- Reviving memories worth remembering. Stone Cold Bath Chalmers School of Architecture, ACE Master’s programme MPARC Autumn semester 2018 Master thesis project Author: Viktor Fagrell Matter Space Structure Supervisor: Naima Callenberg Examiner: Morten Lund Memories worth rememberingStone Cold Bath2 3Info. *Figure 1, Norra Grötö 1. Title : Stone Cold Bath - Reviving memories worth remembering. Author: Viktor Fagrell viktorfagrell@gmail.com +46730946685 Year of graduation: 2019 (autumn semester 2018) Institution: Chalmers School of Architecture, ACE Examiner: Morten Lund Supervisor: Naima Callenberg Master’s program: MPARC Aknowledgements This project deals with historical and personal memories. Without all the ones I have interviewed that have shared their experiences and valuable knowledge, the project would never reach such a personal depth. I would like to thank the association Hunnebostrands bildarkiv and Hunnebostrands Samhälls- förening for all the photos and documentation that I have published in this booklet. It has been an honour to meet the three enthusiasts Kjell, Siv and Ulla who have shared all stories from the past which gave the clearer picture of how Hunnebostrand have developed over the years. Thank you for the hospitality and the passionate involvement. Then I would like to greet and thank Hallindens Granit AB and Jan Lindell’s educational presen- tation and private tour through the quarry. Thank you for all the material samples and not least because you helped me with a motor failure on the way home. I also have to thank Christer Olsson at KKV (Konstnärernas Kollektivverkstad) who devoted a whole day to show me the basics of how to process the stone. Thank you for all the material samples, tools and nice conversations. The next one goes out to Claes Hake for a pleasant meeting and a rewarding review by your workshop in Eriksberg. It was exciting to learn more about different methods in joining of stone. Thanks for the material and insight in your artistry. I also would like to greet all the happy bathers who I have met during my study visits. You showed me the basic values and understanding of traditional bathing culture - among them; Rolf, Lembit, Richard and Glenn. Thank you Ahmad Sater for all the volunteering tutorials that gave me extra input from someone who has a broad architectural and technical knowledge. A big thanks goes out to my partner Gunilla for the support, input and motivation that she’s have given me. Finally, I would like to thank Naima Callenberg for all the rewarding and fun tutorials as well as the rest of all inspiring members of the Matter Space Structure studio; Morten Lund, Peter Chris- tensson, Jens Olsson and Jonas Carlson and not least all the students attending the studio. Memories worth rememberingStone Cold Bath4 5 Bathing on the west coast is not a walk in the park. To climb and crawl on sharp stones makes one realize that we are only flesh and blood. If you are not careful enough, a hot and peaceful summer day will end up in 18 stitches at the hospital. That’s my experience of bathing in the ar- chipelago and it differs far from the conventional bathing facility. It is a physical test which cuts deep traces in our bodies and memories. Outdoor bathing in Bohuslän emerged already in the late 1800s, while the stone industry made great influence in world history. The granite with its durability was a perfect material for outdoor environments. Thus, the stone was increasingly demanded in large parts of Europe and South America. Soon the concrete’s and the asphalts competitiveness as road construction materials forced many quarries to shut down. Today these areas reminds us of a time that made great wounds in nature. The remnants from the stone masons can be read in the crushed granite and rocky walls that extend along the beaches and islands of Bohuslän. Not least in Hunnebostrand. There the old quarry has become a sculpture park. The stone is the only material that remains at the site. But besides the open air landscape, the stone masons spent many working hours in temporary wooden sheds. Whereby meetings between wooden constructions and stone elements will be a focus in the design. With this project, I want to convey Hunnebostrand’s own cultural history together with my own memories as a summer guest. Therefore, the project is an outdoor cold bath in a fictional lands- cape that physically informs the atmosphere of a quarry. The architecture serves as a historical mediator which reincarnates forgotten crafts and knowledge. It opens up a discussion about how museums and bathing facilities can act and look like. I turn to those who want to relive the memories that are stored in Hunnebostrand. But also to the ones who want to learn more about the extinct knowledge and underlying spirit of Bohuslän. Thesis question: How can architecture speak about memory? Studio: Matter Space Structure Supervisor: Naima Callenberg Examiner: Morten Lund Abstract Abstract I. Intro Figure 2, The Quarry. Memories worth rememberingStone Cold Bath6 7 I. student background and introduction method and delimitations II. hunnebostrand III. the stone a. the quarry b. the block c. the craft d. the workshop e. the surface f. the joint IV. the bath excursions analysis V. discourse thesis question VI. reference projects VII. process and method a. design strategy b. assemblage VIII. proposal VIIII. conclusion and discussion X. reflection XI. bibliography 8-9 10-11 12-29 30-55 38 40 44 46 48 52 56-69 57-67 68 70-72 70 72 74-85 76 80-85 86-99 100 101 102-106 Table of contents Contents Figure 3, Norra Grötö 2. I. Intro Memories worth rememberingStone Cold Bath8 9 I. Student background Introduction Student background and Introduction My journey as an architecture student started on a 18 hour long train ride from Gothenburg up to Luleå where I was supposed to study industrial design and engineering. It was a refreshing experience where new interests and relationships where born. But after 3 years at Luleå University of Tech- nology that included a change over to the program architecture and civil engineering, I realized that my technical interests was not as dedicated in comparison to the aesthetic. I wanted to end up in a profession that puts more effort on spatial configurations and their combination of matter rather than looking deeper into how constructions, technical systems and logistics could be solved. Although it doesen’t mean that I have no interest in the technical solutions. I understand that the technical and aesthetic values ​​always are in constant interaction and motion and that If you take control over the relevant technical aspects within your delimitations, you take control over your design. After 3 years in Luleå and a stopover in Gothenburg I switched over to the architectural program in Umeå where I finished the second year. Then I went on to Chalmers after a successful result in the national admission test for app- lying students. With a bachelor’s degree at Chalmers I hade one year as a trainee at two different architectural offices - one in Gothenburg and one in Stockholm. During that period I realized the difference between working in a larger and a smaller firm, that consulted different types of clients. It was a journey from large-scale projects, with efficient and general solutions, to small private pro- jects with tailor-made solutions and a higher responsibility for the architect , who sometimes worked both as an architect and engineer. There the architect had to know more about the whole. I have become increasingly curious about the whole. A successful whole is based on relevant choices in detailing. This is something that has been reflec- ted in this degree project where I have applied a deeper knowledge on to a concrete end result. From Hästedalen, an old quarry’s loading area, stones were shipped all over the globe, which made great influence in the world history. Although the quarry did not survive, Hästedalen in Hunnebostrand is still a well-used bathing area. This is a story of a place that has experienced both life and death; through seasons that is coming and going, dead soldiers who have flown ashore during the World War II, the damaged wood that have been in constant exchange and violent interventions in nature that made traces and scars in the landscape. But it is also a story about the inhabitants of Hunne- bostrand and their collective experiences. When entering the main content of this booklet the context of Hunnebostrand is presented. It tells about my own experiences as a summer guest in the area. But mainly about how the settled seniors have experienced Hunne- bostrand’s transition from being a rumbling industry to a one-sided holiday resort with few opportunities for the younger residents to develop. It contains a photographic presentation, memoirs, interviews, historical reviews and cur- rent topics that have been debated between the residents of Hunnebostrand. The combination of these materials leads on to the conclusion that the stone and bathing culture was of great importance for Hunnebostrand’s society. This introduces the purpose of the thesis, namely to convey these values ​​and memories through a combination of a cold bathhouse and a stone exhibition. Further the third chapter gives an in-depth understanding of how the granite is processed as well as the internal and international influence it have had. Historical events, that made impact all over the world, are being presented and the stone industries and skills that still remains are mapped out in order to begin to investigate how the stone could be used further in a contemporary cold bath. Chapter III also contains interviews with quarry workers, stone masons and artists who all have years of experience working with the grani- te. After a glimpse into history and the stone’s relevance in the project, the qu- arry’s processes, the stonemason’s techniques, and the artist’s way of joining different elements are the ones that follows. I. Intro The fourth section presents Sweden’s and Hunnebostrand’s way of outdoor bathing. It starts with a recap in history and ends in a presentation of my own study trips along southern parts of Sweden where I have experienced old and new well-known cold baths. There are photos, interviews and stories told in this part as well. The insights in how Hunnebostrand as a stone industry and seaside resort affected the people who live there, how the crafts are being replaced by industrial methods and how our 100 year old way of bathing still affects us today made impact on the projects discourse. It is introduced in the booklets fifth chapter. Here the thesis question is presented which is; How can archi- tecture speak about memory? These parts of the discourse is a topic which Mari Lending and Peter Zumthor also discusses in the book ”A Feeling of History”, where Peter Zumthor describes the conventional view of how history is conveyed through abstract facts and texts in museums that does not create memorable, emotionally strong experiences. The discourse also discusses which parts of the conventional methods of ba- thing that could be explored even further. Namely how there is a lack of bo- dily exploration in the conventional cold bath houses when compared to the experience of bathing in the archipelago. The distance that the user has from the ”phenomenon” through conventional bathing and exhibitions are also a part of the discussion as well as how these problems are dealt with through a couple of examples, such as Herzog & de Meurons ”Schaulager” from 2003, Robert Smithsons and Michael Heizers installations by the landart movements during the 60s and 70s and the Termas Geométricas Hot Springs Complex by the architects German del Sol from 2009. There is also a dis- cussion about the importance of engaging all senses through the architecture which is evident in Juhani Pallasmaa’s book The Eyes of The Skin (1996). The discourse ends up in the idea of the fragile body against the immortal landscape, which becomes the read thread for the concept of the project. Thereby chapter VII introduces parts of the design process that moulded a double cross-shaped plan which rests on a crumbled