ADAPTIVE DECAY: Investigating ruins through architectural filming Gustav Erlandsson 2025 Architecture and Urban design Chalmers School of Architecture Department of Architecture & Civil Engineering Examine: Daniel Norell Supervisor: Sara Olsson MASTER THESIS TITLE NAME YEAR PROGRAM DIRECTION SCHOOL EXAMINER SUPERVISOR ADAPTIVE DECAY: Investigating ruins through architectural filming Gustav Erlandsson 2025 Architecture and Urban Design Architecture Experimentation: Before and after building Chalmers Daniel Norell Sara Olsson Thanks you to, Sara for all the support, Daniel for his comments and help during the project plan phase, Mattias and Oskar for all the discussions and Otto for being a good dog. Abstract In the mid-19th century, the sawmill industry in Ådalen experienced a significant boom, with numerous sawmills operating in the area. One of these was the Köja sawmill, notable for being the first in the region to feature a steam-powered saw. However, as time passed, economic conditions worsened, leading to the sawmill’s closure in 1940. Over the decades, the building has deteriorated, with its facade developing holes, and its windows losing all their glass. The only remaining building is the engine house, along with part of the foundation of the sawmill where the timber was cut. The documentation highlights and visualizes the aesthetic elements of a ruin and its essential characteristics through Tim Edensor’s Industrial Ruins and Christopher Bretecher’s Abandoned Potential conceptual framework. The design approach incorporates Jonathan Hill’s concept which suggests that the design process should integrate new fragments with the old, creating a palimpsest of layers. These layers should not only coexist but actively interact, evolving as a living entity. The design strategy focuses on preserving the ruin’s aesthetics while simultaneously introducing new materials and functions. Proposal for Köja ruin is a space where the ruin is both preserved for the future and allowed to continue its natural decay. This dual approach is achieved by designating a portion of the ruin where no interventions are made, allowing the decay to unfold naturally. This process serves as a way to interpret and contextualize the site’s history and future. Preservation, on the other hand, is realized by repurposing the ruin into a ruin experience centre. The proposal is presented through conventional architectural drawings as well as a film. The film helps the viewer understand the different spatial, conceptual layers and nuances that Köja ruins has with a structural sequence of, showing the existing ruin, its construction, the proposed transformation and a speculative future scenario. This project contributes to a deeper understanding of how we can repurpose the ruins but still keep its characteristics. “How can a ruin be investigated through filming?” “How can a ruin’s aesthetics and process of decay be preserved when re-adapted?” Keywords: Decay, ruins, film Figure 1: Köja sawmill 1873 Table of contents Introduction 9 Drawings 12 Images 21 Discussion Problem description 27 Sustainable development 28 Delimitations 28 Research questions and aim 29 Theory 30 Reference: Pc Caritas 34 Reference: Antivilla 36 Methods 38 The film 40 Proposal 42 Boiler room Blacksmith Beam room Conclusion 66 References 68 Student background 70 Link to film https://vimeo.com/user241368194 8 Figure 2: Inside smithy 9 Introduction Ruins Ruins are the remnants of past civilizations and offer glimpses into how people once lived and used space. The abstractions they present provide an opportunity for personal interpretation and imagination. At the same time, ruins serve as a reminder that even the greatest societies can fall, leaving behind only fragments and fading traces of what once was. Ådalen Ådalen is best known for the shooting in Ådalen in 1931 where strikers were shot by the Swedish military. Which resulted in a political change in trade union rights. But before that, the Ådalen was a thriving place with a high concentration of sawmills, one of them Köja sawmill. The sawmill was built in 1866 and was also one of the first to be steam-powered. In 1940, most of the smaller sawmills in the Ådalen close down, including Köja. Today there is only one left (Länsmuseet Västernorrland 2004). Between 1982 and 2022 has Ådalen (Kramfors municipality) Swedens biggest population decline with 30 percent of its inhabitants, equivalent to 8,200 leaving (SCB 2023). Steam engine house The building then stood empty until 2004 when an association received a grant to repair the roof. Smaller events like art and music performance were held in the engine house (Persson 2005). Last 20 years nothing seems to have happened. A decision this summer has been made to clean toxic land around the building. This creates some uncertainty for the buildings future (SGU 2024). Historical events that happened at Köja sawmill are that one of the co-owners shoots another co-owner because he thought was being deceived (Länsmuseet Västernorrland 2004). There was also a rumor about a ghost woman who sat on the rock and combed her hair to lure sailors, causing them to run aground with their ships (Persson, 2005). Two owls have settled in the building and made it their home. They have been spotted in the building on two occasions. 10 Figure 3: Ådalen sawmills between 1850 and mid 20th century. Data from Skogshistoriska sällskapet 2019 11 The ruin measures approximately 31x10 meters and consists of three larger rooms, a smaller room, and a long corridor that leads nowhere. The first large section was formerly a blacksmith’s workshop, the middle room used to be a boiler room but is now completely empty, and the final room is of unknown function and missing its floor. The smaller room have been used to connect one of the destroyed chimneys. The façade is made of brick with exterior plaster. The roof is made of sheet metal with a wooden frame and the floors are of wood except in the blacksmith where it is concrete. All windows have no glass panes and there are multiple holes in the outer walls ranging from small ones to really big ones. Figure 4: Site map 12 13 Norr 1:100 14 05 1 SCALE 1:75 KULTURARV KÖJAVIKEN INDUSTRISAMHÄLLETS KULTURARV VÄSTERNORRLAND ETT EU-PROJEKT INOM RAMPROGRAMET 10 South facade 1:100 15 05 1 SCALE 1:75 KULTURARV KÖJAVIKEN INDUSTRISAMHÄLLETS KULTURARV VÄSTERNORRLAND ETT EU-PROJEKT INOM RAMPROGRAMET 10 KU LT U RA RV KÖ JA VI KE N IN DU ST RI SA M H ÄL LE TS KU LT U RA RV VÄ ST ER N O RR LA N D ET T EU -P RO JE KT IN O M R AM PR O GR AM ET 0 10 5 1 SC AL E 1: 75 ET T EU -P RO JE KT IN O M R AM PR O GR AM ET IN DU ST RI SA M H ÄL LE TS KU LT U RA RV VÄ ST ER N O RR LA N D KU LT U RA RV KÖ JA VI KE N East facade 1:100 16 ETT EU-PROJEKT INOM RAMPROGRAMET INDUSTRISAMHÄLLETS KULTURARV VÄSTERNORRLAND KULTURARV KÖJAVIKEN 0 5 1 SC ALE 1:75 KU LTU RARV KÖ JAVIKEN IN DU STRISAM H ÄLLETS KU LTU RARV VÄSTERN O RRLAN D ETT EU -PRO JEKT IN O M RAM PRO GRAM ET 10 North facade 1:100 17 ETT EU-PROJEKT INOM RAMPROGRAMET INDUSTRISAMHÄLLETS KULTURARV VÄSTERNORRLAND KULTURARV KÖJAVIKEN 0 5 1 SC ALE 1:75 KU LTU RARV KÖ JAVIKEN IN DU STRISAM H ÄLLETS KU LTU RARV VÄSTERN O RRLAN D ETT EU -PRO JEKT IN O M RAM PRO GRAM ET 10 West facade 1:100 18 Top view Front view Side view ** HOLE PATTERN IS ACTUAL SIZE ** 20 19 19 1 1 1 1 1 1 1 1 1 1 1 1 1 3 2 2 2 2 2 2 2 2 2 2 2 2 4 6 6 6 6 4 5 First In Architecture - CAD Blocks - Stairs 02 Courtesy of Jeld-wen.co.uk For more blocks visit www.firstinarchitecture.co.uk Roof and wall construction 19 Top view Front view Side view ** HOLE PATTERN IS ACTUAL SIZE ** 20 19 19 1 1 1 1 1 1 1 1 1 1 1 1 1 3 2 2 2 2 2 2 2 2 2 2 2 2 4 6 6 6 6 4 5 First In Architecture - CAD Blocks - Stairs 02 Courtesy of Jeld-wen.co.uk For more blocks visit www.firstinarchitecture.co.uk Inner roof construction 20 Black representing demolished structures 21 Figure 5-6 : The first chimney and a postcard stamped 1905 show the unedited water tower. 