T E M P O R A L J U X T A P O S I T I O N S Osama Rahahleh Chalmers School of Architecture Department of Architecture and Civil Engineering Examiner: Jonas Runberger Supervisor: Kengo Skorick, & Jonas Lundberg Views of an Alternate Timeline of Gamla stan Spring 2021 Temporal Juxtapositions by Osama Rahahleh Chalmers School of Architecture Department of Architecture & Civil Engineering Master’s Programme in Architecture and planning beyond sustainability Examiner: Jonas Runberger Supervisor: Kengo Skorick, & Jonas Lundberg ACKNOWLEDGMENTS My gratitude goes to the teachers and tutors of the Architecture department of Chalmers University of Technology that enriched my master’s degree experience. It has been a joyful journey and among the best decisions I have made on both an academic and personal level. I grew as an individual before I grew as an architect. In particular, I thank Naima Callenberg for her warm support and words of en- couragement, my supervisors Kengo Skorick, & Jonas Lundberg. And my examiner Jonas Runberger. I thank all the friends I made along the way. Finally, I thank my parents for always being there for me and cheering me on, it would not have been possible without your support and belief in me. I eternally thank my late grandma whose memory will always remain alive within me. 5 6 ABSTRACT What would it be like to re-imagine lost structures from the architectural history of a place and project them into an alter- nate present? The premise of the thesis is to bring attention back onto lost forgotten ar- chitectural moments from history and re-imagine their attributes and potential once retrieved and re-imagined through computation tools. If these lost physical moments were to survive the concept of time; how would they appear in the pres- ent? And what would their qualities be? Can this approach be a way of form-find- ing? The thesis envisioned an alternate pres- ent where the past and the present meet in a time-defying context. The nature of architectural imaginations manifest in different forms and consequential- ly explore the potential lost structures can hold once seen through the lens of speculative design tools. In order to experiment with lost buried values -- both physical attributes and form of lost architectural structures, the lost original “Tre Kronor” castle was se- lected. The lost castle provided a canvas and testbed to deploy and test different methods and approaches to speculative design. The process seeks to explore both the original form and spatial con- figuration of the lost castle, in addition to re-imagining the different parts of the castle once introduced into the specula- tive context of an alternate Gamla stan. The thesis was an open investigation into speculative design aspects and how re- flecting onto the past can serve as a plat- form to make more self-aware specula- tions into the present, and consecutively the future. A final outcome presents itself in the form of the Nya Gamla Stan - another reality presented in text and illustrations. Nya Gamla stan is where temporal jux- tapositions introduce a sample of the re- sults of the thesis research. In addition to a catalog of all digital models created in the process. Keywords: juxtaposition, form-finding, temporal speculation, fiction, count- er-factual, alternate reality. 7 8 CONTENTS INTRODUCTION ABSTRACT PERSONAL BACKGROUND PROJECT BACKGROUND THESIS QUESTION AND PURPOSE METHODS AND TECHNIQUES DELIMITATION REFERENCE PROJECTS QUASI PROJECT–QUASI THEORY EXODUS SUPERSURFACE PROCESS PHASE 1: PHOTOGRAMMETRY PHASE 2: REMNANT INVESTIGATION ....................5 ....................10 ....................11 ....................17 ....................21 ....................24 ....................26 ....................27 ....................29 ....................32 ....................37 CONTENTS PHASE 3: CASTLE FORM STUDY PHASE 4: CONTEXT STUDY PHASE 5: SYNTAX LIBRARY REFLECTIONS VIEWS OF NYA GAMLA STAN SUMMARY REFERENCES ....................39 ....................41 ....................51 ....................69 ....................71 ....................93 ....................95 9 10 INTRODUCTION PERSONAL BACKGROUND ACADEMIC BACKGROUND Bachelor of Science in Architecture Jordan University of Science and Technology 1. Design and planning for social inclusion 2. Crash Course Beyond Sustainability 3. Sustainable Architectural Design 4. Matter, Space, Structure (3) Studios Osama Oso Rahahleh 11 12 The driving factor behind the thesis was the effect of juxtaposition. When applied visually, it is a specific visual effect used by artists and designers to bring out and highlight a specific character or quality. In order to create that effect, many tools and approaches were deployed. Such as using his- torical monuments that captured a certain unique narrative. In this thesis a castle in Stockholm that was destroyed after a fire and completely rebuilt in a new form, hence inter- acting with the juxtaposition of a castle that existed in a certain form hundred of years ago, with its current