landscape. Here the project is presented in its entirety by illustrations, models, exploded sketches and drawings. These show how the matter and the plan layout creates a bath that challenges the fragile wood and the naked warm body against a robust, surface-processed and immortal granite. The project is a projection of the people that experienced the growth of Hunnebostrand, the memories of a craft and a bathing culture that has given long-lasting traces and wounds in nature. The conclusion is that many memories have a strong connection to the traces and scars in a landscape affected by man. That there are many methods of processing the stone that still works very well today. The stone can possibly challenge its position of being the basic foundation and cladding with many benefits in the climate of Bohuslän. There are also many ways of using the precision of industrial sawn stone that not yet have been discovered in ar- chitecture. This also applies to the assemblage and tolerance in stone archi- tecture. Although it is known that the stone is a heavy and hard material to work with; the immortal durability compared to wood is a fact. These features should be enhanced, not least when working with bath architecture. The reflection discusses how much of the material stone that really got into the project and if the same result could be achieved through less means and material combinations. Could it be even more filtered and refined? How few funds would have been sufficient enough to reach a result that serves as a successful comment on the discourse. It also tells how the project has proven to have a less conventional view on how memories can be conveyed through architecture. Where there are many projects that convey memories by mirro- ring and favouring the architects own experiences rather than conveying ge- neral public experiences and simple things such as old crafts and knowledge. Memories worth rememberingStone Cold Bath10 11 The geographical boundaries are within the area of Hästedalen and its neighbouring topography; like the landscape model on page 98. The project does not analyze how the bathhouse’s plan and location could affect Hunne- bostrand’s society in general. There is also no discussion of how the project could be implemented in regards to the political issues, regulations and other bureaucratic processes that a new building undergoes in its building process. No financial calculations are included in the presentation for the project. The project’s focus is on how details, surface treatments and processes of refining stone in relation to the wood as a counter part could mould a cold bath hou- se in its conceptual entirety. The dimensions presented on pages 40-41 are general measures that have been discussed with the stone workers who were interviewed. Other issues about how the cold bath house would be operated, by whom, on what opening hours, gender separation and exact water supply etc. are also irrelevant to the format of the discourse. Method Delimitations The project’s method is based on varying ways of collecting data. The pre- liminary research includes interviews, site visits, workshops, photo studies and presentation of relevant texts such as historical documentation from local associations and other cultural-historical books. The interviews gave specific and personal experience that then was translated into illustrations and delimitations in the project. This made it easier to sketch believable ideas. Some sketches and illustrations were included as a basis for discussion during interviews in order to support final decisions with previously tested methods, including measures for stone blocks and strategies in joining stone elements (p. 42-43). The knowledge that was gained provided the conditions for designing a building kit for the cold bathhouse. This underwent iterative processes through different types of media such as sketches (p.77-79) and 3d modelling. The building system and its link to the concept were introduced during mid-term in order to be able to dive deeper into details and small-sca- le solutions that would affect a whole. Initially, some spatial sketches were performed in model (p.74-75). Method and Delimitations I. Intro Figure 4, Arrival. Memories worth rememberingStone Cold Bath12 13Context Figure 5, Sotenäs location. Figure 6, Sotenäs. Sotenäs Hunnebostrand Hunnebostrand is a coastal resort in northern Bohuslän, Västra Gö- taland. This old stone industry and fishing village belong to the mu- nicipality of Sotenäs. The number of inhabitants was measured by 2070 in the year of 2017 (Statis- tiska Centalbyrån, 2018). II. Hunnebostrand H un ne bo str an d 10 0 (m ) * H ei gh t c ur ve s i n 2 m et er 1. 50 00 (A 3) N H äs te da le n Ô dd en Sc ul pt ur e pa rk G ör an sö Sö ö Ro ho lm ar na N or dr e H ög eb er g Kn iv sh ol m en H uö N or df jo rd Yt tre In re U le be rg sh am n A m un ds da le n Si te II. hunnebostrand Figure 7, Map of Hunnebostrand (a). Memories worth rememberingStone Cold Bath14 15 On August the 8th in the year of 2000 my parents bought a summer house in Hunnebostrand. Before then, we had visited the resort on a regular basis during holidays in winter and a couple of weeks during the summers where we stayed in various rented houses. My dad and his three siblings grew up here in the summer after my grandmother had stayed there as a child. It is a place that has been a second home for several generations. For me Hunnebostrand is a sanctuary, like for so many other seasonal guests. It is a distant pla- ce that treats time in a different manner. The noise, speed, punctuality and commerce of the city are far away in this holiday paradise. Here, activities take place on nature’s conditions. If you have patience and luck, you will have a fish on the hook or a tailwind in the sail. The bare cliffs and the islands in the archipelago has created many places to explore and expe- rience. If you travel to Bohuslän, you intend to get an exchange with the sea in somehow. Most of the memories I have from Hunnebostrand has to do with the water; the taste of sea salt or the feeling of it in between the fingers; how the seaweed smells and sounds when it dances with the waves; the long breath you take when jumping off a cliff. The relationship with the water and lack of clothes will make you feel the environments features in a different way, such as the grass and the small insects that fly by. You have a closer contact with nature. It is a sense of ease. This is where I learned to run in between the tight back yards and fences; jump between the crushed industrial granite on the islands; climb on high mountains and swim underneath the surface. Hunnebostrand is a place where I have challenged my physics. Me and Hunnebostrand Figure 8, Norra Grötö 3. II. hunnebostrand Memories worth rememberingStone Cold Bath16 17 Memoir The short silence ends up in a clonk and a splash. Applause and cheers are heard from the little stands. The common experience of the audience is an inner and deep trance for the one who jumped that is now below the surface. Ten meters is not only a trial in height, but also in timing, depth and lung capacity. Everything and nothing happens at the same time during a sunny summer day at Hästedalen. Someone is taking a nap in the sun whilst another one tricks a crab into a bucket. The first dip in the ocean is the last dip for the other. All ages and crowds gather under the sun. We are acting as equals wearing only swim clothes and no longer care about flashy items, but acrobatics, speed and play - on how to strain the body. Yet, exploring the body above and below the surface requires as much caution as improvisation. The contact with a parent is as important as contact with a child. The boats are growling out on the lane while the water ripples towards the quayside and the old dance court. There are shout outs from both humans and seagulls. In the best possible scenario Hästedalen is a playful site for 10 weeks out of 52. The long silence ends up in a clonk and a splash. July 25, 2018 Hästedalen - Site visit Figure 9, Hästedalen 1. II. hunnebostrand Memories worth rememberingStone Cold Bath18 19 On the northern headland of Hunnebostrand, called Ôdden, lies the memories of Strömmans old quarry. The site of the quarry’s loading place is located in the area called Hästedalen (see figure 18 on page 32). Hästedalen consists of two valleys which have been named Hästedalen (south) and Amundsdalen (north) (Turemark, Andersson, Åkesson och Eklund, 2011, p. 87). At the seafront between these two valleys there has been a seaside bath with both sandy beaches and bathing bridges since the beginning of the 20th century. Over the years, the features have varied and during the 1930s Hästedalen had its heydays. At that time there was a swimming open air stadium suited for outdoor competitions with jump towers, trampolines and tracks. It was thanks to the association of Hunnebostrands Simsällskap (HSS) that the site had grown in popularity, size and functions. Because in several years, the association had an employee who taught both locals and summer guests how to swim. Swimming and jumping competitions were organised and there was also a dance court that attracted many people. Especially when the events combined sports and music concerts. At some events there were up to 1000 visitors. The swim school was active all the way in to the 1990s (Turemark, Andersson, Åkesson och Eklund, 2011, p. 94). Lüttense, one of the active stone company’s based in northern Ramsvik, exported large amounts of granite during early 1900s. This stone took the road through Hästedalen for transhipment to larger vessels. Lüttense also had a quarry in Skalberget and during the 1920s a large order was made by a South American state. However, this stone was never shipped due to a revo- lution that broke loose in the state. The order was never exported and some of the stones was then used for building up the swimming stadium at Hästedalen (Turemark, Andersson, Åkesson och Eklund, 2011, p. 94). The jumping tower on site has undergone several repairs and rebuilding over the years. Lastly, there were four architectural students from Chalmers who were behind the design (Bertilsson, 2007). Hunnebostrand bathing history II. hunnebostrand Figure 10, Hästedalen in the 1930s (Hunnebostrands bildarkiv). By permission . Figure 11, Remains of Hästedalen Swim Stadium, 2018. Memories worth rememberingStone Cold Bath20 21Site Figure 12, Hästedalen 2, 2018. II. hunnebostrand Memories worth rememberingStone Cold Bath22 23 A few years after the sculpture park where born on the headland right next to Nordre Hö- geberg (see map on page 13), opportunities for increased tourism through spectacular ar- chitecture where discussed amongst stakeholders (”Vildmarksarkitekt på tal för Stenens hus”, 2016). With the sculptor Pål Svensson in the lead the ideal association Kultur På Udden hired Todd Saunders to come up with a proposal for a new culture centre called Stenens Hus. This project should be a destination with international luminosity (stenenshus.se, 2018). It is a cultu- ral building that will convey the history of the stone industry through exhibition halls, a seminar room, restaurant and shop. On the 29th of May in 2018 the proposal was presented to involve citizens and the response was various. Many opposed the proposal and now the municipality is discussing an architectural competition. Pål Svensson claims that this is a building that everyone can use throughout the whole year (”Öppnar upp för arkitekttävling kring Stenens hus”, 2018). Among the municipal employees, many are positive about the idea of Stenens Hus and Carl Forsberg, presented as a cultural secretary in the article, mentions that there is a strong commit- ment among those involved but that it is also important to listen to the local people (”Öppnar upp för arkitekttävling kring Stenens hus”, 2018). The association that works for the society and the local people is called Hunnebostrands Sam- hällsförening and it exists to create a Hunnebostrand to be truly proud of (hunnebostrand.org). Through them, there are transparent dialogues with the community residents and visitors. Their