LIBRARY IN MOTION Architecture, Presence & Craftsmanship Master Thesis in Architecture 2020 Chalmers University, Matter Space Structure Supervisor: Erica Hörteborn Examiner: Morten Lund 2 Helena Cervin-Ellqvist Master Thesis in Architecture 2020 Matter Space Structure Supervisor: Erica Hörteborn Examiner: Morten Lund Thanks to: Erica Hörteborn, Johanna van Eldjik and Keramikskolan ABF Katarina Forsström & Others that have supported me through the process STUDENT BACKGROUND Bachelor in fine arts, major Architecture Umeå School of Architecture, Umeå, Sweden Education Codesign Research Studio Stockholm, Sweden Internship Master in architecture and planning beyond sustainability Chalmers University, Gotenburgh, Sweden Lönnqvist and Vannamo architects Stockholm, Sweden Ink in water or movement within a contained space CONTENT ABSTRACT BACKGROUND Questions Discourse Method Site Delimitations RESEARCH Presence Movement Tactility/Light Clay The Library Place and Space PROCESS Explorations PROPOSAL Concept Program Site Sections Bricks Situations Plans Discussion 16 28 04 38 8 9 12 17 18 21 22 24 27 30 50 56 60 68 74 48 46 4 5 ABSTRACT With a focus on how architecture can create presence the project is investigating movement, tactility and light in relation to materials. Con- necting people to materials, place and each other. The project explores how space are ex- perienced with our bodies, to highlight sensory aspects of social sustainability. Technological developments are changing the way we perceive space, adding another layer to it. The project does not want to neglect the possibilities of technical developments but to enhance architecture as a social place of a ma- terial reality. The library is an important actor in the urban fabric and will be affected by tech- nological developments. The aim of the thesis is to create a possible scenario for libraries as low intensive meeting places when books be- come digitalized. Where the focus have been on creating a movement inside the building by sculpting with clay. To connect to the context the investigations are implemented using an existing industrial build- ing in Malmö as a site and shell. Connecting to local stories. As a method the project is devel- oped by model making, using the same mate- rial as the building will have. Starting with the model rather than the plan, the development of the building are developed by sketching in 3d by using hands. To address sustainability and connect people with material the investigations have been made using clay and wood, two natural materials. Connecting to the topic of architecture and craftsmanship the focus have been on clay. In the ceramic tradition there’s a playful way of working with tactility that will be explored in an architectural context. Work- ing with an in-zoom of creating a brick of clay that can create the ceramic movement inside the building. 6 7 BACKGROUND In a discourse about architecture and atmosphere the focus of the thesis will be on the sensory part of the library. How architecture could stand for a material reality that could help to connect us to place, nature and each other. Increased urbanization and globalization are challenging the inclusiveness of our cities and their ability to create commonness and understanding. Where the future of libraries could be a key actor serving to sort information and act as a low intensive meeting place. When books transfer from the physical to the digital sphere, there will be a need of saving the books for future-proofing but also a need of fu- ture-proofing public spaces for knowledge/story sharing and democracy. 8 9 How can the use of tactility movement and light create pres- ence in architecture? How can using craftsmanship and clay help to create move- ment and presence in architecture? How can the library survive as a place in the city when books become digitalized? DISCOURSE Brain The imaginary The media Structural systems supporting each other clay wood Body Nature Structure Organisation Thresholds light steady Solid Liquid Solid Emotion Thought Knowledge Disorder Imagination The most important aspect of the library is to be a place that mediate knowledge & inspiration but also a place where you can create. A safe meeting place for different kinds of people. The context contains A Story Nature Books Reading Reading ”lightspa” Lecture (listening) spatial sequence (movement) with ”corners” to stay Playscape Reflecting Exhibition (viewing) Information Program Meeting Movement/Social space Flexible parts Gravity ARCHITECTURAL ATMOSPHERE Tempo Unfolding Repetition and surprise Playfulness Explore some elements in more dept during ceramic course: e.g. a space a wall tactillity of an element viewpoints filtered From different directions Longer opening h Connecting to context Media (browsing) What in the library could be an interactive element? Physical spaceVirtual space Body Brain Materiallity SegregationFilter bubbles Library Low intensive meeting place Architecture creating Presence Nature Movement Tactillity Light Crafts Se ns es Wood Clay Place City library Trainstation Approach to existing building Café The movement are used to: Create spatial gualities Direct movement Create a sensation of movement/coreographing space ? 