RODDKLUBBEN CHALMERS UNIVERSITY OF TECHNOLOGY DEPARTMENT OF ARCHITECTURE AND CIVIL ENGINEERING MASTER’S PROGRAMME OF ARCHITECTURE AND URBAN DESIGN JAKOB SAHLBERG GRUVANDER JOHN RIDDERSTOLPE DEPARTMENT OF ARCHITECTURE AND CIVIL ENGINEERING MASTER’S PROGRAMME OF ARCHITECTURE AND URBAN DESIGN BUILDING DESIGN AND TRANSFORMATION MASTER THESIS 2024 JAKOB SAHLBERG GRUVANDER & JOHN RIDDERSTOLPE SUPERVISOR: BJÖRN GROSS EXAMINER: MIKAEL EKEGREN VIEW TOWARDS THE PORT 3 CLUBHOUSE RENDERRODDKLUBBEN However, the evaluation of ar- chitectural qualities is inevitable when it comes to competitions. Therefore, we decided to analyze a selection of jury criterias from recent competitions together with the theory that became the basis for our manifesto. The intention with this thesis was to investigate the research question through both a theo- retical and practical point of view, firstly by formulating our manifesto and secondly, applying these criterias to our design process. The investigation was carried out by text analysis and a research by design approach, where design ideas have been valued and concluded. The design project of this thesis is a rowing club set out in Lund- byhamnen, connected to Göta älv, a central location of Gothenburg. Aiming to strengthen the public’s relation to Göta älv and bring back a rowing club to the city center. Acknowledging the lack of interaction with water despite its proximity, the aim has been to make the waterfront more acces- sible for the inhabitants. The work has resulted in a manifesto divided into four main principles; Durability, Usability, Beauty and Atmosphere. The aim of the manifesto is not to seek an absolute answer nor exact gui- delines for what makes good ar- chitecture. But rather a guiding document of important aspects that can be evolved or interpreted over time. Keywords: Manifesto, architectural values, joinery, timber, rowing club ABSTRACT Architecture is rarely conceived with one pair of hands. Communi- cation is one of the most important tools for an architect. During the development of projects you constantly have to mediate your choices. As students of archi- tecture you often find yourself making complex choices based on your own knowledge and taste. When the choices aren’t ques- tioned, you lose a sense of why you’re making those choices. We have studied a selection of the most influential theories about ar- chitectural criterias. All with the common goal of trying to define good architecture. In the current discourse some are problema- tizing the whole idea of this, pointing at standardizations, or that theory would counteract the practice while others are encoura- ging the discussion itself. 4 ABSTRACT RODDKLUBBEN John Ridderstople 08.2021 - 01.2023 - 10.2023 06.2022 - 12.2022 08.2018 - 06.2021 Jakob Sahlberg Gruvander 08.2021 - 08.2023 - 10.2023 08.2022 - 06.2023 08.2018 - 06.2021 Master of Science in Architecture, Chalmers University of Technology, Gothenburg ACE490 Building on contexts and buildings ACE425 Master’s Thesis prep course ACE370 Master’s Thesis prep course ARK137 Housing Inventions ARK615 History, Theory and method ARK153 Architectural competition ARK123 Matter space structure 1 ARK650 Stustainable development & the design professions Architecutral Intern, Ateljé Ö, Visby Architectural Intern, Olsson Lyckefors Arkitektur, Stockholm Bachelor of Science in Architecture, Chalmers University of Technology, Gothenburg Master of Science in Architecture, Chalmers University of Technology, Gothenburg ACE515 Building Tectonics 2 ACE425 Master’s Thesis prep course ACE370 Master’s Thesis prep course ARK137 Housing Inventions ARK615 History, Theory and method ARK153 Architectural competition ARK123 Matter space structure 1 ARK650 Stustainable development & the design professions Project Employment, Ateljé Ö, Visby Architectural Intern, Andreas Martin-Löf Arkitekter, Stockholm Bachelor of Science in Architecture, Chalmers University of Technology, Gothenburg STUDENT BACKGROUND 5 RODDKLUBBEN 6 TABLE OF CONTENTS RODDKLUBBEN TABLE OF CONTENTS ABSTRACT STUDENT BACKGROUND THESIS FRAMEWORK Intro Purpose Aim Thesis question Delimitations Method DISCOURSE / THEORY Applying the Manifest Manifesto BACKGROUND The sport of Rowing Rowing history in Sweden Rowing Clubs Built Reference Site Initial site analysis Scale Cluster References Built Reference Wood Principles Concept Connections DESIGN PROPOSAL DISCUSSION MODELS MODEL MAKING APPLYING THE CRITERIA LIST BIBLIOGRAPHY IMAGE SOURCES 4 5 8 9 12 13 15 16 17 19 24 25 26 27 29 31 32 33 34 35 67 68 73 75 77 78 7 RODDKLUBBEN INTRODUCTION At the final semester of our five year architectural education, we have the opportunity to investi- gate a subject more in depth through this master thesis, than any other project so far. While the process of creating ar- chitecture is often complex and the leading factors somewhat abstract, we wanted to under- stand our values within the field, while taking the chance of creating our own manifesto based on previous theories of what makes good architecture. PURPOSE Writing a manifesto upon theories that are in line with our own values to explore and analyze our process of creating architecture and to guide us along the way. The manifest is not viewed as a recipe for good architecture in general, but merely a document of our thoughts explaining our path of choices. AIM To clarify critical steps in the process of making architecture. Evolving a method for securing that main ideas follow through from thought to product. This will be demonstrated through a design proposal of a new rowing club located in the central Go- thenburg, with high focus on detail and material. THESIS QUESTION How can defining our architectu- ral values help shape the process when designing a new rowing club in Lundbyhamnen? DELIMITATIONS This thesis does not seek an absolute answer nor exact gui- delines for what makes good ar- chitecture, but is rather investi- gating the creative process and formulating a document leading our project in a desired direction. The project does not adapt to future city planning of the area, but would rather be seen as an alternative of what could be done instead. The site´s enviromental status of today has also been dis- regarded. METHOD This thesis is carried out by two parallel processes where one of which is the making of our own manifesto as a supporting document for our design process with a set context. Combined, this process becomes a research by design approach, where design choices lean on the theory gathered in the manifesto. The manifesto takes its form from an iterative process based on both written literature on the topic of valuing architecture but is also formed and sorted by our personal values applied on this specific project and in a broader sense. MANIFESTO CONTEXT CONCEPTANALYSIS DESIGN PROPOSAL 8 THESIS FRAMEWORK RODDKLUBBEN DISCOURSE 9 RODDKLUBBEN VALUING ARCHITECTURE The following theory consists of a selection of works briefly presented in a chronological order by the year of publication. 