goal is to develop and protect the Hunnebostrand community. As early as 2014, the association submitted the idea of a cold bathhouse at Hästedalen’s bathing area in Hunnebostrand. The Sotenäs municipality’s technical management welcomed the idea, but there was never space for it in a future budget (”Kallbadhus får vänta”, 2014). * There has also been certain involvements from Chalmers regarding Stenens Hus. In the year of 2013 students in the program Architecture and engineering came up with ideas on how this new information and culture center (Stenens Hus) could be placed and shaped (Chalmers, 2013). Plans about Hästedalen II. hunnebostrand Figure 13, Ôdden Sculpture Park (a). Memories worth rememberingStone Cold Bath24 25Interview 1 On Friday 24th of August I met Ulla Turemark, Siv Trulsson and Kjell An- dersson at the harbor office in Hunnebostrand. It is located on the southern quayside. The harbor office was Kjell’s workplace back when he worked as a harbor master of the village. Now he lives as a retiree but has not yet stopped dealing with issues regarding the harbor and Hunnebostrand’s com- munity development. Together with Siv and eight other members he is on the board of the association Hunnebostrands Samhällsförening (Hunnebostrands samhällsförening, 2016). Ulla Turemark is involved in the non-profit association Bildarkivet Hunnebo- strand, which conveys the city’s cultural history through archived images and texts from committed citizens. Their space is located in the central quayside, which hosts exhibitions with different themes annually. Both Ulla and Kjell were involved in the writing of the book Hunnebostrands hamn: En dokumen- tation om framväxt och förändring. Hunnebostrand (2011). We settled down in the small yellow cottage which contains a reception desk and workplace for the hosts of the port area. When boat guests are having questions regarding the boat dock like charges they visit this space and hopefully someone will answer their questions. This time I came up with the questions. But neither about fees nor permits for boats, but rather about growing up in Hunnebostrand and about what impact Hästedalen and the stone industry had on the ones who lived there during the mid 20th century. I start by asking about Hästedalen as a bathing resort in the early 20th century and Ulla answers: ”There were Swedish champions swimming in this 50-meter long open air swim track. And that was not so common back then”. Kjell agrees and mentions that Arne Borg, who once beat 32 world record in swimming, also visited the swimming open air stadium in Hästedalen as it was back then. It was a reconstruction of Hunnebostrand’s first quay site that was built in Hästedalen in1884, explains Ulla. The businessman Wolff who started the construction in order to serve the quarry made sure that Hunnebo- strand got its first boat dock. ”He had come from Germany, to Borgholm, to Blekinge and then he came here”. I explain the thoughts behind my master thesis and its role in the discussion about Stenens hus. I tell the group that the project will be presented as a critical response to the sketches introduced by Todd Saunders and Pål Svens- son. Namely, it should act as a cold bathhouse, but also offer the opportunity to mediate the stone through exhibitions and architectural expression. Kjell answers that he thinks the idea seems exciting; ”These cold bathhouses have been on everyone’s lips and people often ask us in the association (Siv nods in the background). But neither has there been any financial opportunities. However, you may have to integrate more of the ’Stenens Hus’ into the project, in the name itself. I think it makes it easier to get it done and enga- ge more stakeholders. So this feature about having stone as a part of your design doesn’t drown in the cold bathhouse.” Furthermore I draw attention towards the office’s neighboring facility, the so-called Badhuset. Today, it is a sanitation facility for boat guests providing showers, toilets and a sauna on the upper floor and a restaurant at the bot- tom. But once upon a time the whole house was an advanced bathing facility with pools and tubs which Ulla confirms; ”I bathed there as a child. They took water from the lake and they used this seaweed which i thought where dis- gusting”. Kjell continues to explain how different types of bathing on a smal- ler scale emerged in Hunnebostrand in the early 1900s; ”Back then there was a sauna plant on Göransö (see map page 13). It was an old wood-fired plant which was bought from Hamburgsund in order to modernise in 1917. It became functional and there was a rowing man who transported people out there during fridays and saturdays. They also employed a man who were responsible for the heating by fire. It went on to 1935 when the new bathing facility ’Badhuset’ was built to replace the plant on Göransö. It contained dif- ferent sorts of tubs along with a 2 by 4 meter basin, which today is covered but constitutes the floor of the sauna. ’Badhuset’ became a sanitation facility at the beginning of the 80’s. Because then more and more people hade their own tubs at home”. II. hunnebostrand Figure 14, Stone masons at Skalberget, 1939 (Nordiska Museet, 2014). By permission. Memories worth rememberingStone Cold Bath26 27Interview 1 Ulla mentions that there was a bathing association in the village with many members who regularly paid money and that schoolchildren were paid for their baths through the association Röda Korset; ”Every Saturday the boys where washed and I think the girls had to go on Fridays. You had to hand in a small form with a red cross on it in order to be scrubbed by one of those sponges until you cried in pain”. Since a large part of my project deals with the experience and memories of Hunnebostrand as a bathing and stone industry, I felt I had to ask questions of a more personal nature. I asked the group how it has been to grow up in a town like Hunnebostrand and how it has characterised their perception of life. Kjell starts talking about a small scale that was huge; ”There were three to four schools at that time and one felt cared for and important in the small community of Hunnebostrand. In the larger cities, man is small. There is no space for the individual. What takes place and space are the major facilities and infrastructures. But where we grew up, you were seen and you had close contact with your friends. Thereby you were careful and showed respect for other fellow human beings. You would never disturb anyone unnecessari- ly. So when we settled out with the whole family in the archipelago by our rowing boats, it could be a disaster if we saw some other folks who disem- barked in a bay we had aimed for. Then we just had to paddle on. The small, quiet streets in the village made it possible for you to move as you pleased. After school, we ran down to the southern quay and played football. There we witnessed the long row of stone masons that passed by after working hours. It never seemed to end. I think they were 400 employees at the quar- ries in Hunnebostrand at that time”. The first thing Ulla mentions about her memories of Hunnebostrand is her relation to the sea and the mountains; ”As soon as I step into the kitchen for breakfast, I have to go to the window to get a glimpse of what goes on down at the harbor. I have a continuous dialogue with the sea. When we where young we ran around and even went skiing in between the crushings at the old quarries. We weren’t aware of the risks. We ran after and teased the big horses who carried the stone up on land completely unaware of the dang- erous huge loads on the wagons. Sadly, there was a worker who had died of these stones that had fallen down from the wagon”. Ulla also tells about the shift between the different seasons and how the homes were transformed into guest houses during the peak seasons of the summer; ”When the summer guests came to Hunnebostrand we moved into the basement of our homes to accommodate the wealthy folks from Stockholm. They paid well. Some close friends told us they had the king’s counselor as a tenant. It was a status thing bragging about who choose your house”. Siv agrees and says that it was so fun when the summer guests arrived, then new friends appeared. The process of how the locals rented out their dwel- lings transformed over the years; ”At first, the locals moved down in the base- ment and rented their regular housings. Then after the houses got better and better standards the locals rented out their basements. And lastly, as I think it is now, the summer residents rents out their own summer houses”. When having the contemporary Hunnebostrand in mind, and many other smaller resorts in Sweden, we continue to discuss the country’s development. We talk about welfare and equity. How we develop a stronger individual capital and get more accessible technology that also increases the speed of everything we are up to. Kjell tells that; ”Once, when you arrived as a bathing guest in Hunnebostrand in the summer, you planned to spend your whole vacation at the same spot. This meant that, after a couple of weeks you experienced a different pace. But today there are more opportunities to experience more places. A simple flight takes us to the other side of the globe if we so wish. We strive to have as many stretched tentacles as possible and that most people today choose to move to big cities because that’s where you’ll find the opportunities for development. There is a lack of attractive jobs for young people in a town like Hunnebostrand. That’s not easy. In the summer when we, the old gang, sit there on the bench some summer guests will pass by and say ”so nice to sit here on the bench, this is the genuine Bohuslän”, and maybe thats true. I usually respond to that by saying; ”in four or five years, you’ll probably be greeted by us, and then we’ll have a nice hedge at ’Nordens Ark’, because we may be as endangered as the animals they keep there”. The old genuine Bohusläning. There is something in it”. I laugh and agree. II. hunnebostrand Figure 15, Siv, Kjell and Ulla at Hästedalen. Memories worth rememberingStone Cold Bath28 29 With the history of Hästedalen and the quarries in mind, I understand the value of communica- ting the cultural memories of the site. But the question is whether it is enough to add a building that only allows the user to behold these memories statically? We experience space not only through our eyes. To me there are more memories worth reviving and there through new ways of designing spaces for exhibition could be discovered. Many memories are regenerated by a smell, a temperature or a sound. Why not integrate the rocky and static expressions of the stone industry with the social excitement and experience that came with the bathing history? It could create more features for more people. Thus, my master thesis project will be a critical response to the ideas presented in Hunnebost- rand on the 29th of May in 2018 and thereby hopefully evoke new ideas on how the conven- tional bath and museum can look like. I will work out a proposal for a cold bath house with exhibition opportunities. It will be placed on the same spot as the remains of the open air stadium (page 19, figures 10-11 and map on backside of booklet). Instead of letting a small group of sculptors and municipal employees come up with the idea of an internationally recognised culture centre of Hästedalen, someone should look at society’s internal desires and memories that can be worth reviving. Namely the sea and the simple things; The remains of our ancestors and the beautiful idea of an immortal landscape. After talking to some residents in the area, there is still a big interest in a cold bath house as a proposal. This would extend the possibility of experiencing the archipelago through a bodily experience. Purpose and subject Figure 16, Hästedalen 3. II. hunnebostrand Why and what? Memories worth rememberingStone Cold Bath30 31 Bohuslän has not only contributed to a beautiful archipelago that provides opportunities for fishing, boat trips and bathing. It has also played an impor- tant role in the history of stone industry. The first quarry arose at Bohus-Mal- mön