Museum of Norwegian Fairytales

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Fairytale museum of Norway, Constructing materiality of nonmaterial culture

M U S E U M OF NORWEGIAN FAIRYTALES

Museum of Norwegian Fairytales

by Seungae Yoo

Spring semester 2018, Aarhus school of architecture Supervised by Lars Nicolai Bock Studio 2c Tectonics and culture

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Abstract

The fairytale, a storytelling narrative, is one of the oldest human activities. It presents many aspects of human life, providing listeners with opportunities to see through another’s eyes with fear, anger, and love—all from a safe place. The consequence of an action in the story teaches us lessons that shape our values and our outlook on life and surroundings.

The Museum of Norwegian Fairytales creates carefully constructed scenes, highlighting the ambiance of fairytales by scripting materials and spatiality as scenography does. The architecture is carved into the rocky hill of Hovedøya and gradually reveals itself on the landscape, while visitors progress from a dark and cave-like entrance toward the lighter end of the museum facing the sea. The programmes are introduced in a linear sequential line and are experienced as a storyline, where the progression has some unexpected value along the way—much like a good plot. Using the excavated stones from the site is a gesture to the surrounding nature and blends the construction into the natural landscape. Overall, I wanted to design a museum as a fairytale that is presented in the language of tectonics.

I have come to understand architecture as the communication of a story. Architecture for me is a process of constantly examining, analyzing and reinterpreting reality. I’m interested in working with materiality and exploring how man’s imagination can be translated into tectonics, which in return creates a frame that is able to shape our memory.

Righthand page: Conceptual image, depicting how the space is interweaved with the nature

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Table of contents.

Abstract Phase 1. Norwegian folk narratives Storytelling and architecture Norwegian folk narratives and culture Classification History Categories

Phase 2. Site identification Mapping Oslo Hovedøya Climate Existing contexts Geological condition

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Phase 3. Concept of Museum Linear sequence Museum of similar programme Program Phase 4. Sketch The axis The planned forest Excavation Materials Axonometric diagam Process sketches Phase 5. Project Refelction Bibilography CV

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Phase 1. Norwegian folk narratives

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Storytelling and architecture

Once upon a time...

There was a story. Once, in the long ago days, Once there was, Once there was not—no matter what form the opening words take, storytelling is one of the oldest human activities, and is as old as language itself. By the time a story is written down, it has been told and retold, possibly for centuries. Storytelling is a part of a non-material culture, which generally refers to thoughts or ideas that make up a culture absent of physical objects or artifacts that might otherwise alter the shape of society. It is an intangible concept, yet represents a timeless and placeless cultural value.

Architecture, as an ever-present form of storytelling, has the ability to capture the cultural history of a place. Collected and combined with different materials in the world throughout the time, it forms a visual, spatial link between human’s past, present, and future. It becomes a point in the timeline of a place and culture. Architecture is a tale that is brought into a physical and textile form, and can only be decoded through sensation and bodily experience.

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Courtyard housing project, the autumn semester, 2017

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Norwegian folk narratives and culture

“In Norwegian folk tradition we recognize some salient features: the sound common sense, the cool obejctivity, the manly pose; but also the we walth of contradictions, the gigantic exertions with long, quiet intervals - but sometimes with an undertone of the charm of a summer evening, a strong imagination that lends to the marvels of imagination and illusion of reality ... a presentatino episodic, impressionistic, with an epic-dramatic turn- the decisive episodes sideby-side, like a ridge of blue mountains, the rest in mist and dust, for the fantasty to fill in.�

Moe, 1911. Folke og Huldre-eventyr,

European tales did mirror their common ancestry, since the collectors of tales had been inspired by each other. Norwegian tales likewise include princesses stuck with a beast, or a young and the brave boy who had been undermined. But the uniqueness exists in how the stories are anchored to Nordic landscape and nature. .

They breathe life into the glaciers and fjords where spirits dwell and trolls make their homes. The wild animals such as bears and wolves, foxes and salmon, give aid to industrious and kind folk in need, and often know all the secrets of the land and machinations of the trolls and giants.

Simultaneously humorous and grotesque,the narratives express much of the individual characters of the storytellers.

It is told that there is a troll living in Dovrefjell whose named Dovregubben. Huldra, a female creature lures young men and drown them in Kjosfossen Waterfall.

The details of place, personalities, and metaphorical expressions bring spirit to the tales and very much resemble the scenery of where they occur.

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And so she did, the poor thing, and Butterball took the ax and chopped off her head, as if she was a chicken. Then he put her head in the bed and the carcass in the pan, and cooked broth at the trollhag’s daughter. When he had done that, he crawled up over the door, taking with him the pine root and the rock, put one over the door and the other on the chimney pipe.

When the troll returned with her friends and saw her daughters’ head nicely tucked in under the sheets, they thought she was asleep, and sat down to taste the stew.

"Tastes good, Butterball broth!" said the hag. ...