20-30 BC. Vitruvius, the Roman architect, wrote De architectura, Ten Books on Architecture, a handbook for Roman architects, about 2000 years ago, a tool with principles to follow. A book that has since then been cited in most architect’s education (Brophy & Lewis, 2011). Vitruvius described the fundamental principles of ar- chitecture through firmitas, utilitas and venustas, often translated as firmness - structural stability, commodity - functional fulfillment and delight - beauty. The latter, delight, being a more ambiguous term with ideologies that has changed over time (Fazio et al, 2014). 1570. In 1570, Andrea Palladio published The Four Books of Ar- chitecture, a comprehensive guide to classical architectural principles, emphasizing harmony, proportion, functionality in design. The book has had a lasting impact on architectural theory and practice, influencing genera- tions to come. Palladio emphasized the im- portance of proportions and symmetry in architecture. He believed that buildings should be harmoniously proportio- ned according to mathematical ratios, such as the golden ratio, to achieve aesthetic balance and beauty. Palladio was deeply influenced by the architecture of ancient Rome and classical Greece. He believed that buildings should be harmo- niously proportioned according to mathematical ratios, such as the golden ratio, to achieve aesthetic balance and beauty. His work were heavily influenced by the writings of Vitruvius. He embraced Vitruvius’s three prin- ciples, viewing them as essential aspects of architectural design (Ekelund et al, 1985). 1851. The German architect Gottfried Semper, published the work The Four Elements of Archi- tecture 1951, where he presented some of the ideas that he would later evolve in his main work ten years later. Semper illustrates a universal theory of architecture consisting of four elements, each relating to certain materials and production methods. These are The Hearth, The Roof, The Enclosure and The Mound. In a proposal for a museum building, Semper had a classi- ficatory approach dividing the objects by materials and produc- tion methods. The hearth, relating to mud and ceramics, the mound, could be read as foundation, related to stone and masonry, the roof to wood and timber crafts- manship and the enclosure to textiles and weaving (Caldenby & Nygaard, 2011). 1983. Dom Hans van der Laan was a Dutch architect and monk who developed an architectu- ral theory known as ”The Plastic Number”. His theoretical thoughts about ar- chitecture were deeply rooted in his understanding of proportion, space, and the fundamental prin- ciples of aesthetics. At the core of van der Laan’s ar- chitectural theory was the idea of numerical relationships governing spatial composition. He believed that certain ratios and propor- tions, derived from natural forms and mathematical principles, could create harmonious and timeless architecture. Van der Laan’s theory emphasized the importance of a universal ar- chitectural language, based on a set of geometric rules. He sought to create a system of architectu- ral design that was both rational and intuitive, allowing for the creation of spaces that resonated with human perception and expe- rience (Voet, 2019). 2006. “Quality in architecture does not - not to me anyway - mean inclusion in architectural guides or histories of architecture or getting my work into this or that publication. Quality architecture to me is when a building manages to move me.” (Zumthor, 2006). What Zumthor suggests is that the buildings that move him are the ones that succeed in enacting an atmosphere. He explains atmosp- here through a number of different aspects, for example the Tension between interior and exterior, The temperature of a space and The sound of a space. All aspects that emphasize the sensory exchange with architecture (Zumthor, 2006). FIGURE 1 10 THEORY RODDKLUBBEN 2013. The Dutch journal for ar- chitecture, OASE published an issue titled “What is good archi- tecture?” in 2013. Nearly 40 ar- chitects, historians, theorists and critics were asked the question, and 14 of them took on the task, giving an answer from their own personal position. Others found the question pointless, or even too alarming to answer, proble- matizing the question itself. Steven Holl, architect and professor at Columbia University, when asked about what good ar- chitecture is describes how ar- chitecture, more than any other form of art, directly engages our sensory perception. “Space is a quality bound up in perception”. Further, Holl describes the architectonic expe- riences to be linked to phenome- nological experiences that corre- spond to the tactility of material and detail, rather than to be compared to emotional experien- ces (Patteeuw et al, 2013). Andrew Leach takes a cautious or skeptical stance on stating criteria for what defines good archi- tecture. While the author acknow- ledges the difficulty in clearly defining such criteria and criti- cizes the lack of clear standards within the architecture profes- sion, he also advocates for the im- portance of engaging with these questions (Patteeuw et al, 2013). COMPETITIONS In five recent architectural com- petitions held in a nordic context the years between 2022-2024, many jury criterias were recurring. Almost all of them could be divided into three main areas; function, sustainability, and archi- tectural expression. In function, criteria regarding logistics, flexi- bility and technical solutions were mentioned. In sustainability, the main focus was on efficient use of resources, maintenance and circularity. While in architectural expression the aspects were more subjective, mentioning