1. 1 0 1. 2 Tove Nankler Matter Space Structure Examinator: Morten Lund Tutor: Peter Christensson Cave - an urban shelter Intertwining creative expression with nature 1. 3 ABSTRACT Intertwining a cave-like structure to its surrounding, based on memory of me in nature close to my home in Gothenburg. I am using a Cave for consiously letting the light in, engaging with the walls and creating a harmonious and beautiful inside. Representing the ”inner” world. Structure is placed at Duvberget close to my home where i live today in Majorna. To be used as an urban shelter, where you can visit together with your kids and experience nature in the city. Project is about grounding in to nature, both as humans and through our buildings. It put us in contact with our roots, leading to architectural values, sustainable and beautiful. Cave is to be built with cross laminated timber walls, to use on top of eachother almost as bricks. This for gaining sufficient inner climate, functions in the walls and beautiful light openings playing together with the thick organic walls.Nothing extra then 100% wood is to be used. As a method i am using creative investigations, where i sketch and take photos - inspired by nature and memory intentions. With sketchingpaper and layer on layer method. I have found a creative process to use in every future projects. A rare building technique for housing. That uses both handcrafted and industrial techniques. KEYWORDS: Grounding, relating, intertwining - nature, essence 1. 4 TABLE OF CONTENT Main question and objective Värmland Introduction Childhood memory Background First model of the Cave Why Cave? Process of the Cave Cave as house Case studies Värmland Discourse Investigating harmony Conclusion prototypes Conclusion diagram Outside - inside Magnetic Raking light Centered Patterns Prototypes Concept model Cave illustration Philosophy of Cave References Quote Värmland 5 6 7 8 9 10 11 12 14 18 19 20 22 24 25 26 28 30 32 34 36 37 38 39 40 44 45 50 82 84 102 106 120 123 124 125 126 Process of Värmland Duvberget Wims spatial findings at Duvberget Site at Duvberget Light-studies Merging Site at Duvberget Quote Materiality Close-ups at Duvberget 1. 5 MAIN QUESTION AND OBJECTIVE What can we gain in terms of architectural values - psychological healing properties, economy, sustainability, creative expression, when working with spirit of nature, in aspects of: memory, materiality, integrating and relating to surrounding elements beauty for everyday life for everyone Instead of adding another layer in architectural techniques and expression, i am interested in scaling off. To keep it clean and connect with the roots of architecture and humanity. 1. 6 1 1. 7 During childhood i spent the summers in Värmland - at my summerhouse. It is located nearby a lake, and surrounded by deep forest. Me and my brother spent almost all the time outside - swimming and playing in the forest. The closest we came to nature would be when we went out hiking for some days. Only us, the canoes, a trianga kitchen and tents. Remember it felt magic and free - to deeply understand our connection to nature and that it has everything we need. Therefore an ”urban shelter”, a space in-between nature. A building with purpose to make the link between nature and humans. It will be placed at Duvberget, for shining light on importance of nature in the city, for everyday luxury for everyone. INTRODUCTION 1. 8 I put my hands and feet on the naked mountain, experiencing the lukewarm rock..earth, stones and dry yellow grassblades1 1 Childhood memory - Tove Nankler 1. 9 Background Returning to the Cave Cave is made out of a childhood memory - based in the mountains where i grew up in gothenburg. It symbolizes the need for a space of complete harmony and stillness, a place where you can empty yourself and refill again. Cave has transformed from being a one person home to being a small family home. I am returning to the Cave to be placed at Duvberget in Majorna to be used as an urban shelter. To visit together with your kids or to have a nature experience in the city. Cave as an urban shelter will get inspiration from forest at my summerhouse in Värmland, which is a place I have returned to since childhood. It is located in the deep forest, nearby a lake and with its biodiversity almost intact. That is why i have chosen this place, to connect to the roots of where we come from - as humans in general (nature), but also for me in personal. Because this is the only place i have, and will keep returning to. Returning is a necessary skill to use when working in a creative process. Being gentle about changing and reconstructing our own