Asbjørnsen & Moe. Eventyr. J.M. Stenersens Forlag, Oslo 2012.

Fig.1, Kittelsen, T., ”Det kommer en stor, lang haugkjærring med hodet under armen”, illustration for “Smørbuk”

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Classification of Norwegian folk narratives

Academically speaking, ‘fairytale’ refers to’ eventyr’ in Norwegian folk narrative studies, which are one of the four classifications: eventyr, sagn, folke, and huldre. In fact, this classification was employed in various combinations and tended to blend together. For example, Asbjornsen used all four in the title of his 1845 collection. (Christiansen, R., 1886. Folktales of Norway) Eventyr designated fictional tales or Marchen—usually called fairy tales in English—but the word was also used in a wider sense, like ‘folktale’ was to cover all oral narratives. Thus, it was common to speak of the huldre-eventyr.

Sagn derived from the German ‘Sagen’ and similarly meant legends with particular places, such as haunted castles.

Huldre stood for a class of unnatural creatures—ranging from elves to monsters—which were sighted and encountered and talked about by village people. (Hulde, in singular form, signifies a wood nymph.)

Folke indicates an oral and traditional character as opposed to the polished and literary character of twice-told tales offered to the public.

Eventyr and sagn are said to particularly embody the deepest and purest strains of Norweigan soul. As Asbjornsen mentioned, they are “nature poems,” like living specimens of ancient Norse mythology (Christiansen, R., 1886).

The ‘fairytale museum’ is an accessible name that can be easily recognized by the public; however, in essence, the context of the museum (storytelling activities, exhibitions, and publications) implies all four classifications.

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"It may interest you to know that Peer Gynt is a person who actually lived in Gudbrandsdalen, probably at the end of the last century or in the beginning of this century. His name is still well known to the local community" from Henrik Ibsen in a letter to his publisher, 8 August 1867.

Fig.2, Kittelsen, T., Askladden

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History of Norwegian folk narratives

1833

1.

Norske Sagn (Norwegian Legends)

by Andreas Faye

1837

2.

A picture book for Norwegian children

by Asbjorsen, Nor

1840

3.

A collection of popular songs in local dialects

by Jorgen Moe, 4.

Norske Folkeeventyr.

by Asjbornsen and Moe

1841

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Norske Folkeeventyr, the first edition.

by Asjbornsen and Moe

1844

Due the Black Death which touched two-thirds of Norway’s population and resulting with a very scarce illiterate people in 1300s, Norwegian literature and folklore remained an oral tradition for a good 250-300 years. Several contributors including Moltke Moe, Hallvard Bergh, Knut Hermundstad contributed the collection of local tales in 1800s. Influenced by the national romanticism, rediscovering of Norwegian folk literature in the early 19th played a significant role on building the culture and shaping the nation. Amongs all, Peter Chirsten Asbjørnsen and Jørgen Engebretsen Moe who set off across the country and collected regional folklore, are well known for their major collection titled Norske folkeeventyr (Norwegian Folk Stories).

The stories came further to life with illustrations and other artistic depictions such as poems and songs. Two artists well known for their depictions of Norwegian folklore were Theodor Kittelsen (18571914) and Erik Werenskiold (1855-1938), both worked to illustrate the iconic collection of Norwegian folktales by Asbjørnsen and Moe.

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Norske Folke-sagn

by Andreas Faye 1845 7.

Norske HuldreEventyr og Folksagn the first collection]by Asbojrnsen 1847 8.

Norske Huldre-Eventyr og Folksagn, the second collection

by Asbojrnsen 1850

Recently, there is some attention from media outside of Scandinavia regarding the dark and grotesque side to Norse myth and folklores,as opposed to the more popular concept of “hygge.” Consequently, current publications and movies are predominantly made for English speakers, and mainly transmit lesser-known tales.

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Norske-Eventyr

by Asbjorsen

1859

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Norske Huldre-Eventyr og Folksagn, re-edited version

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Echo, popularly called “dvergmål” (dwarf tongue). The alleged voices that belonged to the creatures in mountain – this phenomenon we know today as echo.

Fig.3, Kittelsen, T., 1888. Echo

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Categories of the folk narratives

Reidar Thoralf Christiansen, a Norwegian folklorist, proposed a system of nine major categories; Historical legends, legends about magic and witchcraft, legends about ghosts, the human soul, and shape shifting, legends about spirits of the sea lake and rivers, legends about spirits of the air, legends about spirits of forest and mountain, legends about household spirits, fictional folktales In order to associate folktales with the nature through which they are framed, three driving concepts were taken from this study: mountain, forest, and water. These concepts are highlighted along the sequential movement through the museum.

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Then the sea began to roar and roil, and then up came a great troll.

“Do you sit here with my bride?” said the troll.

“It is no more yours than mine,” said the boy.

“We will quarrel about this,” said the troll.

“Certainly,” said the boy. “Horse, up and kick; dog, up and bite; sword, forth and hack!” he said.

