ENCAPSULATED POTENTIAL An exploration of alternative scenarios for industrial remnants JULIA ÖSTLUND JULIA ÖSTLUND ENCAPSULATED POTENTIAL MASTER THESIS IN ARCHITECTURE 2023 MASTER THESIS // 2023 CHALMERS SCHOOL OF ARCHITECTURE DEPARTMENT OF ARCHITECTURE AND CIVIL ENGINEERING EXAMINER // DANIEL NORELL SUPERVISOR // NAIMA CALLENBERG 32 © JULIA ÖSTLUND MASTER THESIS SPRING 2023 CHALMERS SCHOOL OF ARCHITECTURE DEPARTMENT OF ARCHITECTURE AND CIVIL ENGINEERING MASTER PROGRAMME IN ARCHITECTURE AND URBAN DESIGN MATTER SPACE STRUCTURE EXAMINER // DANIEL NORELL SUPERVISOR // NAIMA CALLENBERG AN EXPLORATION OF ALTERNATIVE SCENARIOS FOR INDUSTRIAL REMNANTS ENCAPSULATED POTENTIAL 54 // STUDENT BACKGROUND B.SC ARCHITECTURE CHALMERS UNIVERSITY OF TECHNOLOGY GOTHENBURG. 2016-2019 INTERNSHIP: TREDJE NATUR. COPENHAGEN. 2020-2021 KROOK & TJÄDER. GOTHENBURG. 2019-2020 M.SC ARCHITECTURE AND URBAN DESIGN CHALMERS UNIVERSITY OF TECHNOLOGY GOTHENBURG. 2021-2023 JULIA ÖSTLUND +46 (0) 79 340 21 45 OSTLUNDJULIA97@GMAIL.COM EXCHANGE SEMESTER ARKITEKTSKOLEN AARHUS AARHUS DENMARK. ARCHITECTURE AND URBAN SPACE DESIGN, 2021 MATTER SPACE STRUCTURE I, 2022 STUDIO 2C - BUILDING CULTURE & TECTONICS, 2022 // // STUDENT BACKGROUND 4 INDEX 5 ABSTRACT 6 INTRODUCTION 9 PREFACE 11 THESIS QUESTION 12 INTENTION 12 DELIMITATIONS 12 BACKGROUND 15 DISCOURSE 16 THEORY 18 REFERENCES 22 SITUATION 27 METHOD 35 SITE INVENTORY 40 DESIGN EXPLORATION 47 DESIGN APPROACHES + APPLICATION 57 DISCUSSION 77 BIBLIOGRAPHY 84 INDEX INDEX 76 This thesis seeks to investigate ways to com- municate a critical perspective on contempo- rary urban development by exploring alter- native scenarios for a former industrial site. By analyzing potential design approaches, a speculative design proposal can be presented in order to open up for discussion about what is considered valuable and broaden the general perception of conventionally considered useless structures. This thesis is situated at the site of the former cement factory in Limhamn in Malmö. The site is characterized by its six large-scaled concrete silos filled with marks from the industry and decay, surrounded by newly constructed housing buildings. The majority of the traces left by the cement factory have already been erased and with the current parallel commission for the site, the remaining structures will soon face the same fate of demolition. How can the transformation of this site be approached to give importance to its industrial heritage and visualize the embedded values? In order to investigate values the thesis uses a critical reading of the text The Modern Cult of Monument : Its Essence and Its Develop- ment written by Alois Riegl in 1903 combined with theories of life, death and design values in architecture presented in the text Buildings Must Die : A Perverse View of Architecture of Stephen Cairns and Jane M. Jacobs from 2017. The structure of the thesis is developed by an iterative research by design process. Starting with a inventory of the site as a base for design explorations, in order to translate into design approaches. The design approaches are then applied in relation to the site to visualize the research and how these approaches can be translated into design. The outcome of the thesis is a speculation on how the remaining structures on site can be deconstructed, relocated and reconstruct- ed, focusing on design in relation to values. The outcome combines a pragmatic view on the silos as reused building material with a discussion about industrial heritage and explores the balance between the silos as symbolic industrial artifacts and a material resource but also the site as a shadow place and the act of moving things. Keywords: industrial heritage, remnants, transformation, values / ABSTRACT FIG 1. LIMHAMN LARSSON, K. (2015) ABSTRACT 98 ////////////// INTRODUCTION 1110 FIG 2. LIMHAMN LIMESTONE QUARRY ROSENGREN, E. (1920) / PREFACE I The idea for this thesis project emerged from a personal frustration for general perception of our built environment. A frustration every time I see, or read, about demolition as a solu- tion for structures that have lost their purpose, or simply do not fulfill the requirements of our contemporary view of what is valuable. On the other hand, the solution cannot be to preserve everything, for fear of demolition. Nothing is static, neither buildings nor cities. With this thesis I aim to work in the spectra in between the brutal demolition and sentimen- tal protection. To accept the fact that struc- tures needs to be removed, but not to accept the common uncaring methods of demolition. What if the act of demolition was conducted in a way that gives importance to its heritage but simultaneously could be seen as a resource to something new? I decided early in this process to focus on aban- doned industrial remnants, partly out of my fascination for their inhuman scale and brutal materiality, but also their importance for our industrial heritage. How is it that we so ruth- lessly erase the traces of our former industry, when it was so important for us? When searching for a site to do my research, I found it important to find a place which I had no prior knowledge of or relation to. I wanted to start without preconceived ideas in order to try to stay objective and not be nostalgic, which I predicted might be a problem. The old cement factory in Limhamn turned out to be a far more interesting site than my initial per- ception. I am glad for the opportunity to learn more about this place former industry and how it has been important, not only for Malmö but for all of Sweden. This booklet should be seen as a process, both in terms of how the project has developed, but also as a personal process trying to broaden my perception on values within architecture. I have used this project as an opportunity to test ideas and combine theories and explorations in order to find my own approaches to discuss and design in relation to our built heritage and material resources. I would like to add a big thank you to family, friends, the studio members and Naima Callenberg for all the support and meaningful conversations. INTRODUCTION 1312 / MAIN QUESTIONS / OBJECTIVES / DELIMITATIONS / DICTIONARY THESIS QUESTION(S) Which design approaches could be used when transforming an old industrial site and its remnants? how can these approaches broaden the perspective on values in contemporary urban development?