10 11 BrainBody Nature Structure Organisation Liquid Solid Emotion Thought Knowledge Disorder Imagination Brain Body Nature Structure Liquid Solid Emotion Thought Knowledge Imagination METHOD The project is explored in the discourse of sensory architecture in connection to a library. The illustra- tion on previous page is a map of the themes of the project and how they are related to each other. The project are focusing on architectural atmosphere from the elements of tactility, movement and light. Aspects of architecture that have to be experienced and thereby could enhance the feeling of being pres- ent. The project are explored with a close relation to materials as a way to connect with our natural resources. Seeing architecture not as separate from nature but a part of it. In relation to a new crafts- manship movement the project wants to enhance crafts sensibility both to materials and the human experience. Libraries are places in the urban fabric that are affected by digitalization and also one of few, public places for contemplation. Therefore I will use the library as a place to test exploring archi- tecture and presence. The library is an important actor in the urban fabric as a non commercial place and low intensive meet- ing place. A place where you are exposed to other- ness and pluralism. The development of the library are more and more becoming an urban living room. The travel-station, the urban street or the shopping mall are other places where people from different parts of the society are exposed to each other. But there the focus is rather on a fast track movement, on activity. While the library is a place that allows you to stay. That invites to reflection, imagination and meeting. It is inviting to a slower movement, to notice, to contemplation. The library has the po- etic that it deals both with what is an the ability to escape. Just as architectural atmospheres have been said to be able to both make us closer to the world and to the imaginary. (Architectural Atmospheres Borch 2014) Embodied thinking, acknowledges our total experi- ence of the world, questioning the hierarchy of the mind over the body and other dualism thinking. (Johnsson Mark, 2007, The meaning of the body) Example of dualism thinking shown in the illus- trations on the above. The idea of embodiment are mentioned by Pasllsamaa in the book Architectural Atmospheres on the experience and politics of ar- chitecture (Borch 2014) to highlight the perspective that we experience architecture with our bodies, be- yond the visual. That our experience of space are connected to emotions and spatial memories. The idea of embodiment is also connected with seeing humans as a part of nature rather than trying to sep- arate us from it. An aspect that becomes interesting in the process of architecture and materials used for construction. To create presence in the process the project have been explored through model making. As a way to come closer to the sensory and material output of the design while in the making. To work with models in relation to the division of program have become the tool for redefining the project, rather than starting from the plan. The models have been photographed to come closer to the spatial charac- ter of the building, preventing it from becoming a sculpture. As seen above. More pictures from the process can be found in the process chapter. CONTEXT Research. Understanding atmospheres, movement and the library and its potential program. Interview: developer of libraries in Malmö. Site visit CONCEPT Approach to exiting building. With the program in the background a movement have been created inside the building, using clay. During the creation of the first clay model the inspiration have come from movement in dance, and an idea of space as choreography. Another metaphor have been movement of ink pored into water as a para- ble of the existing block and the created movement. Starting to explore the relationship between the clay and the wood. Models are made in 1:10 REFLECTION By photographing and drawing on top of the photos interesting elements to continue work with have been detected. In a third model the exploration are becoming closer to a design proposal seeing a clearer relationship between the wood and the clay but also to the program. TEXTURE As a parallel investigation tactility have been explored in a zoomed-in perspective with the use of ceramics. Where the clay has been able to be burnt and glazed. In a beginning phase it was used to test specific textures. As the project developed the main focus became to explore different pieces that could be assembled to create texture and build up the movement inside the building. RATIONALIZE The investigations are translated into architectural drawings. Tightening the different aspects of the project together. 