Then there was a struggle, and it did not last long before the troll had to bite the earth, and when it was done, the boy cut out its tongue and hid it.

The Fisher’s Sons, Asbjørnsen and Moe Fig.4, Kittelsen, T., Sjøtroll

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The mountain

On the left: Collage depicting the mountain, using T.Kittelsen’s illustration, On the right: Dovre Mountain

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Fig 5.

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The forest

On the left: Collage depicting the forest, using T.Kittelsen’s illustration, on the right: Svartkulp

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Fig 6.

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The water

On the left: Collage depicting the water, using T.Kittelsen’s illustration, on the right: Hovedøya

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Fig 7.

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Phase 2. Site identification

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Mapping of Norwegian tales

Investigating the ideal location of the museum formed the beginning stage of this project. Mapping was done to provide an overview of the regional tales, which would help to provide substantial reasons for the eventually chosen site and strengthen the character of the museum. This was originally published as a digital map by the University of Oslo, Department of Culture Studies and Oriental Languages. .

I learned that the way in which variations of tales and their associated places appear in the map is able to depict the popularities of local legends. Overall, it shows that fairytales have collected from all corners of the country, but particularly from remote rural area.

The next few pages will be used to describe how each chosen place is related to regional legends and folktales. Places that seemed to have a strong relationship with the folktales are: Hjerkinn in Dovre, Lom, Rondane, and BlaafarvevÌrket in Åmot. This information was acquired through contact with local municipalities and museums. Some features such as seasonal accessibility and attractions’ proximities to a tourist route were also considered as important criteria.

http://www4.sprakochfolkminnen.se/sagner/norsk/#/places/category/e

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References

Death and the dead The wild hunt Forestfairies Waterspirits Troll & Kjemper Nisser(De underjordiske) The pixies(Forvandlede/forgjorte, omskapte) The bewitched(Ă…nder,hjelpeĂĽnder) Spirits/ghosts(Djevelen) The Devil(Kloke) Wise men and women(Hekser og trollmenn)

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Site identification

Hjerkinn, Dovre The Norwegian Constitution in the year 1814 sword by the words: “Enige og tro til Dovre faller”, translated to ‘agreed upon and faithful till Dovre(fjell) falls’, which is unlikely.

Dovrefjell is well known for the troll named Dovregubben, and it is where the movie Trolljegeren’s based on.

Hjerkinn a place situated on the Dovrefjell mountain plateau and is well known for several hiking routes such as Dovrefjell-Sunndalsfjella Nasjonalpark and Dovre Nasjonalpark. The main road(E6) runs nearby the place, connecting Oslo and Trondheim, and is accessible by train through all season. The foundation of the place is based on rocks, and which provides small creaks in the area.

The Viewpoint Snøhetta took place recently and there are buildings such as National Norwegian Wild Reindeer centre (Villreinsenter Nord), a mountain church (Eysteinskyrkja), Pilegrimssenter Dovrefjell, The village has two hotels, a restaurant, a guiding company offering wild Musk Ox-safari and horse riding activities.

Rondane Rondane is the first national park to be established in Norway in 1962. The dramatic landscape is where the famous painting “Winter nights in Rondane” by Harald Sohlberg was inspired from. The Norwegian government planned “Norweigian Scenic Route Rondane”, which runs from Venabygdsfjellet to Folldal, and from Sollia Church to Enden, a total distance of 75 km(Road 27/219).

The area has a rich cultural history, such as the old buildings at Folldal mines, which shows the life and the class distinctions of the oldtime mining community. At Strømbu, Henrik Ibsen’s Peer Gynt met the invisible serpent. Today Strømbu is a popular starting point for mountain walks in Rondane.

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Dovre

Rondane

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Site identification

Lom Lom is a municipality in Oppland county and is a part of the traditional region of Gudbrandsdal.

The city is an intersection for tourists who are going for a hiking, camping nearby, and accommodates hotels and dining places. There is public transportation connects directly from Oslo. Lom stavkyrkjesenter with some original parts from Lom stave Church is known for the tourist attraction. An outdoor museum, Lom bygdamuseum has 21 timbered buildings from the 1600s to 1800s which set up like an old farm, a seter, a craft, a school. Norskfjellsenter is a museum of which the new exhibition features Norwegian fairytales in June 2018.

Vågå Located adjacent to Lom, Vågå is a part of the traditional region of Gudbrandsdal.

This city was mentioned in several folklores such as “Blessomen og Jutulen” written by Asbjørnsen and Moe. Jutulporten, “The Troll gate” is a rock formation which is known by a legend that the troll Jutul’n, that used to live inside. The story is about a man called Jehans Blessom, who got a lift home from Copenhagen by the troll and didn’t keep the promise to not look back when he passed the Jutul Gate, which was filled with gold. In consequence, he got his neck fixed with the very position for the rest of his life.