& INTENTION The intention with this master thesis project is to be an additional voice in the debate about what is considered valuable when developing our cities. It aims to broaden our view on con- ventionally considered useless structures and reflect upon their potential in connection to industrial heritage and material resources. DELIMITATIONS The thesis is positioned within a speculative scenario and does not take building regulations for the site into account. The thesis will not focus on the criteria stated in the current parallel commission for this site, but rather use the vision and program as a part of the background. Neither does the project review the submitted projects. The thesis will not focus on financial perspectives. I USE OF TERMS REMNANT A part or quantity that is left after the greater part has been used, removed, or destroyed. RUIN The physical destruction or disintegration of something or the state of disintegrating or being destroyed. SHADOW PLACE One or more places from which something originat- ed. A place hidden, severed and suppressed from our notice. (Author’s own definition.) TRANSFORMATION A complete change in the appearance or character of something. VALUE The importance or worth of something for someone. Definitions from Cambridge Dictionary & Oxford Languages if not stated otherwise. INTRODUCTION 1514 ////////////// BACKGROUND 1716 Simultaneously as the pace of urban devel- opment accelerates, so does the tendency to erase and demolish unwanted buildings and structures. The fast paced processes reduce the time for reflection and contemplation of our built heritage and its embedded histories and identities. These decisions and processes are often driven by financial incentives, where economic mo- tivations determine the needs that guides our urban development and therefore decides how to deal with our built heritage. The current development of the old cement factory in Limhamn is one of many examples where the conflict of interest is present. Where remnants of the industry meets the contemporary needs. The term industrial heritage often refers to the physical remnants of past industrial activities, such as quarries, factories and industrial fa- cilities. A wider definition of the term would be to include the aspects of institutional and social organizations but also the value systems industrial heritage sites. Despite the fact of in- creasing interest for preserving and re-purpos- ing industrial sites for contemporary use, only the structures that can provide economic value or are aesthetically pleasing are viewed as valu- able. Our industrial heritages need to be treated in the same manner as our cultural-historical her- itage, as it is a part of it. By embracing history and its remnants through architectural ideas and concepts, architecture can foster a sense of continuity and connection between past, present and start to speculate about the future. When broadening the general perception of what is considered valuable, present-day res- idents can re-connect with a community’s industrial past and understand their shared history and cultural identity. On the other hand, our contemporary context requires a pragmatic view of building resourc- es and transformation. Cities will continue to develop, as there is nothing static. Meaning that a static preservation of our heritage not is a possible solution. What would happen if shifting focus from the static built form to the potential of transformation, building reduction and relocation of material resources without losing the identity of the heritage. Would it provoke a re-imagination of values in our built heritage? As the concept of value can be perceived as subjective and often defined by the viewer, this thesis combines multiple theories and defini- tions of values within architecture in order to present a multifaceted definition. / DISCOURSE / CONTEXT II FIG 3. DEMOLITION OF INDUSTRIAL REMNANTS IN LIMHAMN LARSSON, K. (2015) BACKGROUND 1918 / DISCOURSE / DEFINITIONS / THEORY II Buildings are often assumed to have a life and the architect is assumed to be its conceiver and creator. But when a building loses its function, it is usually considered to be dead. Stephen Cairns and Jane M. Jacobs investigate concepts such as decay, demolition and rubble in their book : Buildings Must Die : A Perverse View of Ar- chitecture (2017). The book presents a contem- plation of architecture in relation to theories of waste and values as well as re-imagines the design potential with ‘dead’ buildings. (Cairns, Jacobs, 2017) Traditionally, ruinous buildings and structures have been viewed as evidence of a lost golden age. They provided evidence of the past, visu- alize layers of time and decay and were an im- portant source for inspiration and knowledge. However, modern ruins are often seen as dys- functional och testifies to economic and social defects. Arata Isozaki presents a more pragmat- ic view of ruins and consider them as symbols of the harsh reality rather than romantic traces of the past. (Cairns, Jacobs, 2017) Max Ryynänen and Zoltan Somhegyi discuss- es the potential of structures in decay in their text : Learning from Decay : Essays on the aesthet- ics of Architectural Dereliction and its Consumption (2018). Arguing that dilapidated structures do have aesthetic, historical and existential poten- tial, rather than practical. (Ryynänen, Somhegyi, 2018) LIFE AND DEATH OF STRUCTURES The concept of decay and ruination encourage us to become aware of temporal perspectives in our constructed surroundings. Both Carins and Jacobs, and Ryynänen and Somhegyi opens up for new ways of view the potential of this process, where a building never is stable in their appearance and their state. (Cairns, Jacobs, 2017) This thesis uses these theories and concepts to speculate about the lifespan of industrial remnants, the potential of its ruinous state and the possibility to re-introduce a new purpose. Micheal Guggenheim writes about the need for buildings threatened with death to be reborn or reanimated to be able to enjoy a new life. (Cairns, Jacobs, 2017) The end of a building can be an opportunity for ceremony and reflection, which in the case of this thesis can give importance to the site’s heritage. The silos will not be left at site long enough to become natural ruins, which is why this thesis investigates alternative design app- roaches to fulfill similar purpose. “When we admire the ruin, we concentrate on the remaining, since this is what leads us to the original and what is not there anymore is up to the viewer’s imagination. “ ( Ryynänen, Somhegyi, 2018) Alois Riegl, an Austrian art-historian and phi- losopher, published an article in 1903 called The Modern Cult of the Monument: Its Character and Its Origin. An article where he describes the values to be considered when approaching the conservation and transformation of historical buildings. Riegl distinguishes four types of monumental values and two types of monu- ments. (Bruins, 2017) The two types of monuments are the inten- tional and the unintentional. An intentional or deliberate monument is a result of a work pro- duced for the specific purpose of keeping par- ticular human destinies or deeds alive. When discussing monuments, we rarely think about intentional monuments but rather the unin- tentional artistic and historical monuments. According to Riegl, unintentional monuments contain a certain meaning assigned by the modern man, and not from the value or their original purpose. (Riegl, 1903) The four introduces monumental values are : age, historical, artistic and use value. All these values are overlapping and