22 Figure 7-8: Top image estimated between 1923 and unknown 23 Figure 9: Stamped wood boards from Köja 24 Images Gallery of images highlights small and unique textures and artifacts that can be found in the ruin Row 1: Roof, wall and floor Boiler room Row 2: Nature, human and animal debris Row 3: Paint chippings Row 4: Roof, wall and floor Beam room Row 5: Different industrial artifacts Row 6: Hole, brick up door and no floor Row 7: Roof corners 25 26 Figure 2: Inside blacksmith Figure 10: Boiler room 27 Discussion Master thesis will explore how to reuse an abandoned ruin while preserving its character, using the method of film to map, analyze, and capture the existing character. This, in turn, aims to convince the viewer of the beauty of ruins. Problem description Sweden’s rural classified municipalities have a reducing population (SCB 2021). People move to the big cities because there are more jobs, the largest range of culture and services. This is also due to the fact that society has transitioned from being industrially produced to an information society. Meaning that there are a number of abandoned buildings that are there that stand empty and are slowly being eaten away by the elements of time. Saving all these buildings is impossible and not realistic. They are considered by society to have no function and are mostly gone. At the same time, they create unique places that have stood in time and make room for activities that are otherwise not allowed to take place in society. Figure 11: Chimney corridor Figure 12: Electrical intake 28 Sustainable development Thesis will try to answer questions about our cultural heritage and how we take care of it. It will examine how society can benefit from the built environment, highlighting the potential of reusing buildings as an effective strategy to reduce carbon dioxide emissions in construction. Delimitations A research project cannot address every issue, as doing so would stretch its scope and undermine its credibility. Clearly defining what falls outside the scope of the study is crucial for guiding the reader’s expectations. It’s also important to note that the conclusion may reveal that certain research questions cannot be fully answered. For instance, this project will not focus on the housing shortage. Instead, it will concentrate specifically on abandoned industrial ruins from the mid- 1800s to the early 1900s, excluding more modern industries and residential buildings from its scope. Figure 13: Beam room 29 Research questions “How can a ruin be investigated through filming?” “How can a ruin’s aesthetics and process of decay be preserved when re-adapted?” Aim The aim of this master’s thesis is to deepen the understanding of the significance of ruins and explore how they can be re- purposed. From a design perspective, the thesis investigates how film can be utilized at various stages of the architectural process. This includes mapping existing buildings, presenting design proposals, formulating the design etc. 30 Theory Definition of ruin “Ruin: the physical destruction or disintegration of something or the state of disintegrating or being destroyed” (Oxford Languages 2025). A ruin can therefore be both a process that has happened but also one that is ongoing. This master’s thesis will explore ruins as ongoing and evolving. Value of Ruins Society’s view of industrial ruins is that they are a waste of space and have nothing of value. The ruins are classified as ugly, dangerous and are only space for delinquency. Society assumes a capitalist position as ruins do not produce anything or provide any form of important social service. One of their values ​​lies in the opportunity to reflect on society and its capitalist success. That all great empires fall at some point (Edensor 2005, p. 50-51). Ruins are also a form of polar opposites of what cities are. Cities are order with rules and norms, movement with constant change. Ruins are disorder, things are placed without meaning, time eats up construction slowly. Disorder creates a new approach to space and gives us an insight into new forms of aesthetics. Ruins create a strong counterpoint to today’s museum. Where museum after is more similar to shopping display windows with clean objects neatly laid out compared to ruins, you have to decipher the history yourself (Edensor 2005 p. 169). To understand industrial ruins uses Edensor the metaphor of ghosts that are the inhabiter and creates the traces of the past. Examples he gives are ghost of past labor and life where material remnants speak the life and thriving industrious that ones was (Edensor 2005, p. 148). Ghost of capitalism: tells about communities that has disappeared and the constant progress for the factories (Edensor 2005, p. 163). The forgotten ghosts: are the histories that are forgotten examples are working-class life, immigration worker. (Edensor 2005, p. 156). Encountering ghosts: describes through exploring the abandoned spaces and bring attention to the to there history that is often overlook. This can be done by visualizes the aesthetics of the decaying spaces (Edensor 2005, p. 151). Spectrality spaces: is one form Edensor describes industrial ruins, where it shows inevitable decline always for humans. Also a feeling of nostalgia and loss (Edensor 2005, p. 156). 31 What makes the ruin aesthetic? To understand what the essential characteristics are in a ruin Christopher Bretecher implements various forms of interpretation in an abandoned building. The interpretations range from making simpler interventions such as holding a picnic in the building, moving objects around to larger interventions such as building a bridge that spans an atrium, to proposing small pods for living. During his process, Bretecher also made a film to make help him easier to understand the building. His interpretations draws in 8 points what the essential characteristics are in abandoned buildings (Bretcher 2011, p. 77). • “Unfamiliarity of the space. • Traces of the former use and occupancy. • Traces of unauthorized human occupancy. • Dirt, Debris, and Decay. • An impending sense of danger. • Temporal and changing environment. • Uninhibited access in spite of trespassing. • An unmonitored environment and disregard by the owner/general public.” (Bretcher 2011, p. 78). The use of these characteristic features in the adaptive reuse of an ruin can help to maintain the aesthetics of the ruin. At the same time, it must be recognized that in a conventional building, certain requirements need to be met in order for it to be considered functional. Adaptiv reuse and preservation Seeing the ruin as a living fragment and helping it to develop through new functions is an approach that Jonathan Hill uses in adaptive reuse of ruins. Adaptive reuse is the process of reusing an existing building for a purpose other than which it was originally built or designed for. In order to preserve the history of the ruin, it should not be seen as a static monument stuck in time but instead an opportunity to add new layers to the ruin, respect and enhance their past. The ability to see the different layers gives an opportunity to read the history of the ruin but also the ability to add new functions. Preservation, in this sense, is not just about safeguarding history but about keeping the space alive (Hill 2019). Figure 14: Waltz in boiler room from 2004 32 Aesthetics in ruins Jonathan Hill Tim Edensor Rethink and re- contextualize historical elements: see ruins a living fragments and not fixed monuments. History should not be a passive influence but should be actively incorporated into design through critical re- engagement. Fragmentation and collage: Mixing old and new elements, or breaking down traditional architectural forms into smaller, more discrete parts. Collage in design architecture interacting with multiple narratives and historical layers. By fragmenting the design, the building becomes a palimpsest, where each layer adds to the building's story without fully erasing what came before. Preserve the ruins aesthetics Add/make changes to the ruin in order to keep it from collapsing. Add a function to continue maintenance. Still keep aesthetics from the ruin. Let the ruin symbolism live on through preservation. Applied on the Köja engine ruin. Keeping patina and scars but the ability to modify them. Add new materials in