Blaafarveværket Blaafarveværket is a place half created by nature and half created by man, which used to have a formal mining industry company from 1776 to 1898.

Further in the forest, there is a formal cobalt mine, which manufactured pigments from cobalt ore to use in glass and porcelain.

The museum of Th. Kittelsen is located at one of the old building of the mining company. The collections of illustration include trolls, necks, dragons and landscapes which depicts and creates stories of the invisible world. Theodor Kittelsen’s home is located in 33km at Lauvlia.

The waterfall Haugfoss, situated in the river Storelva, and the forest, attracts a lot of visitors in the summer. The place is nearby Trillemarka-Rollagsfjell naturreservat, a 205 km2 of an old forest with extensive valley named Trillemarka. The area is situated 100km west from Oslo and the nearest city is Åmot located in 4km.

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Lom Vågå

Rondane

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Oslo

On the study trip, I developed interest in a few places which are relatively easy to reach by transportation all year round; however, they each offered a tranquil atmosphere eminating from the surrounding natural environment. Also worth noting is a regulation that bans construction outside the City of Oslo perimeter—an area rich with thick old-growth forest and lake basins. The five potential sites making the short list were Maridalsvannet, Bygdøy, Sognsvann, Svartkulp, and Hovedøya.

1. Svartkulp : Located a short walk from the larger lake Sognsvann, the small lake surrounded by a thick forest opens up. It provides free beach during the summer time. The large green area has a peaceful and calming atmosphere, isolated from the busy and popular area of Sogsvann. The dense forest and lake is a protected area which resulted in tranquil ambiance.

2. Maridalsvannet: With a quite diverse terrain and a thick forest, it is popular for jogging, cycling, and skiing in the winter. Lake Maridal is the largest lake and the main source of Oslo’s drinking water, therefore the lake is fenced around and swimming and fishing are prohibited. There are ruins to admire, but water facilities close to the start of the lake makes the place industrial.

3. Sognsvann: Sogsvann is a lake north of Oslo, with a popular recreational for all year around. It is known for a place for camping, picnic, bathing during the summer and cross-country skiing, skating and ice fishing during the winter. There is a trail around for walking and jogging around the lake. A plot north of the lake with less vegetation, which can be accessed from different higher and lower part of the hill, which could be a potential site. The lake is very popular and busy all year round, therefore wasn’t suitable.

4. Bygdøy: Bydøy or Bygdø is a peninsula situated on the western side of Oslo, home of summer residence of the King of Norway and five museums; Kon-Tiki museum, Norwegian Museum of Cultural History, Viking ship Museum, Norwegian Maritime, and Farm Museum.A large part of it is mainly residential area, but the forest is well protected and loved by locals and tourists with its large beach.

It is accessible by bus and public ferry departing from Aker Brygge in the summer.

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Oslo

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Oslo

Maridalsvannet Svartkulp Sognsvann

Bygdøy Hovedøya

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Maridalsvannet

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Sognsvann

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Bygdøy

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Svartkulp

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Hovedøya

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View from the harbor of Hovedøya

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Site model 1:2000

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Hovedøya

Overview Oslo is known for a thick forest looping the edge of the city protected as nature preserves, and is appreciated throughout different seasons by residents. One of these preserves, Hovedøya, remains untouched and features abundant lush green nature.

It is a small island located in Oslo fjord, connected to the city by a ferry which runs from Aker Brygge. After landing in Hovedøya, the ferry continues on to adjacent islands nearby. Hovedøya is wellknown for its forest and the ruin of Abbey. The name derives from the word ‘head’ (‘hill’ or ‘main’) in the Norse language.

Geology The layers of nature and history cause one to experience the island as if entering another world. The unique geology of folded rocks from the Ordovician and Silur periods openly express the island’s formation like an open book for geologists. The main rocks are sandstone, limestone, coral reefs with trapped carbonate, and volcanic rock intrusives from a rift cut through the older sediments. (Per Storemyr.

2018.)

The alternation of dark layers of shale and lighter layers of limestone appears frequently. Sandstone in Hovedøya consists both of quartz and lime particles, and limestones, as well as shale, contains a lot of mineral calcite. The slate breaks easily into thin tiles which provided good soil particles for the vegetation.

Diabas is fine to medium grained intrusive igneous rock. Known as black granite, this dark coloured rock is somewhat coarser and contains glass. As the landscape worn down and diabas, which are harder than the surrounding rock formations such as shale or limestone, now stands up as ridges in the terrain. Remains of diabas quarry are often found like a scratch of the landscape since it was a good material for construction. Amongst others, some parts of the abbey in Hovedøya and the royal palace in Oslo were made of this rock.

Total area: 0,4 sqm Tallest point: 47m above the sea level.

Transport: Ferry lines 92, 93 from Oslo.