dependent on each other. Riegl describes the spectra stretching from newness value, via the stages of patina, decay and ruination with different levels of age value, to rubble with no value. (Riegl, 1903) VALUES AND MONUMENTS In this thesis, the term value includes both a critical reading of Riegl’s definitions but also a reading on the contemporary discussions and visions for this site. The aim of the reinterpre- tation is to challenge our perception of values within architecture. Matter and mattering are two framing concepts manifested in the values in conception and de- struction of buildings. The first one, matter, can be described as the materialization of ar- chitecture and the satisfaction that concepts are realized into built form. But as built form, architecture will face its fate of dematerial- ization, deform and decay. The definition of mattering is connected to how buildings are valued. This value can both operate in term of how buildings are connected to cycles of eco- nomic value creation but also in the realm of aesthetic appreciation. The materialized object is unavoidably connected to valuation, be they cultural, social or economic. It is important to keep in mind that fates of matter and matter- ing can not be separated. (Cairns, Jacobs, 2017) BACKGROUND 2120 II The idea of the Shadow place was initially introduced by the Australian feminist and eco-philosopher Val Plumwood in her text Shadow Places and the Politics of Dwelling. (2008) Her poetic and influential concept of Shadow places offers a framework for discussion re- garding social justice, capitalist exploitation and environmental questions in relation to a materially grounded context of place. (Plumwood, 2008) The Shadow places provide material and re- sources in order to create better places some- where else. They depend on each other, nev- ertheless we tend to focus on the nice places and not the shadows. Plumwood describes the need to include a justice perspective and learn to recognize the shadow places, and not only the ones we admire, love or find nice to look at. (Plumwood, 2008) Shadow places are to be found everywhere but are rarely made visible. We tend to ignore the places which provides us with material and financial support and only focus on the end result of the supply chain. SHADOW PLACE As this thesis is situated at the former cement factory in Limhamn, the concept of the shadow place is relevant. In regards of both the site’s history of being an important producer of cement, but also as a new shadow place for the material being relocated from the site. Plum- wood suggests a shift in the perception from the nice places to their shadow place, which could be applied in this thesis as an argument of the importance of this place. (Plumwood, 2008) The concept of Shadow places is rich in its complexity and involves a wide spectra of theory and ideas, where this project mainly focuses on the part relating to the extraction and movement of material and resources. “Contemplation of the agency, power and mystery of places potentially has a lot to contribute to under- standing our relationship to the earth.” (Plumwood, 2008) BUILDING REDUCTION AND RELOCATION The concept of subtraction in architecture was presented by the architect Keller Easterling. Arguing that subtraction, through demolition and removal, are necessary parts of architec- ture but are often responded with resistance in form of preservation. Easterling entreats architecture to accept subtraction as “a produc- tive technique” and as “both a tool and a new territory”. Easterling’s theories open up for a more nuanced cohabitation of demolition and conditions of wasting. (Cairns, Jacobs, 2017) 41 Gustavo Giovannoni, an Italian architect, pres- ents ideas connected to Easterling but propos- es “building reduction” (diradamento edilizio) instead of demolition and removal. By com- bining cautious demolition of existing struc- ture and a gentle introduction of new ones, he found the solution for accommodating change in our cities without disrespecting the existing texture of the city. (Cairns, Jacobs, 2017) 40 Mélanie van der Hoorn describes the often con- tradictory relation the public have to eyesore structures in her ethnography : Undesired Ar- chitecture (2009). She defines the eyesore build- ing as something rejected and disconnected to its host circumstances, be they aesthetic, use- based or economic. Van der Hoorn describes the rejected buildings as “corrupt in them- selves” because they have lost their purpose of use and ave begun to be marked by decay. Al- though such buildings often are subject to hate BACKGROUND and death wishes their demolition can gener- ate mixed feelings. Due to the cost of demoli- tion, these buildings are often left standing and can sometimes gain status, despite being seen as undesirable. (Cairns, Jacobs, 2017) 213 When analyzing the potential of building re- duction and subtraction, temporal aspects gains relevance. Architecture is not limited to the state of being static, matter must move through space to create trajectories in order to use architecture, realize its purpose and create emotive potential. Tim Anstey, a professor at Oslo School of Architecture and Design, inves- tigates the meaning of material translations in relation to the discipline of architecture in his text: Things that Move, Domenico Fontana and the Vatican Obelisk (2012). The text questions which characteristics defines architectural work by studying historical ar- chitectural monuments such as the obelisks in Rome and the Florenc’e cathedral dome in combination with the meaning of movement in early architectural theories such as Vitruvius and Alberti. The text reflects upon the hierar- chy between the permanent and the transient, aiming to broaden the definition of architectural work by showing how architecture choreographs movement and move subjects. (Anstey, 2012) 2322 / REFERENCES Relocation of matter, structures and therefore also values has been done in many different ways during history. These reference projects are therefore collected to gain an understand- ing of the varying aspects and perspectives of this discussion, and to provide insights on how they can be approached. The city wall around Visby is one of the most well preserved historical monuments in Sweden. Parts of it have collapsed, been looted and later rebuilt. It is partly made of limestone and during periods in history the demand has been so high that material from the wall has been used to construct new buildings. If the city had not suffered from stagnation and APPROACHES poverty in the 16th, 17th and 18th centuries, the wall’s desirable material would have been used for new building in a larger extent. (Mitt Visby, 2023-03-05) Tim Anstey writes about and discusses the relocation of the giant obelisk in Rome. Even though moving the obelisk took a year, the complicated logistics, drawings and design of delicate details required to achieve this un- thinkable mission, suggested that the move had become more