outside Sotenäset, and at the beginning, stones were delivered for finer works suited for canals, quays and bridges (Hunnebostrands bildarkiv, 2015, p. 34). They were ordered by the canal- and railway builder Nils Ericson. He had discovered the granite to be useful in his work. But in the years of the in- dustrialism at the end of the 19th century, the granite as paving stone became increasingly sought after. Countries like Germany, Denmark, England and Argentina were major customers around the beginning of the 20th century (Schånberg, 1963, p. 25). Thereby a strong reliance on exports took place which shook the market dra- matically during the two world wars where many customers were in conflicts. However, Germany made great orders during World War II since Hitler where planning on having great monumental buildings erected in his ”third reich”. The stone was ordered and paid during the war, but some were never retrieved because of Germany’s capitulation. The goods were thus auctioned to new customers who bought the stone for a second time (Turemark, Anders- son, Åkesson och Eklund, 2011, p. 85). Remains of these stones can be found on different locations in Hunnebostrand. Some of the stone that had been delivered to Hitler was seized by the Russi- ans. In the Treptow Park of ancient East Berlin there’s a monument that sym- bolises the conquest of the Russians in Berlin in 1945 and the fallen soldiers in the red army during World War II (Hunnebostrands bildarkiv, 2015, p. 46). Monuments and some housing projects in the former Soviet Union were built out of granite from Bohuslän during the post-war period. There was a monu- ment in Warszawa in 1948 called ”The heroes of the ghetto” in memory of the struggle of the Jewish freedom fighters (Hunnebostrands bildarkiv, 2015, p. 47). The large exports of granite as road building material decreased after it had been replaced by new uses of concrete and asphalt during the post-war pe- riod. This was one of the reasons why the larger quarries in Bohuslän closed down. Otto Strömman’s quarry (est. 1863) on Skalberget in Hunnebostrand was one of them. The granite turned out to be a trend-sensitive material. The few quarries that managed to survive where those who could niche themsel- ves and thereby take smaller orders on detailed work like tombstones and facade cladding (vart tog stenen vägen?, p.7). The stone industry was Hunnebostrand’s most important industry for a century ever since the founding of Strömman’s in 1863 (Hunnebostrands bildarkiv, 2015, p. 6). The surrounding mountains in the old fishing village of Hunnebo- strand had previously been a perfect protection against storms. In addition, when granite became a highly regarded raw material, the location of the mountains near the sea was a benefit in terms of logistics when stone was transported by sea. Today there are major traces left of what was once a quarry around Nordre Högeberg in Hunnebostrand. The ideal association Hunnebostrands Bild- arkiv tells about how these old remainings appears as big wounds in nature (Hunnebostrands bildarkiv, 2015, p. 7). Parts of the northern headlands in Hunnebostrand where Strömman’s quarry were situated is today a well-used promenade and sculpture park, established in the year of 2011. It is a colla- boration between the municipality, various artists and the ideal association Kultur på udden (http://www.uddenskulptur.se). Hunnebostrand as stone industry III. The Stone III. the stone Figure 17, Ôdden Sculpture Park (b). Memories worth rememberingStone Cold Bath32 33the remains and traces Figure 18, Hästedalen, 1930s (Hunnebostrands Bildarkiv). By permission. Figure 19, Amundsdalen right next to Hästedalen (Hunnebostrands Bildarkiv). By permission. Figure 20, working shed in Lahälla, Hunnebostrand (Hunnebostrands Bildarkiv). By permission. III. the stone Figure 21, The quarry in Hästedalen and Nordre Högeberg (Hunnebostrands Bildarkiv). By permission. Memories worth rememberingStone Cold Bath34 35the remains Figure 22, shoreline in Bovallstrand. Figure 23, groyne in Bovallstrand. III. the stone Figure 25, remainings at the old quarry in hästedalen 2.Figure 24, remainings at the old quarry in hästedalen 1. Memories worth rememberingStone Cold Bath36 37 The crust of the earth’s most common rock is granite (Wærn, R. Lindell, P. Page 5, 2011). Therefore, the rock has had a decisive role in history. As a mediator of ancient messages through tombs and rune stones, it has proved to be unique in its degree of durability. In other words, the material has pro- ven to be suitable for storing physical memories. Thus, the history of Hunne- bostrand as a stone industry is not the only reason why the stone should be included in the architectural design of my project. The stone has often been included as a leading element in memorial works. In the previous pages we are told about how the stone from Bohuslän made strong marks in history and traveled the world to convey profits and losses during the years gone by. Statues and memorials therefore usually carry poli- tically engraved and symbolically subconscious messages. ”When the really long architectural history is to be written, stone monuments and ruins are the only proofs we have left. No other building material has the same historical dimensions. They appear in the material of geological age, in the history of architecture and in the history of quarrying. Every stone has its own trace in a quarry. ”(Wærn, R. Lindell, P. Page 5, 2011) What Wærn and Lindell discusses is the immortal nature of the stone, which can be interpreted as the opposite of the life of the wood. The contrast between aging and durability has a strong link with the project’s theme of memories. Because memories in the end are just fragments of the whole truth. The details and conditions one remember from a certain event are the ones that where specifically important to oneself; What remains in the muscle me- mory and the soul. ”…Buildings of this technological era usually deliberately aim at ageless per- fection, and they do not incorporate the dimension of time, or the unavoida- ble and mentally significant process of ageing. This fear of the traces of wear and age is related to our fear of death.” (Pallasmaa, 2012, page 34) Hästedalen is a place with memories about life and death. After interviewing Siv, Ulla and Kjell (previous pages 24-27) who grew up in Hunnebostrand, I have heard stories of dead German and Norwegian soldiers who flooded ashore in Hästedalen after they had fallen right outside the coast. On the other hand, Hästedalen has been in favour of the social entertainment with varying public events and competitions. Thus, the varied memories of good and evil, the young and the old, the living and the dead, also can be used in the design of my project. I want to show how material is aging and not aging through my project. These contrasts are highlighted using materials with different resistance to moisture, such as stone and wood. In this way, the materiality of the project relates to how the physical impact on various boathouses has taken place for hundreds of years in Bohuslän. In the end, it’s only the stone that can testify of a historical place. The human relation to wood has to do with how wood ages at the same rate as ourselves. We are able to help and maintain it; take care of it and see it die. The stone is therethrough classified as a more spiritual and supernatural building material that survives several generations and overcomes biological deaths. The stone is the reflection of the story that repeats itself. What differentiates the physical matter from the psychologial memory is the degradation process of these phenomenas. Because when memory runs short, our minds can decide to fill in does gaps with imaginated material. The Stone and Bohuslän III. the stone Figure 26, Lysekil Cold Bathhouse. Memories worth rememberingStone Cold Bath38 39The quarry + interview 2 Stone Cold Bath38 III. a. the quarry Figure 27, Hallindens Granit AB. 39 The quarry in Hallinden, which is currently used by Hallindens Granit AB, has had various actors over the years. Today, the com- pany is owned by Tage, Johan and Jörgen Lundgren, who are the descendants of the founder Bror Lundgren. He opened the first quarry Tossene in 1946. The man I meet is Jan Lindell and he works at the sales depart- ment for the company. He tells us that the quarry we walk upon, SKARSTAD röd bohus, has been owned by Hallindens Granit AB since the 1980s. It has been Jan’s workplace since 2010. Their main aim is to break out larger blocks of stone, which are shipped further for finer processing around the world; mainly in Europe. The stone goes to industries that manufacture stone for outdoor environments and countertops, but they also have customers as local sculptors and artists where Pål Svensson is one of them. A campus which is called Konstnä- rernas Kollektivverkstad (KKV) in Gerlesborg, north of Bovallstrand is also a well known customer. Figure 30, Blasted and sawn levels. Figure 31, Quarry worker. Figure 32, Quarry waste (a). Figure 29, Jan Lindell.Figure 28, Quarry location. III. the stone Memories worth rememberingStone Cold Bath40 41 III. b. the block The block40 Stone Cold Bath Figure 33, The Quarry. Hallinden’s biggest sales in Sweden are stone for the urban environment, such as paving stones and gravity walls. Many of those who order that type of stones order a finished product and therefore Hallinden Granit AB acquired their own block saws so they easily can cut out discs di- rectly. The most common dimensi- ons for squares and public places are 8, 10 and 12 cm. Jan tells that the dimensions of the blocks vary depending on the market; Poland is a customer who orders stone for gravestones. The dimensions usually stay within 2 by 1 meter (fig. 40, scene 9). In Italy, on the other hand, they make a lot of thinner dimensions which they saw from bigger blocks in order to optimise the saw’s capacity. Those blocks usually measure 3 meter by 1.90 by 1.90. I am immediately curious if there is any limitation on how large a massive block can be in order to deliver it. He explains that they delivered blocks to the Dodekalitten, which is a monumental art work consis- ting of several different monu- mental busts in Denmark. One of these sculptures was also part of Hunnebostrand’s sculpture park in 2018 (fig. 13, p. 23). The three blocks that were transported to Denmark were pieces that weig- hed around 90 tons. Those blocks had dimensions of 15 meters by 2 by 2 meters. We step around on the terasses of the rocky mountain that they have deliberately shaped as a big staircase. Working in that way allows them to go deeper, stepwi- se down into the mountain (page 42). To excavate the large blocks from the mountain, they use a wire saw that is pulled through the rock after it has passed through narrow tunnel made of drill and a solder (fig. 35). The big machi- nery that draws the chewing wire moves on rails as the wire passes through the mountain in order to to keep it stretched. Two paral- lel sides are sawn in the vertical direction and then one on the underside. The last, fourth side is ejected by drilling and blasting so that the III. the stone Figure 37, Title. Drilling blasting holes Figure 38, Block Removal. Dark blasted surface. Figure 35, Wire saw. Figure 36. Block removal in tricky corner. Figure 34. Pile of earth protecting block. Memories worth rememberingStone Cold Bath42 43 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 4000 8000 5000 2000 1000 1000 2500 8000 2000 The block big block jumps out (fig. 37). The saw stitch is 1 cm, which means that you have to work the last side by the drill in order to be able to acces, move and process the block in to smaller peaces. We pass a stone worker who drills and wedges a smaller block. After he has wedged, the stone evenly breaks so that the unwanted surface can be straigh- tened out of the finished block (fig. 31). This technique prevents unnecessary and expensive transportation of waste that are no use for the customer. Jan tells that they are fully aware of how the mountain behaves and can read which parts that are dama- ged by natural movements in the mountain. In total, there are only 4 people working in the mountain that break 1500 cubic meters of stone per year. I ask what are the pros and cons of using stone as building materials. Jan explains that the advantage of the stone is that it last forever. It is resistant to water and frost. It is excellent for faca- des. The downside is that it’s hard to work with. I wonder if it ever happens that stone is used as a bearing frame in a house and get the answer that it is too expensive; ”If you go out to the coast, then all older houses have stone walls and foundations out of massive stones unlike today, because it costs too much”. *Usually, all sorts of rocks are di- vided into three different groups, namely; magmatic/igneous, se- dimentary and metamorphic rock. The sedimentary rocks comes out of stiffened sand or clay on the earths surface whilst grani- te, which is a magmatic rock, is created by crystallized magma deep into the earth’s crust. In other words, the granite has gone through harder bonding proces- ses as a result of the high tempe- ratures that melted the minerals together. The most common rocks which are excavated in central and southern Europe are sedi- mentary and over time they have shown to have a lower resistance in weathering and wear. This has resulted in an increased demand of the granite as an ornamental stone. 