order to high light what is new and old. Add floor to north room New mobility between north- and boiler-room. Climatized the rooms. Windows, doors and holes in the walls. Creat livning spaces that makes it possible visit ruin Repurposing ruins with new functions ensures their preservation, allowing them to endure as living testaments to history while serving contemporary needs. Design strategy Design intentions People drawn to ruins because of the aesthetic tension between the old and the new, nature reclaiming built structures, and the decay of what was once functional. This contrasts with the clean, ordered environments we often build today. Ruins not just as abandoned structures but as places that reflect broader themes of loss, transformation, and the passage of time. Ruins often evoke nostalgia, mystery, beauty in their decay etc.. Decay is the aesthetics Let the ruin continue its decay. Decay is what makes the ruin aesthetics. Stooping the decay prevents it from evolving. Let the ruin symbolism live on through decay Applied on the Köja Traces dirt, patina, artifacts and scars of the ruin. Stabilize around the decaying area. Ensure safety surrounding the decaying area. Add glass wall or other safety measurements Guarantee the owls keeps a part off there habitat. Preserving a decaying part of a ruin ensures that its symbolism endures, offering a space for reflection on capitalist decline and the inherent ambiguity in how we interpret history. Why Why GoalDesign concepts Aesthetics in ruins Jonathan Hill Tim Edensor Rethink and re- contextualize historical elements: see ruins a living fragments and not fixed monuments. History should not be a passive influence but should be actively incorporated into design through critical re- engagement. Fragmentation and collage: Mixing old and new elements, or breaking down traditional architectural forms into smaller, more discrete parts. Collage in design architecture interacting with multiple narratives and historical layers. By fragmenting the design, the building becomes a palimpsest, where each layer adds to the building's story without fully erasing what came before. Preserve the ruins aesthetics Add/make changes to the ruin in order to keep it from collapsing. Add a function to continue maintenance. Still keep aesthetics from the ruin. Let the ruin symbolism live on through preservation. Applied on the Köja engine ruin. Keeping patina and scars but the ability to modify them. Add new materials in order to high light what is new and old. Add floor to north room New mobility between north- and boiler-room. Climatized the rooms. Windows, doors and holes in the walls. Creat livning spaces that makes it possible visit ruin Repurposing ruins with new functions ensures their preservation, allowing them to endure as living testaments to history while serving contemporary needs. Design strategy Design intentions People drawn to ruins because of the aesthetic tension between the old and the new, nature reclaiming built structures, and the decay of what was once functional. This contrasts with the clean, ordered environments we often build today. Ruins not just as abandoned structures but as places that reflect broader themes of loss, transformation, and the passage of time. Ruins often evoke nostalgia, mystery, beauty in their decay etc.. Decay is the aesthetics Let the ruin continue its decay. Decay is what makes the ruin aesthetics. Stooping the decay prevents it from evolving. Let the ruin symbolism live on through decay Applied on the Köja Traces dirt, patina, artifacts and scars of the ruin. Stabilize around the decaying area. Ensure safety surrounding the decaying area. Add glass wall or other safety measurements Guarantee the owls keeps a part off there habitat. Preserving a decaying part of a ruin ensures that its symbolism endures, offering a space for reflection on capitalist decline and the inherent ambiguity in how we interpret history. Why Why GoalDesign concepts Aesthetics in ruins Jonathan Hill Tim Edensor Rethink and re- contextualize historical elements: see ruins a living fragments and not fixed monuments. History should not be a passive influence but should be actively incorporated into design through critical re- engagement. Fragmentation and collage: Mixing old and new elements, or breaking down traditional architectural forms into smaller, more discrete parts. Collage in design architecture interacting with multiple narratives and historical layers. By fragmenting the design, the building becomes a palimpsest, where each layer adds to the building's story without fully erasing what came before. Preserve the ruins aesthetics Add/make changes to the ruin in order to keep it from collapsing. Add a function to continue maintenance. Still keep aesthetics from the ruin. Let the ruin symbolism live on through preservation. Applied on the Köja engine ruin. Keeping patina and scars but the ability to modify them. Add new materials in order to high light what is new and old. Add floor to north room New mobility between north- and boiler-room. Climatized the rooms. Windows, doors and holes in the walls. Creat livning spaces that makes it possible visit ruin Repurposing ruins with new functions ensures their preservation, allowing them to endure as living testaments to history while serving contemporary needs. Design strategy Design intentions People drawn to ruins because of the aesthetic tension between the old and the new, nature reclaiming built structures, and the decay of what was once functional. This contrasts with the clean, ordered environments we often build today. Ruins not just as abandoned structures but as places that reflect broader themes of loss, transformation, and the passage of time. Ruins often evoke nostalgia, mystery, beauty in their decay etc.. Decay is the aesthetics Let the ruin continue its decay. Decay is what makes the ruin aesthetics. Stooping the decay prevents it from evolving. Let the ruin symbolism live on through decay Applied on the Köja Traces dirt, patina, artifacts and scars of the ruin. Stabilize around the decaying area. Ensure safety surrounding the decaying area. Add glass wall or other safety measurements Guarantee the owls keeps a part off there habitat. Preserving a decaying part of a ruin ensures that its symbolism endures, offering a space for reflection on capitalist decline and the inherent ambiguity in how we interpret history. Why Why GoalDesign concepts Christopher Bretecher People should engage with ruins and challenge social norms by exploring and questioning the space and its functions. Interpreting the ruin to uncover its essential character and deeper meaning. Essential characteristics Unfamiliarity of the space. Traces of the former use and occupancy. Traces of unauthorized human occupancy. Dirt, Debris, and Decay. An impending sense of danger. Temporal and changing environment. Uninhibited access in spite of trespassing. An unmonitored environment and disregard by the owner/general public. Applied on the Köja Traces dirt, patina, artifacts and scars of the ruin. Unique spatial movement Unconventional functions Open and accessible to enter The uniqueness of a space enhances the experience of exploration and discovery, encouraging reflection. Why 33 Figure 15-16: Last supper and the ghost that that lure sailors from 2004 34 Reference: Pc Caritas De Vylder Vinck Taillieu’s experimental building seeks to evoke the experience of walking through a ruin while maintaining a functional, usable space. Originally, the building was slated for demolition due to its deteriorated condition, but through innovative design, it was preserved and repurposed, blending decay with new architectural interventions. Figure 17: Pc Caritas 35 Figure 18: Pc Caritas However, when it became clear that the building’s cultural value could not be fully recreated and that there was no need for larger indoor spaces, it was transformed into a park-like setting with smaller greenhouses for seating. From the perspective of an abandoned house, this design retains the duality of being both inside and outside (Plevoets & Cleempoel, 2019, pp. 46–47). The choice of materials for the building was guided by the intention to keep them visible, ensuring a clear distinction between new additions and the existing ruin (Plevoets & Cleempoel, 2019, pp. 46–47). This approach reinforces the idea that the building’s program does not need to dominate the entire space. Instead, leaving areas unused or “dead” can create unique spatial qualities that evoke the atmosphere of an abandoned structure. 