identity, beauty and “verkshöjd” meaning that the proposal has to reach a certain level of originality. VALUE OF THE DISCUSSION Architects from Alberti to Mies van der Rohe have opposed towards an excessive use of theory in ar- chitecture, as theory would coun- teract the practice, and not com- pliment it (Caldenby & Nygaard, 2011). However the evaluation of archi- tectural qualities are inevitable when it comes to competitions. Therefore, we decided to analyze a selection of jury criterias of recent competitions held in a local nordic context. THEORY IN SWEDEN 1931. The manifesto Acceptera was published in relation to the Stockholm Exhibition 1930, by a group of eminent architects of that era. The exhibition is often described as the introduction of functionalism in Sweden. The publication summarizes the functionalist social and cultural ambitions and its aesthetic ideals. The authors argue that the social and aesthetic shapes had remained even though the society had changed. The author’s main notion was that we had to accept reality in order to change it (Sandhill, 2022). To evolve the design has to be anchored in the present, shaped by function, eng- ineering and materials (Caldenby & Nygaard, 2011). New buildings were supposed to be functional, stripped from orna- mentation, true to their materials and cheap and accessible to live in (Sandhill, 2022). In the manifesto, the writers advocate a clear distinction of what is new and old, for a clear sequence of epochs giving a greater diversity and richness. Every time epoch has its own ex- pression, while the authors are cautious with the term style, they mean that style is not only a result of aesthetic choices but also forced by material and ideal con- ditions. Throughout the manifesto there is an assenting approach towards modern technique and an encouragement to make use of it, as a tool for rational thinking. Here they argue standardiza- tion and industrial building as a solution to the Swedish housing situation (Asplund et al, 1931). 1980. Hans, son of Gunnar Asplund, one of the founders of functionalism in Sweden, was also a modernist architect with many praised works. He later became more critical of the movement, and in 1980 he published Farväl till funktionalismen, where he systematically sorts out shortco- mings of functionalism, though ten main aspects. In conclusion, he proposes his own manifesto for Tradinnovism, counter augmen- ting the same ten aspects. Instead of “acceptism”, hinting at Acceptera, Asplund suggests not to accept the present and rather question it, and look for alternati- ves. Try to anticipate consequen- ces for buildings a 100 years and for cities a 1000 years. Instead of “teoreticism” the author argues that architecture is first and foremost art, then engine- ering and lastly theory. Instead of “materialism” Asplund argues that you should build “more beautiful”, smaller, slower and sometimes even more expensive. Instead of “teknokratism” you should “treat technique as servants not lords”. Use more hand craft, more natural materials and less high refined materials like concrete, pavement and metal. Instead of “infinitism” shape the spaces between buildings firstly, buildings secondly. Create reada- bility, density and wind protection in cities. Instead of “internationalism” re- gionalize architecture through material, form and tradition (Asplund, 2022). 2023. In hope of getting more young practicing architects in Sweden to write about archi- tecture and to push the general debate, Spark published a col- lection of manifestoes where 15 offices shared their own versions of what’s guiding their archi- tecture practice. The manifestoes are based on the definition that a manifesto only describes what should be obtained, and not how it is obtained (Gerthel & Torisson, 2023). DISCOURSE 11 RODDKLUBBEN DISCUSSION The selection of theory can be subjected to criticism - as well as the outcome of this thesis as whole. However, the intent was not to present all possible defi- nitions and criterias of good ar- chitecture. But rather build upon a few, combine and redefine through our framework and per- spectives. You can observe a clear shift of focus over these 2000 years, the rules of what good architecture are, were much more prominent in the past. Good architecture was measured in proportion, numbers and reference. Today the majority of the conversation is about your experience of architecture. APPLYING THE MANIFESTO It’s always been an interest of ours to add beauty to the city. A Rowing Club both adds idle beauty and beauty in motion at the same time. We come from different cities and came here on different occasions for different reasons, but individu- ally we have acknowledged the absence of relation to the water in Gothenburg. The issue lies in ac- cessibility to the waterfront. The naivete of a Rowing Club where most of the people you talk to have a somewhat clear and almost nostalgic image of what you are talking about is what made us choose this typology to apply our manifesto on. MANIFESTO The adaptation of our manifesto can be followed in Appendix ”Applying the Manifesto”. Here the design process and selection of iterations are shown. 12 THEORY RODDKLUBBEN There is a more personal tone in these manifestos compared to earlier mentioned. Themes such as experience, craftsmanship and sustainability are mentioned in several of the manifestoes. Fabel Arkitektur writes that the conver- sation gives form to the archi- tecture, the conversation between people as much as the conver- sation between materials. And that you should always be able to create the architecture by hand. Helgesson Gonzaga follows up by stating that architecture should grow out of the ground, and that the material has an inner will and you should let it lead. Ateljé Ö emphasizes the impor- tance of presence, “Conduct over 100 site visits”, the context is the playing field and unique qualities are found in every location. They also write about the importance of each interaction with colleagues in the field, for example blacksmiths, masons and carpenters. One of the first things they write is to have fun, and they aren’t the only ones mentioning joy. The importance of having a touch of sprinkle in your eye when exploring architecture. Norell/Rhode displays this when they write “Architecture is about being profitable, or