ideas, but also to understand life in a broader sense. Life is not always straight forward, with a start and an end. Life happens ”on the road”, with lots of circular movements and returning places. But never with the same experience as before. Always with a new perspective. Through returning to the roots of nature and architecture, i will find out what is necessary to keep and what we can do without. When placed and integrated in its context at Duvberget, I am somehow returning to the childhood memory of me climbing in the rock, nearby my home in Gothenburg. This time with my child, for creating new childhood memories. Plato’s ideas or the so-called Platonic eidos were pure mental forms that were imprinted in the soul before it was born into the world.1 Relating to Platos Eidos, i am manifesting forms out of mental ideas, represented in this physical world. To use as a fundament and discussion for shared projection. 1 Soccio, Douglas J. (2009). Archetypes of Wisdom: An Introduction to Philosophy. p. 128. 1. 10 First model of the Cave With intention of childhood memory in mind 2 1. 11 WHY CAVE? A cave is often created through forces of nature, where opening is smaller then it is deep. They have served as homes for humans since beginning. Inside can beautiful creations arise, made through chemical reactions and weathering.1 I see Cave as a representation of the ”inner world”. With a background of visiting places nearby my home in childhood. Always on my own, always seeking out a mountain - surrounded by nature and stillness. I sat there until i felt i was ”back again”, when i had emptied myself and refilled again. Therefore cave as structure is a solid space, where you can bodily move and engage with the walls. Not exploited to the surrounding, but consiously letting the light and surrounding engage with and creating the inside. 1 Spirit Cave (2019) Nationalencyklopedin. 1. 12 Process of the cave Models and sketches made during process, where selected the first model and sketch to move on with cave [keɪv/ ]: A hollow place opening more or less horizontally under the ground; a cavern, den, habita� on in the earth. Keywords: With modern techniques, preven� ng a sustainable and primi� ve lifestyle. A philosophic sustainable lifestyle, that makes you appreciate simple things in life. Early model studies ”With no direc on I walk one step at the me. All my focus is on my hands and toes experiencing the lukewarm mountain mixed with earth, small stones and dry yellow grass blades.” Memories from an indian summer walk “A ́ nest´ i s a place for people that is very well prepared, everything is assembled and very func onal, meanwhile the ´cave´ is just a raw space, which people need to explore and  nd their own comfort within.” Sou Fujimoto Primi� ve future Sketches 3 1. 13 Process of the cave Developement of the first model, made through cnc-cut and carving for smooth surface - gluing them toghether 4 1. 14 Cave One person student house, 9m2 5 1. 15 Cave One person student house, 9m2 Section A Plan 1 Section B Plan 2 6 1. 16 Cave Small family (attefalls) house, 25m2 A A B B 7 1. 17 8 1. 18 Case studies Building philosophies PROTOTYPES Functions in variated heights Tailor-made functions 9 10 N-HOUSE LE CABANON 1. 19 Case studies Building technology PROTOTYPES Digitally controlled 3d milling on a core of wooden timber Prefabricated cnc-cut on cross laminated timber 11 12 REINDEER PAVVILION TERMITE PAVILLION 1. 20 13 1. 21 DISCOURSE It is my firm belief that humans need connection to nature to stay grounded and harmonious. I dont believe that we have to live and build in nature, i do believe that humans and cities is a living organism. But as Alvar Aalto propose it has to do with an understanding about humans relationship to nature1. And i would like to translate it to an understanding of our cultural roots, to understand where we come from. I find interest in returning to the Cave, to keep it clean and to understand the essence of where it started. But also to discover where the architecture creates a link between human and nature. Through studies of Alvar Aaltos interest in nature and sketches that reaches an understanding of grounding buildings to 1 Menin, S and Samuel, F (2003). Nature and Space: Aalto and Corbusier. p. 76 its surrounding. Le Corbusiers way of intertwining creative expression with nature, through industry and economy. And my own creative process where i sketch, take photos, build models and experience surrounding. I am through mental and bodily movement - relating, manifesting and grounding building in to my system. To use as a fundament and a way of linking architecture to human and nature. The Primitive hut is a conceptual hut, is an abstract concept of a place that is created through mans response to the natural environment, where architecture acts as the mediator between man and nature. The Primitive hut concept explores how architecture came to be, and is a way of explaining the fundamental origins of architecture2. 