36 Reference: Antivilla / Brandlhuber+Emde, Burlon Antivilla is an adaptive reuse project of an lingerie factory. Large irregularly shaped window openings were cut into the thick concrete walls, with new windows installed inside rather than replacing the original façade. This preserves the contrast between the old and new (Castro 2019). This form of layering effectively preserves the history while simultaneously adding to it. Fabric has been used to divide the rooms, reducing the need to heat the entire building. At the same time, it creates a contrast to the hard, raw concrete surfaces by introducing softness. The fabric also lets some light through, allowing ghostly glimpses of what might be hiding behind.” Figure19: Antivilla outside 37 Figure 20: Antivilla inside 38 Method Film A short film has been made to present the ruin in different stages. The filming provides an opportunity to see the development of the ruin from the inventory phase to a proposal. This is done through both filmed footage from the site, raw animation and a combination of animation and the filmed footage. As a method, the film serves as a visual narrative tool that documents and communicates the design process, blending reality and imagination to convey the spatial and temporal evolution of the ruin. Drawing Several drawings of the facade and floor plan have been created to illustrate the building’s intricate features. The proposed interventions are highlighted in red, providing a distinction between the existing structure and the new additions. This visual approach allows for a clear understanding of the design intentions, emphasizing the relationship between existing and contrasting new additions. 39 Figure 21: Beam room floor 40 The Film https://vimeo.com/user241368194 41 Film The main function of the film is to explore and investigate ruins. The film consists of three phases. The first phase explores and presents the ruin in its existing state. The camera moves through the building with a walking sequence. The goal is to create an exploratory feeling that the viewer can follow, while also showcasing how one can move through the ruin. The second sequence presents the proposal. The feeling still maintains a sense of mystery about the ruin, but now it contrasts with the surrounding structures. The camera moves similarly to the first phase to mirror the change, but the exploratory aspect remains. The final phase is a reflection on the work and how the future vision of the proposal will age into the layers of the ruin. 42 Figure 22: Hole north facade 43 Proposal Similar to the perspectives of Edensor and Brendson on ruins, much of the structure has been left untouched to keep its characteristics, with only some alterations. New functions have been created in the form of a sauna in the beam room, overnight accommodation in the boiler room and observation viewing point in the smithy. For the sleeping accommodations have followed Hill’s view that the designer should only add new layers and leave the old ones in place. To achieve this, large boxes on pillars have been placed to minimize contact between the existing and the new Large parts of the building now have a temperate indoor climate. 44 SC A LE 1 :5 0 0 5 10 1:49 1 2:5 1:9 1:19 1:9 1:7 1:19 1:18 8:2 1 8:1 1 6:1 4:2 3:13 1:13 8:2 2 4:3 8 3:16 3:11 2:2 8:1 3 15:1 10:24 16:1 10:20 2 10:14 4:3 5 1:12 1:3 17:1 10:36 10:23 2 14:1 13:1 12:1 11:1 10:31 10:21 10:7 10:6 10:5 10:3 10:2 10:29 10:16 10:12 10:11 10:10 10:33 10:32 10:30 10:9 10:8 10:15 18:1 9:9 8:5 2 8:12 8:11 33:1 29:1 9:6 9:5 9:4 9:17 9:16 9:15 8:7 8:45 8:43 8:37 9:7 9:3 9:14 9:11 8:9 8:8 8:44 8:40 8:3 8:39 8:38 8:36 8:35 8:34 8:33 8:32 8:31 8:30 8:2 8:29 8:28 8:27 8:6 8:26 8:25 8:24 8:23 8:22 8:21 8:20 8:42 8:19 8:18 8:17 9:12 8:16 8:15 8:14 9:2 8:13 30:1 5:23 5:22 5:12 5:11 19:3 8:4 10:27 10:22 10:19 23:1 10:17 28:1 20:1 10:28 19:2 8:41 3:22 3:13 3:12 3:11 31:1 10:18 8:10 3:18 3:16 10:4 3:15 3:14 32:1 1:13 27:1 25:1 22:16 22:15 S:4 S:3 2 3:5 10:25 3:2 3:12 2 3:10 2 1:6 3:10 1 5:20 5:17 10:20 1 1:9 17:1 1:25 10:23 1 5:28 2:9 2:8 2 3:14 2:8 1 2:5 2:21 S:3 2:16 2:13 2:11 1 4:8 13:5 13:4 13:2 14:5 13:3 14:7 14:4 14:3 13:1 7:9 14:6 10:34 LOCKNE 106 155 124 185 119 161 211 171 162 332 146 140 170 144 164 401 191 112 126 114 133 145 169 117 331 207 135 131 130 190 177A 142 107 152 125 164 183 181 313 162 101 147 122 233 201 148 168 328 112 194 234 154 110 101 173 205 111 130 134 118 149 124 180 111 107 121 122 184 114 311 152 322 138 129 198 109 193 133 112 110 185 160 121 165 212 107 143 333 177D 181 177B 183 326 153 102 145 211 132 163 101 215 196 177C 154 139 114 128 175 231 182 150 105 132 131 146 130 137 321 186 158 122 102 151 156 155 221 150 157 144 159 120 167 136 111 104 113 141 118 120 189 116 103 127 142 143 187 232 109 209 202 108 30 10 30 30 30 40 30 40 40 40 40 20 50 50 40 70 50 50 50 50 60 30 60 70 40 50 50 50 50 50 70 5050 50 50 50 50 50 10 10 20 10 10 10 10 40 40 40 70 70 70 40 40 60 60 60 60 30 60 60 50 60 60 60 50 50 50 50 50 50 50 50 50 50 50 50 50 50 50 50 50 50 50 50 50 50 50 50 50 50 50 50 50 50 50 70 50 50 50 50 50 50 50 50 50 50 50 60 70 40 40 40 20 40 40 30 40 30 40 60 40 40 40 40 40 40 40 40 40 40 20 10 20 20 20 20 20 40 40 50 40 4040 40 30 30 30 50 30 20 20 50 20 20 20 30 40 30 30 20 20 30 30 50 30 3030 50 30 30 30 40 30 20 20 30 30 30 10 70 10 10 10 10 30 10 10 1 1 1 1 1 1 7 7 9 9 11 3 39 37 73 41 41 33 31 29 19 27 67 51 51 51 51 51 51 51 39 39 39 39 39 39 39 39 39 39 21 21 69 37 3 71 49 4949 49 49 49 49 49 49 29 49 37 37 37 37 37 37 37 17 37 37 37 27 27 27 27 27 43 43 43 43 37 37 37 37 37 27 29 13 9 11 11 9 1 1 1 1 11 1 1 33 71 63 47 47 47 47 1 1 63 63 47 47 47 47 47 47 4747 47 47 47 39 39 39 39 39 39 47 47 47 47 47 47 47 47 47 47 47 47 47 47 47 47 47 47 47 23 23 23 23 61 61 61 59 57 57 57 53 53 53 51 51 51 51 51 51 51 39 31 31 49 49 49 49 49 49 49 49 49 47 49 49 49 77 77 59 49 49 49 49 91 73 73 59 61 51 47 4747 47 47 47 47 47 47 47 47 47 47 47 47 57 57 57 73 63 47 47 47 47 47 47 47 47 47 47 47 73 73 61 61 61 53 53 53 49 53 53 53 53 47 47 47 47 47 73 61 59 53 53 49 49 59 59 61 51 73 73 59 59 59 51 51 5151 51 51 51 51 51 51 67 67 67 57 51 67 57 57 57 57 57 57 57 57 57 51 51 43 43 43 43 87 71 57 51 51 43 43 43 43 43 43 71 57 57 57 57 71 71 69 41 41 41 41 41 41 67 69 53 83 69 69 67 69 41 41 49 49 49 49 1 1 1 1 1 1 1 1 1 1 1 37 37 37 37 37 37 29 29 9 9 9 1 1 1 1 1 1 1 1 1 1 1 9 9 9 9 9 9 9 1 1 1 1 1 1 1 1 1 1 1 39 31 31 31 31 31 31 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 41 41 41 41 41 41 41 41 41 41 31 31 31 21 21 21 21 21 23 17 17 17 17 17 17 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 41 41 41 41 41 41 41 41 41 3 41 41 31 31 19 17 17 1 17 17 1 1 1 1 1 1 1 1 1 1 1 11 1 1 1 1 17 1 1 1 17 1 1 3 3 41 41 41 21 41 39 39 31 39 31 31 41 31 3131 31 31 3131 39 31 3131 1 31 31 31 1 1 1 1 1 1 1 1 1 1 1 1 21 1 1 1 31 1 1 1 1 7 1 7 1 3 3 3 1 39 37 39 1 37 37 31 31 23 23 21 9 21 1 1 1 1 1 1 1 1 1 1 1 11 1 9 7 1 1 9 1 1 1 37 1 1 1 1 3 1 1 1 7 31 31 1 31 21 21 1 21 21 23 21 23 19 19 49 19 19 19 69 19 19 21 67 13 11 1 1 1 1 1 41 1 1 1 43 1 1 1 71 3 39 39 39 39 39 39 43 31 19 23 43 23 23 23 51 23 23 1 1 1 1 1 51 7 1 1 57 1 1 7 57 39 39 39 39 31 31 27 29 27 29 29 51 29 29 29 51 17 23 23 21 21 21 21 51 19 21 19 59 21 21 19 59 19 19 19 1 1 1 3 53 3 3 3 73 3 3 7 47 1 1 1 1 3 3 39 49 39 39 39 61 39 39 39 63 39 39 39 33 29 27 29 47 27 27 27 47 29 27 27 47 27 29 19 19 19 11 47 11 1 47 7 7 1 47 1 1 3 3 1 33 33 47 33 33 33 73 33 33 33 47 33 33 33 33 33 33 33 79 29 13 13 49 11 1 49 111 1 1 1 1 63 1 1 1 51 1 1 7 51 1 1 1 33 33 33 27 53 33 33 33 59 33 33 33 61 29 29 27 27 29 11 11 47 11 11 11 47 11 11 11 47 11 13 1 1 1 11 47 1 1 1 47 1 11 39 1 1 1 1 1 7 1 47 37 37 37 47 37 37 37 47 33 37 37 37 37 33 33 47 33 27 33 47 33 37 37 13 27 33 27 27 27 