significant than just the monument itself. The mission created an event, using architectural means. (Anstey, 2012) FIG 4. DRAWING VISBY TIDEMAN (1679) II FIG 5. LOWERING OF VATICAN OBELISK IN ROME FONTANA DOMENICO (1586) BACKGROUND 2524 Joseph Micheal Gandy’s painting of the Bank of England (1830) inspires this thesis in terms of representing the non-static and the constant evolution of a building, rather than presenting a fixed and static drawing. Evita Vasiljevas installation at P/////AKT shows elements of labour and production pre- sented in sculptural materiality. According to the artist, there is something more philosophi- cal about the non static state of falling apart or becoming, than about the fixed and static state or situation. Her work visualizes the objects’ strong physical presence, showing cracks and marks of decay and doubt, but also the poten- tial to grow into something new. The viewer is left to use its own imagination to speculate about the future for the object. INSPIRATION FIG 6. AN IMAGINED VIEW OF THE BANK OF ENGLAND IN RUINS JOSEPH M. GANDY (1830) PHOTO: © SIR JOHN SOANE’S MUSEUM, LONDON II FIG 7. MANHOURS IN HEADQUARTERS INSTALLATION VIEW AT P/////AKT VASILJEVA, E. (2017) BACKGROUND 2726 ////////////// SITUATION 2928 The thesis is mainly located in Limhamn, south of central Malmö, where the former cement factory once was positioned. This area previously served as one of Sweden’s largest producer of cement. The production was divided into two main areas, the quarry in the south and the factory two kilometers to the north, located by the sea to enable shipping by / SITE / INTRODUCTION III SITE IN 2023 DASHED LINE MARKS WHERE THE FORMER CEMENT FACTORY WAS SITUATED AND THE SOLID LINE THE ONLY RE- MAINING UNTOUCHED AREA. boat. The two areas were connected by train, and all the material was transported on the railway above ground until 1968 when tunnel connecting the areas was built. This thesis focuses on the part of the industry where the production of cement was placed, not the quarry. (Wickström, 2008) LOCATION IN RELATION TO THE CITY OF MALMÖ FACTORY QUARRY RIBERSBORG VÄSTRA HAMNEN SITUATION 3130 The factory was founded in 1888, but the ex- cavation of limestone have always been of interest to the population of Limhamn. The bedrock is very shallow and consists mainly of limestone, which made quarrying an relatively accessible side business for farmers in the area. (Schylter, 2009) In 1930, the cement production doubled and after the end of the Second World War, the demand was enormous. Between 1900 and 1950, the consumption of cement in Sweden had increased twenty-fold. Production double again between 1950 and 1969 as a result of the national housing initiative. The factory was modernized to achieve the production capacity needed to fill the demand. In the 1970’s, the construction slowed down and the oil crisis made energy more expensive. In 1978 the last kiln at the factory in Limhamn was shut down. The island and the ground was sold to the city of Malmö but the quarrying continued until 1993. (Schylter, 2009) Since the closure of Cementa Malmö in 1979, the majority of the infrastructure and the building which constituted the factory have been demolished. A few traces remain to rem- inisce about the past. At Fendertorget, located by the old loading quay, remain six silos. Three was partly demolished in 2012, but the other three remain intact. The silos, along with the quarry and a locomotive shed, are what remains visible from the industrial era. (Schlyter, 2009) The site was chosen because of its history, current context and the industrial structures that remain. III / SITE / HISTORY SITUATION FIG 9. ON-GOING DEVELOPMENT AT FENDERTORGET LARSSON, K. (2018) FIG 8. OVERVIEW OF THE FORMER FACTORY MALMÖ STAD (1973) 3332 As most of the old factory buildings have been demolished, plans for new construction have been shaped. Around the six remaining silos, new buildings have been constructed and now the time has come to transform the silos and the ground which they stand upon. In 2009, a cultural and historical analysis was produced by the heritage consultant Olga Schylter for the City of Malmö. She states that the quarry is a huge and tangible psychological trace of the cement industry that will remain and be visible for all time. In order for people to understand the industrial heritage, it is crucial that the quarry and the cement factory’s loca- tion in Limhamn are somehow visible in the physical environment in the future. (Schylter, 2009) The cultural and historical analysis proposes to keep some of the structures to transform them into symbols for Limhamn’s industrial heri- tage and make it a landmark for the area. The history of the site and the remaining structure is what makes it unique, and needs to be kept in future developments. The report also argues that the structures are only worth preserving if they have a function, either housing or office. (Schylter, 2009) Housing and office spaces are two of the func- tions that Malmö stad, Fastighets AB Trianon and Lerbacken Fastigheter AB wish to add to this area when presenting their vision and the parallel commission in 2022. (Malmö stad, Fas- tighets AB Trianon, Lerbacken Fastigheter AB, 2022) The gentrification process of this type is common, especially in areas with economical interests. What is being demolished of our industrial heritage is mainly determined by norms of aesthetics and what is considered valuable, often with economic incentives in mind. There is however, in my opinion, much more potential with theses industrial remnants that reaches beyond aesthetic and economic values. III / SITE / TODAY SITUATION OVERLAY SITE TODAY AND SITE 1979 POST INDUSTRY INDUSTRY 3534 ////////////// METHOD 3736 PROCESS The thesis focuses on developing methods to observe and inventory a site, exploring its em- bedded potential, and translating the explora- tions into design approaches for the site. The method can be described as research through design. With this as a starting point, the thesis aims to explore the question: Which design approaches could be used when transforming an old industrial site and its remnants? and how could these broaden the perspective on values in contemporary urban development? as well as opening up for contem- plation and discussion about our perception of industrial heritage. The first phase of the thesis uses theory and contemporary visions for the selected site in order to start to position the project in a wider debate. In parallel, a inventory of the site is done to understand the projects prerequisites as well as it history and former purpose. This is made by analyzing archive drawings and a site visit to document the current state of the site and the structures. / PROCESS / METHOD IV The inventory is later used to test the differ- ent theories presented and to investigate the structures and site in different scales, methods of demolition and the concept of designing by erasure, building reduction and relocation. The explorations