2 Laugier, M. A. (1755). An Essay on Architecture. 1. 22 Through studies of nature, paintings and architecture - in a search for creating a meditative space Investigating harmony OUTSIDE - INSIDE Nature on the inside, what is inside and what is outside? How much can nature interact with a building? Curved irregular forms, living organic material on the inside. Stones and raw materiality with structure. Light from the side and light reflections. 14 1. 23 Through studies of nature, paintings and architecture - in a search for creating a meditative space Investigating harmony MAGNETIC How does building interact with surrounding? Contrasting in its forms but reflecting in materiality, structure and density RAKING LIGHT Light from an indirect source creates shadows defining the structure of the material CENTERED1 A central core surrounded by materiality in different shapes and volumes, reflecting light on a variety of intensity during the day 1 P.S Kröyer - Roses (1893) PATTERNS1 Where nature is reflected on the inside in an architectural creation. Through variated patterns and treatments 1 Alvar Aalto - villa Maiera (1935) 16 17 1815 1. 24 Conclusion prototypes A conclusion diagram of the five important directions for further investigations OUTSIDE - INSIDE Where nature and architecture meet MAGNETIC Contrasting surrounding TRAILER LIGHT Shaping with shadows CENTERED Core surrounded by matter VARIATION Patterns/ treatment reflecting nature 19 1. 25 Conclusion diagram Circle represents orbit, that what comes from nature goes back to nature Inside is reflecting outside/surrounding - through shaping with light, form and materiality. Outside of building contrast and reflect surrounding through form and dense pattern - creating a magnetic approach 20 1. 26 Where nature and architecture meet Investigation through photografies and sketchingpaper Outside - inside The wilderness and uncontrollable of nature interacts with industrial structure - on the outside Organic forms of nature framed by controlled industrial structure Organic uncontrollable form interacting with industrial organic form - on the inside Meeting between outside and inside through transparency and opening Where industrial production interacts with organic living nature - outside Organic living nature interacts with industrial structure - on the inside Building exterior interacts with natural surrounding - both contrasting and grounded Exterior industrial construction interacts and contrast organic natural elements 21 1. 27 Where nature and architecture meet Organic - industrial, outside Framed organic by industrial - inside Organic nature interacts with organic industrial - inside Industrial inside interracts with organic outside Organic industrial - outside Organic industrial - inside outside interacts with outside Organic - industrial, outside 22 1. 28 Density and contrasting surrounding Investigating density of design and how it interacts with surrounding for creating a magnetic experience Magnetic Dense in materiality and mass, grounded and contrasting surrounding - also reflecting in minimalism Magnetic in openings and reflection, small but dense, creating curiosity and mysticism Magnetic in opening creating a mysticism and density in shadows. Relating to surrounding in form Irregular and variated patterns, dense in scale creating a magnetic outside Irregular and variated patterns, dense in scale creating a magnetic outside Opening with shadows and no transparicy creating mysticism and magnetism and curiosity Opening with shadows and a dense structure with form reflecting surrounding Forms contrasting surrounding, transparent facade with light openings but magnetic in contrast and density 23 1. 29 Density and contrasting surrounding Density and contrasting surrounding Dense but not grounded Magnetic and relating to surrounding Pattern with irregular scale creating magnetism Pattern with smaller scale in pattern creating density and magnetism Dark and dense opening creating contrast and magnetism to organic surrounding Dense organic structure relating to surrounding with magnetic opening Transparent fasade creating mysticism and contrasting surrounding 24 1. 