form and context. That pro- vided the thesis with a clear element of time, a present/past factor. To further investigate and showcase the effect of juxtapositions, the tool of counter-factu- al thinking was used, the speculative tool of “what if…”, which is when you describe a par- allel narrative that opposes the actual event. CAD tools that we have now to help us with specific tasks were also used to visualize and build an archive of speculative forms and structures, derived from a historical monu- ment that no longer exists in its original form. Then to utilize this archive, a series of specula- tive imaginary illustrations was conducted to bring this approach to the viewer’s mind and imagination. Juxtapose /ˌˈjək-stə-ˌpōz/ To place (different things) side by side (as to compare them or con- trast them or to create an interest- ing effect) 1. Chair series entitled “Juxtaposition” by creative collective 97cm 2. Juxtaposition in art, painting titled “The Son of Man” (1964) by René Magritte Juxtapose. 2021. In Merriam-Webster.com. PROJECT BACKGROUND René Magritte often used juxtapositions in his work. In “The Son of Man” he juxtaposed the ordinary imagery of a man standing still with an unrelated random apple floating in the air in front of him. This contrasting imagery of combining realistic elements with unrealistic ones captures a visual juxtaposition. Juxtaposition in art 13 14 3. Residential landscape by DKO Architecture (2016) Waterloo Street, Australia 4. The Museum of Military History by Daniel Libeskind Dresden , Germany 5. Great court at the British Museum by Foster + Partners London, The United Kingdom Juxtaposition in architecture The effect of Juxtaposition was always part of architecture, whether as an intentional design element incorporated for its visually appeal- ing qualities, or as a natural result of design and renovation. In figure 3, Waterloo Street warehouse embod- ies a juxtaposition in the form of an expansion of the heritage old warehouse structure. The Juxtaposition can be seen as a co-existence of the old and the new. The new part is covered in a metallic shell that constracts the brick- work of the original old warehouse. Figure 4 shows another form of juxtaposition in architecture, in Dresden’s current military museum which re-opened in 2011 you can see an even more daring juxtaposition. A con- trasting sculpture-like avant-garde mass pen- etrates the old structure of the building. It was used to show the difference between two dif- ferent interpretations of what military history represented in the past as opposed to now. As for the great court at the British Museum in figure 5, Foster + Partners added an inno- vative roof structure that juxtaposed the older existent part of the museum. 15 16 In figure 6, a juxtaposition effect can be seen as a result of Spolia, where an element is taken from one building then added and adapted to another building. The effect resulting is cu- rious and intriguing, where elements do not necessarily fit the concept and style of their new host building, but the results are interest- ing and eye-catching nonetheless. In figure 7 however, the juxtaposition effect is a result of architects and artists adding to the church in the centuries following Michelan- gelo Buonarroti’s original design in the 16th century. The juxtaposition is created by dif- ferent styles across different disciplines and contributions. 6. Church of San Procolo Veneto, Italy 7. Santa Maria degli Angeli church, designed originally by Michelangelo Buonarroti Rome, Italy Summary of juxtapositions (By author) 17 18 How can forms from the historical depository be re-imagined using contemporary de- sign tools and contextualized within a new imaginary context? The potential of utilizing fiction in an architectural discourse, while exploring the notion of form referencing using historical monuments? The aim is using alternate realities to inspire and evoke alternate solutions, the goal of the thesis is not to present a solution but rather put forward a fictional context and scenario in order to serve as a discursive effort to evoke alternate ways of thinking. THESIS QUESTION AND AIM As a testing bed to investigate and delver deeper into Juxtaposition as a tool, the caste of Tre Kronor was chosen. It made a good choice for this topic and investigation because it’s a castle that went through a fire that destroyed it to the ground in the past, and yet an itera- tion of the castle exists today in the present. The contrast in these two versions of the cas- tle had potential to test and experiment with the notion of juxtaposition aimed for in this thesis. Tre Kronor was a castle in Stockholm, trans- formed into a royal castle in the mid 13th century. It burnt down in 1697, alongside the national library and royal archives - which made the country’s early history difficult to document (William-Olsson, 1959) After the majority of the castle was demol- ished, the new Stockholm Royal Palace was built on the same location and completed in 1754. The history of the castle plays a role in the thesis premise, including its spatial configura- tion, elements from the castle that has striking character, and the functionality of the original spaces. 