not” (Gerthel & Torisson, 2023). FORMULATING THE MANIFESTO 13 RODDKLUBBEN DURABILITY Performance The choice of materials regarding their performance and longevity and the building’s way of handling the elements of nature, based on theory spanning back to Vitruvius and Palladio. Disassemble Circulair approach for design with reuse and disas- sembly. Criterias that have grown stronger in recent years architectural competitions. Statement Buildings or elements that stand in contrast to its sur- roundings. Design choices that make a statement and change the context. Adaptation Minimal change in nature with adaptation to its cultural, biological and social context. “...celebrate the relationship between architecture and the surroun- ding environment” (Gerthel & Torisson, 2023). USABILITY Functional To solve the specific requirements of the program. Logistics, flow and orientability are also important aspects. Flexible Generality for a change over time. The ability for the building to adapt to new conditions. Intention The strength of the concept and the level of guiding elements towards the user. As Kersten Geers put it; “Good architecture is intentional” (Geers, p.12, 2013). Unpredicted Freedom of use and movement. BEAUTY Proportion Measurable aspects of design, like proportion, ratio composition and repetition, building on theories from Vitruvius to Van de Laan. Identity Non-measurable aspects, often articulated as ar- chitectural expression in competition criterias or as coherence in Zumthor´s theory. Rational Tectonic design, true to their materials, with rationality and simplicity in focus. Some of these theories grew strong during functionalism, for example proclaimed by the author’s of Acceptera. Multilayered Valuing complexity, tradition and decorative elements of design. ATMOSPHERE Tactile Phenomenological aspects of architecture like tempe- rature, sound, light and the composition of detail and material. “Space is a quality bound up in perception” (Holl, 2013). Poetic The added espri, art or enlightenment to the whole that may not fill any practical functions. Norell/Rodhe expressed that all architecture should have espri, tem- perament, humor and stance (Gerthel & Torisson, 2023). Intimacy The level of intimacy is about what we experience and not experience in different relations to the building, from afar, up close, inside etc. As Zumthor puts it; “It all has to do with proximity and distance” (Zumthor, 2006). Craftsmanship A sense of the origin of material and how they have been produced. Showing the human touch and all its imper- fections. Architecture should be personal and materials be handled with our hands, Fabel arkitektur suggests (Gerthel & Torisson, 2023). 14 CRITERIA LIST RODDKLUBBEN Performance Durability S / M / L - Small / Medium / Large - Detail / Building / Context 1 / 2 / 3 - Vesion 1 / Version 2 / Version 3 S 1 M 2 L 3 Functional Usability Proportion Beauty Poetic Atmosphere Disassemble Flexible Identity Intimacy Statement Intention Rational Tactile Adaption Unpredicted Multilayered Craftsmanship THE SPORT OF ROWING Rowing is a simple sport, not easy but simple. The main objective is to move a boat as fast as possible from one point to another with one or several oars. You often use two oars per person but sometimes you only have one oar in competitions where you are more than one person in a boat. These are the two major catego- ries of rowing. Holding two oars is called Sculling and holding one oar is called Sweep. You can Scull with 1, 2 or 4 crew without an extra person sitting in the stern (the back of the boat) looking forward while steering - also called a Cox, short for Coxswain. In Sweep you often have a Cox for boats with 2, 4 and 8 crew (Roddsverige). 2000 meters is the most common distans of a race. There are also sprint com- petitions which go down to 500 meters and much longer races called “headraces”. The headraces usually follow a canal or river and can go on for many kilometers (Uddevalla Roddklubb). SWEDISH ROWING HISTORY The Swedish Rowing Associa- tion (Svenska Roddförbundet) was founded in 1904 which makes it one of the oldest sport associ- ations in Sweden. The sport of modern rowing came to Sweden in the latter half of the 19th century after it was introduced in 1829 in England. The sport was made famous by teams from Cambridge and Oxford who raced along the Themes (Uddevalla roddklubb). The sport is often associated with elitism and tradition, however after the first world war the sport took a rise in popularity and mo- dernized. The sport became more technical which made the rowing boats more efficient. At this point, Swedish rowers made an impact on the rowing scene. But it wasn’t until after the second world war that the sport became democra- tized. BACKGROUND 15 RODDKLUBBEN ROWING CLUBS (selection) Göteborgs Roddklubb Göteborgs Roddförening Stockholms Roddförening Norrköpings Roddklub Malmö Roddklubb Hammarby Roddförening Uddevalla Roddklubb Akademiska Roddföreningen Mölndals Roddklubb Brudpiga Roddklubb Styrsö roddare Uppsala Akademiska Roddklubb Year of start and number of members as of 2022 data 152 medlemmar 48 medlemmar 294 medlemmar 35 medlemmar 144 medlemmar 216 medlemmar 68 medlemmar 163 medlemmar 268 medlemmar 245 medlemmar 40 medlemmar 120 medlemmar 1851 1879 1880 1883 1884 1889 1904 1929 1946 1971 1988 1992 This allowed the general public to access the sport in a new way, youth activities and education was now something that the Rowing Clubs invested in and soon rowing was accessible to every social class. Today there is still an aura around rowing which extrudes elitism, often mentioned in the same sentence as elite schools. But here in Sweden its very easy to access if you find yourself intere- sted (Rodd i Sverige). 