30 Shaping with shadows Raking light Raw dense surface creating structured lines in variated drection Smooth surface with light from above, creating a degration in shadows Rough organic surface creating irregular patterns and shadows Smoke meeting sky, creating a degration in light and dark Structured surface meeting light from the side creating both pattern and degration in shadows Cloud meeting sky, creating a degration in shadows from left to right Light from the side on structured surface creating regular organic pattern Light from the side on surface with smoth difference in materiality and contrast in shapes and colours 25 1. 31 Organic lines in irregular directions Shadow degradation Raw structured irregular surface Crossing lines i variated directions Organic pattern with shadows Raw surface of crossing lines Organic structured pattern Organic forms and contrast in shadow Shaping with shadows What to take with to next investigation 26 1. 32 Centered Core surronded by matter in variated forms and density Light in the middle surrounded by crossed, straight and diagonal patterns Light in the middle surrounded by crossed, straight and diagonal patterns, reflections and density Light in the middle surrounded by crossed, straight and diagonal patterns and organic forms Light in the middle surrounded by crossed, straight, diagonal and circular patterns and organic forms Dark matter in the corners with organic forms surrounding a core of similar density and patterns Circular movement creating a center core with magnetic movement to the middle Patterns of dots - straight, crossed and diagonal lines, together organic forms and light reflections Organic forms with similar density and straigt, crossed and diagonal lines surrounding a core 27 1. 33 Core surronded by matter in variated shapes and density Core surrounded by a variety in pattern Core surrounded by a variety in pattern and density Core surrounded by a variety in pattern, reflection and form Core surrounded by a variety in pattern, density and form Core surrounded by organic forms and dark matter Core surrounded by circular movement Core of organic forms surrounded by patterns in density Core of organic forms surrounded by patterns of straight, crossed and diagonal directions 28 1. 34 Patterns and reflections imitating nature Reflections/patterns Detailed organic forms together with reflected surfaces Reflected surfaces in degration of shadow Reflected surfaces in degration of shadow. Straight lines contrasting diagonal lines in variated direction Reflected surfaces in degration of shadow. Creating an organic experience Organic patterns contrasting surface Organic patterns contrasting and reflecting surface Light from the side creating contrast in shadows, highlighting organic forms Organic pattern contrasting reflected pattern with diagonal lines 29 1. 35 Patterns and reflections imitating nature Organic pattern and reflected surface Reflections on surface creating integrated degration in shadows Contrast in scale and straight and organic patterns Degration in shadows on reflected organic forms and surfaces Organic pattern contrasting reflected surface Light from the side creating contrast in shadows and reflected surface Organic pattern on surfaceOrganic pattern contrasting surface 30 1. 36 Prototypes Sketchy prototypes to further develope the five important directions MAGNETIC RAKING LIGHT CENTERED VARIATIONOUTSIDE - INSIDE 31 1. 37 Concept model A squareformed model with functions along the walls and inside the walls, where space is centered and light comes through the sides SECTION PLAN 32 1. 38 Cave attefall Transparent in perspective 33 1. 39 Plato’s Cave Plato has Socrates describe a group of people who have lived chained to the wall of a cave all of their lives, facing a blank wall. The people watch shadows projected on the wall from objects passing in front of a fire behind them, and give names to these shadows. The shadows are the prisoners’ reality. In relation to Platos Cave, Cave is also a representation of what is unseen manifesting in this world. But Cave is about consiously letting the light in. Engaging with darkness (intuition) and creating a beautiful inside with what is allready there.3 Platos Archetype The origins of the archetypal hypothesis date as far back as Plato. Plato’s ideas or the so-called Platonic eidos were pure mental forms that were imprinted in the soul before it was born into the world. Some philosophers also translate the archetype as ”essence” in order to avoid confusion with respect to Plato’s conceptualization of Forms. While it is tempting to think of Forms as mental entities (ideas) that exist only in our mind, the philosopher insisted that they are independent of any minds (real). Eidos were collective in the sense that they embodied the