are analyzed and translated into design approaches, but it should be em- phasized that this part of the process is made iteratively. The formulated design approaches are imple- mented on the site and its structures to visual- ize the result of the explorations and to reflect and discuss the outcome in relation to the thesis’ intention. The project should be seen as an iterative process, where each step has led to new knowl- edge and influenced the trajectory of the project. Within the process of this thesis lies the act of interpretation and creative specula- tion in combination with theoretical ideas and concepts. METHOD INVENTORY REFLECTION THESIS INTENTION + PROJECT BACKGROUND EXPLORATION TRANSLATION TRANSLATION DESIGN APPROACHES APPLIED DESIGN APPROACHES OVERVIEW OF WORKFLOW AND PROCESS 3938 / METHOD CONNECTIONS IV INVENTORY VISIBLE LAYERS OF SITE STRUCTURES TRACES GROUND PHOTOGRAMMETRY MODELS DRAWINGS DEMOLITION MATERIALITY QUANTITY NON VISIBLE LAYERS OF SITE DECONSTRUCTION RELOCATION EXPLORATIONS RECONSTRUCTION METHOD CONNECTIONS SITE TODAY SITE TODAY SITE FUTURE ? INDUSTRIAL REMNANTS SIX SILOS DECAY PRODUCTION PROCESS OF PRODUCTION OF CEMENT SHADOW PLACE MATERIAL RESOURCE GROUND SITE HISTORY VISION SYMBOL? USELESS? ECONOMIC VALUE POTENTIAL? TIME TOOLS POTENTIAL VALUES EVENT MATERIAL THEORY: VALUES MONUMENTS ... THEORY: MOVING THINGS METHOD 4140 / INVENTORY / SITE IV TRACES OF FORMER INDUS- TRY, HUMAN INTERACTION AND DECAY. AUTHOR’S PHOTOGRAPH (2023) MARKS AND TRACES OF FORMER CONNECTION BUILDINGS AUTHOR’S PHOTOGRAPH (2023) PERFORATION IN SILO AUTHOR’S PHOTOGRAPH (2023) TOP LEFT TOP RIGHT BOTTOM In order to collect material for design explora- tions and to understand the site in its current context, a site visit was made. Using camera and drone to capture the site and structures as a whole but also the marks of human inter- action and decay. The visit was an important starting point to grasp the site, the scale and its on going transition. The collected material was used to produce a photogrammetry, as texture for design explo- rations ans to calculate the amount of material captured in these structures. The result of the inventory of the site was gathered into one drawing showing original drawings, the struc- tures’ state today and their current context. In addition to the inventory of the site’s phys- ical and historical content, a inventory of the site’s values was made. By interpreting and ap- plying the theories presented in the previous chapter, historical and current values could be mapped. Although this inventory departs from several theories and ideas, it is more subjective than the first one. Evaluating the value of the site is an important part of the process and was conducted on the presented outcome of the project as well. METHOD THE REMNANTS IN THEIR CURRENT STATE AUTHOR’S PHOTOGRAPH (2023) 4342 INVENTORY OF SITE AND STRUCTURES IV / INVENTORY / SITE AND STRUCTURES 19 67 19 77 <2 01 2 20 12 SILO 2O-23 SILO 24-26 FORMER QUAY <2 01 2 <2 02 0 <2 02 0 DETAIL CONSTRUCTION 1:20 1: 50 0 METHOD FINDING OF LIMESTONE 1967 1979 2023 DECISION OF DEMOLITION SYMBOL? POTENTIAL POTENTIAL SPECULATION MATERIAL RESOURCE MATERIAL PRODUCER MATERIAL RESOURCE START NEWNESS VALUE AGE VALUE HISTORICAL VALUE USE VALUE DEATH? DEATH? RUBBLE (NO VALUE)? DECAY 4544 IV / INVENTORY / VALUES INVENTORY OF VALUES The current and historical values can be mapped by combining concepts of the life- span of a structure and Alois Riegl’s theories about values within unintentional monuments. The inventory shown below ranges from the initial finding of limestone and the potential it offered, through the active industrial era but also the post-industrial era up to today. The inventory uses a interpretation of Alois Riegl’s four categories of values: use, newness, historical and age. The use value is lost when the factory is shut down and the structures looses their initial purpose. The newness value decreases over time, as the age value slowly increases. The historical value is low as the structures are relatively new and their appear- ance not pleasing enough. This mapping of values lays the basis for spec- ulation for future potential where this thesis aims to broaden Riegl’s theories and therefore also our perception of industrial remnants. METHOD 4746 ////////////// EXPLORATIONS 4948 The inventory of the silos worked as a start- ing point for design explorations investigating form in relation to symbols, heritage and mate- riality. The explorations also visualize the con- nection between the process of demolishing a building and simultaneously extracting mate- rial. The extracted material are later used for explorations on reconstruction to investigate potential new scenarios. The aim with the explorations was to cre- atively test different approaches, theories and methods in order to evaluate consequences and potential. Seen to the right, a selection of the explora- tions is presented. Representing the methods of demolition and deconstruction, material resources, temporal aspects, the act of relocate matter and a speculation on what is left after deconstruction and relocation. Following pages present four explorations that have been extra influential when finding trajectories for this project. / EXPLORATIONS V SELECTION OF EXPLORATIONS AUTHOR’S PHOTOGRAPH (2023) EXPLORATIONS 5150 Using prototypes made out of cardboard and clay-sand in scale 1:200 to study demolition, material excavation and traces of disassembly. Visualizing relocation of matter and imagine what is remaining after removing the structure. V RELOCATION OF MATTER AND THE REMAINING ECHO AUTHOR’S PHOTOGRAPH (2023) DEMOLITION AND MATERIAL EXCAVATION AUTHOR’S PHOTOGRAPH (2023) EXPLORATIONS 5352 V By using photogrammetry and the fragments from previous inventory, 3D meshes could be produced to continue the explorations digital- ly. An important aspect was to find methods to not loose the marks, scars, dirt and materiality when designing. As shown below, photographs from the site visit has been reintroduced to the fragments. The fragments were also used to re-model the silo, which can be seen to the right. This was the first study of how to work with as- sembly after disassembly. The study emphasizes that the fragments are partly their own, but also a part of something larger. RE-INTRODUCING TEXTURES ON 3D-MESHES EXPLORATIONS RE-MODEL OF THE SILO USING FRAGMENTS FROM PREVIOUS EXPLORATIONS 5554 ////////////// DESIGN APPROACHES + APPLICATION 5756 / DESIGN APPROACHES VI EVALUATION AND TRANSLA- TION OF EXPLORATIONS INTO DESIGN APPROACHES The iterative process of analyzing the invento- ry, the site’s history, and the explorations led to a finding of multiple possible design approach- es that could be implemented to investigate the embedded potential. The first design approach is the concept of deconstruction. Both in terms of physical- ly dismantling the structures but also their history and values as industrial remnants. The approach of deconstructing is inspired by the site’s history as a