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Overview, 1:4000

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Nature Upon the bedrock which provided a good soil for vegetation, the islands’ nature has Norway’s highest biodiversity, with the different types of vegetation go over on each other like patchworks. The dominant species of wood are pine, spruce, linden, ash, pepper, and hazelnut, with scattered birch, roe, oak, sweet cherry, and seal. In general, the edible forest grows on lower and flatter batches, while the lime forests are found on the highlands. It is said that the forest on the island has been heavily destroyed for many hundred years, and today’s forest is relatively young.

History Large parts of the island are protected by the Cultural Heritage Act with the ruin of a Cistercian monastery and the remains of military buildings.

The monastery was built by monks from Kirkstead Abbey in England in 1147 and closed down in 1532 due to political confliction. Since it has been rebuilt throughout its time, walls show different construction style. Parts built in the 1100s with the Romanesque style used finely tailored, small sandstone and lime mortar as the binder. The other, which were built in the 1200s with gothic style shows a mix of sandstone blocks, volcanic boulders, and pebble which transported by ice and large ground rock which is from island’s bedrock. Documents show that after the abbey seized its 400 years of monastic activity, the stones had been quarried and used for adjacent newer buildings such as Akershus fortress in Oslo.

The other major part of the island’s history takes a role with military service. Two cannon batteries were built during the Napoleonic war in order to defend Oslo and Akershus Fortress in 1808. Four depots for gunpowder were built in 1826 on the high points of the island to ward off intruders, and a fifth was built in 1867. One of the military buildings, Lavethuset(Kunstverket) is now used for small exhibitions. and a there is a Victorian house, known as “Laboratory” which was used by a director of the army.

Management of Hovedøya: Cistercian order 1147 to 1532, King 1532 to 1722, Defense 1722 to 1940, German 1940-1945, Armed Forces 1945 to 1952, Oslo Municipality from 1952

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1. Map of Kristiania, 1774

2. Map of Kristiania, 1836

3. Finished construction of Monastry with estimated vegetation, 1250

4. German bath house, 1945

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Climate

N

W

E

S

1. Average Wind direction distribution

N

03:54

22:44

21

06

18 09 07:24

17:37 15

12 09

15 12

09:18

15:12

2. Sun diargam

S0

2250 2130 Vinter 2010

2130

Sommer

2010

Vår 2 og høst 1

1850

Vår 1 og høst 2

1850

18

1730

1730

1450

0649 0649 0749

1330 1210 1050

0704

0850 0930

1450 1609

6

0649 0749 0850

1610

1610

1330

1210

1050

0749 0850

1010

1504

1104

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92 Vår 1 og høst 2 Gjelder i tiden 24. mars – 27. april og 17. september – 7. oktober: Vår 2 og høst 1 Gjelder i tiden 28. april – 18. mai og 3. – 16. september: Sommer Gjelder i tiden 19. mai – 2. september: Vinter Gjelder fra 8. oktober:

3. Ferry schedule

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Site map, 1:2000

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Existing contexts

1. Cistercian moanstery, 1147

2. Cannon built-up plateau using local stones, 1800s

3. Commandor’s house, 1840

4. Lavetthuset since 1840

5. Lindøysund magsin

6. Gunpowder House,1820

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Ferry port

LavettHuset

Cafe Cistercian Monastery

Portstueruin

Gunpowder House

Genetor’s house

Carp pond

Lindøysund magsin Gunpowder House Toilet General’s house

Lindøy sund

Bleikøya

Eastern bastion

Gressholemn Longøyene

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Geological condition

1

2

3

4

1: Coarse-grained calcareous sandstone with quartz grains from the top teams in the Ordovician. Oslo City Hall in the background.

2: Dark Slate and lime in bright layer and buns. Holmenkollen in the background. Photo HA Nakrem.

3: Part of the great sandstone break northwest of Hovedøya 4: From the largest breach of the diaspora on Hovedøya. Large piles of stone that have been sorted by their size. Photo: Per Storemyr.

3, 4: https://per-storemyr.net/2014/09/01/jakten-pa-steinbruddene-til-middelalderens-kirke-og-kloster-pa-Hovedøya-ved-oslo/

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Diabas(Perm) Syenitt(Perm) Skifer(Slur) Grovkornet, sandstein (Ordovicium) Skifer, sandstein, kalknoller (Ordovicium) Skifer - og kalklag (Ordovicium)

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The transition

1. Ferry port

2. Old forest path

3. Planned forest

4. Museum

1.

Coming by a small ferry to the island allows visitors to easily break free from their everyday life. The paths that were formed by the effort of the Cistercian monks, who started to construct the Kloster in the 11th century, then meander toward the museum, and further immerse visitors into the beauty and seclusion of the place.

The grassy central part is placed in a basin surrounded by higher hills. Historical maps suggest that the site used to be a field for pasturing when the Cistercian monarchy was active and had been unused until Germans built bathhouses in the 1950s, which were later demolished. As of late, it has been used for summer activities but is still lacking a clearly defined character or usage. I intended that the experience of the museum starts from this field.

2.

5.