12 13 SITE Brain The imaginary The media Structural systems supporting each other clay wood Body Nature Structure Organisation Thresholds light steady Solid Liquid Solid Emotion Thought Knowledge Disorder Imagination The most important aspect of the library is to be a place that mediate knowledge & inspiration but also a place where you can create. A safe meeting place for different kinds of people. The context contains A Story Nature Books Reading Reading ”lightspa” Lecture (listening) spatial sequence (movement) with ”corners” to stay Playscape Reflecting Exhibition (viewing) Information Program Meeting Movement/Social space Flexible parts Gravity ARCHITECTURAL ATMOSPHERE Tempo Unfolding Repetition and surprise Playfulness Explore some elements in more dept during ceramic course: e.g. a space a wall tactillity of an element viewpoints filtered From different directions Longer opening h Connecting to context Media (browsing) What in the library could be an interactive element? Physical spaceVirtual space Body Brain Materiallity SegregationFilter bubbles Library Low intensive meeting place Architecture creating Presence Nature Movement Tactillity Light Crafts Se ns es Wood Clay Place City library Trainstation Approach to existing building Café The movement are used to: Create spatial gualities Direct movement Create a sensation of movement/coreographing space Nyhamnen in Malmö is a port area that are un- der developments. In the detail plan it says that the area should have culture functions that could attract people from the whole the city. There’s an emphasis on cultural as motor for developments, attractive meeting places and breaking social barriers. Places for recreation are to be created close to the water. And the city wants to enhance Malmö’s identity and create sensorial experiences, The area will be a mix area of apartments, several preschools, 3 schools and commercials. The city has an aim to keep some of the industrial buildings in the area to connect to its heritage. The building I’m using in the project (see photos on above) is today a fodder silo in use by Lantmännen, built in 1948. It’s marked as a possi- ble building to keep to connect to the sites heritage. The harbour was developed under the industrialize nation in the late 1800. Due to increased water lev- els, the pier are to be made water barriers of approx. 1m at the site. (2009, Christer Larsson, Överisktsplan Hullkajen, Malmö Existing building that I’m using as a shell for my explorations, marked with blue on the maps to the left Nyhamnen 14 15 Low intensive meeting place Virtual space FOCUS Materialize Theory Crafting Industrialization Sensible Architecture The library SPACE/PLACE Craftsmanship CLAY Technological developments DELIMITATIONS As seen in the diagram the base of the project are on sensible architecture, where the library is the place to explore this. Movement Tactility Light HIERARCHY In the exploration of architecture creating presence movement have been given the most attention PRESENCE To start from the sensory part of the architecture the focus have been to explore the project by tests and model making rather then approaching it from theory. Ecological Sustainability In the project I have decided to use an existing building, and using natural materials to work with. Though the project have not been exploring the lev- els of the sustainability output of the design or the energy efficiency of the building. The project is rath- er exploring a spatial and sensory aspects that could be created by using this and mainly investigating new possible ways to build using clay. The exploration have not looked into the economy or manufacturing of the project/to turn into an in- dustrialized product, but have started from the craft, with an aim that it could learn and inform the de- sign. Though the bricks created are all equal and made to be able to use in different ways. Libraries, being a hub for information, could turn into high tech institutions. Though the project is in- vestigate the role and value of the physical space and the creation of a place. Starting from experiencing space with your body. 16 17 RESEARCH PRESENCE The relation between architecture and people has a subjective filter, with a relation to previous expe- riences, memories and culture. Therefore it can be hard to graph the idea of how architectural atmos- phere are created, or even say when and if it has been achieved or not. In the philosophical book The meaning of the body Johnson writes about how intertwined our cogni- tion is with our bodies. That our language comes from the physical world around us and that we therefore create meaning and understanding pri- marily from the physical world. Thomson point is that we find meaning in the interaction with our world, rather then “inside our head”. Thus ques- tioning the hierarchy of the mind over the body. Stating that this understanding already exists within the fields of art. (Johnson Mark, 2007, The meaning of the body, the aesthetics of human understanding) This implies a bodily understanding of space, that could be a beginning to an explanation of how we experience space with our senses. Architectural Atmospheres on the experience and politics of architecture Borch (2014) are address- ing the idea of embodiment as a part of noticing a bodily understanding of the world. Pallasmaa says ”I have mainly used atmospheric thinking, in