material producer, where the excavation of limestone was justified based on its perceived potential. As a result of deconstructing a site, in this case, to dismantle and relocate the material it con- sists of, a post-deconstruction site is created. The extraction of material indirectly also means to design what is left when finished. Reconstruction is the next design approach. Where this thesis focuses on the material re- source, the fragments from deconstruction, and how to assemble them into new designs. In addition to the physical assembly, comes the speculative assembly of values and potential. Relocation as a design approach is integrated into the concept of deconstructing and recon- structing. This design approach is applied to this site to emphasize the site as a shadow place, its history of producing material for another site, and how material considered useless can be useful somewhere else. The formulated design approaches do not aim to find an ultimate solution, but rather to be applied on a site and its remnants to investi- gate the alternative potential. APPROACHES (Y ) (X) DATUM (Z) MATERIAL RESOURCE SH AD OW P LA CE SH AD OW P LA CE MATERIAL RESOURCE THE QUARRY SITE DECONSTRUCTION POST DECONSTRUCTION SITE RECONSTRUCTION MATERIAL RESOURCE? THE REMNANTS 5958 / DECONSTRUCTION / APPLICATION The first applied design approach is decon- struction. Where the remnants of the site are dismantled in a controlled way in order to transform the site and visualize the excavation of material to reconnect to the site’s industrial heritage. The transformation of the site can be divided into three phases: pre-deconstruction, during deconstruction, and post-deconstruc- tion. All important to discuss and reflect upon material resources, potentials and values. The deconstruction is a slow process where the demands control the extraction of materials, not vice versa. The tools and methods of deconstruction are chosen to give importance to the heritage and to provide useful conditions for the excavated material. The horizontal deconstruction will be con- ducted using a saw or thermal lance resulting in a sharp and clean surface with no protruding reinforcement bars. The vertical deconstruc- tion will be carried out with pressure bursting, in other words by drilling holes in the struc- tures to control where the cracks occur and therefore control how the pieces are disassem- bled. This method leaves the reinforcement bars untouched and can therefore be cut where it is suitable. VI VIEW OVER SITE DURING THE DECONSTRUCTION PHASE APPLICATION 6160 / DECONSTRUCTION / TIMELINE VI PRE-DECONSTRUCTION SITE What is worth emphasizing is the movement, the non-static, of deconstruction. Ranging from intact structures to only the echo of the past. Three of the silos are intact, and the other three have already started their deconstruction journey as they were partly demolished in 2012. The deconstruction can be seen as an act, an event larger than the structures them self as Tim Anstey mentions in his theories. (Anstey, 2012) The post-deconstruction site is the result of the material excavation where almost the entire site has been demolished and will be presented in detail on page 72. DESIGN POST-DECONSTRUCTION SITE 6362 / MATERIAL RESOURCE / FRAGMENTS VI The fragments, which can be described as a product of deconstruction should be seen as a material resource with both potential and prerequisites to create something far more than being waste material. If applying Riegl’s theories on values, he would call it rubble with no value and therefore no potential. However, as the fragments are carefully excavated from the remaining structures with tools and not explosives, it can be argued that the fragments already moved beyond the state of rubble into a resource with value. Each fragment consists of six sides, one is the former exterior of the silo with its marks of human interaction and climate. The opposite side will be the former inside of the silo, that have only been in contact with cement. The other four sides will all be marked by tools from demolition. Two sides will have a clean and precise surface with visible reinforcement bars after being deconstructed with a saw. The last two sides will be rougher and have traces of pressure bursting together with the remaining reinforcement bars. These properties will apply to all fragments, regardless of their dimensions or proportions. The fragments seen to the right visualize possi- ble outcomes from deconstruction. All contain marks from previous functions, human inter- action and deconstruction and with an em- bedded rounded shape and massive material- ity. The remaining silos all together consist of 2.791 m³ of concrete, whereas these three frag- ments only constitute 2,61 m³. Although this thesis does not focus on the quantities of reus- able concrete, is it important to understand the scale and proportions of these structures. FRAGMENTS FROM DECONSTRUCTION 1:20 DESIGN 6564 / MATERIAL RESOURCE / ASSEMBLY VI Once the deconstruction methods are defined, and therefore also the properties of the decon- structed material, the fragments are assembled to explore the architectural potential. By using the renaming reinforcement bars the fragments can be reassembled into different compositions for different use and purpose. ASSEMBLY CONCEPT / VERTICAL ELEMENT 1:25 This thesis explores four different concepts of combining fragments into architectural ele- ments. A vertical and a horizontal element, an opening and how to attach a window. The dif- ferent sides of the fragments will be displayed depending on the assembly. ASSEMBLY CONCEPT / WINDOW 1:25 DESIGN 6766 VI ASSEMBLY CONCEPT / HORIZONTAL ELEMENT 1:25 DESIGN ASSEMBLY CONCEPT / OPENING 1:25 6968 / ASSEMBLY / SITUATED DESIGN VI The four concepts of assembly are used to design a structure situated in the center of Malmö. It consist of two small scaled units connected using a larger circular fragment from the silo. The reconstructed structure relates to a new context and a new program, but maintains its identity from its former use. The characteris- tic rounded shape reminds about its original purpose as a silo and the fragments scars, rough edges and visible reinforcements bars tells that it used to belong to something larger. The role of the assembly is to highlight the ar- chitectural potential of the fragments and to reconnect to the theories of moving material and the architectural values it brings. The situ- ated design proposal is not designed to respond to a specific program or need formulated by stakeholders, but is positioned in a central lo- cation in Malmö with a familiar context such as streets and residential blocks. The composition is designed to use fragments of varying dimensions to use the rounded shape in different ways. The units are rotated and positioned to face different directions and lines of sight. The larger fragment connecting the two units creates a sheltered courtyard and a welcoming façade, both enhancing the scale of the silo and its