fundamental characteristics of a thing rather than its specific peculiarities.4 3 A. S. Ferguson (1922) Plato’s Simile of Light. Part II. The Allegory of the Cave. p. 15-28 4 Soccio, Douglas J. (2009). Archetypes of Wisdom: An Introduction to Philosophy, p. 128. Philosophy of Cave The Primitive Hut The idea of The Primitive Hut contends that the ideal architectural form embodies what is natural and intrinsic. ...The Primitive hut provides a point of reference for all speculation on the essentials of building and represents arguably the first architectural ’idea’. ...Understandings of vernacular architecture have often had a major influence on the understandings of the Primitive Hut, as they often provide a different point of origin for a potential direction for architecture. Rather than focusing on the meanings that are associated with the building and its components, the Primitive Hut questions the fundamental components that are universal in architecture1. Designing for diversity The more we zoom in and find the true essence of who we are, the more we can zoom out and understand the overall pattern.. of human behaviour, forms, nature and even of micro and macrocosmos. Finding an essence does not mean that we are loosing diversity, i would like to say that we can do both with advantage. For example, we can use Cave first as a form, then to be used for individual needs. Designing for diversity through a form. As a respons to the article in archdaily; Designing for diversity2 1 Laugier, M. A. (1755) An Essay on Architecture. 2 Christopher N. Henry (2011) Designing for Diversity. https://www.archdaily.com Representations of Cave through history 1. 40 References 34 35 ”Vernacular architecture does not go through fashion cycles. It is nearly immutable, indeed, unimprovable, since it serves its purpose to perfection. As a rule, the origin of indigineous building forms and construction methods is lost in the distant past.”1 1 Rudowsky, B (1964) Architecture without architects. p.1 Creating what is neccesary with what you have in site, gaining sustainable constructions - what comes from nature goes back to nature 1. 41 Using industrial building techniques for building clean and economically, with human creative impact on the inside - still relating to nature through raw materiality 36 37 LE CABANON 1. 42 3938 Letting nature inspire inside, outside contrasting and relating to surrounding. Through volumes and dense patterns and natural treatment, creating magnetism. VILLA MAIREA 1. 43 Intertwining nature through building with organic living nature on the inside 40 41 VILLA MAIREA 1. 44 ”Aaltos association of the search for harmony, organicism and love is important, drawing on his key influnces of the wisdom of the ancient greece and his experiences and knowledge of nature.”1 1 Menin, S and Samuel, F (2003). Nature and Space: Aalto and Corbusier. p.2 1. 45 Värmland Forest surrounding Bustelund, where i spent my childhood and where i find inspiration to Cave attefall 42 1. 46 43 1. 47 44 1. 48 45 1. 49 46 1. 50 Process Photography from forest in Värmland Amount of dark and density with a balanced amount of light reflections (from light, semi-light to dark) in a repetitive but irregular pattern - creating a harmonious and safe mysticism. 47 1. 51 Moss on hills, light white fir and dark heavy birch - creating dynamic contrasts Free hand sketch from photography 48 1. 52 Densities in fir, moss and birch in combination with densities in light reflections - creating dynamic shifts Sketch on sketchingpaper over free hand sketch Process 49 1. 53 Directions in fir, moss and birch creating dynamic patterns Sketch on sketchingpaper over sketch on sketchingpaper 50 1. 54 Prototypes Sketching four free interpretations looking at one picture PHOTOGRAPHY 51 1. 55 FREE HAND DRAWING 52 1. 56 SKETCHINGPAPER OVER FREE HAND DRAWING 53 1. 57 SKETCHINGPAPER OVER SKETCHINGPAPER 54 1. 58 Forest with a dense and repetitive structure/pattern, creating an introverted horizontal light combined with lightreflections made through fog and green moss and spruce needle 55 1. 59 Skiss with focus on blackness and trees in front of the horizon 56 1. 60 Skiss with focus on surrounding shifts in light and dark. Above and below 57 1. 61 Skiss with focus on simple structure of the lines and right amount of blackness 58 1. 62 59 1. 63 60 1. 64 61 1. 65 62 1. 66 Light birch forest with a dense horizon, white snow on land and a light sky - creating contrast 63 1. 67 Naked birch trees with contrasting white background 64 1. 68 Dark spots on the gound surrounding trees and grass and dark spots in the sky made from birch trees 65 1. 