27 27 1 27 2727 11 27 27 11 13 11 13 13 13 13 13 1 37 1 1 1 43 1 1 1 27 1 1 1 7 1 1 1 1 1 3 43 37 43 43 43 49 43 43 37 33 33 33 33 49 33 27 27 49 29 29 29 19 29 29 29 27 13 13 13 39 13 13 11 39 11 11 13 39 1 1 1 1 1 11 51 1 1 1 17 1 1 1 21 1 1 1 1 1 11 23 1 1 1 13 1 1 1 1 1 1 1 7 7 7 2 48 48 48 48 48 48 48 48 42 26 12 6 14 8 42 38 24 34 36 4 22 32 18 26 28 38 38 38 38 38 38 38 38 68 42 28 28 28 28 34 44 36 36 36 36 36 36 48 48 26 42 42 42 36 36 36 36 36 28 28 26 26 26 26 26 26 26 26 26 12 12 34 34 34 34 34 26 26 72 72 56 64 62 62 62 62 54 54 52 52 46 32 58 52 52 52 52 22 22 2 56 56 56 92 92 92 78 64 62 56 56 46 46 46 54 54 54 54 54 54 54 76 76 76 76 74 58 64 64 76 76 54 54 54 74 74 74 64 62 52 48 48 48 48 48 48 48 48 48 48 48 48 48 48 48 74 62 62 48 48 48 46 46 46 46 46 44 46 46 4646 46 88 88 74 74 74 62 62 46 46 46 46 46 46 46 46 46 74 74 74 74 58 44 46 46 46 46 44 46 46 46 46 46 46 46 46 4646 46 66 66 58 58 66 46 46 46 46 46 46 46 46 44 66 68 72 58 58 46 46 46 42 72 72 58 58 58 58 42 42 68 58 58 58 58 5858 58 42 42 42 68 66 56 52 5252 52 42 44 44 44 44 86 82 66 66 68 54 56 56 52 52 44 44 44 44 44 44 44 44 66 68 66 68 68 56 56 56 56 52 48 48 52 52 44 44 44 44 44 44 44 44 44 44 44 64 64 56 56 56 56 56 56 52 2 6 2 6 42 42 42 42 42 42 42 42 42 42 28 26 26 26 26 26 26 26 26 26 26 26 24 26 2 2 2 2 2 2 2 2 2 42 42 42 42 42 42 42 42 42 42 42 42 42 42 36 36 36 36 36 42 36 36 36 2 36 36 36 36 36 24 2 26 2 4 2 26 2 26 32 26 32 32 32 32 3232 32 26 32 32 2 42 2 4 2 42 2 32 32 32 32 32 32 2 32 32 32 52 32 22 22 56 22 16 16 16 16 2 2 2 2 2 2 44 2 2 2 44 2 2 38 38 34 34 34 56 34 34 34 56 34 34 34 66 34 34 34 32 32 32 32 44 32 32 32 44 32 32 24 54 24 24 24 24 2 2 2 84 2 38 34 44 34 34 34 52 34 34 34 24 24 24 24 42 24 24 24 52 24 18 24 58 2 2 2 2 2 36 36 42 38 36 36 58 36 34 34 72 34 34 34 34 34 34 32 68 32 24 24 46 24 24 24 46 24 24 24 24 24 24 24 58 24 24 14 46 8 8 6 46 34 34 32 32 32 32 32 46 22 22 22 44 22 22 22 46 22 22 22 22 22 4 4 46 4 4 4 46 4 2 2 46 2 32 22 22 22 12 2 88 2 22 22 46 22 22 22 46 22 16 16 16 16 4 2 48 2 2 2 48 4 38 34 48 32 28 28 18 18 18 18 48 18 18 16 48 16 16 16 48 16 16 16 16 16 16 16 74 16 2 4 54 4 2 2 76 2 2 2 2 6 6 38 76 38 38 38 54 38 28 28 54 28 28 28 28 28 28 28 56 28 14 12 76 12 12 14 48 14 12 12 14 12 14 14 2 2 6 2 58 6 2 2 52 2 22 38 38 38 38 24 38 38 38 72 38 38 12 26 12 12 12 4 4 2 4 12 4 4 4 26 4 6 2 26 6 2 2 36 36 36 36 36 28 28 28 42 28 28 18 42 18 18 18 18 18 14 12 36 2 2 2 34 2 2 2 28 8 44 44 44 44 44 36 38 36 36 28 38 28 28 28 26 28 28 28 28 12 12 14 24 14 12 14 46 14 14 8 6 8 8 28 8 8 8 48 2 2 2 48 2 2 2 35 15 15 25 25 15 35 65 35 45 25 55 55 55 55 55 55 55 55 55 55 55 55 55 55 75 55 55 55 55 55 55 45 45 45 45 55 55 55 75 75 75 75 75 75 65 65 65 45 45 45 45 45 45 45 45 45 45 45 45 45 45 45 85 65 55 45 45 45 45 45 45 45 65 55 55 55 55 55 55 55 55 5 5 5 35 35 35 25 25 25 5 55 35 35 35 65 35 35 35 35 35 35 35 45 35 35 35 45 35 35 25 45 25 25 25 25 25 25 25 45 25 25 25 45 25 25 25 65 25 25 25 25 25 25 25 25 25 25 25 45 25 25 25 45 35 35 35 35 35 35 25 55 15 5 35 55 35 35 35 55 15 15 25 15 15 15 15 55 15 15 15 25 15 15 15 5 15 5 5 15 15 15 45 45 SCALE 1:50 0 5 10 1:49 1 2:5 1:9 1:19 1:9 1:7 1:19 1:18 8:21 8:11 6:1 4:2 3:13 1:13 8:22 4:38 3:16 3:11 2:2 8:13 15:1 10:24 16:1 10:20 2 10:14 4:35 1:12 1:3 17:1 10:36 10:23 2 14:1 13:1 12:1 11:1 10:31 10:21 10:7 10:6 10:5 10:3 10:2 10:29 10:16 10:12 10:11 10:10 10:33 10:32 10:30 10:9 10:8 10:15 18:1 9:9 8:52 8:12 8:11 33:1 29:1 9:6 9:5 9:4 9:17 9:16 9:15 8:7 8:45 8:43 8:37 9:7 9:3 9:14 9:11 8:9 8:8 8:44 8:40 8:3 8:39 8:38 8:36 8:35 8:34 8:33 8:32 8:31 8:30 8:2 8:29 8:28 8:27 8:6 8:26 8:25 8:24 8:23 8:22 8:21 8:20 8:42 8:19 8:18 8:17 9:12 8:16 8:15 8:14 9:2 8:13 30:1 5:23 5:22 5:12 5:11 19:3 8:4 10:27 10:22 10:19 23:1 10:17 28:1 20:1 10:28 19:2 8:41 3:22 3:13 3:12 3:11 31:1 10:18 8:10 3:18 3:16 10:4 3:15 3:14 32:1 1:13 27:1 25:1 22:16 22:15 S:4 S:32 3:5 10:25 3:2 3:12 2 3:10 2 1:6 3:10 1 5:20 5:17 10:20 1 1:9 17:1 1:25 10:23 1 5:28 2:9 2:82 3:14 2:81 2:5 2:21 S:3 2:16 2:13 2:11 1 4:8 13:5 13:4 13:2 14:5 13:3 14:7 14:4 14:3 13:1 7:9 14:6 10:34 LO C KN E 106 155 124 185 119 161 211 171 162 332 146 140 170 144 164 401 191 112 126 114 133 145 169 117 331 207 135 131 130 190 177A 142 107 152 125 164 183 181 313 162 101 147 122 233 201 148 168 328 112 194 234 154 110 101 173 205 111 130 134 118 149 124 180 111 107 121 122 184 114 311 152 322 138 129 198 109 193 133 112 110 185 160 121 165 212 107 143 333 177D 181 177B 183 326 153 102 145 211 132 163 101 215 196 177C 154 139 114 128 175 231 182 150 105 132 131 146 130 137 321 186 158 122 102 151 156 155 221 150 157 144 159 120 167 136 111 104 113 141 118 120 189 116 103 127 142 143 187 232 109 209 202 108 30 10 30 3030 40 30 40 40 40 40 20 50 50 40 70 50 50 50 50 60 30 60 70 40 50 50 50 50 50 70 50 50 50 50 50 50 50 10 10 20 10 10 10 10 40 40 40 70 70 70 40 40 60 60 60 60 30 60 60 50 60 60 60 50 50 50 50 50 50 50 50 50 50 50 50 50 50 50 50 50 50 50 50 50 50 50 50 50 50 50 50 50 50 50 70 50 50 50 50 50 50 50 50 50 50 50 60 70 40 40 40 20 40 40 30 40 30 40 60 40 40 40 40 40 40 40 40 40 40 20 10 20 20 20 20 20 40 40 50 40 40 40 40 30 30 30 50 30 20 20 50 20 20 20 30 40 30 30 20 20 30 30 50 30 30 30 50 30 30 30 40 30 20 20 30 30 30 10 70 10 10 10 10 30 10 10 1 1 1 1 1 1 7 7 9 9 11 3 39 37 73 41 41 33 31 29 19 27 67 51 51 51 51 51 51 51 39 39 39 39 39 39 39 39 39 39 21 21 69 37 3 71 49 49 49 49 49 49 49 49 49 29 49 37 37 37 37 37 37 37 17 37 37 37 27 27 27 27 27 43 43 43 43 37 37 37 37 37 27 29 13 9 11 11 9 1 1 1 1 1 1 1 1 33 71 63 47 47 47 47 1 1 63 63 47 47 47 47 47 47 47 47 47 47 47 39 39 39 39 39 39 47 47 47 47 47 47 47 47 47 47 47 47 47 47 47 47 47 47 47 23 23 23 23 61 61 61 59 57 57 57 53 53 53 51 51 51 51 51 51 51 39 31 31 49 49 49 49 49 49 49 49 49 47 49 49 49 77 77 59 49 49 49 49 91 73 73 59 61 51 47 47 47 47 47 47 47 47 47 47 47 47 47 47 47 57 57 57 73 63 47 47 47 47 47 47 47 47 47 47 47 73 73 61 61 61 53 53 53 49 53 53 53 53 47 47 47 47 47 73 61 59 53 53 49 49 59 59 61 51 73 73 59 59 59 51 51 51 51 51 51 51 51 51 51 67 67 67 57 51 67 57 57 57 57 57 57 57 57 57 51 51 43 43 43 43 87 71 57 51 51 43 43 43 43 43 43 71 57 57 57 57 71 71 69 41 41 41 41 41 41 67 6953 83 69 69 67 69 41 41 49 49 49 49 1 1 1 1 1 1 1 1 1 1 1 37 37 37 37 37 37 29 29 9 9 9 1 1 1 1 1 1 1 1 1 1 1 9 9 9 9 9 9 9 1 1 1 1 1 1 1 1 1 1 1 39 31 31 31 31 31 31 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 41 41 41 41 41 41 41 41 41 41 31 31 31 21 21 21 21 21 23 17 17 17 17 17 17 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 41 41 41 41 41 41 41 41 41 3 41 41 31 31 19 17 17 1 17 17 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 17 1 1 1 17 1 1 3 3 41 41 41 21 41 39 39 31 39 31 31 41 31 31 31 31 31 31 31 39 31 31 31 1 31 31 31 1 1 1 1 1 1 1 1 1 1 1 1 21 1 1 1 31 1 1 1 1 7 1 7 1 3 3 3 1 39 37 39 1 37 37 31 31 23 23 21 9 21 1 1 1 1 1 1 1 1 1 1 1 1 1 1 9 7 1 1 9 1 1 1 37 1 1 1 1 3 1 1 1 7 31 31 1 31 21 21 1 21 21 23 21 23 19 19 49 19 19 19 69 19 19 21 67 13 11 1 1 1 1 1 41 1 1 1 43 1 1 1 71 3 39 39 39 39 39 39 43 31 19 23 43 23 23 23 51 23 23 1 1 1 1 1 51 7 1 1 57 1 1 7 57 39 39 39 39 31 31 27 29 27 29 29 51 29 29 29 51 17 23 23 21 21 21 21 51 19 21 19 59 21 21 19 59 19 19 19 1 1 1 3 53 3 3 3 73 3 3 7 47 1 1 1 1 3 3 39 49 39 39 39 61 39 39 39 63 39 39 39 33 29 27 29 47 27 27 27 47 29 27 27 47 27 29 19 19 19 1 1 47 1 1 1 47 7 7 1 47 1 1 3 3 1 33 33 47 33 33 33 73 33 33 33 47 33 33 33 33 33 33 33 79 29 13 13 49 1 1 1 49 1 1 1 1 1 1 1 63 1 1 1 51 1 1 7 51 1 1 1 33 33 33 27 53 33 33 33 59 33 33 33 61 29 29 27 27 29 11 11 47 11 11 11 47 11 11 11 47 11 13 1 1 1 1 1 47 1 1 1 47 1 1 1 39 1 1 1 1 1 7 1 47 37 37 37 47 37 37 37 47 33 37 37 37 37 33 33 47 33 27 33 47 33 37 37 13 27 33 27 27 27 27 27 1 27 27 27 11 27 27 11 13 11 13 13 13 13 13 1 37 1 1 1 43 1 1 1 27 1 1 1 7 1 1 1 1 1 3 43 37 43 43 43 49 43 43 37 33 33 33 33 49 33 27 27 49 29 29 29 19 29 29 29 27 13 13 13 39 13 13 11 39 11 11 13 39 1 1 1 1 1 1 1 51 1 1 1 17 1 1 1 21 1 1 1 1 1 1 1 23 1 1 1 13 1 1 1 1 1 1 1 7 7 7 2 48 48 48 48 48 48 48 48 42 26 12 6 14 8 42 38 24 34 36 4 22 32 18 26 28 38 38 38 38 38 38 38 38 68 42 28 28 28 28 34 44 36 36 36 36 36 36 48 48 26 42 42 42 36 36 36 36 36 28 28 26 26 26 26 26 