heritage. DECONSTRUCTED FRAGMENTS RELOCATED AND RECONSTRUCTED IN CENTER OF MALMÖ 1:200 DESIGN 7170 EN TR AN CE 98 SKEPPSBRON SQUARE METERS VI DESIGN SK EP PS BR ON 7372 / POST DECONSTRUCTION SITE VI When perceiving the silos as a material resource and dismantling them, means there will be a post-deconstruction site. An alternative would be to level the structures with the ground and pretend that nothing ever stood there. A blank canvas for new things to grow. Inspired by the presented Keller Easterling and Gustavo Giovannoni’s theories of subtraction, design by erasure and building reduction, this thesis speculates on what is remaining post-de- construction. By not demolishing the whole structure can a new design on-site be present- ed, connected to the new vision of creating an urban space but at the same time keep traces of former purpose and use. Just as the old quarry is left to visualize its former activity. The remaining structures do not prevent, and neither aims to prevent, future development of the site. But their presence requires a reflection on this site’s heritage and the embedded value it contained and contains. As the silos never would have been left un- touched long enough to become ruins, one can argue that this presented transformation can be seen as designing modern ruins. The remaining structures will never be actual ruins of course, but perhaps they can fulfill a similar purpose. As written by Max Ryynänen: “When we admire the ruin, we concentrate on the remaining, since this is what leads us to the original and what is not there anymore is up to the viewer’s imagination. “ ( Ryynänen, 2018) VIEW OF SITE POST DECONSTRUCTION DESIGN 7574 + UN DE R CO NS TR UC TI ON HU MA N IN TE RA CT IO N MARKS OF DECONSTRUCTION MALMÖ ÖN VI VIEW OF POST-DEMOLITION DESIGN VIEW OF POST-DEMOLITION DESIGN The design of the post-deconstruction site is to a large extent inspired by the structures’ former function. As it used to serve as a silo, the foun- dation is formed as a cone with multiple steps where the cement was stored. The massive cone structures had integrated channels func- tioning to control the flow of the cement to the packaging area. The foundation is positioned one meter below ground level as the silos used to be connected to an underground network of tunnels. The remaining structures are designed to open up for human interaction but simultaneously reflect their former function. The former silo wall is opened up where the old outlet chan- nels were positioned to enable it to enter the structure. The surrounding walls are cut at different heights to create diversity in spatial qualities and to enhance the variety of use. LEFT RIGHT DESIGN MARKS OF DECONSTRUCTION FO RM ER F UN CT IO N 7776 ////////////// DISCUSSION VII / INVENTORY / POST APPLIED APPROACHES INVENTORY VALUES AFTER APPLIED DESIGN APPROACHES FINDING OF LIMESTONE 1969 1979 2023 DECISION OF DEMOLITION AP PL IE D DE SI GN AP PR AO CH ES POTENTIAL MATERIAL RESOURCE MATERIAL RESOURCE FRAGMENTS RECONSTRUCTION RELOCATION POST DECONSTRUCTION SITE SHADOW PLACE START NEWNESS VALUE NEWNESS VALUE NEWNESS VALUE USE VALUE USE VALUE HISTORICAL VALUE AGE VALUE AGE VALUE HISTORICAL VALUE USE VALUE DEATH? DEATH?DECAY DECONSTRUCTION 7978 As a continuation of the inventory made before design explorations and applied design ap- proaches, a post-implementation inventory is made. By using the same interpretation of ideas and theories an extended evaluation of values can be conducted. Ranging from the initial start of the industrial era, through the state of today to the presented speculative sce- narios for the site and its remnants. By applying different design approaches, new values can be created and evaluated. The de- construction of the structures generates ma- terial resources, fragments with both newness value and potential use value. The post-decon- struction site will be reprogrammed with a new use value, as the deconstruction transforms the silos into a new design. The transformation entails an increased newness value embedded in the historical value. The reconstruction, through concepts of as- sembly and a situated design, will contain an age value as the material which they consist of does so. At the same time, the reconstruc- tion will generate both use value and newness value. The scars and marks will show the in- trinsic historical value which may continue to increase as the new design continues to tell the stories of the past. DISCUSSION 8180 / DISCUSSION / POST APPLIED APPROACHES The inventory visualizes how the values are intertwined and strongly connected to each other, making it crucial to mention cause and effect when discussing the outcome of the thesis. The newness value in the reconstruc- tion would not have been possible to achieve without the phase of deconstruction. And the newness value of the post-deconstruction design would neither be possible to achieve without emphasizing the structures’ embedded materialistic potential. When evaluating the potential beyond the structures as a material resource, lays the im- portance to discuss value-making by architec- tural methods in a broader context. Using de- construction and transformation of industrial remnants to signalize the importance of its in- dustrial heritage, and as a shadow place. Plum- wood suggests a shift in the perception from the nice place to their shadow place, which is explored by deconstructing, transforming and re-valuating the structures and the site. The deconstruction site will always be connected to excavated fragments and the new design, as it serves as their shadow place. A relevant aspect when discussing the relation between architecture and value creation, is the act of relocation. It is not only the static state of before-deconstruction and post-deconstruc- tion that is relevant to evaluate in this thesis. The event of deconstruction requires reflection and is an important factor when conveying the vitality of a building. The event of deconstruct- ing the silos can be assimilated or compared to the former event of excavating limestone for the production of cement. But one big differ- ence VII is worth mentioning. Extracting material re- sources from an old structure does not require excavating new material, but rather re-imagine the potential of the already existing. The intention of this thesis was to be an addi- tional voice in the debate about what is con- sidered valuable when developing our cities. The intention derives from the ongoing par- allel commission of the former industrial era of Limhamn, with a proposal to partly demol- ish the silos to build something new twice as high instead. The argument for demolishing the silos departures from the lack of poten- tial to transform the silos into housing, which was presented as the only solution to consider them valuable. By speculating upon alternative approaches the thesis can broaden the perspec- tive on value within industrial remnants and hopefully influence future development of the site. When observing the silos