69 Dark horizon, with dark spots in the sky and on the ground together with dark birch stems - contrasting white ground and white sky 66 1. 70 67 1. 71 68 1. 72 69 1. 73 70 1. 74 Three contrasts in dark and light, with a light sky, dark ground and semi light horizon 71 1. 75 Contrast in forms in tree species, such as birch and spruce 72 1. 76 Contrasts in shifts between dense tree trunks, mossy ground and sun shining on forest horizon 73 1. 77 Contrast in direction of lines, from straight to curved 74 1. 78 75 1. 79 76 1. 80 77 1. 81 78 1. 82 Dovecotes at Duvberget Duvberget 79 1. 83 Places of Wims findings in spatial qualities 80 1. 84 Photos taken from visit together with my son Wim 81 1. 85 82 1. 86 83 1. 87 84 1. 88 Photos and sketches researching Wims spatial interests at site, for inspiritation to urban shelter - both inside and outside activities Stone bed 85 1. 89 Natural forces creating an organic stone bed. In section we see that it is curved for body placing in between and above rock. In section below we see that bed makes space for leg, but, back and neck. STONE BED 86 1. 90 MAGIC SOUP 87 1. 91 Stone in rock landscape, perfect for making magic soup In section we see that stone is large enough for a child standing on one side and for a grown up sitting on the other side, resting in the heather 88 1. 92 89 1. 9390 1. 94 EXCITING CLIMBING In section we see that during climbing it is possible to use even the walls which creates a new dimension. Not being able to see the outcome or where you are heading gives excitement 91 1. 95 Before climbing there is trees to either use for climbing or to passage before climbing, creating a hidden space - a new place to explore. Not knowing where you were, not knowing what you will come to, just here and now. 92 1. 96 TREE BED 93 1. 97 In section we se that tree is rooted with curved branches creating a natural bed 94 1. 98 BALCONY 95 1. 99 Stones and grass and bushes creating a natural balcony 96 1. 100 Balcony is sited on a cliff so you need to climb up and down to reach it, when you reach it you are all alone with safety from the rock in your back and with a view over gothenburg harbor entrance. Rock in front of balcony serves as balcony parapet BALCONY 97 1. 101 In section we see that balcony is sited just below site of Cave 98 1. 102 Site of placing Cave at Duvberget 99 1. 103 100 1. 104 Site at Duvberget 101 1. 105 102 1. 106 Light studies Through comparing models with a variety in openings Settings: Using same thickness in slabs and with light from the side. One lamp for day light, one lamp for evening light and one for general light to use at both day and evening. Using a black paperboard to block external light from Caves top. Size of models: 15 x 15 x 8 - 1:20 103 1. 107 slabs size dubble simple and dubble simple small openings broad 104 1. 108 SMALL AND SIMPLE, perspectives in daylight and evening light 105 1. 109 Day light - north, west, south and east Evening light - north, west, south and east 106 1. 110 SMALL AND DUBBLE 107 1. 111 Day light Evening light 108 1. 112 SMALL, SIMPLE AND DUBBLE 109 1. 113 Day light Evening light 110 1. 114 BROAD AND SIMPLE 111 1. 115 Day light Evening light 112 1. 116 BROAD AND DUBBLE 113 1. 117 Day light Evening light 114 1. 118 BROAD, SIMPLE AND DUBBLE 115 1. 119 Day light Evening light 116 1. 120 Striped horizon MERGING Raking light 117 1. 121 Reflections/patterns Centered 118 1. 122 MERGING 119 Trees and organic forms inside striped horizon, raking lihgt and reflections 1. 123 SITE 120 1. 124 Duality is an essential feature of the human mind. Our mind makes use of duality to understand the world, to make sense of it. True maturity is attained when a person becomes aware of the fact that the mind understands the world by means of duality. When the person becomes aware of his dual nature, he begins to transcend it. He steps back from his mind and realizes, for the very first time, that he has the power to observe and control his own mind.1 Cave is representing such condition, that when two contrasting forms meet there can be formed a new shape. Such place is called awareness. 1 The human mind and duality: How we understand the world (2015) http://www.psychmechanics.com DUALITY 1. 125 Materiality Biodegradable tar and linseed oil without any preservatives. For protection and to create a magnetic, contrasting outside and a reflective inside with patterns and treatments. BUILDING TECHNIQUE is to be used by hundred holz or similar company (building with hundred procent biodegradable wood) and cnc-cut at fabric, then puzzled together on place and milled by hand for curved inside. Last finish is to treat with organic tar and raw linseed oil. Second alternative is to build them by hand with saw and plugs and put together. Then pieces could be treated beforehand and milled as above. MAGNETIC TREATMENT/PATTERNS 121 1. 