16 ROWING CLUB REFERENCES RODDKLUBBEN Göteborgs Roddförening Stockholms Roddförening Norrköpings Roddklub Malmö Roddklubb Uddevalla Roddklubb Stockholms Roddförening is Sigurd Lewerentz very first project, it is located along Djur- gårdsbrunnskanal immersed in the recreational park of Royal Djurgården in Stockholm. The ground floor has an obvious front and back, towards the water you have multiple choices for seating and a cover from the upper extruding floor. STOCKHOLMS RODDFÖRENING BUILT REFERENCE 17 RODDKLUBBEN You arrive in the east and this is also where the big garage-like openings are located for loading the boats in and out of the open ground floor that is dedicated to storing the rowing boats. The upper floor has an almost undis- rupted view towards the canal that can be visual from the social gathering rooms. On the other side, more private functions like dressing rooms and showers are facing the backside towards the road and the hilly landscape. This project has elements which we’ve come to understand is its own typology of architecture, the swedish rowing club. We’ve then taken these elements into concern when creating our program and the pro- gramming of the space (Stock- holms Roddförening). STOCKHOLMS RODDFÖRENING PLAN 18 BUILT REFERENCE RODDKLUBBEN CORE FUNCTIONS Identified core functions of a rowing club Storage of rowing boats and equipment Workshop for maintenance Club room for different usage Office for administration Locker Rooms Gym Kitchen Additions in our proposal Sauna Café Outdoor kitchen Ground floor 1. Boat storage 2. Garage doors 3. Access 2nd floor 4. Removed WC 5. Water side 6. Back side 2nd floor 1. Club room 2. Locker room 3. WC / Shower 4. Remade kitchen 5. Office 6. Water side 7. Back side 1. 5. 6. 1. 6. 2. 3.4. 5. 7. 4.3. 2. 3. SITE AND TRACK OF THE YEARLY ROWING COMPETITION 19 RODDKLUBBEN 1:100 000 GÖTEBORGS RODDFÖRENIING MÖLNDALS RODDKLUBB GÖTEBORGS RODDKLUBB GÖTA ÄLVSRODDEN FIGURE 2 GÖTEBORGS RODDFÖRENIING MÖLNDALS RODDKLUBB GÖTEBORGS RODDKLUBB GÖTA ÄLVSRODDEN 20 RODDKLUBBEN 1:5000 FRIHAMNSPORTEN GÖTEBORG FRIHAMNEN HJALMAR BRANTINGS PLATS 1:5000 LUNDBYHAMNEN FIGURE 3 SITE The tree major Rowing Clubs near Gothenburg are Gothenburg’s Rowing Club with 152 members located inland at a lake called Delsjön and Gothenburg’s Rowing Association with 48 members located on a small island close to Saltholmen outside of the city. And the third one being Mölndal Rowing Club, with 268 members, not to far away from the one in Delsjön. Gothenburg’s Rowing Club is Sweden’s oldest Rowing Club and dates back to 1851. The Club’s very first boat house was built at the north west side of Göta Älv, on Hisingen close to Kvillebäcken. Today there are no active Rowing opportunities in Göta Älv, despite the history of the sport in the heart of Gothenburg. The design project of our thesis is a rowing club set out in Lundby- hamnen, connected to Göta älv, here in Gothenburg. Aiming to st- rengthen the public’s relation to Göta älv and bring back a rowing club to the city center. Acknow- ledging the lack of interaction with water despite its proximity, the aim has been to make the wa- terfront more accessible for the inhabitants (Hallén, 2024). LUNDBYHAMNEN 21 1978 RODDKLUBBEN FIGURE 4 2024 22 SITE RODDKLUBBEN AN OASIS OVERLOOKING THE PORT FACING SOUTH TOWARDS SITE FACING NORTH TOWARDS SITE 23 RODDKLUBBEN SITE 1:1000 FIGURE 5 BLUE - Water boarder and directionYELLOW - Lines of directionPINK - Zones for function 1:1000 24 INITIAL SITE ANALYSIS RODDKLUBBENILLUSTRATION 1. Clubhouse core location 2. Boat storage water access 3. Café overlooking activity 4. Gym encloses area 5. Workshop outdoor defining 6. Sauna bridging the other side 7. Direction of water 8. Perpendicular to water 9. Parallel to the highway 10. Quayside direction 11. Trees to keep 12. Continuation over water BLUEYELLOWPINK 1. 5. 4. 10. 11. 7. 9. 8. 12. 2. 6. 3. ILLUSTRATION 25 COLLAGERODDKLUBBEN SCALE Lundbyhamnen is of a different era, and of a different scale. The port withheld vessels for transport of different kinds. These vessels had varying length, width and depths and the port where made to handle them all. These were the parameters for the port’s dimension. Lundby- hamnen is over 600 m long. Our approach to a Rowing Club has a very different scale. To bridge this gap between these two very different scales, we decided to break up our program into different volumes that sit on different heights in between the water level and the quayside. 26 ILLUSTRATION RODDKLUBBENCOLLAGE CLUSTER This results in what we call a Cluster, where the different volumes change in scale and height but still read as a whole. A kin-ship between them all, referencing an old fishing port. Some volumes are lighter in materiality, housing one function each. Some are made heavier to screen off the unwanted surroun- dings. They function as support buildings, strengthening the soli- taires. HISTORY OF INDUSTRY USABILITY Form follows function is the methodology of the industrial aesthetic. The usage is highly in- tentional yet comes with a stan- dardisation that makes it flexible when the area of use changes. The unintentional design that your left with is often of great graphical value. TRADITION AND MODERNITY DURABILITY The contrast of something that’s traditional together with something that is modern, lays as a foundation for this masterthesis. Side by side stands the high pre- forming corrugated metal roof with the traditional post-and- plank disassemblable wooden framework. REFERENCES 27 RODDKLUBBEN CONTRAST OF AGEING BEAUTY Authenticity of materiality can both be simple and complex. Treated or untreated, cut or fallen, old or new, they can all be honest. Weather its done by a measurable proportion or made intuitively in a non measurable way the outcome can still be beautiful. RELATION TO WATER ATMOSPHERE Paying attention to different scales throughout a build could create intimate moments close up and futher away for someone who is experiencing the architecture. Giving the experiencer a chance to interact with the project in a more tactile and personal way. 28 REFERENCES RODDKLUBBEN BUILT REFERENCE 29 RODDKLUBBEN TERABE GUEST HOUSE Terabe Guest House is a coastal home and workspace located on the coastline in Nishio, central Japan. It’s a contemporary take on traditional Japanese architecture built by Tomoaki Uno. The key feature of the building is that it is elevated one floor with the help of 32 columns of solid tree trunks (Demetriou, 2024). Even though Uno’s working with other conditions in another part of the world, we strive for his level of enthusiasm towards craftsmans- hip, material and proportions. As far as it was possible the work on Terabe Guest House was carried out by hand and the craftsmans- hip shines through in every single detail. The project was being construc- ted in real time as we were starting our master thesis. It was a pleasure to follow the process that was shared from day to day and it inspired us immensely. The simplicity of the result may come across as basic geometries. But understanding and executing the complexity of these joints and assemblies may take a lifetime to master. As seen in the section, every aspect of the build is highly un- derstandable and rational, still it’s obvious that Uno is a master of construction. 