42 Stone Cold Bath Figure 39, Quarry strategy 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 4000 8000 5000 2000 1000 1000 2500 8000 2000 *The granite from Bohuslän is about 900 millions years old. It has a spreading that extends from Gullmaren in the southern parts of Bohuslän up all the way in big parts of northern Norway. The relatively low age of the granite has meant that it has managed to avoid all the major deformations that have occurred in the earth’s crust. Thus, it does not have a clear foliation that can cause problems when cutting the stone into pieces. When the granite stiffened after it climbed over the surface, tensions occurred in the earth’s crust. This meant that the mineral grains en- ded up in a regular pattern. That’s why why the Bohusgranite so ea- sily bursts into orthogonal blocks (Berglund & Ekman, 1989). III. the stoneMemories worth remembering 43 Figure 41, Plugs and feathers (a). Figure 40, Block making. Memories worth rememberingStone Cold Bath44 45 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. III. c. the craft 1. The pneumatic drill is used for drilling holes that fits the plugs and feathers (1). With a closer distance in between those holes the more evenly the stone cracks. A smaller piece of stone is harder to handle. 4. Masons Chipper, Handfa- ce and handpoint. The masons chipper is used for rock facing and reestablish a natural face to the stone’s surface. It can be used for disguising and removing half drove marks from wedges and The craft Stone Cold Bath44 2. Using the plugs and feathers or wedges and chemns is an energy effective and analogue way of cracking the stone in order to create a natural face. The ear of the chemns are pointed in the direction of the break (3). Figure 42, Tools. 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. chims. The steeper you hold your chisel the steeper into the stone you will get a rock face (9). The hand face crushes and breaks out large amounts of unwished parts of stone. It is unique because of its flat squared blade which gives two sharp corners. Using one edge until it becomes outworn - then turn to the other side. You never place it straight up and down. A slight angle determines the angle of the crack (9). The hand point is used for removing high spots, knots and projections; unwanted material that you really cant reach with a flat blade of a normal chisel (14). 5-6. With a perfect hit on the center of the chisel the circu- lar hammer distributes an even force. Once you miss the center of the chisel, the hammer roles of instead of smashing your knuck- les. The bushing tools (10-11) are pneumatic and are used for finishing textures. Shaping the stone by rousing it out. It gives a similiar face to the once that are treated by flaming (15). These surfaces gives a good shoe grip on a wet stone surface. III. the stoneMemories worth remembering 45 Figure 42, Tools. Memories worth rememberingStone Cold Bath46 47The workshop - KKV + interview 3 III. d. the workshop During a clear and crisp October morning I meet Christer at KKV (Konstnä- rernas kollektivverkstad*). It is a shared workshop for artists and craftsmen north of Hunnebostrand. We walk around at the big courtyard while he tells that during low seasons there are a few craftsmen and artists that are working there at the same time. During the summers they can be up to 30 people. Many times in the winter, Christer has been completely alone. But he appre- ciates the loneliness. For him, a big part of the profession is to be outdoors, in the fresh air, along with the quiet stone that requires patience and restraint. ”If it gets really cold, you need to heat the stone before you can process it. Thus it can fill up water in its pores which makes it harder in cooler temperatures”. I’m getting amazed by the thought of the stone as a porous, not solid mate- rial; ”Really? Is granite also a material that breaths moisture? ”Christer; ”Yes, one can not believe that the stone has such a capacity to soak in water. But it does. Unlike the concrete, it rarely bursts out of the frost. Only if there were natural cracks in the mountain that affected the block. But these cracks can often easily be discovered at the quarry”. Christer started working as a stonemason 30 years ago. He is soon to be retired but is working part time at the Ävja quarry. There he processes and refines the excavated stone so that it can be used for road works and buil- ding construction. Mainly it is curbs for pavements and retaining walls. It’s still the only way to shape a curb into a curve - through old stone carving techniques. But he fears that the craft is about to be extinct; ”Today, the client expects the job to be done even before it has begun. Because the craft is compared to industrial speeds. It has also affected the performance and the aesthetics of the product. And in ten years there will be no one who can mas- ter the craft. Yesterday was different when the craft was the only option. Then the industrial production had not yet competed out all areas”. The morning sun covers our frozen ridges and the crispy air fills our lungs. We step into a heated barack were i get the chance to introduce my work and ask specific questions. I begin by asking him what he thinks are the major benefits of the granite. He answer; ”It has a great ability to withstand humidi- ty. However, there may be problems if you do not work with tight joints and fittings between two elements. It is the material of the joints that can cause problems. Although there are hundreds of adhesive products and iron plugs that are good. And if you want sustainable meetings between tailor-made profiles, industrial sawing could be a solution. Because they can manage a high precision”. We continue to discuss the dimensions of the blocks that are excavated and taken from the mountain. He responds in a similar way to what Jan Lindell did (p. 41) regarding the dimensions of the blocks; ”Block dimensions are governed by the customer demand. Then there are no maximal dimensions. Although the limits are set by the mountains qualities and conditions. It is also a matter of how these blocks are to be transported from quarries to construc- tion sites”. I show him my illustrations from page 42-45 that explain how the quarry and crafts work. He agrees and tells that blocks usually are proces- sed as I am showing; through the center of the mass. The quarries usually work in equilibrium and symmetrical patterns. ”The blocks should preferably be divided through a ”middle-by-middle” strategy. Too large masses on one side of the split can cause problems. If you try to break thin slices from a larger block, the disc may not be able to crack even. Instead, the big over- crowding piece of the block remains part of the disc.” We get into talking about the structure of the granite, and Christer explains that the stone has different cleavability in different directions. However, the granite has a relatively even cleavability in all directions. There is a specific termonology for these directions and orientations. What you talk about in a quarry in Bohuslän is ”svallen” and ”tvären”. The ”svallen” or the ”svall- kloven” often follows the horizontal plane of the cliff, while the ”ståkloven” follows the vertical plane. Perpendicular to these two is ”tvären” (blasted surface in figure 38) where the stone has no natural cleavability, which may require a small amount of caution and precision when splitting in this direc- tion. III. the stone Sotenäs KKV (Konsnärernas Kollektivverkstad) Hunnebostrand Figure 44, KKV open air workshop Figure 43, KKV location. Figure 45, KKV storing of artworks Memories worth rememberingStone Cold Bath48 49 III. e. the surface The surface Figure 47, Drilling holes.Figure 46, Pneumatic drill. Figure 48, Bushing tools (a). Figure 49, The crack is creeping. After further discussions on how the block and building element would perform in my design, we step out in the heated indian summer air. We walk around among the various stone samples, which are stored outdoors; ”The stone is always what survives on the west coast,” says Christer, referring to the stone’s resistance and durability. Its an advantage when storing. Besides speaking the professional experience and physical characteristics of the stone, another purpose of the trip was that I should try to process the sto- ne on my own. Therefore, we select a few stones from Christer’s own storage of red and gray granite. We go through his tool store and he explains that the three chisels represented on page 44, (4) and a hammer are the tools that are of the utmost importance when working. We choose chisels, bushing tools, pneumatic drills and sledge hammers. Then we choose an outdoor workplace on the courtyard. Christer demonstrates and I repeat afterwards. I realise that one of the stones I’ve chosen is far too big to handle on a pre- sentation. Therefore, we choose to reduce its size. We pick up wedges and chemns (plugs and feathers) after we’ve drilled holes to which they should be placed. It is a more tricky procedure than one can imagine (fig.42, scene 9). When the wedge and the plug are then placed, a hammer is used to distribu- te strokes with even pressure in repeated order. When you force the plugs, the feathers will move outwards (fig. 42, scene 9) and eventually crack the stone will open (fig. 49). We hear a pleasant cracking sound that develops. Chris- ter explains that ”you should not be in a hurry in this situation because there is a risk that the crack will not fall evenly, a large part of the stone work is to be careful and be patient, let the wedges work!”