126 CLOE-UPS OF NATURE AT DUVBERGET 122 1. 127 123 1. 128 124 1. 129 125 1. 130 INDEX OF IMAGES 000: Model picture, light-studies, Tove Nankler, May 2019 001: Photos of Värmland, where i find inspiration, Tove Nankler, January 2019 002: Model picture x4, first model of Cave, Tove Nankler, October 2013 003: Model picture x6, prototypes of childhood memories, Tove Nankler, October 2013 004: Model picture x2, experimenting with Cave, Tove nankler, November 2013 005: Model picture x4, Cave as a student house, Tove Nankler, December 2013 006: Sections and plans x4, hand drawing, Tove Nankler, December 2013 007: Sections and plans x4, Cave as an attefalls house, Tove Nankler, February 2014 008: Hand drawings of model x4, Cave as an attefallshouse, Tove Nankler, Mars 2019 009: N-house, Sou Fujimoto Architects, November 2018, https://vectroave.com/2009/09/ final-wooden-house-by-sou-fujimoto/ 010: Le Cabanon, Le Corbusier, November 2018, https://www.mimoa.eu/projects/France/ Roquebrune-Cap-Martin/Le%2520Cabanon%2520de%2520Le%2520Corbusier 011: Reindeer pavillion, Snöhetta architects, November 2018, https://twwhlspls.com 012: The Termite Pavilion, a collaboration between Softroom Architects, Freeform Engineering, Atelier One, sound recording specialist Chris Watson and designers Haberdasherylondon, November 2018, hal/ttps://www.dezeen.com/2009/09/05/the-ter mite-pavilion-at-pestiv 013: Nature of Värmland, Tove Nankler, January 2019 014: Outside-inside (investigating harmony), Tove Nankler, December 2018 015: Magnetic (investigating harmony), Tove Nankler, December 2018 016: Raking light (investigating harmony), Tove Nankler, December 2018 017: Centered (investigating harmony), Tove Nankler, December 2018 018: Patterns (investigating harmony), Tove Nankler, December 2018 019: Prototype illustrations, Tove Nankler, December 2018 020: Conclusion diagram, Tove Nankler, December 2018 021: Outside-inside (sketchingpaper over photography), Tove Nankler, December 2018 022: Outside-inside (sketchingpaper only), Tove Nankler, December 2018 023: Magnetic (sketchingpaper over photography), Tove Nankler, December 2018 024: Magnetic (sketchingpaper only), Tove Nankler, December 2018 025: Raking light (sketchingpaper over photography), Tove Nankler, December 2018 026: Raking light (sketchingpaper only), Tove Nankler, December 2018 027: Centered (sketchingpaper over photography), Tove Nankler, December 2018 028: Centered (sketchingpaper only), Tove Nankler, December 2018 029: Patterns (sketchingpaper over photography), Tove Nankler, December 2018 030: Patterns (sketchingpaper only), Tove Nankler, December 2018 031: Prototype illustrations (developed), Tove Nankler, December 2018 032: Concept model, Tove Nankler, Decemeber 2018 033: Cave illustration, Tove nankler, February 2018 034: Rudowsky, B (1964) Architecture without architects 035: Rudowsky, B (1964) Architecture without architects - An underground city in Tungkwai (China) 1. 131 036: Le Cabanon (2009) https://www.wsj.com/articles/SB10001424127887323495604578539 330498779980 037: Le Cabanon (2012) http://www.frankreich-sued.de/roquebrune-server/le-corbusier. htm 038: Villa Mairea (2014) https://www.pinterest.ca/pin/864128247221651069/ 039: Villa Mairea (2014) https://www.pinterest.ca/pin/864128247221651069/ 040: ladeira da misericordia (2012) https://designsourcebook.net/2012/10/28/li- na-bo-bardi/bo-bardi-concrete-and-tree/ 041: ladeira da misericordia (2012) https://www.wmf.org/project/ladeira-da-mise ric%C3%B3rdia 042: Forest of Värmland, Tove Nankler, January 2019 043: Forest of Värmland, Tove Nankler, January 2019 044: Forest of Värmland, Tove Nankler, January 2019 045: Forest of Värmland, Tove Nankler, January 2019 046: Forest of Värmland, Tove Nankler, January 2019 047: Forest of Värmland as process, Tove Nankler, January 2019 048: Illustration of forest of Värmland, Tove Nankler, February 2019 049: Illustration of forest of Värmland, Tove Nankler, February 2019 050: Illustration of forest of Värmland, Tove Nankler, February 2019 051: Prototypes, Tove Nankler, February 2019 052: Prototypes, Tove Nankler, February 2019 053: Prototypes, Tove Nankler, February 2019 054: Prototypes, Tove Nankler, February 2019 055: Forest of Värmland as process, Tove Nankler, January 2019 056: Illustration of forest of Värmland, Tove Nankler, February 2019 057: Illustration of forest of Värmland, Tove Nankler, February 2019 058: Illustration of forest of Värmland, Tove Nankler, February 2019 