8. Govert Camphuysen’s painting from 1661 depicting the castle 36 years before the fire What if we could revive lost forms from a context’s memory and bring it into the “now”? 19 20 According to John Crispinsson’s de- scription of Magnus Jacobson’s book “Slottet Brinner!” the castle of Tre Kronor was the gateway to new art in Stockholm, new architecture, and new music (Jacobson, 2005). At the time period it existed, the cas- tle was a symbol of the Sweden’s great power. 1697 marked a difficult year for Sweden, Karl XI died of stomach can- cer. The priests said the country will walk the shadowy valley of death af- ter the king died. People of Stockholm were not doing well (Jacobson, 2005). The fire that burnt the castle to the ground was a total disaster for Sweden’s image as a great power. The castle of Tre Kronor was Sweden’s symbol of power (Jacobson, 2005). Jacobson refers in his book to the cas- tle - which had Tessin as the castle ar- chitect - as a “jumble of extensions, alterations, and additions”, from a me- dieval castle with thick walls to renais- sance pinnacles and towers, and it was on its way to become a roman square. He also mentions that the castle housed an army of maids and servants along with their families. (Jacobson, 2005) At a meeting 3 days after the fire, Tes- sin was instructed to produce a draw- ing more regular and organized than before. And so he did. Six weeks after the fire Tessin presented his new mas- ter-plan. The new plan resembled a scaled up roman house. (Jacobson, 2005) Upon reflecting on the history of the cas- tle, it was clear than the castle as a whole was an amalgamation of different eras and styles. It was characterized by an organized chaos of additions and alter- ations. The castle was a symbol of power, regardless of functionality. Linking this information to the premise of the thesis, It was apparent inspiring to imagine how the castle continued to be a growing iter- ation, taking different forms and shapes from every period of time it existed in. 9. Johan Fredrik Höckert’s painting from 1866 of the royal family escaping castle fire 10. Original Tre Kronor floor plan and Royal Palace floor plan overlapping 21 22 METHODS AND TECHNIQUES OVERVIEW The original castle had its own character- istics and elements that differ completely to what the royal palace looks like cur- rently. The journey of exploration start- ed with selecting different elements and forms from the castle and recreated in 3D-modelling softwares. After a visit to the Tre Kronor musem which lays in the underground floor of the current royal palace, photogramme- try was used to scan remnants from the original castle in addition to physical models of what the castle looked like at the time. Having obtained these recreated 3D-models and 3D-scans, an act of amalgamation took place where different combinations and arrangements were explored. The aim is to try to unlock the potential of these structures and to achieve the effect of juxtaposition. The effect will play with the concept of scale, mixing these past remnants with the present context and projecting it into an alternate timeline. The setting of this alternate timeline was further outlined and defined. Finally, in the last phase the focus was on narrating the outcome, illustrating the fictional context, and illustrating the fic- tional proposal and what it entails; mas- ter-plan, perspective views, and bird-eye views capturing the essence of Nya Gam- la stan. “Because of the scientific and techni- cal revolution that has been the hall- mark of our modern era, man will have to adopt a completely new out- look if he is to assume responsibility for the future” (Dahinden, 1972, p. 7). The future referred to in “Urban struc- tures for the future” appears as an arti- ficial urbanized context that is simul- taneously an input and output of social changes, that both feed into each other. (Dahinden, 1972) The book also points out the need to comprehend both advantages and dis- advantages in the form of possible ben- efits and consequences brought by these futuristic scenarios and developments. Reflecting on this, it was decided that consequences needed to be pointed out as a possible aftermath of the outcomes. And a discursive approach was adopted, the proposal does not provide answers, but rather provides a platform for discus- sions and thoughts to be shared. 