atmosphere of the ‘vault’. reconstructing inquiry is the largest space where scholars can do research alone or in a group. the space is connected to the vault of tales for practical reasons but also to open up a discussion between visitors and scholars. the primary space is the sky lit meeting room with seats for 12 scholars and it stands in stark contrast to the rest of the building because of the brightness, this is emphasising its importance. as the vault of tales it is long and fairly narrow and takes it shape from the shadow of the ‘the great hall’ and the library from the douglas tower. the end study is overlooking the sea and bass rock. this academic part of the complex is laid on the most undulated part of the site: creating the greatest variation in external and internal feeling and where the conceptual ideas are most clearly used. the form of the vault of tales is following the shape of reconstructing inquiry as a ‘shadow’ to emphasise the hierarchy of these similar spaces. interior view of the library and east entrance seen from accessible lift.
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unit 4 / (in)proximity / chris lowry and clare slifer perspective cross section 1:100
cross section 1:150
23 esala year 3 / semester 1 / 2011.12.09 / module code arch10001 / architectural design / explorations / s0954531 / olle blomquist
cataloguing/claryfying/developing/executing (in)proximity folded long section 1:200 (note that this layout had to be modified, original layout for hardcopy was a three pages gatefolded verison)
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unit 4 / (in)proximity / chris lowry and clare slifer
25 esala year 3 / semester 1 / 2011.12.09 / module code arch10001 / architectural design / explorations / s0954531 / olle blomquist
cataloguing/claryfying/developing/executing (in)proximity folded long section 1:200 (end part)
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unit 4 / (in)proximity / chris lowry and clare slifer
27 esala year 3 / semester 1 / 2011.12.09 / module code arch10001 / architectural design / explorations / s0954531 / olle blomquist
cataloguing/claryfying/developing/executing (in)proximity plan split in halves 1:200 and a series of cross sections 1:500 through academic building
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unit 4 / (in)proximity / chris lowry and clare slifer
29 esala year 3 / semester 1 / 2011.12.09 / module code arch10001 / architectural design / explorations / s0954531 / olle blomquist
cataloguing/claryfying/developing/executing (in)proximity final model
final model. model can be taken apart to further eplore the contrasting relationship between interior and exterior.
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unit 4 / (in)proximity / chris lowry and clare slifer dénoument
it is expected that visitors would end their experience of tantallon castle and its surroundings in this tower just as they started in one. this lower tower that was inspired by daniel libeskind’s holocaust tower at the jewish museum in berlin, in combination with the superior tower anchors the project to the site giving it reference points and a major axis. it has many similarities to the idea of the memory chamber and is reminding you and emphasizing similar ideas. in plan this space, that takes is orignal form form the gatehouse and the barbican, might seem complicated. however, on the other side of the walls is a simple space, open to the air, its only furniture is a small concrete bench to sit down on and think about the experience you have had. it is a very serene space for reflection and contemplation and it is intended to be used by few people at the same time, preferably only one, which the lock on the door can assure if wanted. The enclosed walls closes you off from the outside views but the lacking of a roof opens it up to weather and wind giving the opportunity to experience the atmosphere with other senses in focus than just sight. birds could also inhabit this space and this represents the modern state of scottish castles. the door is located so that when entering the room you get a last glimpse of the castle, the same feeling is repeated as you exit and start walking away from the building.
worm’s-eye view college of dénoument
31 esala year 3 / semester 1 / 2011.12.09 / module code arch10001 / architectural design / explorations / s0954531 / olle blomquist