059: Prototypes, Tove Nankler, February 2019 060: Prototypes, Tove Nankler, February 2019 061: Prototypes, Tove Nankler, February 2019 062: Prototypes, Tove Nankler, February 2019 063: Forest of Värmland as process, Tove Nankler, January 2019 064: Illustration of forest of Värmland, Tove Nankler, February 2019 065: Illustration of forest of Värmland, Tove Nankler, February 2019 066: Illustration of forest of Värmland, Tove Nankler, February 2019 067: Prototypes, Tove Nankler, February 2019 068: Prototypes, Tove Nankler, February 2019 069: Prototypes, Tove Nankler, February 2019 070: Prototypes, Tove Nankler, February 2019 071: Forest of Värmland as process, Tove Nankler, January 2019 072: Illustration of forest of Värmland, Tove Nankler, February 2019 073: Illustration of forest of Värmland, Tove Nankler, February 2019 1. 132 074: Illustration of forest of Värmland, Tove Nankler, February 2019 075: Prototypes, Tove Nankler, February 2019 076: Prototypes, Tove Nankler, February 2019 077: Prototypes, Tove Nankler, February 2019 078: Prototypes, Tove Nankler, February 2019 079: Duvberget (2019) Google maps 080: Duvberget (2019) Google maps 081: Wim och Duvberget, Tove Nankler, February 2019 082: Duvberget och omgivning, Tove Nankler, February 2019 083: Wim och Duvberget, Tove Nankler, February 2019 084: Wim och Duvberget, Tove Nankler, February 2019 085: Stone bed, Tove Nankler, February 2019 086: Stone bed illustrations, Tove Nankler, Mars 2019 087: Magic soup, Tove Nankler, February 2019 088: Magic soup illustrations, Tove Nankler, Mars 2019 089: Exciting climbing, Tove Nankler, February 2019 090: Exciting climbing illustrations, Tove Nankler, Mars 2019 091: Exciting climbing illustrations, Tove Nankler, Mars 2019 092: Exciting climbing illustrations, Tove Nankler, Mars 2019 093: Tree bed, Tove Nankler, February 2019 094: Tree bed illustration, Tove Nankler, Mars 2019 095: Balcony, Tove Nankler, February 2019 096: Balcony illustration, Tove Nankler, Mars 2019 097: Balcony illustration, Tove Nankler, Mars 2019 098: Balcony illustration, Tove Nankler, Mars 2019 099: Site at Duvberget, Tove Nankler, February 2019 100: Site at Duvberget, Tove Nankler, February 2019 101: Site at Duvberget (2019) google maps 102: Illustration of site at Duvberget, Tove Nankler, Mars 2019 103: light-studies, Tove Nankler, April 2019 104: light-studies diagram, Tove Nankler, April 2019 105: Light-studies perspective, Tove Nankler, April 2019 106: Light-studies, Tove Nankler, April 2019 107: Light-studies perspective, Tove Nankler, April 2019 108: Light-studies, Tove Nankler, April 2019 109: Light-studies perspective, Tove Nankler, April 2019 110: Light-studies, Tove Nankler, April 2019 111: Light-studies perspective, Tove Nankler, April 2019 112: Light-studies, Tove Nankler, April 2019 113: Light-studies perspective, Tove Nankler, April 2019 114: Light-studies, Tove Nankler, April 2019 115: Light-studies perspective, Tove Nankler, April 2019 1. 133 WEB Spirit Cave (2019) Nationalencyklopedin. http://www.ne.se/uppslagsverk/encyklopedi/ lång/spirit-cave A. S. Ferguson (1922) Plato’s Simile of Light. Part II. The Allegory of the Cave. https://www.jstor.org/stable/636164 The human mind and duality:how we understand the world (2015) http://www.psychmecha- nics.com/2015/01/the-human-mind-and-duality.html BIBLIOGRAPHY Soccio, Douglas J. (2009). Archetypes of Wisdom: An Introduction to Philosophy, Seventh edition. Belmont, CA: Wadsworth Cengage Learning. Menin, S and Samuel, F (2003). Nature and Space: Aalto and Corbusier. Routledge; 1 edition. Laugier, M. A. (1755). An Essay on Architecture. London: T. Osbourne and Shipton. ARTICLES Christopher N. Henry (2011) Designing for Diversity. https://www.archdaily. com/175518/the-plato-effect-in-architecture-designing-for-human-diversity 116: Light-studies, Tove Nankler, April 2019 117: Model studies (striped horizon), Tove Nankler, May 2019 118: Model studies (Patterns/Reflections), Tove Nankler, May 2019 119: Model studies (Trees and organic forms inside), Tove Nankler, May 2019 120: Site at Duvberget, Tove Nankler, May 2019 121: Treated Cross-laminated wood, Tove Nankler, May 2019 122: Close-up at Duvberget, Tove Nankler, May 2019 123: Close-up at Duvberget, Tove Nankler, May 2019 124: Close-up at Duvberget, Tove Nankler, May 2019 125: Close-up at Duvberget, Tove Nankler, May 2019 1. 134 SPECIAL THANKS TO: MORTEN, for inspiration, challenge and support PETER, for support and creative listening MAJA, for strength and care CLARA, for taking care of my kids LENA, for taking care of my kids VIKTOR, for endless love HALLON AND WIM, for grounding me everyday 1. 135 tove.nankler@gmail.com