5. Sea

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1.

2.

3.

4.

5.

5.

Main path to the museum Main Existing path Newer or lesser used path Newely Planned path by the municipality Ferry route

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The field in front of the museum entrance

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Phase 3. Concept of the museum

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“Museums exhibit things, as can be seen by everyone, but that is illusory.

There is stuff in the showcases, sure, but what audiences see and experience are feelings, values, concepts and ideas. Museums collect and care for artefacts but exhibit imaginations.�

Billy Ehn, 1986

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Concept image, describing the hierarchy of the programme

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Linear sequence

Sonsbeek pavilion concept diagram by Aaldo van Eyck

Fairytales had been inherited by words. The context of the museum doesn’t seem to relate to objects primarily.

Therefore architecture needs to create storytelling by framing a series of space which highlights the ambiance of the fairytales. In order to stage this ambiance, I introduced a linear line of a sequence where programmes hook in. In the linear lines of movement, we do not so much enter rooms, but rooms happen to us. The change of scene and occurrence has some unanticipated quality.

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2. Case study, Faaborg museum in Fyn

1. http://hicarquitectura.com/2018/04/aldo-van-eyck-sculpture-pavilion-sonsbeek-exhibition/ 2. https://kunsten.nu/journal/naervaer-som-teori/ , http://www.faaborgmuseum.dk/

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Museums of similar programme

Despite the unfamiliarity with the museum’s programme, some museums in Denmark, Sweden and Norway have featured folklore-related exhibitions, which demonstrates the public interest in the subject.

The fairytale room in Oslo Nasjonalgalleriet curated by a scenographer Mijla Svwwalovaara exhibits artworks of Theodor Kittelsen, August Cappelsen, and Hanna Pauli. In Germany, the Grimmwelt Kassel museum features fairytales that are written by Grimm brothers by exhibiting original films, sound documents, art installations.

In Denmark, Odense municipality had initiated the architectural competition for Hans Christian Andersen’s museum in 2012.

The loan list of Th. Kittelsen’s museum shows the existing museums that are interested in this theme.

2014, Th. Kittelsen – 100 år etter, Lauvlia, Sigdal 2011-12, Har dyrene sjel, Bergen Kunstmuseum 2011, Troll, Telemarksgalleriet 2009-10, Sort romantikk, Nordnorsk Kunstmuseum, Tromsø 2009, Kittelsen og Moe, Bomuldsfabrikken, Arendal 2008, Strek i bevegelse, Lillehammer Kunstmuseum 2006-07, Th. Kittelsen, Jugendstilsenteret, Ålesund 2007, Jubileumsutstilling, Lauvlia, Sigdal 2005, Theodor Kittelsen. Eventyrlige bilder, Trondheim Kunstmuseum 2004, Th. Kittelsen – Fra Lofoten til Eventyrland, Nordnorsk Kunstmuseum, Tromsø 2003, Theodor Kittelsen, Lillehammer Kunstmuseum

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Competitino for Hans andersen museum, Kengo Kuma

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Program

Entrance

The pathway from the forest gradually descends down to the museum’s entrance, which is carved into the rock and forms a cave. The expression intended for this space is a sense of overwhelming, and not entirely comfortable. This place is featuring ‘mountain’, one of the three driving concepts.

Storytelling theatre

Staging short talks about the museum’s collections, performances of actors and storytellers, and storytelling sessions for different age groups.

Exhibition space for museum collections

The exhibition fills two galleries. The gallery on the ground floor exhibits the museum’s permanent collections, highlighting adventure of folklore collectors and related artworks.

Featured exhibition space

The gallery on the mezzanine floor is a seasonally curated exhibition by museum staff, and highlights a specific subject. This can be curated by the museums’ house architect and scenographers.

Multi-sensory storytelling courtyard

A place to relax after the exhibition or to read books taken out from the archives of original folklore while listening to sound installations. Some of the wall facing the courtyard has windows outward, offering visitors a chance to gaze into a wooded landscape while listening to recorded folktales.

Store

The museum store sells books, including original fairytales and recently published fairytales.

Administration office

The museum staff work on curating seasonal featured exhibitions, and the museum manages its own publishing company for production of contemporary fairytales.

Cafe

A place for events and tea over poetry readings while enjoying a view toward the sea. The cafe can be rented out privately, operating separately from the museum’s opening hours.

Workshop space

A place to accommodate drop-in activities, including arts and crafts inspired by the museum’s collections. It accommodates activities such as learning folklore songs and dances for families and storytelling courses for children.

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Concept Entrance

Mountain

Quality Dark

Silence

Focus

Light

Lively

Sporadic

Storytelling theatre

Exhibition space for museum collections Featured exhibition space

Multi-sensory storytelling courtyard

Forest

Store

Administration office

Cafe

Workshop space

Water

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Phase 4. Sketch

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The axis The direction of the building is a strict straight line, in order to give a contrast to the old, natural path to the constructed path, which will allow the visitors to physically feel the difference.