30 BUILT REFERENCE RODDKLUBBEN WOOD 31 RODDKLUBBEN WOOD FOR SUSTAINABILITY Building with wood has almost become synonymous to building sustainably. With a strong tradi- tional history, timber has been a primary source of building construction spanning back for more than 10 000 years (Woods, S, 2016). A transition within the building and construction sector is crucial for a low carbon society (IPCC 2014). Worldwide, the sector accounts for about a third of the energy use and almost 40 % of the energy-related carbon dioxide (CO2) emissions (IEA, 2018). Numerous studies show that using wood as a replacement for fossil materials like steel and concrete in building structures is an efficient way to reduce energy usage and emissions (Dadoo et al. 2014). POST-AND-PLANK In Sweden there are 3 major types of building techniques when it comes to traditional wooden structures. Dovetailed, half timber and post-and-plank. Dovetai- led timber houses have their Swedish origin in areas where the resources for straight grown pine were high, in contrast to the half timber houses that could be found in areas where not enough timber were obtainable, typically in the most southern parts of the country. However, the post-and-plank buildings are found in a broader area due to several factors. Ori- ginally out of oak, they naturally appeared in areas dense with leaf forests. In the 1750s the demand for a more rational and cheap way of building started to grow. Therefore propagations by Carl Wijnblad were made for building sheds and barns out of the post- and-plank technique, a more efficient use of wood then the do- vetailed technique. The change from oak to pine and spruce were also made in this era, which made it into a very common building technique in all of south Sweden (Byggnadsvårdsföreningen, 2019). DOVETAILED HALF TIMBER POST-AND-PLANK 1:200 32 3 PRINCIPLES RODDKLUBBEN UNINSULATED INSULATED CONNECTED INSULATED DISCONNECTED CONCEPT 33 RODDKLUBBEN CONCRETE WALLS The site is a small sanctuary immersed in the middle of a heavily industrialized area. A “backbone” is constructed to screen off the noise and enhance the focus to the qualities of the site. This in the form of a heavier wall that hugs our site. Connec- ting the different areas are raised walkways that land light on the ground. WOODEN VOLUMES The volumes house different programs that are connected to the whole. Sometimes connected by the walls and roofs otherwise as solitaires. They aim to have simple shapes that vary in height and mass. METAL ROOFS The corrugated metal roofs either sit traditionally on the volumes or rest on the connecting walls. With low angles they help to ground the buildings to the site. PROGRAM BOAT STORAGE CLUB HOUSE CLUBROOM ATRIUM KITCHEN STORAGE WC WC LOUNGE OFFICE GYM & LOCKERS LOCKER ROOM WC ENTRANCE LINK GYM SAUNA CAFÉ WORKSHOP TOTAL SQ M 222 157 80 12 12 14 6 3 16 14 273 23 X 2 2,5 X 2 26 28 168 9 37 12 710 34 CONNECTIONS RODDKLUBBEN SOUTH ARRIVAL ATRIUMLOCKER ROOMS EAST ARRIVALDOCKS COURTYARD MAIN ENTRANCE GYM ENTRENCE WEST ARRIVAL QUAY CAFÉ BOAT STORAGE BRIDGE SAUNA CLUB ROOM ENTRENCE NORTH ARRIVAL STORAGE KITCHEN OUTDOOR AREA LOADING AREA WORKSHOP SITE ILLUSTRATION RODDKLUBBEN PROPOSAL LUNDBYHAMNEN SITE PLAN RODDKLUBBEN 1:500 LUNDBYHAMNEN WEST, NORTH, EAST AND SOUTH ELEVATION RODDKLUBBEN 1:300 LUNDBYHAMNEN LINK RODDKLUBBEN GYM & LOCKERS RENDER BOAT STORAGE The boat storage is the most important function in a Rowing club. The building is used for the club members to store the rowing boats together with the equipment secured and away from the elements. It has easy access from both water and land. This is in many ways the simplest building, but also the most complex. Standing over the water a rigid foundation of pillars is needed. ROOF DETAIL 43 BOAT STORAGE RENDERRODDKLUBBEN As it is only used for storage it is uninsulated with just a layer of horizontal wooden panels for wind protection. Having so few layers to it, the building allows for temporary floodings just like the docks surrounding it. It’s a building dedicated to function, inspired by the boatsheds across the Swedish shoreline. The building is rooted in tradition and honesty. UNINSULATED BOAT STORAGE RENDERRODDKLUBBEN VIEW TOWARDS NORTH 44 ELEVATIONS 45 1:200 BOAT STORAGERODDKLUBBEN 1:200 46 ELEVATIONS RODDKLUBBENBOAT STORAGE DRAWING FOR MODEL MAKING 47 MEASUREMENTS FOR 1:2 BOAT STORAGERODDKLUBBEN 1:10 48 JOINT DETAIL RODDKLUBBENBOAT STORAGE 49CONSTRUCTION 1:200 BOAT STORAGERODDKLUBBEN 1:25 50 SECTION DETAIL RODDKLUBBENBOAT STORAGE INSULATED CONNECTED CLUBHOUSE The clubhouse is the main building for the rowing club, hou- seholding activities like theore- tical lessons, club meetings, ad- ministrative work and festivities. The clubroom is a large space for gatherings with exceptional views of the port. It’s a flexible, spacious room, which could be rented by the locals. An important building for the unity of the members. The placement is arranged with the gym and locker room building to create an embracing impres- sion on the courtyard, while also shielding off sounds and visual clutter from the motorway. A smaller courtyard is found within the walls of the clubhouse, it floods the entrance, kitchen and clubroom with soft northern light. PLAN / ELEVATION SOUTH 51 1:200 CLUBHOUSERODDKLUBBEN ATRIUM 52 CLUBHOUSE RENDERRODDKLUBBEN CLUB ROOM CLUBHOUSE RENDER RODDKLUBBEN 55ELEVATION DETAIL 1:25 CLUB HOUSERODDKLUBBEN 1:25 56 SECTION DETAIL RODDKLUBBENCLUBHOUSE GYM AND LOCKERS To enter this building you either access it from outside of the area or you come from the inner courtyard. The entrance room is a connecting passageway in the form of a glassed arcade which takes you either to the locker rooms or to the gym. The locker rooms have a mutual space before the private, the room is backlit with a light shaft to the northwest and this is where you fill up your water before activity. The locker rooms themselves ELEVATION / SECTION 57 1:200 GYM & LOCKERSRODDKLUBBEN are mirrored elongated rooms