26 26 26 26 12 12 34 34 34 34 34 26 26 72 72 56 64 62 62 62 62 54 54 52 52 46 32 58 52 52 52 52 22 22 2 56 56 56 92 92 92 78 64 62 56 56 46 46 46 54 54 54 54 54 54 54 76 76 76 76 74 58 64 64 76 76 54 54 54 74 74 74 64 62 52 48 48 48 48 48 48 48 48 48 48 48 48 48 48 48 74 62 62 48 48 48 46 46 46 46 46 44 46 46 46 46 46 88 88 74 74 74 62 62 46 46 46 46 46 46 46 46 46 74 74 74 74 58 44 46 46 46 46 44 46 46 46 46 46 46 46 46 46 46 46 66 66 58 58 66 46 46 46 46 46 46 46 46 44 66 68 72 58 58 46 46 46 42 72 72 58 58 58 58 42 42 68 58 58 58 58 58 58 58 42 42 42 68 66 56 52 52 52 52 42 44 44 44 44 86 82 66 66 68 54 56 56 52 52 44 44 44 44 44 44 44 44 66 68 66 68 68 56 56 56 56 52 48 48 52 52 44 44 44 44 44 44 44 44 44 44 44 64 64 56 56 56 56 56 56 52 2 6 2 6 42 42 42 42 42 42 42 42 42 42 28 26 26 26 26 26 26 26 26 26 26 26 24 26 2 2 2 2 2 2 2 2 2 42 42 42 42 42 42 42 42 42 42 42 42 42 42 36 36 36 36 36 42 36 36 36 2 36 36 36 36 36 24 2 26 2 4 2 26 2 26 32 26 32 32 32 32 32 32 32 26 32 32 2 42 2 4 2 42 2 32 32 32 32 32 32 2 32 32 32 52 32 22 22 56 22 16 16 16 16 2 2 2 2 2 2 44 2 2 2 44 2 2 38 38 34 34 34 56 34 34 34 56 34 34 34 66 34 34 34 32 32 32 32 44 32 32 32 44 32 32 24 54 24 24 24 24 2 2 2 84 2 38 34 44 34 34 34 52 34 34 34 24 24 24 24 42 24 24 24 52 24 18 24 58 2 2 2 2 2 36 36 42 38 36 36 58 36 34 34 72 34 34 34 34 34 34 32 68 32 24 24 46 24 24 24 46 24 24 24 24 24 24 24 58 24 24 14 46 8 8 6 46 34 34 32 32 32 32 32 46 22 22 22 44 22 22 22 46 22 22 22 22 22 4 4 46 4 4 4 46 4 2 2 46 2 32 22 22 22 12 2 88 2 22 22 46 22 22 22 46 22 16 16 16 16 4 2 48 2 2 2 48 4 38 34 48 32 28 28 18 18 18 18 48 18 18 16 48 16 16 16 48 16 16 16 16 16 16 16 74 16 2 4 54 4 2 2 76 2 2 2 2 6 6 38 76 38 38 38 54 38 28 28 54 28 28 28 28 28 28 28 56 28 14 12 76 12 12 14 48 14 12 12 14 12 14 14 2 2 6 2 58 6 2 2 52 2 2 2 38 38 38 38 24 38 38 38 72 38 38 12 26 12 12 12 4 4 2 4 12 4 4 4 26 4 6 2 26 6 2 2 36 36 36 36 36 28 28 28 42 28 28 18 42 18 18 18 18 18 14 12 36 2 2 2 34 2 2 2 28 8 44 44 44 44 44 36 38 36 36 28 38 28 28 28 26 28 28 28 28 12 12 14 24 14 12 14 46 14 14 8 6 8 8 2 8 8 8 8 48 2 2 2 48 2 2 2 35 15 15 25 25 15 35 65 35 45 25 55 55 55 55 55 55 55 55 55 55 55 55 55 55 75 55 55 55 55 55 55 45 45 45 45 55 55 55 75 75 75 75 75 75 65 65 65 45 45 45 45 45 45 45 45 45 45 45 45 45 45 45 85 65 55 45 45 45 45 45 45 45 65 55 55 55 55 55 55 55 55 5 5 5 35 35 35 25 25 25 5 55 35 35 35 65 35 35 35 35 35 35 35 45 35 35 35 45 35 35 25 45 25 25 25 25 25 25 25 45 25 25 25 45 25 25 25 65 25 25 25 25 25 25 25 25 25 25 25 45 25 25 25 45 35 35 35 35 35 35 25 55 15 5 35 55 35 35 35 55 15 15 25 15 15 15 15 55 15 15 15 25 15 15 15 5 15 5 5 15 15 15 45 45 Norr 1:100 45 SC A LE 1 :5 0 0 5 10 1:49 1 2:5 1:9 1:19 1:9 1:7 1:19 1:18 8:2 1 8:1 1 6:1 4:2 3:13 1:13 8:2 2 4:3 8 3:16 3:11 2:2 8:1 3 15:1 10:24 16:1 10:20 2 10:14 4:3 5 1:12 1:3 17:1 10:36 10:23 2 14:1 13:1 12:1 11:1 10:31 10:21 10:7 10:6 10:5 10:3 10:2 10:29 10:16 10:12 10:11 10:10 10:33 10:32 10:30 10:9 10:8 10:15 18:1 9:9 8:5 2 8:12 8:11 33:1 29:1 9:6 9:5 9:4 9:17 9:16 9:15 8:7 8:45 8:43 8:37 9:7 9:3 9:14 9:11 8:9 8:8 8:44 8:40 8:3 8:39 8:38 8:36 8:35 8:34 8:33 8:32 8:31 8:30 8:2 8:29 8:28 8:27 8:6 8:26 8:25 8:24 8:23 8:22 8:21 8:20 8:42 8:19 8:18 8:17 9:12 8:16 8:15 8:14 9:2 8:13 30:1 5:23 5:22 5:12 5:11 19:3 8:4 10:27 10:22 10:19 23:1 10:17 28:1 20:1 10:28 19:2 8:41 3:22 3:13 3:12 3:11 31:1 10:18 8:10 3:18 3:16 10:4 3:15 3:14 32:1 1:13 27:1 25:1 22:16 22:15 S:4 S:3 2 3:5 10:25 3:2 3:12 2 3:10 2 1:6 3:10 1 5:20 5:17 10:20 1 1:9 17:1 1:25 10:23 1 5:28 2:9 2:8 2 3:14 2:8 1 2:5 2:21 S:3 2:16 2:13 2:11 1 4:8 13:5 13:4 13:2 14:5 13:3 14:7 14:4 14:3 13:1 7:9 14:6 10:34 LOCKNE 106 155 124 185 119 161 211 171 162 332 146 140 170 144 164 401 191 112 126 114 133 145 169 117 331 207 135 131 130 190 177A 142 107 152 125 164 183 181 313 162 101 147 122 233 201 148 168 328 112 194 234 154 110 101 173 205 111 130 134 118 149 124 180 111 107 121 122 184 114 311 152 322 138 129 198 109 193 133 112 110 185 160 121 165 212 107 143 333 177D 181 177B 183 326 153 102 145 211 132 163 101 215 196 177C 154 139 114 128 175 231 182 150 105 132 131 146 130 137 321 186 158 122 102 151 156 155 221 150 157 144 159 120 167 136 111 104 113 141 118 120 189 116 103 127 142 143 187 232 109 209 202 108 30 10 30 30 30 40 30 40 40 40 40 20 50 50 40 70 50 50 50 50 60 30 60 70 40 50 50 50 50 50 70 5050 50 50 50 50 50 10 10 20 10 10 10 10 40 40 40 70 70 70 40 40 60 60 60 60 30 60 60 50 60 60 60 50 50 50 50 50 50 50 50 50 50 50 50 50 50 50 50 50 50 50 50 50 50 50 50 50 50 50 50 50 50 50 70 50 50 50 50 50 50 50 50 50 50 50 60 70 40 40 40 20 40 40 30 40 30 40 60 40 40 40 40 40 40 40 40 40 40 20 10 20 20 20 20 20 40 40 50 40 4040 40 30 30 30 50 30 20 20 50 20 20 20 30 40 30 30 20 20 30 30 50 30 3030 50 30 30 30 40 30 20 20 30 30 30 10 70 10 10 10 10 30 10 10 1 1 1 1 1 1 7 7 9 9 11 3 39 37 73 41 41 33 31 29 19 27 67 51 51 51 51 51 51 51 39 39 39 39 39 39 39 39 39 39 21 21 69 37 3 71 49 4949 49 49 49 49 49 49 29 49 37 37 37 37 37 37 37 17 37 37 37 27 27 27 27 27 43 43 43 43 37 37 37 37 37 27 29 13 9 11 11 9 1 1 1 1 11 1 1 33 71 63 47 47 47 47 1 1 63 63 47 47 47 47 47 47 4747 47 47 47 39 39 39 39 39 39 47 47 47 47 47 47 47 47 47 47 47 47 47 47 47 47 47 47 47 23 23 23 23 61 61 61 59 57 57 57 53 53 53 51 51 51 51 51 51 51 39 31 31 49 49 49 49 49 49 49 49 49 47 49 49 49 77 77 59 49 49 49 49 91 73 73 59 61 51 47 4747 47 47 47 47 47 47 47 47 47 47 47 47 57 57 57 73 63 47 47 47 47 47 47 47 47 47 47 47 73 73 61 61 61 53 53 53 49 53 53 53 53 47 47 47 47 47 73 61 59 53 53 49 49 59 59 61 51 73 73 59 59 59 51 51 5151 51 51 51 51 51 51 67 67 67 57 51 67 57 57 57 57 57 57 57 57 57 51 51 43 43 43 43 87 71 57 51 51 43 43 43 43 43 43 71 57 57 57 57 71 71 69 41 41 41 41 41 41 67 69 53 83 69 69 67 69 41 41 49 49 49 49 1 1 1 1 1 1 1 1 1 1 1 37 37 37 37 37 37 29 29 9 9 9 1 1 1 1 1 1 1 1 1 1 1 9 9 9 9 9 9 9 1 1 1 1 1 1 1 1 1 1 1 39 31 31 31 31 31 31 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 41 41 41 41 41 41 41 41 41 41 31 31 31 21 21 21 21 21 23 17 17 17 17 17 17 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 41 41 41 41 41 41 41 41 41 3 41 41 31 31 19 17 17 1 17 17 1 1 1 1 1 1 1 1 1 1 1 11 1 1 1 1 17 1 1 1 17 1 1 3 3 41 41 41 21 41 39 39 31 39 31 31 41 31 3131 31 31 3131 39 31 3131 1 31 31 31 1 1 1 1 1 1 1 1 1 1 1 1 21 1 1 1 31 1 1 1 1 7 1 7 1 3 3 3 1 39 37 39 1 37 37 31 31 23 23 21 9 21 1 1 1 1 1 1 1 1 1 1 1 11 1 9 7 1 1 9 1 1 1 37 1 1 1 1 3 1 1 1 7 31 31 1 31 21 21 1 21 21 23 21 23 19 19 49 19 19 19 69 19 19 21 67 13 11 1 1 1 1 1 41 1 1 1 43 1 1 1 71 3 39 39 39 39 39 39 43 31 19 23 43 23 23 23 51 23 23 1 1 1 1 1 51 7 1 1 57 1 1 7 57 39 39 39 39 31 31 27 29 27 29 29 51 29 29 29 51 17 23 23 21 21 21 21 51 19 21 19 59 21 21 19 59 19 19 19 1 1 1 3 53 3 3 3 73 3 3 7 47 1 1 1 1 3 3 39 49 39 39 39 61 39 39 39 63 39 39 39 33 29 27 29 47 27 27 27 47 29 27 27 47 27 29 19 19 19 11 47 11 1 47 7 7 1 47 1 1 3 3 1 33 33 47 33 33 33 73 33 33 33 47 33 33 33 33 33 33 33 79 29 13 13 49 11 1 49 111 1 1 1 1 63 1 1 1 51 1 1 7 51 1 1 1 33 33 33 27 53 33 33 33 59 33 33 33 61 29 29 27 27 29 11 11 47 11 11 11 47 11 11 11 47 11 13 1 1 1 11 47 1 1 1 47 1 11 39 1 1 1 1 1 7 1 47 37 37 37 47 37 37 37 47 33 37 37 37 37 33 33 47 33 27 33 47 33 37 37 13 27 33 27 27 27 27 27 1 27 2727 11 27 27 11 13 11 13 13 13 13 13 1 37 1 1 1 43 1 1 1 27 1 1 1 7 1 1 1 1 1 3 43 37 43 43 43 49 43 43 37 33 33 33 33 49 33 27 27 49 29 29 29 19 29 29 29 27 13 13 13 39 13 13 11 39 11 11 13 39 1 1 1 1 1 11 51 1 1 1 17 1 1 1 21 1 1 1 1 1 11 23 1 1 1 13 1 1 1 1 1 1 1 7 7 7 2 48 48 48 48 48 48 48 48 42 26 12 6 14 8 42 38 24 34 36 4 22 32 18 26 28 38 38 38 38 38 38 38 38 68 42 28 28 28 28 34 44 36 36 36 36 36 36 48 48 26 42 42 42 36 36 36 36 36 28 28 26 26 26 26 26 26 26 26 26 12 12 34 34 34 34 34 26 26 72 72 56 64 62 62 62 62 54 54 52 52 46 32 58 52 52 52 52 22 22 2 56 56 56 92 92 92 78 64 62 56 56 46 46 46 54 54 54 54 54 54 54 76 76 76 76 74 58 64 64 76 76 54 54 54 74 74 74 64 62 52 48 48 48 48 48 48 48 48 48 48 48 48 48 48 48 74 62 62 48 48 48 46 46 46 46 46 44 46 46 4646 46 88 88 74 74 74 62 62 46 46 46 46 46 46 46 46 46 74 74 74 74 58 44 46 46 46 46 44 46 46 46 46 46 46 46 46 4646 46 66 66 58 58 66 46 46 46 46 46 46 46 46 44 66 68 72 58 