. I am impressed that such a primitive and simple solution, with a pair of holes, can crack such large surfaces of such a hard rock. I continue to process the stone with various tools to get the most common surface treatments (figures 56-59). In a couple of hours, I have now obtained samples of stone faces showing how the different surfaces feel and looks in scale 1.1. III. the stone Figure 51, Sawn face. Figure 52, Sawn face, larger scale.Figure 50, Flamed face. Figure 54, ”Råkilad”. Figure 53, Veins or ”kattrand” in swedish. Figure 55, Halfdrove marks. Memories worth rememberingStone Cold Bath50 51The surface - prototype 1 Figure 56, Processed by chisels, wedges and chemns. Figure 57, Bushing tools (b). Figure 58, Bushing tools (c). Figure 59, Wedged surface. III. the stone Memories worth rememberingStone Cold Bath52 53The Joint + interview 4 III. f. the joint Figure 61, Claes Hake’s atelier.Figure 60, Bakyard and workshop. Figure 62, Claes showing models. Figure 63, Old model, gypsum. It is during a rainy and rough day as I take the bus down to Eriksberg and Claes Hake’s studio. The facility was once used for burning ship waste from the old shipyard at Eriksberg. Then it had two large chimneys in the center of the plant. When Claes took over it he removed these but kept the generous workspaces, cranes and the large back yard because they were advan- tageous features when building such big sculptures as he does. He makes thorough preparations and mountings before the sculptures are being trans- ported to the chosen location. In this way, Claes saves a lot of money. I enter through a big gate, climbing a couple of spiral stairs before I get an eye on Claes who is currently moving a boat engine. The building is located in the mountain and on the backyard there are of numerous of stone sculptu- res in granite, diabas and even bronze. We introduce ourselves under big the roof by the loading platform before we step inwards. Right next to the platform, Claes has a large supply of all the tools he has collected over the years. After we get through it, we reach out to a platform that hangs over the large indoor space of the main studio. It certainly is about eight meters in ceiling height. The southern wall, which Claes have chosen to dress in polycarbonate sheets, illuminates the space and gives a comforta- ble shine (figure 61). It echoes when we stomp down the spiral staircase that leads us down to the studio floor. There I get the opportunity to prepare my sketches and presentation material. Claes is a recognised sculptor and artist through his several stone sculptures that are installed all over the country. Many of them are large-scale granite slabs that are composed into spatial sculptures. This enables the spectator to relate to the art by bodily experience. Which is why I reached out to Claes, in order to learn more about the techniques in joining large stone pieces against each other. III. the stone Figure 65, Joint by a staple. Figure 64, Lead joint. Figure 66, Lead filling. Figure 67, Fixed crack. I show my sketches and explain my intentions of working with stone elements, and also the mapping (p. 42-43) of how the stone is being processed in the quarry. The large amounts of stone and the size of the blocks make Claes en- ter a more practical discussion that concerns transports and weights; ”As long as you stay within 2.5 meters in width, a truck has no problem carrying these items”. He also explains that because of the fact that the inland ice once pushed down the mountain, it caused natural cracks which is called ”stick” in Swedish. That is, natural, horizontal cracks in the mountain. This makes it eas- ier to split the mountain in that direction (svall in Swedish) in comparison with the vertical direction (tvär). Especially when the stone is frozen. The cleavabi- lity in different directions is something that one has to be taken into conside- ration when cleaving the stone using plugs and feathers. It’s the technology that gives a rough and appreciated surface but more waste and higher risk of making a mistake. It is also a more expensive way to split the stone as the hand does more of the job than the machine. By using the wire saw, you do not need to take into consideration the natural cracks of the stone and you thereby you will get much less of waste. But, however; ”you get a smoother surface that looks more like concrete than actual stone”. I ask Claes what he considers are the pros and cons in using the stone as building material. He first mentions the aesthetic value and the appearance. Then he concludes that the material is sustainable. The disadvantage is that it is heavy and thereby difficult to work with and transport. Regarding the physical properties of the stone, we further discuss the stones ability on breathing moisture. That the pores suck the water deep into the material, as Christer Olsson talked about in the earlier episode. C; ”There is no chance that frost can cause any alarming effects by blasting the stone open as long as it doesn’t contain any internal cracks from the beginning”. It leads us to the solidity of the material, which is strong in compressive forces and weak in tensile forces. C; ”That weakness is what the plugs and feathers are using”. So when working with joints and drill holes it is important to keep them dense and stainless in order to prevent blasting. Memories worth rememberingStone Cold Bath54 55 We continue to discuss tolerances and precision and I ask the question how precise one can be in drawings that are to be sent to industries and the quar- ries. Claes fills in; ”Extremely precise. I know that back in the days, all indu- stries used to have measuring tables in diabas. It was a polished disc which was stiff and did not move like wood or steel. That was one thing that they really could rely on.” I continue to talk about how I imagine the joints in my project. Claes tells me that there are many different ways of working but that he prefers to drill holes and then cast studs between these elements. It is thus a rod that is fixed by mortar in a drilled hole. This is a cheap alternative and can be beneficial if the solutions are to be hidden inside the stone element (figures 117-118, pages 80-81). If the threadbar also is galvanized, it stands against rust that otherwise can expand and crack the stone open. Another technique is to ”clamp” or ”staple” together stones where the clamp acts as a thread in a sewn wound (fig. 65); ”It’s a technique used by the ancient Greeks where they knocked in these iron parts which where covered in lead. These solutions have survived in 2000 years. It is also possible to lower these details so that they are in line with the stone. And the lead can be replaced by a variety of metals. But what’s good with lead is that it’s beautiful, and it works well with the stone. One can easily force and shape the lead into a hole and thus pre- vents moisture from penetrating (fig. 64, 66). Furthermore, we discuss how far one can drill along the long side of a building element. Then Claes mentions not to use impact drilling because it creates small microscopic cracks in the stone because it constantly pun- ches through the material; ”Instead, you can use a core drill. It is a pipe with diamonds that cylindrical drill down into the stone, which creates a waste product of a pipe in stone. After the holes are drilled, you can connect the stone and the threaded rod with a joint sleeve”. Claes continues to declare that tight fittings with as few materials as possible requires a higher precision thus higher demands on the builders. That also means more carefully carried out preparations and tighter conversations between the architect/sculptor and the builders. It is larger efforts which may not yet be tested in the area of industrially processed building elements in stone. C; ”Should such a project be realised, then one have to go to different places and wave with the wallet.” So if the stakeholders and investors aren’t willing to pay and gamble, it is necessary to reduce the tolerances, thus en- abling cheaper and faster materials to seal larger openings; such as epoxies and other types of plastics. This of course has an impact on the final appea- rance and the sustainability. After discussing the most important questions about different types of meetings between rocks, we walk among Claes’s different studios and workshops. He shows me sketch models in his storages that he used for communication with everyone involved (fig. 63). It is inspiring to accompany an artist’s 50-year old trip by listening to all the stories, behold and touch all paintings, and other work that Claes has done in addition to his stone sculptures. To me, Claes is an infinite creative artist who demonstrates a wide range of skills through different scales and media. The Joint III. the stone Figure 69, Hållö joint by Claes Hake.Figure 68, Claes Hake’s sculpture Hållö in Hunnebostrands sculpture park. Memories worth rememberingStone Cold Bath56 57 The fear of swimming in an open water continued until the early 19th century in Sweden. It was probably due to the poor swimming skills of the people but also because of the seamen’s stories of supernatural monsters. In addition, when 90% of the Swedish population lived in rural areas until the mid-1800s (Fridell Anter & Klarén, 2014, p.55), no wonder that there was a congenital fear and anxiety. The bathing took place in smaller watercourses, lakes and healing spas which were a gathering place for the beauty, the pleasure, the fine living and the social talents (Kind- blom, 1995, p.12). For those who visited a healing spa, social life and enjoyment were at least as important as the medical treatment. Already in the 18th century, a British physician named John Floyer propagated for cold water cures and before that, during the 1700s, many doctors believed that it could cure mentally ill people and deafness (Dahlberg, Koller och Ravegård, 2004, p.11). In Sweden the first cold baths rarely occurred in open sea, although saltwater was known to be medicinal. If saltwater was used, it was pumped on land. Soon Bohuslän was recognised as a modern seaside resort for the Swedish people. It was thanks to royal visits the rumours where spread. Gustavsberg outside of Uddevalla (the cross in figure x) was visited by the four-year Crown Prince Gustaf in 1804, and after that it has been called Sweden’s oldest bathing resort. In 1843, it was 14-year-old Oscar II’s turn to trip ashore in Marstrand as a midshipman. As a result, he made a visit to Marstrand as king 45 years later and regularly thereafter. Bathing centers like Marstrand, Gustavsberg, Lysekil and Strömstad were therefore getting popular (Schånberg, 1963, p. 55). The oldest well known cold bathhouses where units on floating rafts in Gustavsberg, Uddeval- la. These had cabins for changing clothes and swimming pools for safety reasons, but the rafts quickly changed into larger permanent bathing facilities. Some of the pools were available in height-adjustable variants, and there were also specially designed wooden boxes (like bales) where women were able to swim in peace (Kindblom, 1995, p.14). The typical cold bathhouses were built as extensive palace-like houses with spires and thorns standing on piles, free in the water, connected with land through a jetty. One of them is the cold bath in Varberg (p. 60-61). Bathing history IV. The Bath IV.a. excursions Lysekil Gustafsberg Varberg Malmö Helsingborg Karlshamn During the summer of 2018 I did study trips along the southern coast of Sweden in order to get familiar with how modern and old cold bath houses are used today. In the upcoming chapter, photographs are presented along with personally documented analyzes and experiences that I have collected out of visiting five different locations. It follows the geographical trip from northwest to south east, namely; Lysekil, Varberg, Helsingborg, Malmö and Karlshamn. Some of the texts are integrated with interviews. Figure 70, Bath locations. IV. the bath Memories worth rememberingStone Cold Bath58 59Stone Cold Bath58 area by the quay there is an open platform as a part of the boat dock that is filled with families and bathers in swimwear. But inside the cold bath one has to be naked. I step into a dark and cool porch or vestibule that separates the different sexes in two different directions. I turn left while being struck by the bright sun that lights up the white woodwork. One can hear how the construction clonks when walking on it and soon I’ll see the elegant layout of these small changeover booths in a row along the promenade that leads on to the more southerly bathing area that reaches directly to the sea. This area has a sauna connected to it, which is the faci- lities latest addition. It is merged into one of the former vestibules. I notice a couple wiggling feet that stretches out from one of the booths and as I look closer I reali- se a man reading his newspaper. Here the wind and the time is absent. After I have picked a booth and undressed I walk past the stone hills and integrated footbridges into the social bathing area. There lies a bunch of bathers who gossip about one and the other. I choose to step into the sauna to appreciate more of what the ocean has to offer. After a fresh dip with a few stro- kes and a glance at Fiskebäckskil, I step up and join the sun burned seniors. I end up being