23 24 “Another well-established form of thought experiment is the counterfactual. A historical fact is changed to see what might have hap- pened” (Dunne, A., & Raby, F, 2013, p.82). The counterfactual was used in many movies, books, and TV shows, such as “The Man in the High Castle” which is based loosely on a novel of the same title by author Philip K.Dick. The show is a look at an alternate present where World War II ended differently with the Axis powers winning the war and ruling the world. Counterfactual can provide a platform for designers where they can exercise their imag- ination and future-based thinking skills by designing and speculating on a parallel alter- nate world rather than predictions. A story helps to attract and immerse the viewer into that parallel world, as a narrative that leads to that outcome (Dunne, A., & Raby, F, 2013). The thesis took leads from these thought ex- periment techniques and a storyboard of vi- sions and illustrated narratives were created in order to bring the parallel Gamla Stan to the viewer’s mind and imagination. The coun- terfactual element was; what if the old castle of Tre Kronor did not burn in 1697, but survived and influenced its surrounding and context. Absent of matter Structure Destruction Construction Present Continuity New alternate present 1697 Sketch showing the concept of counterfactual history (by author) DELIMITATION To fully utilize fiction and speculative-thinking in this study, higher priority was placed on visualizing the different parts of the thesis; such as the form refabrication syntax library, and the alternate reality context to inspire the imagination of the viewer and receptor. The notion worked better the more tangible it appeared. The social aspects of the fictional reality was touched upon but without a direct political agen- da. The different interpretations are up to the viewers, and an integral part of what thought experiments entail. 25 26 REFERENCE PROJECTS QUASI PROJECT–QUASI THEORY This installation showcased at the 2018 Unfolding Pavilion in Venice exhibits an intriguing new identity of Venice. It is an amalgamation of past and present elements of Venice. The new identity of Venice presented by this installation is a juxtaposition of Ven- ice’s past and an imaginary interpretations and fragments based on scanned objects from its present. The pavilion project process started by scanning multiple objects and souvenirs from around Venice, and transforming them into digital entities that can be manipulated and mixed into other designs and monuments from Venice. The resulting amalgamations and forms re- flect a new different identity of the city that is hidden. These formed amalgamations contrast Venice’s actual reality, yet they are derived from its context. This installation and the process that led to it played a role in the selected experi- mentations in the thesis. Approaches such as scanning objects from the context and juxtaposing them with the actual context at different scales and in forms. 11. Giacomo Pala (2018) by Jörg Stanzel & Riccardo M. Villa 12. 3D-scanned objects from the city and used them as objects to be estranged in a new composite 27 28 13. Project “Exodus” (1972) by Rem Koolhaas, Rem Koolhaas, Elia Zenghelis, Madelon Vriesendorp, & Zoe Zenghelis “Each of the ten square zones within the central strip are particularly programmed spaces in which people exist — if you will — through a narrative beyond the remit of capitalist apparatus.” (Teismann, 2018, p.58) “Exodus” manifests an imaginary scenario where individuals seek refuge in a walled community within the metropolis of Lon- don. It is bold, striking, and polarizing. It cuts through the built-environment of Lon- don unapologetically with its contrasting shape of a long extending strip. This imaginary haven is driven both by architectural fantasies and socio-political motives. It is a loud statement, both visually and functionally. 14. “Exodus”, a speculative voluntary prison cutting through London EXODUS According to Rem Koolhaas, Exodus needs a ‘fundamental belief in cities as the incubators of social desires, the synthetic materializations of all dreams’ (Koolhaas, 2005, p. 253). In Koolhaas’ eyes the world we inhabit is an imaginary projection that is does not represent reality. Exodus is a series of illustrations and draw- ings and mixed-media collages that repre- sent an ideological statement in the context of London. The speculative proposition provides a juxtaposition of a narrative that contrasts what lays outside its walls. It is an open urban space where people can escape into, voluntarily. This project was chosen as a reference for the thesis for its powerful provocative illus- trations and their link to the conveyed ide- ology and statement of the proposal. The mixed media approach to illustrations was also an inspiration, in a way it represented a juxtaposition of representational meth- ods; in this case collaging, and watercolor. 