today, after explor- ing, evaluating and designing speculative sce- narios, the embedded potential is made visible. The before conventionally considered useless structures can provide material resources to reconstruct newness and use value at another location and by doing so, the structures them- selves can provoke a re-imagination of their own value and highlight their history. A variety of new values are created only using existing utilities, meaning that newness value, histori- cal value and age value can evolve in symbiosis. VIEW OF MATERIAL MOVEMENT AND THEIR SHADOW PLACES IN THE CITY OF MALMÖ 1:30 000 1:15000 1 km DISCUSSION VII DISCUSSION 8382 The thesis started with the intention of inves- tigating alternative approaches towards our industrial heritage to explore its embedded potential and to challenge the conventionally considered life span of a structure. I wanted to find alternative ways to explore a site and its remnants’ values and potential, rather than transforming an old structure in a traditional sense. The former cement factory in Limhamn was chosen because of the current parallel com- mission, which presented an interesting debate where I wanted to insert my thesis project. I saw the potential to use the debate as a part of the background to position and delimit the project. A personally important aspect of this project has been to learn the site’s rich history and use it during multiple parts of the project. Both when it comes to the background and the intention of the project and also as an inspi- ration when designing and creating the visual material. Almost all drawings are influenced by the building permit drawings for the remnants or old photographs. The method of the project has been developed constantly and iteratively, which is important to mention as the outcome of the project is strongly connected to this process. I spent the first weeks establishing a position of the project through theories, an inventory of the site and its history, but only to use it as a foundation for further explorations and not to define desired outcomes. The design approaches was later formulated after testing multiple trajectories using form studies, theories and design explo- rations. The formulated design approaches are not limited to this site and these structures, and can be implemented on any site. On the other hand, I find it more relevant and interesting to apply the inventory of values as a method for discussing and analyzing existing build- ings. The application might be useful to other industrial sites where the same discussion is present, and using the inventory to focus on visualizing alternative use of sites and material resources. As the thesis uses Alois Riegl’s theories re- garding values, it is worth mentioning that the definition needs to be interpreted critically as it was presented in 1903. His perception of use value would gain complexity if combining it with sustainable and environmental values. Al- though the thesis does not primarily focus on sustainability and environmental values, the aspect is of major importance when discussing how to develop architecture in a contempo- rary context. Due to our urgent climate crisis, it is important to value the material resources already produce instead of producing more. I hope a broader perspective and alternative approaches towards our built heritage can provide a re-imagination of material resources but also visualize the potential to create some- thing new, while using the existing. The thesis has inspired me to continue to question conventional considered methods for developing our cities and to broaden my per- spectives regarding our built heritage and how to deal with it in a contemporary context. To work iteratively with theories, explorations and design motives me to keep investigating and developing alternative methods for creating architecture. / REFLECTION VII BIBLIOGRAPHY 8584 Anstey, T. (2012) Things that Move: Domenico Fontana and the Vatican Obelisk. Nordic Journal of Architecture No. 3 Vol. 2., 47-57 Bruins, B. (2017) The beauty of dereliction, Designing with ruins and decay. Delft University of Technology - Faculty of Architecture and the Built Environment Cairns, S., Jacobs, J. (2014) Buildings must die : a perverse view of Architecture. MIT Press Riegl, A. (1903) Moderne Denkmalkultus : sein Wesen und seine Entstehung, K. K. Zentral-Kom- mission für Kunst- und Historische Denkmale : Braumüller. Translation first published as Aloïs Riegl, The Modern Cult of Monuments: Its Character and Its Origin, trans. Kurt W. Forster and Diane Ghirardo, in Oppositions, n. 25 (Fall 1982), 21-51 LIST OF REFERENCES / BIBLIOGRAPHY Ryynänen, M., Somehegyi, Z. (2018) Learning from decay. Peter Lang gmbh Schylter, O. (2009) Cementfabriken och bangården i Limhamn. Rapport 2009:018. Kulturarvsen- heten, Malmö Museer Plumwood, V. (2008) Shadow Places and the Politics of Dwelling. ANU E-press. Retrieved from: http://austra- lianhumanitiesreview.org/2008/03/01/shad- ow-places-andthe-politics-of-dwelling/ Wickström, I. (2008) Tirnneln under Limhamn - ett öde industriminne. Limhamniana. Retrieved from: http://limhamnsmuseum.se/ limhamniana/ Author unknown. Mitt Visby. (2023-05-03) Visby Ringmur. Retrieved from: https://www. mittvisby.se/visby-ringmur/ Figure 1. Title unknown (2018) Photo © Kjell Larsson [image] Retrieved 2023-01-28 from http://lim- hamnsmuseum.se/besok-bildarkivet/ Figure 2. Pallbrytning i Kalkbrottet (1920) [image] Photo © Edward Rosengren Retrieved 2023-03-07 from http://limhamnsmuseum.se/besok-bildarkiv- et/ Figure 3. Demolition (2015) [image] Photo © Kjell Larsson. Retrieved 2023-03-02 from http://lim- hamnsmuseum.se/besok-bildarkivet/ Figure 4. Title unknown. (1679) J. Tideman [drawing] Retrieved 2023-02-28 from https://www.mittvisby. se/visby-ringmur/ Figure 5. Lowering of Vatican Obelisk in Rome. (1586) F. Domenico [drawing] Retrieved 2023-04-28 from https://blogs.getty.edu/iris/obelisks-on-the-move/ IMAGE SOURCE Figure 6. An imagined view of the Bank of England in ruins. (1830) Joseph M. Gandy [watercolour on paper] Photo: © Sir John Soane’s Museum, London Retrieved 2023-04-20 from http://collections.soane. org/object-p267 Figure 7. Manhours in Headquarters. (2017). E, Vasiljeva. [Installation view at P/////AKT] Retrieved 2023-04-28 from https://artviewer.org/evita-vasilje- va-at-pakt/?utm_content=buffer793b4&utm_medi- um=social&utm_source=facebook.com&utm_cam- paign=buffer Figure 8. Title unknown (1973) Photographer Unkown [image] Retrieved 2023-01-28 from https:// bildarkivet.malmo.se/asset-bank/action/viewAs- set?id=160340&index=56&total=86&view=view- SearchItem Figure 9. Limhman norra hamn (2018) Photo © Kjell Larsson [image] Retrieved 2023-03-02 from http:// limhamnsmuseum.se/besok-bildarkivet/ © JULIA ÖSTLUND MASTER THESIS SPRING 2023 CHALMERS SCHOOL OF ARCHITECTURE DEPARTMENT OF ARCHITECTURE AND CIVIL ENGINEERING MASTER PROGRAMME IN ARCHITECTURE AND URBAN DESIGN MATTER SPACE STRUCTURE EXAMINER // DANIEL NORELL SUPERVISOR // NAIMA CALLENBERG