involved in discussions about weather and association routines. I greet Rolf and Lembit who have been ba- thing in Lysekil for decades. They tell that there are usually 2-5 men The cold bath house in Lysekil is discreetly hidden behind the island Släggö, which is part of Lysekils southern headland. It is Wednesday the 25th of June and the summer is more than pre- sent. Under the bar, blue sky the promenade along the quayside, north of the cold bath house, is filled with sunburnt, ice-cream eating holidaymakers. Along the way passing the boat dock, I end up facing the big gate and the wooden wall that surrounds and protects the ”pools” of the cold bath house. In a neighbouring Excursion | Lysekil | Interview 5 Figure 71, Lysekil cold bath (a). who bath all year whereas there are 20-25 ladies. The ladies call themselves ”elves” because they usually start their sessions around 11 pm. Rolf always measures the tem- perature and document it so that people can see in the hallway to the entrance. A hot day like this he measured 23.4 celsius. I ask Rolf what is the lowest tempe- rature that he has documented bathed in and he’s filling in with; ”-4 degrees celsius. This has to do with the fact that the salty water does not freeze at 0 degrees. The worst about those days has not to do with the water itself, in fact it is quiet comfy compared to the act of climbing up into the awful winds afterwards. That’s why it’s nice with these pockets and booths that protects our fragile bodies. I’m not running into the sauna afterwards. It’s cheating”. In Lysekil one gets to experience the mountain and the landscape together with the architecture. The cliffs pop up among the footbrid- ges and in many places you get the chance to lie and melt on a hot granite surface. This place feels neat and symbiotic. Figure 72, Bath location (a). Figure 73, Pocket (a). Figure 76, Granite support.Figure 75, Lembit and Rolf. Figure 74, Stone and wood. Lysekil 1916 A: Karl Güettler IV. the bath Memories worth rememberingStone Cold Bath60 61Excursion | Varberg | Interview 6 Figure 77, Varberg cold bath house (a). Stone Cold Bath60 I am stepping through the na- tional romantic entrance with beautiful carpentry and there’s a dim dark café with a bar below the loft that fills the large room with double ceilings. After I have talked to the staff and payed for the entrance I step into the men’s department on the right wing. Since the eyes where in tune with the dark and dull environment I was struck by the bright courty- ard. It encloses the water which is reflecting the bright sun beams. There I see people climb down on a stairway towards the shallow water and the sandy bottom. The changeover booths is a part of the structure that frames the water. So far, I have no contact with the outer world. But after I have undressed and entered the sauna I experience the great view that is aimed towards the northern parts of Denmark (fig. 79). It is the 9th of August and the cold bath house in Varberg appears as a noble wide castle with two lanterns hovering over the water surface on their piles. I reach out through the extended bridge or pier that climbs over the beach. Children and adults are jumping around in the shallow water. The advantage and disadvantage of Varbergs cold bath house is that you experience a large part of the design from below. You walk through the construction, un- der the building to reach the sea. It is a strange yet exciting feeling, and in some way it creates a dis- tance to what goes on in the more social areas. Overall, a cold bathhouse like this could stand on any part of the west coast. It is not that tailored to its site. But it’s impossible to avoid the beautiful carpentry and the pleasure of experiencing the water from diffe- rent heights, planes and angles. Figure 81, Varberg cold bath house (b). Figure 80, Stairway 1. After the bath in between the big piles on the soft sandy bottoms I settle down in a sunbed. There I start talking to a group of guys sit- ting and sunbathing and bathing at regular intervals. After a while, I reveal the pur- pose of the trip and my thoughts about the upcoming master thesis project. One of the guys is discus- sing the importance of rigorous planning when a cold bath house is to be built. That there should be access to water near a sauna; ”A small detail as a washbasin with sufficiently high cranes to accommodate a bottle of water can be crucial in terms of com- fort. And also to prevent crossing a dirty entrance with bare feet. I also want to mention the need of hiding in different directions that should be available since the wind turns so easily”. For him, much is about routines and functionalities. But also that you should have the chance to feel at home and welcome in your local cold bath house so that you will visit it again; ”Same old man, same hook, same seat”. This man asks to be anonymous in the presentation of my work. Figure 79, Varberg sauna.Figure 78, Bath location (b). Varberg 1866, 1886, 1903 A: Wilhelm Gagner IV. the bath Memories worth rememberingStone Cold Bath62 63Stone Cold Bath62 Once inside the men’s depart- ment, I realize that a large part of the bridge is under open air. The fund and the horizon is the seasi- de of Denmark, which is framed by the large square windows in the saunas. There are two saunas. On my way to the furthest i loan a bucket of water from the first one. After a while a calm yet curious man enters and introduces himself as Richard and we start chatting. Shortly I take the opportunity to tell more about my project. We discuss the phenomenon of the cold bath and how the classic ritual looks like. According to Richard ”the first thing you do is to enter the sauna. There you wait until you are beginning to feel dizzy, almost dying. Then you need to stay for a little bit longer before you go out into the whining wind and climb down the long staircase. No matter how cold it is in the water, you have to endure the bath. Because the real reward comes afterwards. When the adrenaline starts pumping up on deck. That’s what I am here for, the free rush. And many of us do wrong when going inside to early again”. He explains that there are two camps; one that prefer the dry and the other one that prefer the wet sauna; ”You are lucky that it was me that caught you, ste- aling the water bucket from the wet sauna, otherwise you would have had enemies for life. The first thing to consider when drawing is to decide who you draw for; the children’s family or the classic Pålsjöbaden cold bathhouse in Helsingborg stretches far out from the beach standing on its tall wooden piles. A prickly silhouette is created by the pointy roofs that extends along the two wings of the bathhouse. It is the private dressing booths. The pier ends in a y-shape that frames a small courtyard. There stands a copper sculpture on a rusty base that pops up above the surface (fig. 85). One can feel the height between the sea and the bare wooden deck. Excursion | Helsingborg | Interview 7 Figure 82, Pålsjöbaden cold bath house (a). Figure 86, Gunilla and Pålsjöbaden. Figure 87, Changing boots (a). Figure 84, Richard. Figure 85, Statue. bather. This makes it clearer in your design. A classic bather is looking for the feeling of a cold bath, but also the view of the sea. Not the excessive ornaments and loose stuff”. We continue our conversation for a while before I realise I begin to feel dizzy, almost dying. It was time to step out, into the salt water, down on the soft sandy bottom. Back on the dock again I realise what Rickard was talking about. The rush. Pålsjöbaden 1909 A: Ola Andersson and Wikerstål Figure 83, Bath location (c). IV. the bath Memories worth rememberingStone Cold Bath64 65Stone Cold Bath64 Here me and Gunilla split in separate directions because the facility is a nude bath. It has been so since the 1930s and that is why the different departments have been separated (Rib- bergsborgs Kallbadhus, 2018). However, the outermost and centered sauna of the facility is shared between the sexes. I open the door to a landscape shaped by woodwork which is surrounded by various huts and booths (fig. 91). These chang- eover booths frames two pools in varying scales. Some bathing spots are facing the open sea and Denmark. There is full movement in the facility, and most of the bathers are located in the outer part of the bath house, which consists of varying sauna facili- ties. On Saturday, August the 25th, me and Gunilla are strolling down the long pier that stretches out of the sandy beach of Ribbergsborg. The promenade emphasizes the feeling of leaving land when one eventually arrive the deserted cold bathhouse which is partly protected by crushed stones that acts as a groyne (fig. 92). The bathhouse has undergone a num- ber of renovations and repairs, not least due to storms (Ribbergs- borgs Kallbadhus, 2018). We step into a generous and vibrant restaurant that integrates a bar and a kitchen with the entran- ce desk to the cold bathhouse. Excursion | Ribbergsborg Once in the sauna It feels like I am a screw-nut in a machinery; sweating, surrounded by gos- sip and steam. Suddenly, I am alone out there in the ocean with Öresundsbrons silhouette in the background. There is this open, naked and honest communication with the site. At one moment when splashing down in to the cool water I hear a distant shout and suddenly I notice the beige silhouette of a girl standing on the opposite side of the bathhouse. She is waving at me and then I realise it is Gu- nilla. It makes me realise that the feeling of being exposed and na- Figure 88, Ribergsborg cold bath house (a). Figure 90, Poolyard 1. Figure 92, Groyne and deck.Figure 91, Changing booths (b). ked does not necessarily mean the absence of foreclosure. It is also a matter of distance. And in this case, the distance between these two separated departments is a good reference to keep in mind when creating nudity and integrity without foreclosure - 45 m. Bathing at Ribbersborg’s cold bath house is an experience in different dimensions. One feels enclosed, sheltered and small in a vibrant and crowded environment. It is a place that has managed to captu- re that paradox. And it is a memo- ry that I will keep my entire life. Lysekil 1867 A: Sune Engström Figure 89, Bath location (d) IV. the bath Memories worth rememberingStone Cold Bath66 67Stone Cold Bath66 vänner, who in 2015 had saved enough money to replace their floating sauna into a permanent facility. Today the association has 400 members. We step out on the short bridge that leads us out to the building and I hear the description that the architect Sven Gustafsson used in a promoting video; ”The building looks like an flying UFO that land with its long legs carefully so that it creates a minimum footprint on the site. And then it stretches out a bridge connecting the building with the seafront”(Sven Gustafs- son through White architects, 2015). The building turns its back towards land and obscures the spectator’s ability to look out towards the bay and its opening. The centered space between the women’s and men’s areas divi- des the building into two smaller wings and a more open centered atrium with an optimized view through its funnel-shaped walls. I enter a dark and narrow chan- ging room that has no contact with the outside world. But at the end of the corridor, past the showers, the light penetrates the walls in order to direct the bather outwards towards the water. The features are logically arranged from changeover, shower, sauna to patio and water. The consequence of the buildings discrete anchoring to its site is that one behold the landscape rather than physically experiencing it. To me, the ladder is like a dip- ping toe that gently examines the temperature of the water. In that sense this bathhouse is suitable for the toe bathing people. I meet Glenn Broberg on the dri- veway right next to the bridge of kallbadhuset in Karlshamn on Au- gust 26th. In the neighbouring fa- cility open air swimming contests are held at the open air swimming stadium. It is the older bathhouse that is customised for swimming and play. But the main purpose of the new cold bath house is to promote the social unity of Karls- hamn according to Glenn. For him, the cold bath is about ”the social life and the gossip in the sauna”. He is a board member of the association Kallbadhusets Excursion | Karlshamn | Interview 8 Figure 93, Karlshamn cold bath house (a). 