29 30 15. “The Happy Island”, a film still from “Supersurface” (1972) by Superstudio 16. A film still from “Supersurface” (1972) by Superstudio SUPERSURFACE Supersurface as described by Superstud- io is “...a reconsideration of the relations between the process of design and the en- vironment through an alternative model of existence” (Lang & Menking, 2003, p. 24). Supersurface was showcased during the Museum of Modern Art’s exhibition “Italy; The New Domestic Landscape” in 1972. The film consists of a series of illustrations and collages that represent a utopoian life- style of a society in an alternate reality. The film has an anti-war statement, and shows the natural desire of societies to live a peaceful life safely. The depiction of an alternate narrative that’s very contrasting to contemporary living was an interesting feature of Super- surface, also the dream-like nature of the movie brings the radical proposal closer to the viewer’s mind. The combination of simple words and il- lustrations helps create an atmosphere of a puzzling vision. The film juxtaposes ordi- nary. The film juxtaposes ordinary activities such as ironing clothes and jumping rope with an unfamiliar context that does not resem- ble any realistic environment. There is a re- flective infinity grid that expands at ground level and creates a surface for all ordinary daily-life activities to take place on. The film’s approach is discursive and a works as canvas for all design disciplines to reflect on the practice. 31 32 Upon further reflection on juxtapositions and their properties; it was noticed that the visu- al effect of juxtapositions can be striking and appealing, furthermore, they can also serve as a lead towards less rigid appearance in con- temporary architecture practice and provide more character related to the context that might not be physically tangible at the cur- rent time. Form referencing in architecture is common , and there are many sources and approaches to find a form suitable for a cer- tain design or proposal. The process aimed to use the Tre Kronor castle as a testbed for form referencing based on juxtaposing its old original forms with computed iterations made via CAD and contemporaneity digital design tools. What if this juxtaposition can be achieved by recreating old historical forms using contem- porary design tools that we have at our dis- posal today? Can that investigation be utilized and activated as a form-finding tool? In phase 1, a site visit to Tre Kronor museum was conducted, which is a museum that cele- brates and showcases the history of the castle. From its early beginnings to the many itera- tions of Tre Kronor before it was burned to ashes due the big fire that occurred in 1697. The different models of Tre Kronor were digi- tally scanned using photogrammetry, and the iteration that was completed by 1663, accord- ing to the tour guide, was chosen because it was the iteration of the castle that existed at the time of the fire before it was lost forever. PROCESS PHASE 1: MUSEUM VISIT AND PHOTOGRAMMETRY Photo taken of the Royal Palace as it stands today (by author) 33 34 Photo taken at Tre Kronor museum, StockholmPhoto taken at Tre Kronor museum, Stockholm Navigating the scale via 3D-scanning different objects of various scales Utilizing photogrammetry to scan a model replica of the original Tre Kronor castle and then scanning remnants from the original facade - sandstone 1600s This back and forth in scale was another juxtaposition within itself that provided more possi- bilities. 35 36 Photogrammetry of remnants and artifacts from the original castle’s facade Photogrammetry of model of the original castle as displayed in Tre Kronor museum Slicing through generated model to further understand the castle’s form and configuration (By author) 37 38 Cube from the past, made by replicating and duplicating the scanned remnants into one entity (By author) The intent of this experiment was to scan and capture surviving remnants of the original castle using photogrammetry, and creating a manufactured relic of these facade remnants using CAD tools. A new surface of uniquely contextual textures arises. PHASE 2: REMNANT INVESTIGATION Cube from the past, made by replicating and duplicating the scanned remnants into one entity (By author) 39 40 The journey and process was very itera- tive in nature, and that directly stemmed from the nature of the thesis topic. A sketch 3-Dimensional digital model was produced by curating and fixing the digital scan of the castle model exhib- ited at the “Tre Kronor” museum. The initial scan wasn’t as clean as desired to be worked with and manipulated, there- fore a lot of mesh-mending was required, and softwares such as “mesh mixer” and “MeshLab” were utilized in the process. In order to make working with and un- derstanding the form of the castle, sep- arate units and parts of the castle were chosen and re-modeled from scratch us- ing CAD, and a surviving section draw- ing and a plan drawing from the origi- nal castle, both obtained through a visit to the museum. The re-modeling of the chosen parts was a research of its own, it served as a tool to understand the geom- etry and details of the different parts of the castle and also finding ways to capture these moments as accurately as possible. The clarity and precession of these digital models worked to the advantage of the recreated versions that were added later to a syntax library. The new versions were not replicas per se. The original dimen- sions and proportions were preserved, and the general outline kept as origi- nal. However, the