58 46 46 46 42 72 72 58 58 58 58 42 42 68 58 58 58 58 5858 58 42 42 42 68 66 56 52 5252 52 42 44 44 44 44 86 82 66 66 68 54 56 56 52 52 44 44 44 44 44 44 44 44 66 68 66 68 68 56 56 56 56 52 48 48 52 52 44 44 44 44 44 44 44 44 44 44 44 64 64 56 56 56 56 56 56 52 2 6 2 6 42 42 42 42 42 42 42 42 42 42 28 26 26 26 26 26 26 26 26 26 26 26 24 26 2 2 2 2 2 2 2 2 2 42 42 42 42 42 42 42 42 42 42 42 42 42 42 36 36 36 36 36 42 36 36 36 2 36 36 36 36 36 24 2 26 2 4 2 26 2 26 32 26 32 32 32 32 3232 32 26 32 32 2 42 2 4 2 42 2 32 32 32 32 32 32 2 32 32 32 52 32 22 22 56 22 16 16 16 16 2 2 2 2 2 2 44 2 2 2 44 2 2 38 38 34 34 34 56 34 34 34 56 34 34 34 66 34 34 34 32 32 32 32 44 32 32 32 44 32 32 24 54 24 24 24 24 2 2 2 84 2 38 34 44 34 34 34 52 34 34 34 24 24 24 24 42 24 24 24 52 24 18 24 58 2 2 2 2 2 36 36 42 38 36 36 58 36 34 34 72 34 34 34 34 34 34 32 68 32 24 24 46 24 24 24 46 24 24 24 24 24 24 24 58 24 24 14 46 8 8 6 46 34 34 32 32 32 32 32 46 22 22 22 44 22 22 22 46 22 22 22 22 22 4 4 46 4 4 4 46 4 2 2 46 2 32 22 22 22 12 2 88 2 22 22 46 22 22 22 46 22 16 16 16 16 4 2 48 2 2 2 48 4 38 34 48 32 28 28 18 18 18 18 48 18 18 16 48 16 16 16 48 16 16 16 16 16 16 16 74 16 2 4 54 4 2 2 76 2 2 2 2 6 6 38 76 38 38 38 54 38 28 28 54 28 28 28 28 28 28 28 56 28 14 12 76 12 12 14 48 14 12 12 14 12 14 14 2 2 6 2 58 6 2 2 52 2 22 38 38 38 38 24 38 38 38 72 38 38 12 26 12 12 12 4 4 2 4 12 4 4 4 26 4 6 2 26 6 2 2 36 36 36 36 36 28 28 28 42 28 28 18 42 18 18 18 18 18 14 12 36 2 2 2 34 2 2 2 28 8 44 44 44 44 44 36 38 36 36 28 38 28 28 28 26 28 28 28 28 12 12 14 24 14 12 14 46 14 14 8 6 8 8 28 8 8 8 48 2 2 2 48 2 2 2 35 15 15 25 25 15 35 65 35 45 25 55 55 55 55 55 55 55 55 55 55 55 55 55 55 75 55 55 55 55 55 55 45 45 45 45 55 55 55 75 75 75 75 75 75 65 65 65 45 45 45 45 45 45 45 45 45 45 45 45 45 45 45 85 65 55 45 45 45 45 45 45 45 65 55 55 55 55 55 55 55 55 5 5 5 35 35 35 25 25 25 5 55 35 35 35 65 35 35 35 35 35 35 35 45 35 35 35 45 35 35 25 45 25 25 25 25 25 25 25 45 25 25 25 45 25 25 25 65 25 25 25 25 25 25 25 25 25 25 25 45 25 25 25 45 35 35 35 35 35 35 25 55 15 5 35 55 35 35 35 55 15 15 25 15 15 15 15 55 15 15 15 25 15 15 15 5 15 5 5 15 15 15 45 45 Norr 1:100 work in progressFloor plan proposal in red 46 Figure 27: Sleeping accommodation inside 47 Bolier room Boiler room follows the Hills strategy of how can you adapt but still preserve. The entrance to the ruin is in the center of the building, where the first room is the boiler room, which contains the sleeping accommodations. The bedrooms are boxes that are raised on pillars that are anchored through the floor with at concrete footing. Similar to the existing interior ceiling I-beams, the pillars are designed like two interconnected I-beams. The walls are made of folded sheet metal, designed to connect to the existing roof. The decision was made that, since a roof serves as protection in a building, these boxes would act as protective spaces within the ruin. To create contrast, a green color similar to that used in PC Caritas was chosen for the metal, though in a more neutral shade, as the box shape already create a strong contrast on their own. A fabric curtain around each box was chosen to contrast the cleanliness of the interior with the dirty floor and walls. Much like in Antivilla, the boxes take on a ghostly presence once one enters the building, with the fabric fluttering in the wind. Over time, the fabric will also become dirty and blend into the layered character of the ruin. The inner roof is also lined with fabric to soften the appearance of the box. A fireplace inspired by one of the original chimneys, has been installed and integrated into an existing chimney structure. The windows and door have been replaced on the inside, hiding them from the outside viewer. They follow a similar design language to that of Antivilla but no new cuts has been made in the walls. In the small chimney room, a kitchen island has been placed in the center, creating a space for simple cooking. An opening has been created in the corridor, connecting the Boiler Room and the Beam Room. Additionally, a larger window has been installed to allow more natural light to enter the space. The boiler room has strongly followed Hills view that the design should add layers to the existing and not remove its history. 48 49 50 Sleeping accommodation and fireplace 51 First In Architecture - CAD Blocks - Sofas For more blocks visit www.firstinarchitecture.co.uk PLAN SIDE ELEVATION FRONT ELEVATION PLAN FRONT ELEVATION PLAN FRONT ELEVATION SIDE ELEVATION PLAN FRONT ELEVATION SIDE ELEVATION FRONT ELEVATION SIDE ELEVATION FRONT ELEVATION SIDE ELEVATION PLAN SIDE ELEVATION PLAN FRONT ELEVATION PLAN FRONT ELEVATION SIDE ELEVATION PLAN PLAN FRONT ELEVATION SIDE ELEVATION PLAN CONVERSION FRONT ELEVATION SIDE ELEVATION PLAN FRONT ELEVATION SIDE ELEVATION PLAN SIDE ELEVATION FRONT ELEVATION SIDE ELEVATION PLAN FRONT ELEVATION FRONT ELEVATION SIDE ELEVATION PLAN PLAN FRONT ELEVATION SIDE ELEVATION PLAN FRONT ELEVATION SIDE ELEVATION PLAN FRONT ELEVATION SIDE ELEVATION SIDE ELEVATION PLAN SIDE ELEVATION SIDE ELEVATION FRONT ELEVATION PLAN VIEW SIDE ELEVATION FRONT ELEVATIONFRONT ELEVATION Plan 1:100 Boiler room 52 Figure 27: Sleeping accommodation 53 The Decaying room “Edensor sees value in reflecting on the past, where every object offers a ghostly glimpse into what once was. In the blacksmith room, the purpose is to create a space for contemplation where the slow erosion of our physical environment can be observed and reflected upon. Since preservation is not simply about maintaining a space in a fixed state, the old blacksmith’s workshop has been divided into two parts. One part remains open to nature, allowing the process of gradual decay to continue. The other has been adapted into a lounge area with seating and a dining table, providing a place to observe the decay and reflect on the passage of time. The wall is made from the same material as the boxes in the boiler room, and the windows follow the same style, maintaining a consistent language through out the ruin. Additionally, a bathroom has been installed in the former shed. In the decaying part of the room, there is the possibility that the owl can still nest in the ruin. 54 55 56 Decaying room wall Top view Front view Side view ** HOLE PATTERN IS ACTUAL SIZE ** 20 19 19 1 1 1 1 1 1 1 1 1 1 1 1 1 3 2 2 2 2 2 2 2 2 2 2 2 2 4 6 6 6 6 4 5 First In Architecture - CAD Blocks - Stairs 02 Courtesy of Jeld-wen.co.uk For more blocks visit www.firstinarchitecture.co.uk 57 First In Architecture - CAD Blocks - Sofas For more blocks visit www.firstinarchitecture.co.uk PLAN SIDE ELEVATION FRONT ELEVATION PLAN FRONT ELEVATION PLAN FRONT ELEVATION SIDE ELEVATION PLAN FRONT ELEVATION SIDE ELEVATION FRONT ELEVATION SIDE ELEVATION FRONT ELEVATION SIDE ELEVATION PLAN SIDE ELEVATION PLAN FRONT ELEVATION PLAN FRONT ELEVATION SIDE ELEVATION PLAN PLAN FRONT ELEVATION SIDE ELEVATION PLAN CONVERSION FRONT ELEVATION SIDE ELEVATION PLAN FRONT ELEVATION SIDE ELEVATION PLAN SIDE ELEVATION FRONT ELEVATION SIDE ELEVATION PLAN FRONT ELEVATION FRONT ELEVATION SIDE ELEVATION PLAN PLAN FRONT ELEVATION SIDE ELEVATION PLAN FRONT ELEVATION SIDE ELEVATION PLAN FRONT ELEVATION SIDE ELEVATION SIDE ELEVATION PLAN SIDE ELEVATION SIDE ELEVATION FRONT ELEVATION PLAN VIEW SIDE ELEVATION FRONT ELEVATIONFRONT ELEVATION Plan 1:100 Decaying room 58 Figure 29: The floor boards from beam room 59 Beam room The beam room followes Bretcherns themas of intreacting with an abandonde space. It is not clear where you are allowed to bee or not to be, a sens of danger and a lot of dirt. The removed floor creates an unfamiliarity that we dont fined in traditional buildings witch forces us interact in a no traditional way. Because Köja ruin is so dirty has the function of an sauna been created . This kontrast the hole buildings identity with is dirt. The surrounding polluted land around the ruin has also been cleaned of chemicals. This provides the opportunity for bathing in the ocean. The sauna rests on the existing floor beams and creates a ghostly floating character. The shape is curved similar to the existing inner roof, witch creates on the inside a bench that encourages interaction. The sauna stove is designed to resemble the other old chimneys and utilizes an existing chimney canal. A staircase has been added to provide access to the water. 