The mark of a trail on the field, which presumably had been used by people get to the other end, became the direction of the museum building. This will slowly descend and lead toward the entrance of the museum.

Each side of the axis has different foundation, The east side toward the sea has bedrock visible from the ground, and the west side has a certain depth of soil with vegetation. Therefore, the retaining wall s which meet the each side of foundation has been planned accordingly. The wall on the east side is planned to imbed the rock surface into the building by cast on side concrete, and the wall on the west side has stone wall toward the outside of the museum.

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2.

W.

E. 1.

3.

1. Diabase, penetrated through the ground 2. Soil based foundation 3. Bedrock foundation, mixed with sandstone, limestone, and slate

W.

C.

E.

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The planned forest

The photo on the page 43 shows the existing forest that is located east of the site. In order to establish an emphasized transition from the old existing path of the island to the museum, I intend for a forest to be planted in the currently vacant field.

In many fairytale plots, incidents often occur when the protagonist enters an unfamiliar place with a change of scenery. Similarly, the new growth forest will evoke curiosity within the visitors to the museum. This can also be interpreted as Asbjørsen and Moe’s journey, who wandered through remote districts and collected stories which then became the foundations for their literary output.

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A section of the site, after a forest planted in the currently vacant field

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Excavation

Alfonso Acocella wrote, “True architectural spaces are not the result of the exploitation of gaps in the Earth’s crust, but of an intentional effort to create using walls as artificial boundaries designed to define the extension of large stereometrical volumes rising up from the ground” (A. Acocella, The stone architecture, 2004). Rocky areas which have been shaped by forces of nature in the distant past often already contain a primary form of “proto-architectural” spatiality. This is in contrast to rocky masses that are eroded by nature or subtracted as a result of human effort. However, such underground spaces, even though can be habitable, do not significantly affect the surrounding area, since they do not possess their own separate identity as do spaces created by Man. The excavation for this museum should be conducted in two directions: drilling through and making a tunnel from the side of the planned forest, and a ‘closed pit construction’ approach from the opposite side where there is a small existing path.

Section of the musuem, concept image.

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The intention for drilling from one side is to create a cave-like room, which can be only made by subtracting from the existing rock surface. The thin strip of Diabas rock formation will also be drilled through, which establishes a second entrance to the museum.

On the other side, where the walls are cast instead of carved, I intend to use ‘closed pit construction.’ This allows the retaining walls to reach down and create a relatively watertight foundation, ensuring that the construction is undisturbed by groundwater.

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Materials

Fig 8.

The act of “gathering” and “Extracting” material from the natural environment for the purpose of creating a given architectural space, basically derives from Man’s need for “confined”, comfortable spaces that in themselves represent the essence of his own existence. (A.Alfonso, Stone architecture, 2004) The stones excavated from the bedrocks are mixed layer of sandstone, slate and limestone, and diabas which is knowns as black granite.

When the excavation is on process, the stones will be examined and arranged by stone masters in order to reuse for the building material.

The sandstone will be used for the facade visible from the sea, and the part where building where it meets the solid ground and used for a part of the reinforced wall.

The slate will be hammered to be smaller pieces and will be used for the upper part of the facade.

The diabas will be crushed will be laid on the roof.

The rest of the stone will be powdered and used to mix the concrete, which gives more strength to the construction. Concrete will be cast on site and will be treated with hammer which leaves a rough visible imprint on the surface.

I believe using the material generated from the site is a gesture on the existing built context in the island, which was also built by using the stones that were either rolling in the hills or excavated from bedrocks. The color and texture of the materials will also allows the building to blend in the landscape more naturally.

The next couple of pages show the case study materials which I intend to use in the building.

1. Ruin of Kloster. Wall originally constructed with regular sandstone masonry mixed with a band of volcanic rocks.

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Area regeneration and buildings reuse, Enrico Sassi Architetto, 2017

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Fig 9.

Case study for using the exisitng bedrocks as part of the construction. Solid rosk treated traces of drilling down to create the relatively vertical walls, with smaller rock built up above to hide the load bearing construction.

Temppeliaukio Church, Finland

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Fig 10.

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Fig 11.

Concrete cast on site, treated manually with chisel and hammer.

Church in Finland, unknown

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Fig 12.

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Fig 14.

Dry stone walls constructed from quartzite, laid with open gaps between the stones, allow shifting play of light.

Mortensrud church, Jensen & Skodvin architects, Oslo

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Fig 15.

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Fig 16.

Case study for the construction, Church of St.Peter, Klippan, Sigurd Lewerentz

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Sketches

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Exhibition space sketch

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Courtyard sketch

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Phase 5. Project

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1.

2.

3.

4.

5.

5.