syntax and language that weaves and shapes the whole object differs from one iteration to another. The reason for that was to use the differ- ent castle parts as testbeds, and to reflect on the juxtaposition of these old forms seen through the lens of new CAD tools and techniques. Further accentuating a new layer of juxtapositions where CAD tools are a living entity that can produce with the guidance of the designer and architect new interpretation of old struc- tures from centuries ago. Tre Kronor slottet reconstruction To further investigate the castle’s orig- inal fabric, a study of volumes was conducted. Abstract volumes were created adjacently and according to the volumes that created the castle. The proposed fictional design respected and followed the outlines of the orig- inal volumes, to keep the consistency of the idea of maintaining proportions and layouts throughout the research. All efforts in an attempt to test what char- acter would emerge from that process. Respecting and following the layout and outline of the castle, yet re-fabricating everything inside from walls, columns, roofs, tactility, and surface shape. Main volume study PHASE 3: CASTLE FORM STUDY 41 42 Gamla stan - Stockholm PHASE 4: CONTEXT STUDY The old town ,“Gamla stan” in Swedish, in Stockholm is estimated to date back to the 13th century. The town’s architecture is inspired by North German architec- ture. Gamla stan is where the current Royal Palace is located. The current palace fol- lows a baroque style. The investigation revisits the original castle of Tre Kronor, and how its survival could have impacted the context of Gam- la stan. First step was taking a look at the current Royal Palace within the current fabric, then juxtaposing the original Tre Kronor with the current fabric as a visu- al tool to reflect on an alternate timeline where the castle has survived the fire. Gamla stan 43 44 What if ? 45 46 Gamla stan with Stockholm’s Royal Palace in its current state - 2021 47 48 Positioning the castle of Tre Kronor in its 1697 state before the fire in Gamla Stan’s current fabric; a juxtaposition of the past and present intersecting in one visual frame. 49 50 Gamla stan as a network of speculative structures 51 52 PHASE 5: SYNTAX LIBRARY In this phase the objective was denying the agency of the material in its origi- nal state, and focusing on the pure form and proportions; creating a time-defying bridge between forms from the past and present-day contemporary design tools. The experiment started with dismantling the castle into different integral parts that were thought to define its character within its original state and form. The tower of the castle which was the main symbol of Tre Kronor was the main focus with the most iterations. The tower had a long journey with vary- ing functions and multiple expansions, leading to its final height and form be- fore the fire. It encapsulates a hidden past and a forgotten story. Diagram depicting the recreation of an old historical form via CAD digital tools (By author) Generating surface-points alongside the form through Rhino 3D scripting Variables: Density, relation be- tween the points in the grid, whether to generate a closed surface or wireframe. The number of surface-points determine the density and out- put geometry. Once the relation between the surface-points is determined, line connections are formed. These generated lines and con- nections were then enveloped in a closed form, or converted to a 3-dimentional structure. Diagram depicting the process for generating the syntax library (By author) 53 54 SYNTAX LIBRARY: TOWER Tower in its original state, before being re-fabricated Tower in its original state; materiality denied Wireframe skeleton re-fabrication (2nd iteration) Wireframe skeleton re-fabrication (1st iteration) Wireframe skeleton re-fabrication (3rd iteration) 55 56 Diagonally ribbed re-fabrication Panel-based re-fabrication (1st iteration) 57 58 Panel-based re-fabrication (2nd iteration) Pentagon-based oval re-fabrication 59 60 Decagon-based vertically-ribbed re-fabrication Abstract square-based re-fabrication 61 62 SYNTAX LIBRARY: LINEAR LIBRARY Linear library in its original state, before being re-fabricated The linear library which was called at the time the “green corrdior” due to its green interiors, was a uniquely shaped linear library that extended on one edge from western to eastern part of the cas- tlearound the inner courtyard. The central part of the library was a reading area with a lot of daylight penetrating the space. Same for other structures of the castle, several iterations were con- structed with different synatx and 3D-modeling tools. Wireframe skeleton re-fabrication (1st iteration) Wireframe skeleton re-fabrication (2nd iteration) 63 64 Entrance patio, leading from the inner courtyard into the castle. The aim is to deny the agency of its initial materiality, maintaing its outline, footprint, and proportions and investigate how it could be re-fabricated and re-imaged via contemporary tools. Several iterations