60 61 62 Sauna and shower Top view Front view Side view ** HOLE PATTERN IS ACTUAL SIZE ** 20 19 19 1 1 1 1 1 1 1 1 1 1 1 1 1 3 2 2 2 2 2 2 2 2 2 2 2 2 4 6 6 6 6 4 5 First In Architecture - CAD Blocks - Stairs 02 Courtesy of Jeld-wen.co.uk For more blocks visit www.firstinarchitecture.co.uk 63 First In Architecture - CAD Blocks - Sofas For more blocks visit www.firstinarchitecture.co.uk PLAN SIDE ELEVATION FRONT ELEVATION PLAN FRONT ELEVATION PLAN FRONT ELEVATION SIDE ELEVATION PLAN FRONT ELEVATION SIDE ELEVATION FRONT ELEVATION SIDE ELEVATION FRONT ELEVATION SIDE ELEVATION PLAN SIDE ELEVATION PLAN FRONT ELEVATION PLAN FRONT ELEVATION SIDE ELEVATION PLAN PLAN FRONT ELEVATION SIDE ELEVATION PLAN CONVERSION FRONT ELEVATION SIDE ELEVATION PLAN FRONT ELEVATION SIDE ELEVATION PLAN SIDE ELEVATION FRONT ELEVATION SIDE ELEVATION PLAN FRONT ELEVATION FRONT ELEVATION SIDE ELEVATION PLAN PLAN FRONT ELEVATION SIDE ELEVATION PLAN FRONT ELEVATION SIDE ELEVATION PLAN FRONT ELEVATION SIDE ELEVATION SIDE ELEVATION PLAN SIDE ELEVATION SIDE ELEVATION FRONT ELEVATION PLAN VIEW SIDE ELEVATION FRONT ELEVATIONFRONT ELEVATION Plan 1:50 Plan 1:100 Beamroom 64 65 66 Discussion Throughout the thesis, the main idea has been to explore the character and aesthetics of a ruin while simultaneously developing its function. The chosen approach was to create a kind of ruin experience where one can stay overnight, eat, and enjoy a sauna within the ruin allowing visitors to engage with the space in multiple ways. The hope is to offer a new form of experience that invites reflection on our history and how our society is constructed. In order to preserve the character as much as possible, the ruin was approached as a living entity, something that can evolve and continue to live. The new parts contrast with the existing. Large parts of the ruin were intentionally left untouched or completely disconnected. The building had an interesting history, and the damaged sections provided insight into how its structure was originally constructed. This also served as a source of design inspiration, but I wanted to avoid going too far with literal translations of the ruin, as it could result in a sense of cliché and kitsch. Throughout the process the aim was to incorporate film as a method of both documentation and presentation for the project. The documentation mainly involved walking through the building and filming it. This approach provided perspectives and angles that were more spontaneous and less staged, something that photography might miss. A major drawback, however, was that the video quality was too poor to extract still images from it. For the presentation the film played a role in conveying the message of the thesis and in presenting an engaging narrative. The hope was to shift people’s perspectives on the beauty of ruins and how their use can be reimagined. Translating the film into a booklet format came with challenges, and in the end I chose to simply explain the thought process using a few selected stills images. The theory was based on trying to understand the different values, aesthetics, and how you can adapt a ruin. The theorists used as references were Edensor, Brendson, and Hill, who all share a certain interest for ruins, but their approaches to how they should be used differ. The three lager rooms incorporate elements from all of them, with one of them having a more significant influence. The Boiler Room is most influenced by Brendson, emphasizing the addition of more layers to the ruin, which has been done by, among other things, adding two bedrooms. For the smithy, Edensor’s concept of “ghosts” took place, as this room contained the most artifacts and conveyed a sense of a working environment that has been left. The function became a form of “ruin gazing,” where one can reflect on the past. In the Beam room, Brendson’s eight defining character traits guided the design, allowing the space to remain open for movement, despite large parts of the floor being missing. The design aimed to create an opportunity for cleansing, both from dirt and from the past, with access to a sauna, shower, and sea. 67 The result answers the research questions regarding how one might approach a ruin but since the project’s function is relatively speculative, there is an opportunity to further explore a more realistic approach. From a film perspective, it provides a new insight by combining the existing building with animated film. Further research and development could involve creating a test focus group to gather more data on how people perceive the film and if they change their perception of beauty in decay. It would be interesting to include both people from the architecture field as well as “ordinary” citizens. To conclude, there is something beautiful about ruins and their ambiguity. Transforming them allows for reaching a broader audience, but there is also something to be said for leaving them untouched entirely. The idea of contrasting with the existing structure provides a good concept for adding layers to the feeling of the ruin, but it can also take away from the experience of exploring an old world. On a larger scale, there are many abandoned industrial buildings in Sweden, and preserving them could help reflect on our overconsumption. Since not everyone can visit these sites, film can serve as a powerful convincing tool, as it is one of the best mediums to persuade people. 68 References Bretecher C. (2011). Abandoned Potential (1st). Castro F. (2019). Antivilla / Brandlhuber+Emde, Burlon. https://www.archdaily.com/627801/ antivilla-brandlhuber-emde-schneider (2025- 03-10) Edensor T. (2005). Industrial Ruins (1st). Bloomsbury Publishing Hill J. (2019). The architecture of ruins: designs on the past, present and future (1st). Routledge Oxford Languages. (2025). Ruins. https:// languages.oup.com/google-dictionary-en/ (2025-03-10) Persson J. (2005). Smakprov – Köja f.d. sågverk i Lockne 31/7. http://arkiv.volym.info/Arkiv/Reportage/ TraGard/tragard.htm (2024-11-01) Skogshistoriska sällskapet. (2019). Ådalen, industrierna och bogserbåtarna. https:// skogshistoria.se/wp-content/uploads/2020/06/ Årsskrift-2019-s-34-45-Bengt-Westin-Ådalen- industrierna-bogserbåtarna.pdf (2024-11-01) Statistiska centralbyrån. (2021). Prognos: Stora lokala skillnader när Sveriges befolkning växer. https://www.scb.se/pressmeddelande/prognos- stora-lokala-skillnader-nar-sveriges-befolkning- vaxer/?utm_source=chatgpt.com (2025-05-13) Statistiska centralbyrån. (2023). Nybildade kommuner har klättrat mest på 40 årväxer. https:// www.scb.se/hitta-statistik/artiklar/2023/ nybildade-kommuner-har-klattrat-mest-pa-40- ar/?utm_source=chatgpt.com (2025-05-13) Sverige geologiska undersökning SGU (2024), Infomöte Köja fd sågverk 2024-06-19, https:// www.sgu.se/globalassets/samhallsplanering/ fororenade-omraden/koja/infomote-sgu- koja-2024-06-19.pdf (2024-11-01) Västernorrlands Länsmusemum (2004) http://old.murberget.se/upptack/fotopost. aspx?foto=Fo-19981226&rst=y (2024-11-01) W 69 References Images Figure 1: Photographer unknown. (1873) Fo-U9124 1873 Köja. [Photograph]. Västernorrlands museum Figure 5: Photographer unknown. Fo-BFE1312 Köja. [Photograph]. Västernorrlands museum Figure 6: Photographer unknown. Västernorrlands museum, [Photograph]. Figure 7: Viktor Lundgren. (odaterat). Fo- A7607. [Photograph]. Västernorrlands museum, Figure 8: Eriksén D. (1899). Justeringsmärkning av plankor vid Köja Sågverk, Ångermanland [Photograph]. https://digitaltmuseum. se/021016315382/justeringsmarkning-av- plankor-vid-koja-sagverk-angermanland (2025- 05-13) Figure 14-16: Vahl M. (2004). [Photograph]. Figure 17:-18 Bruyn I. (2023) [Photograph]. Figure 19-20: Overmeer, E. (2014) [Photograph]. https://www.archdaily.com/627801/antivilla- brandlhuber-emde-schneider (2025-05-13) Student background 2023-2025: MSc. Architecturea and Urban Design, Chalmers 2022-2023: Detail planner, Kramfors kommmun 2018-2022: Spatial Planning, Blekinge Tekniska Högskola