Main path to the museum Main Existing path Newer or lesser used path Newely Planned path by the municipality Ferry route

Ferry port

LavettHuset

Cafe Cistercian Monastery

Portstueruin

Gunpowder House

Genetor’s house

Carp pond

Lindøysund magsin Gunpowder House Toilet General’s house

Lindøy sund

Bleikøya

Eastern bastion

Gressholemn Longøyene

Main path to the museum Main Existing path Newer or lesser used path Newely Planned path by the municipality Ferry route

Diabas(Perm) Syenitt(Perm) Skifer(Slur) Grovkornet, sandstein (Ordovicium) Skifer, sandstein, kalknoller (Ordovicium) Skifer - og kalklag (Ordovicium)

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Axonometric diagram

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13.

12.

2.

4.

1.

3.

Plan and Section 1:100

1. Entrance 2. Lobby 3. Storytelling theatre 4. Exhibition for museum collections 5. Featured exhibtion 6. Storytelling courtyard

7. Workshop 8. Museum shop 9. Library 10. Cafe 11. Administration 12. Original folktale archive 13. Storage

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East Facade West Facade South Facade 1:100

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Detail section 1:20

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Detail section 1:20

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Mountain (Entrance)

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Exhibition space

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Forest (Storytelling courtyard)

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Sea, Water (Cafe)

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Model 1:200

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Trip, trap, trill; here is more than he will.

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Reflection

No matter how they are being told or manipulated, fairytales are, after all, fantasies which exists in one’s imagination. Each one of us has a different version of them. Constructing this vague world of the fairytale in a very rational language of tectonics was a challenge that I put myself to, which turned out to be larger than anticipated. I had hoped that this experience would lead me to gain a clear architectural language, which could then guide me throughout the rest of the profession.

Situated at a cliff on one of Oslo Fjord’s islands led me to discuss how architecture should react to the sensitive ecotone around it. I choose to blend the outer envelope with the existing landscape by using site-guided material; still, I aimed to establish strong contrast by highlighting edges where the building meets the natural rocky surface. The construction that projects out of the cliff and ends toward the sea is a manmade realm, and I believe that in many ways it mimics what fairytale is to us.

The project takes places in a site-specific approach, and the overall goal for the end product is to be able to produce detailed drawings that show how it can actually be built. But since it is, after all, a ‘hypothetical’ project, some of the decisions taken during the process relied on personal investigations and conversations with people in the related field.

Many thanks to the contacts I made in Norway, who might not have expected to receive emails from a student in Denmark asking about Norwegian folktales. I had to step into an area of unfamiliar culture and history. I hope that these conversations brought to light the complicated ideas regarding ‘what is Norwegian’ while still avoiding an approach to the project through an overtly nationalist view. This project instead focused on embracing the characteristics of Norwegian folktalesv by interpreting nature into architectural elements.

For the next couple of weeks, I will focus on clarifying the details and producing drawings and materials that express the ambience of the space I originally saw in this project. I hope that, in some way, this fairytale museum could stage everyone’s imagination too. It should take them to the nostalgia of a cool summer night, listening to stories of trolls and huldra, and wondering where their own personal adventures will lead.

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Bibiography

Asbjørnsen, P., 2012. Norwegian folktales Christiansen, R., 1886. Folktales of Norway Roberts, Warren E., 1924. Norwegian folktale studies : Some aspects of distribution Hodne, Ø.,1984. The types of the Norwegian folktale : Instituttet for sammenlignende kulturforskning.

Alfonso, A., 2004. Stone architecture Leatherbarrow, D., 2009. Architecture oriented otherwise Meijenfeldt, E., 2002. Below ground level: Creating New Spaces for Contemporary Architecture Oslo Municipality, 2007. Forvaltningsplan og Skjøtselsplan for Hovedøya Storemyr, P. 2018. Per Storemyr Archaeology & Conservation.

[ONLINE] Available at: https://per-storemyr.net/2014/09/01/jakten-pa-steinbruddene-til-middelalderens-kirke-og-kloster-pa-Hovedøya-ved-oslo/. [Accessed 13 June 2018].

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List of illlustrations Fig 5. Hanne Hiorth. 2017 Fig 8. Per Storemyr Archaeology & Conservation. [ONLINE] https://per-storemyr.net/2014/09/01/jakten-pa-steinbruddene-tilmiddelalderens-kirke-og-kloster-pa-Hovedøya-ved-oslo/ Fig 9-12. Lars Bok, 2018 Fig 13. Unknown, pxhere.com

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SeungaeYoo Seung.ae.yoo@gmail.com +45 21 58 01 85

Work Urbanism lab, Seoul National University, Researcher

2016 UIA Architects, Designer

2015 - 2016 Yo2 Architecture and Urbanism, Designer

2013 - 2015 Chiasmus Architects, Intern

2012 Interkerd Architects, Intern 2011

Education Aarhus school of Architecture

Architect Cand.arch 2016 - 2018

Chung-Ang University The School of Architecture & Building Science

BA 2008 - 2013

Manchester School of Architecture

BArch, Exchange 2011 - 2012

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