were constructed with different synatx and 3D-modeling tools. SYNTAX LIBRARY: MAIN ENTRANCE PATIO Main entrance patio in its original state, before being re-fabricatedOvally-ribbed re-fabrication Rectangular-ribbed re-fabrication 65 66 Diagonal and oval-based re-fabrication Wireframe skeleton re-fabrication Entrance vault, before being re-fabricated Parallel-ribbed re-fabrication Wireframe skeleton re-fabrication 67 68 SYNTAX LIBRARY: MULTI-STORY UNIT Multi-story unit its original state, before being re-fabricated Multi-story unit, before being re-fabricated Wireframe skeleton re-fabrication Parallel-ribbed re-fabrication 69 70 REFLECTIONS The experimentation started with a wire- frame study, having the original form of the tower as the foundation. Computation and both 3D softwares Rhino and Blender were used to deter- mine the points along the surface and generating wire-frames that captured the original form. This maintained the same proportions and outline of original structures. Following that, the wire-frames were stripped down and simplified as an in- vestigation to reflect on to what extent that simplification can happen before the tower loses its character. Finally, a catalogue of different language forms based on simple 2D shapes that in- tersect and overlay the original form was created. Reflecting on this birthed new ideas for other chosen structures. All investigations were in an effort to re-imagine a form from the hidden past of a place using contemporary design tools and what they can visualize and create. 71 72 VIEWS OF NYA GAMLA STAN Bird-eye view of Nya Gamla stan NYA GAMLA STAN MASTERPLAN 73 74 Location: Nya Gamla stan, Stockholm Landmarks: Nya Gamla stan pavilion network Tre Kronor public castle Corridor Library Special events: 7th of May, a commemoration of Tre Kronor Masterplan of Nya Gamla stan Masterplan of Nya Gamla stan 75 76 Spatial qualities formed by juxtapositions define the character of Nya Gamla stan NYA GAMLA STAN PAVILION NETWORK The history of Gamla stan is manifested and visible at all times CORRIDOR LIBRARY 77 78 The variety in which these structures were created help with way-finding around the town TRE KRONOR PUBLIC CASTLE Towers adorn the skyline of Nya Gamla stan 79 80 Light is everywhereStructures celebrating Tre Kronor populate the town 81 82 Open spaces take different forms and shapes to allow different atmospheres for different activitiesOpen square designed with an amalgamation of elements 83 84 The public castle of Tre Kronor is considered the main landmark of Nya Gamla stan The public castle of Tre Kronor is open to the public 24/7 The public castle of Nya Gamla stan is open to the public, and the people decide on the activities that take place in it 85 86 Public spaces aren’t unique or defined as such, all spaces are publicWalkways and paths hold a memory of the past, tangible memories surround the spaces 87 88 “Every year on the 7th of May, it’s tradition to have the original Tre Kronor projected again, as both tradition and socially sacred symbol of the city” 89 90 91 92 93 94 Visual juxtapositions as a driving force behind the thesis proved to be complex once the aspect of time was given prior- ity. The research and investigations were experimental in nature and thoroughly iterative. Each investigation led to anoth- er, and resulted in a web of results and open questions whose answers were up to interpretations. An emphasis was put on visualizing the temporal juxtapositions to the viewer as much as possible, in order to make the topic comprehensible. Form-finding us- ing historical monuments seen through the lens of computation showed poten- tial. Interesting architectural qualities result- ed that both hold contemporary and his- torical configurations and aesthetics. Reflecting back on the aim of the thesis, the thesis did manage to evoke intrigue in the minds of the viewers, not neces- sarily solutions. It is up to the viewer to interpret the alternate reality and what they take from it. The thesis presented itself as a thought-experiment and how alternate realities evoke interest to step outside the realm of reality and standard practice and perception of Architecture and design. SUMMARY 95 96 TEXT Dunne, A., & Raby, F. (2013). Speculative Everything : Design, Fiction, and Social Dreaming. MIT Press. Jacobson, M. (2005). Slottet Brinner!. Lund: Historiska media. Lang, P., & Menking, W. (2003). Superstudio. Skira. Dahinden, J. (1972). Urban Structures for the Future. Preager. William-Olsson, T. (1959). The Royal Palace of Stockholm and Its Surroundings - past, present and future. Byg- gmästarens förlag. Pala, G. Quasi Project - Quasi Theory. Giacomopala. https://www.giacomopala.com/quasitheory-quasiproject Koolhaas, R., Zenghelis, E., Vriesendorp, M., & Zenghelis, Z (1972). Exodus. The Museum of Modern Art, New York, NY, United States. https://www.moma.org/collection/works/104692 10. Teismann, M. (2018) An Ideological City: Koolhaas’ Exodus in the Second Ecumene. 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