with windows located just under the foot of the roof. They are equipped with WCs, showers and lockers. The gym is located on the other side of the building, in a slightly longer, wider and higher volume. There are two smaller rooms dedicated to wights and calmer activities flanking the major workout space. This room is backlit by a large light shaft and filled with rowing machines that overlook the courtyard and port. INSULATED CONNECTED LIGHT SHAFT IN THE GYM 58 GYM & LOCKERS RENDERRODDKLUBBEN PLAN 59 1:200 GYM & LOCKERSRODDKLUBBEN 1:200 60 ELEVATION EAST / WEST RODDKLUBBENGYM & LOCKERS PLAN / ELEVATION EAST 61 1:200 CAFÉRODDKLUBBEN CAFÉ The summer café is run by the association otherwise externally. The building is completely made out of wood except for the cor- rugated roof, just like the Boat storage. This building is isolated whilst the Boats storage isn’t. All the other buildings are contrasted with a wall that acts as a barrier. The barrier evident for the boat storage is the water and the harsh quayside acts as a barrier for the café. It is visually connected to the rowing club but also separated with a stronger public access. The arcade gives shade in the summer and in the rest of the year it acts as a funnel into the inner courtyard. It’s the only building that is placed directly on the quayside, the placement and orientation gives good sun con- ditions for the outdoor seating all day long. Placed at this spot, the building will also have as many bypassers as possible, with the walkway passing right by. INSULATED DISCONNECTED VIEW FROM SOUTH 62 CAFÉ RENDERRODDKLUBB PLAN / ELEVATION WEST 63 1:200 SAUNARODDKLUBBEN SAUNA The sauna acts as an outpost, connecting the east side to the west by a bridge. It is conceptu- ally the clearest building, with its wall, volume and roof as the three main building elements. The wall hugs and defines the total area, the sauna is encapsulated inside the isolated volume and the roof ties them both together. The area between the volume and the wall is where you shower and enter the water. A small windsor overlooking the courtyard together with a striking chimney reveles that this is actually a sauna. INSULATED DISCONNECTED VIEW FROM WATER 64 SAUNA RENDERRODDKLUBB VIEW TO THE WEST FROM THE COURTYARD RODDKLUBBEN GYM & LOCKERS RENDER DISCUSSION 67 RODDKLUBBEN DISCUSSION For us, this project has led us to a further understanding of our common architectural vision, it has also become a tool for valuing different stages of the design process. It’s clear what personal value this Master Thesis has given us, but in a broader sense we hope that this work can spark the discussion and underline the value of it, especially considering that many buildings today arise from valued criterias set out by juries in different situations. In retrospect, when analyzing how well our design proposal has answered the manifesto, our conclusion is that some princip- les have had a greater impact than others. Some design choices have for example been more supported by the Beauty and Atmosphere of the project than the Durability. Working conti- nuously with the manifesto, some aspects will most often stand in contrast to each other, even if the goal is to fulfill them all. Another learning from this work was the aspects missing in the manifesto, for example the economy of the project. This however, would have been a quite arbitrary aspect to weave into a speculative master thesis, but could have a greater importance in the practicing field of architecture. 68 MODELS RODDKLUBBEN ATRIUM CLUBHOUSE MODEL 1:20 JOINERY BOAT STORAGE MODEL 1:2 WALL & PILLARS SAUNA MODEL 1:20 MODELS 69 RODDKLUBBEN ATRIUM CLUBHOUSE MODEL 1:20 ATRIUM CLUBHOUSE MODEL 1:20 70 MODELS RODDKLUBBEN LIGHTSHAFT GYM & LOCKERS MODEL 1:20 LIGHTSHAFT GYM & LOCKERS MODEL 1:20 MODELS 71 RODDKLUBBEN WALL & PILLARS SAUNA MODEL 1:20 WALL & PILLARS SAUNA MODEL 1:20 72 MODELS RODDKLUBBEN JOINERY BOAT STORAGE MODEL 1:2 JOINERY BOAT STORAGE MODEL 1:2 MODEL MAKING 73 RODDKLUBBEN WALL & PILLARS SAUNA MODEL 1:20 ATRIUM CLUBHOUSE MODEL 1:20 74 MODEL MAKING RODDKLUBBEN WALL & PILLARS SAUNA MODEL 1:20 ATRIUM CLUBHOUSE MODEL 1:20 APPLYING THE CRITERIA LIST 75 RODDKLUBBEN Performance Durability S / M / L - Small / Medium / Large - Detail / Building / Context 1 / 2 / 3 - Vesion 1 / Version 2 / Version 3 S 1 M 2 L 3 Functional Usability Proportion Beauty Poetic Atmosphere Disassemble Flexible Identity Intimacy Statement Intention Rational Tactile Adaption Unpredicted Multilayered Craftsmanship PRINCIPLES WALL & ROOF Performance Durability S / M / L - Small / Medium / Large - Detail / Building / Context 1 / 2 / 3 - Vesion 1 / Version 2 / Version 3 S 1 M 2 L 3 Functional Usability Proportion Beauty Poetic Atmosphere Disassemble Flexible Identity Intimacy Statement Intention Rational Tactile Adaption Unpredicted Multilayered Craftsmanship 1. 2. 3. Performance Durability S / M / L - Small / Medium / Large - Detail / Building / Context 1 / 2 / 3 - Vesion 1 / Version 2 / Version 3 S 1 M 2 L 3 Functional Usability Proportion Beauty Poetic Atmosphere Disassemble Flexible Identity Intimacy Statement Intention Rational Tactile Adaption Unpredicted Multilayered Craftsmanship Performance Durability S / M / L - Small / Medium / Large - Detail / Building / Context 1 / 2 / 3 - Vesion 1 / Version 2 / Version 3 S 1 M 2 L 3 Functional Usability Proportion Beauty Poetic Atmosphere Disassemble Flexible Identity Intimacy Statement Intention Rational Tactile Adaption Unpredicted Multilayered Craftsmanship ITERATIONS WINDOW PLACEMENT CAFÉ Performance Durability S / M / L - Small / Medium / Large - Detail / Building / Context 1 / 2 / 3 - Vesion 1 / Version 2 / Version 3 S 1 M 2 L 3 Functional Usability Proportion Beauty Poetic Atmosphere Disassemble Flexible Identity Intimacy Statement Intention Rational Tactile Adaption Unpredicted Multilayered Craftsmanship Performance Durability S / M / L - Small / Medium / Large - Detail / Building / Context 1 / 2 / 3 - Vesion 1 / Version 2 / Version 3 S 1 M 2 L 3 Functional Usability Proportion Beauty Poetic Atmosphere Disassemble Flexible Identity Intimacy Statement Intention Rational Tactile Adaption Unpredicted Multilayered Craftsmanship Performance Durability S / M / L - Small / Medium / Large - Detail / Building / Context 1 / 2 / 3 - Vesion 1 / Version 2 / Version 3 S 1 M 2 L 3 Functional Usability Proportion Beauty Poetic Atmosphere Disassemble Flexible Identity Intimacy Statement Intention Rational Tactile Adaption Unpredicted Multilayered Craftsmanship Performance Durability S / M / L - Small / Medium / Large - Detail / Building / Context 1 / 2 / 3 - Vesion 1 / Version 2 / Version 3 S 1 M 2 L 3 Functional Usability Proportion Beauty Poetic Atmosphere Disassemble Flexible Identity Intimacy Statement Intention Rational Tactile Adaption Unpredicted Multilayered Craftsmanship Performance Durability S / M / L - Small / Medium / Large - Detail / Building / Context 1 / 2 / 3 - Vesion 1 / Version 2 / Version 3 S 1 M 2 L 3 Functional Usability Proportion Beauty Poetic Atmosphere Disassemble Flexible Identity Intimacy Statement Intention Rational Tactile Adaption Unpredicted Multilayered Craftsmanship 2. 