67 Unlike the other cold bath houses I’ve visited, this one has smaller areas for the outdoors. There is no changeover booths or niches to crawl into. As Glenn told me, the association wished for a compact package of a sauna facility close to the water without superfluous surfaces and added features and that was what Sven Gustafsson came up with. It is meditative to examine the se- afront by the eye and behold the dancing trees in the wind while sitting in the sauna. It is a large and vibrant painting. But a pain- ting without an endless horizon. The Baltic Sea is lika a forest that penetrates the water and I long for the bare cliffs and islands on the west coast. Figure 97, Stairway 2. Figure 99, Detail.Figure 98, Karlshamn cold bath house (b). Figure 95, Glenn. Figure 96, Deck. Karlshamn 2015 A: Sven Gustafsson (White architects) Figure 94, Bath location (e) IV. the bath Memories worth rememberingStone Cold Bath68 69The Bath - Analysis Figure 100, Lysekil Figure 101, Varberg Figure 102, Pålsjöbaden Figure 103, Ribergsborg IV. the bath Memories worth rememberingStone Cold Bath70 71Thesis question V. Discourse How can architecture speak about memory? The topic about how memories can be communicated through architectu- re have similarities to the conversations that Mari Lending had with Peter Zumthor between September 2014 and August 2017. These talks were documented in a book called A Feeling of History (Lending, Zumthor, 2018), where they discuss how architecture can convey the story of a place in an alternative way. They talk about memories that are revived through a new physical space in a new context, containing elements from the past. Accor- ding to Peter Zumthor, the emotional learning is beyond the factual learning. There is a deeper understanding in events than to categorise these through informative panels and charts in a museum. Our ancestors experienced the moments on site through its surroundings, through nature, the landscape, the tools, the artefacts and the atmosphere. A specific place can offer that expe- rience from a lost time if the architects is using relevant means. Architecture is the right tool for it, Zumthor says. By his extension of the Los Angeles County Museum of Art, he tried to reconstruct and transform the conventional stra- tegy of an exhibition hall. ”Scientific and academic categories are certainly a fruitful underlying tis- sue of knowledge that we can explore, but we should start with our direct, emotional encounter with the objects. So rather than leaving artefacts alone in the abstract environment of a black box or a white cube, my idea was to stimulate almost physical reactions between two bodies: the architecture and the artefact. That’s why the physical presence of the building is so important to me. It provokes an emotional experience, emotional learning.” (Lending, Zumthor, 2018, page 66) This reasoning is similiar to the avantgarde group’s of artists back in the 60s and 70s which saw the use and exposure of the artefact as something diffe- rent. They made large scale installations in a non-urban context which should be experienced on site, through your body, physically. They where ideas from that time when suddenly everyone could travel by airplane. To see the earth from above. As well as the rocket ships beholding earth as an object. The artists saw the earth as a white paper. Among them where Robert Smith- son, Walter De Maria och Michael Heizer who established a landscape art genre that should act as a medium where architecture, nature, sculpture, technology, archeology and photography where intertwined (Crump, 2018). Germano Celant, the art historian describes landart movement and their views on art as; ”The piece has to control you instead of you controlling the piece. Otherwise, it becomes an object, and they refused that.”. They expec- ted us to experience the sculpture as place. V. discourse After I visited the cold baths in Lysekil, Varberg, Pålsjöbaden, Ribersborg and Karlshamn it made me realize that even the conventional cold baths have a distinct separation between what is natural and built, wet and dry. It would be interesting to try out these limits. Is it possible to create a thinner line between landscape and architecture? Would that stimulate more senses for the visitor? For me, the clear boundaries between sea and land in the con- ventional cold bathhouse are created because of safety aspects and comfort. But as a self-experienced swimmer on the west coast, I know that a large part of the bathing on the bare cliffs in the archipelago is far from safe. Streams make one realize that we are without chance against the forces of nature. The smelly, slimy and sticky seaweed hides sharp mussels and wobbly stones which tests the balance and tactile ability. These moments tests physical abili- ties and therethrough engage our perception. This means that you feel a gre- ater sensation and relief when slipping out into the free ocean; in the absence of gravity. Thereby, there is another phenomenon to explore in the bathing area, which hopefully could bring one closer to the genuine experience of the natural archipelago. In the same way as there is a distinct separation between the artefact and the architecture of the conventional exhibition hall, There is an unclear relationship between the archipelago’s phenomenon and the conventional cold bathhouse. These claims has a phenomenological character. That is, how the knowledge of the things is conveyed through the experience of them. Thus, by creating a broader communication with the user through the architecture, where more senses could be involved in the physical surroundings, there is a greater chance that it touches us and get us into a deeper understanding of the me- mories from Hästedalen. Memories worth rememberingStone Cold Bath72 73Interactions The discussion about the importance of engaging all senses through the ar- chitecture is evident in Juhani Pallasmaa’s book The Eyes of The Skin (1996). According to him, it is through our entire bodies that we experience the space. So, when more senses are stimulated through the given architecture, the experience is further extended into our memories. There is an awareness of the present and we archive the event in our heads. The amount of stimulus is thus the key ingredient in order to create a space which is memorable and personally valuable for the user. But that does not necessarily mean that all stimuli should happen at the same time, but rather at the same place. It also implies that stimuli comes from relevant material, and a relevant context so that you do not feel lost. A varied stimulus can also revive old memories and sensations. That means that much of what we experience and remember is in constant change and exchange. The past and the present are therethrough linked and moulds a combined experience of momentum and emotions. This phenomenon can be a contributing factor to why we freeze when we become affected; ”When listening to a piece of music or walking on a beech wood forest in summer, something touches me, something that I seem to have experienced before. And now I experience it again in the new context of a particular moment, and then old and new sensations intermingle and the brain tries to understand. In these moments I’m looking for new intensities, I think”. (Len- ding, Zumthor, 2018, p. 66) ”…The art of the eye has certainly produced imposing and thought-pro- voking structures, but it has not facilitated human rootedness in the world. The fact that the Modernist idiom has not generally been able to penetrate the surface of popular taste and values seems to be due to its one-sided intellectual and visual emphasis; Modernist design at large has housed the intellect and the eye, but it has left the body and the other senses, as well as our memories, imagination and dreams, homeless.” (Pallasmaa, 2012, p. 28) VI. Reference projects It has been difficult to find relevant reference projects which challenges the typologies open air bath and museum. The majority of the exhibition halls contains an architecture that is directly separated from the exhibited artworks. Also, there are many documentations of architecture that convey the memo- ry of something, through the so-called memorials. However, many of these proposals are more of a monumental character containing a symbolism that often is complemented by texts, plates and statues. It is therefore less com- mon that memorials frames and encapsulates memories through a full atmo- sphere. There are a few examples such as Steilnest Memorial (2011) or The Allmannajuvet zinc mines (2016) by Peter Zumthor. Both of these projects are discussed in the previously mentioned A feeling of History (2018). In The All- mannavet zinc mine, the story of the miner’s living is explained from simple, craft-like constructions; the bare scaffoldings mounted with a screw and bolt. It creates a robust expression in the details, which is not at all sophisticated, Zumthor (2016) argues. But it speaks for the site and history itself. What the projects in Allmannaljuvet and Steilnest misses in relation to the discourse is the combination of programs; how different typologies can be represented by one and the same project that hopefully will lead to new ways of looking at the usage and relationship between a phenomenon and a user. This is something that Herzog & de Meuron explored through their 169th project Schaulager from 2009. There they were assigned to combine an exhibition hall, a warehouse and a research center in Basel for the Eman- uel Hoffman Foundation. The foundation had until then used Basel’s other art museums but wanted to expand in order to have their own space for storage, the choice of having freer exhibitions and a research hall. The result was a space that mainly served as a warehouse where the artworks occupied less space, side by side, unlike the conventional exhibition architecture where each individual piece has its own space and agenda. To give the building a physical link to the site, they covered the box and storage-like space in a tailored suit. The concrete cover was mixed with gra- vel and clay from the soil of the site . ”…to give the building a physical connection to its context, as if the building had been extruded from the ground or exposed like an archeological dig”. (A. Barreneche, R, 2005). The pompous entrance covers the whole side of the box-like warehouse. A fence surrounds the museum and the gate is guarded by a small hut-like vo- lume; ”The gabled form of the gate house makes it look like an artistic instal- lation - an abstraction of an alpine hut rendered in the same concrete mix as the main building”. (A. Barreneche, R, 2005). In this way, Herzog & de Meuron challenged the typology of the conventio- nal museum. The difference between what is the architecture and the art of the entrance makes it interesting because of the grey zone. In addition, the choice of materials has a strong connection to its site. Inside, new ways of showcasing art are explored, as the pieces of art gets random neighbours, different styles and intentions are meshed in to one layout. Suddenly, uninten- ded effects occur when they get closer to each other and form an interesting palette unlike the conventional strategy where the artwork acts as the only color stain on the huge sterile white wall. As mentioned earlier, the conventional cold bathhouse also has a distinct separation between the phenomenon and the architecture. A built-in project that I think contributes to the discussion about how a bathing establishment should interact with the landscape and the water is Termas Geométricas Hot Springs Complex by the architects German del Sol (2009). It is a complex of pools that extend along a mountain stream which extends over 1280 squ- are meters. The pools collect the hot spring water through the wooden deck that also transports the water down the sloping promenade. As the water is warm, it helps to kee