1. 3. 76 APPLYING THE CRITERIA LIST RODDKLUBBEN ITERATIONS REPETITION BOAT STORAGE Performance Durability S / M / L - Small / Medium / Large - Detail / Building / Context 1 / 2 / 3 - Vesion 1 / Version 2 / Version 3 S 1 M 2 L 3 Functional Usability Proportion Beauty Poetic Atmosphere Disassemble Flexible Identity Intimacy Statement Intention Rational Tactile Adaption Unpredicted Multilayered Craftsmanship Performance Durability S / M / L - Small / Medium / Large - Detail / Building / Context 1 / 2 / 3 - Vesion 1 / Version 2 / Version 3 S 1 M 2 L 3 Functional Usability Proportion Beauty Poetic Atmosphere Disassemble Flexible Identity Intimacy Statement Intention Rational Tactile Adaption Unpredicted Multilayered Craftsmanship Performance Durability S / M / L - Small / Medium / Large - Detail / Building / Context 1 / 2 / 3 - Vesion 1 / Version 2 / Version 3 S 1 M 2 L 3 Functional Usability Proportion Beauty Poetic Atmosphere Disassemble Flexible Identity Intimacy Statement Intention Rational Tactile Adaption Unpredicted Multilayered Craftsmanship Performance Durability S / M / L - Small / Medium / Large - Detail / Building / Context 1 / 2 / 3 - Vesion 1 / Version 2 / Version 3 S 1 M 2 L 3 Functional Usability Proportion Beauty Poetic Atmosphere Disassemble Flexible Identity Intimacy Statement Intention Rational Tactile Adaption Unpredicted Multilayered Craftsmanship Performance Durability S / M / L - Small / Medium / Large - Detail / Building / Context 1 / 2 / 3 - Vesion 1 / Version 2 / Version 3 S 1 M 2 L 3 Functional Usability Proportion Beauty Poetic Atmosphere Disassemble Flexible Identity Intimacy Statement Intention Rational Tactile Adaption Unpredicted Multilayered Craftsmanship Performance Durability S / M / L - Small / Medium / Large - Detail / Building / Context 1 / 2 / 3 - Vesion 1 / Version 2 / Version 3 S 1 M 2 L 3 Functional Usability Proportion Beauty Poetic Atmosphere Disassemble Flexible Identity Intimacy Statement Intention Rational Tactile Adaption Unpredicted Multilayered Craftsmanship Performance Durability S / M / L - Small / Medium / Large - Detail / Building / Context 1 / 2 / 3 - Vesion 1 / Version 2 / Version 3 S 1 M 2 L 3 Functional Usability Proportion Beauty Poetic Atmosphere Disassemble Flexible Identity Intimacy Statement Intention Rational Tactile Adaption Unpredicted Multilayered Craftsmanship 1. 2. 3. ITERATIONS LIGHT SHAFTS GYM & LOCKER Performance Durability S / M / L - Small / Medium / Large - Detail / Building / Context 1 / 2 / 3 - Vesion 1 / Version 2 / Version 3 S 1 M 2 L 3 Functional Usability Proportion Beauty Poetic Atmosphere Disassemble Flexible Identity Intimacy Statement Intention Rational Tactile Adaption Unpredicted Multilayered Craftsmanship Performance Durability S / M / L - Small / Medium / Large - Detail / Building / Context 1 / 2 / 3 - Vesion 1 / Version 2 / Version 3 S 1 M 2 L 3 Functional Usability Proportion Beauty Poetic Atmosphere Disassemble Flexible Identity Intimacy Statement Intention Rational Tactile Adaption Unpredicted Multilayered Craftsmanship Performance Durability S / M / L - Small / Medium / Large - Detail / Building / Context 1 / 2 / 3 - Vesion 1 / Version 2 / Version 3 S 1 M 2 L 3 Functional Usability Proportion Beauty Poetic Atmosphere Disassemble Flexible Identity Intimacy Statement Intention Rational Tactile Adaption Unpredicted Multilayered Craftsmanship Performance Durability S / M / L - Small / Medium / Large - Detail / Building / Context 1 / 2 / 3 - Vesion 1 / Version 2 / Version 3 S 1 M 2 L 3 Functional Usability Proportion Beauty Poetic Atmosphere Disassemble Flexible Identity Intimacy Statement Intention Rational Tactile Adaption Unpredicted Multilayered Craftsmanship Performance Durability S / M / L - Small / Medium / Large - Detail / Building / Context 1 / 2 / 3 - Vesion 1 / Version 2 / Version 3 S 1 M 2 L 3 Functional Usability Proportion Beauty Poetic Atmosphere Disassemble Flexible Identity Intimacy Statement Intention Rational Tactile Adaption Unpredicted Multilayered Craftsmanship Performance Durability S / M / L - Small / Medium / Large - Detail / Building / Context 1 / 2 / 3 - Vesion 1 / Version 2 / Version 3 S 1 M 2 L 3 Functional Usability Proportion Beauty Poetic Atmosphere Disassemble Flexible Identity Intimacy Statement Intention Rational Tactile Adaption Unpredicted Multilayered Craftsmanship Performance Durability S / M / L - Small / Medium / Large - Detail / Building / Context 1 / 2 / 3 - Vesion 1 / Version 2 / Version 3 S 1 M 2 L 3 Functional Usability Proportion Beauty Poetic Atmosphere Disassemble Flexible Identity Intimacy Statement Intention Rational Tactile Adaption Unpredicted Multilayered Craftsmanship 1. 2. 3. 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A History of Wood from the Stone Age to the 21st century. https://www.architectmagazine. com/technology/products/a-history-of-wood-from-the-stone-age-to-the-21st- century_o Zumthor, P. (2006). Atmospheres. Basel: Birkhäuser. BIBLIOGRAPHY 77 RODDKLUBBEN IMAGE SOURCES Figure 1: Author’s own photographs of book covers. Figure 2: Lantmäteriet. (2022). Flygfoto. (Online image) Retrieved from https://minkarta.lantmateriet.se Figure 3: Lantmäteriet. (2022). Flygfoto. (Online image) Retrieved from https://minkarta.lantmateriet.se Figure 4: Lundbyhamnen från ovan. (1978). Pinterest. https://se.pinterest.com/pin/547398529708048567/ Figure 5: Lantmäteriet. (2022). Flygfoto. (Online image) Retrieved from https://minkarta.lantmateriet.se All non-referenced images are works of the author. 78 IMAGES RODDKLUBBEN