the sense in which atmosphere is understood when re- ferring to the weather. But I think the notion of atmospheres is in balance with my understanding of the body image, or the embodied image, in its comprehensive, sudden grasping of the emotional and existential essence of a situation, whether social or architectural. And I think it is an important no- tion that should be taken seriously in architectural training. ”(Borch 2014 p.93) Borch addresses the idea that architectural atmos- pheres are beyond form and includes the human life happening within the spaces. Actions supported by or beyond the architectural form. Apart from this the idea of light, movement and the haptic are men- tioned. It is stated that: ”The power of architecture lies in its ability to strengthen the experience of the real, and its imaginative dimension arises from this strengthened and re-sensitised sense of reality, an experience of ‘thick’ space and time.” (Architectural Atmospheres on the experience and politics of architec- ture Borch 2014 p. 29) I ask myself if starting from the bodily experience of space, the atmosphere can help to create presence in architecture. If architecture could create a sence of pressence it must be from the experience of space, that could help to connect to the situation. There- fore I have started to look at atmosphere, the aspect of architecture that are adressing the experience of space. To work with parts of the spatial experience that are connected to be in the space I decided to work with movement, tactility and light. Aspects I perceive important in the experience of space. 18 19 MOVEMENT In my understanding architecture beyond its form is action. It is written in social approaches where doing architecture is more about the social life that takes place in it. A view of the continuation of pro- cess even after the building has been built. Or as Lina Bo Bardi’s approach to architecture that has been explained as a scenography for public life. But also in the atmospheric references Juhani Pallasmaa says ”In my view, a door is not architecture, whereas passing through a doorway, crossing the threshold between two realms, is a genuine architectural ex- perience”. (Borch 2014 ,Architectural Atmospheres on the experience and politics of architecture p. 99) Having different approaches to the action within the space, may it be sensorial or social, I see it as a way to approach how architecture could affect us, out- side just the form. A form implies something to be looked at. Whereas we move through space, we act in space and live in it. Thus not to say that archi- tecture always creates the action but that the action itself, within the architecture are enhancing the im- portance in the experience of it. That’s why I would argue that the aspect of moving through space/ the sequencing of space becomes an important aspect of an experience of architectural atmosphere. As well as the action within the architecture certain design/ form could also imply for different speeds or ways of moving. The bodily experience of movement can be divided into three parts: the sense of movement - Kinesthe- sia, the felt position of the body in space - Proprio- ception, the sense of balance - Vestibular system. Ar- chitecture is directing movement. It creates borders for how we can approach a space. Architecture are to be said to be frozen music, but it could as well be a frozen movement. Johnson writes: “The choreographer is most often trying to express a way of feeling, not a specific content of the feeling. We know the meaning of various bodily movements and gestures in dance precisely because we know the feeling and meaning of our bodily gestures.” (John- son Mark 2007 p. 45) “Such concepts as curved, diagonal, zigzag, straight and circular get their meaning primordially from our bodily postures, our bodily movements, and the logic of those movements… Furthermore all of this bodily meaning is appropriated even when twisted comes to be used in a psychological or moral sense.” (Johnson Mark 2007,p. 26) The quotes implies that the movement of a form also could affect a sensory experience. To work with movement or an idea of space as cho- reography, dance became a prominent starting point for this project. From own dancing experience as well as analyzing a clip from Sharon Eyal’s - Half life and seeing the Sharon Eyal’s piece Autodance and Solo echo at the Gothenburg Opera. I found some aspects to work with within the space, which are used in dance and would be important for creating a sense of movement. (notations illustrated here) Theses elements are: gravity,tempo,unfolding, repe- tition/ surprise, playfulness Notations made while watching a clip from Sharon Eyals, half life. The marks are made in an intuitive process while watching. The line reflects the movement of the dancer, may it be small or big movements. Depending on the way the dancer move, the size and form of possible spaces vary. In the same time it also reflects the rhythm of the movement, creating both repetition and surplices. In later investigations, using clay models, I had the base of this sense of line, or move- ment in my hands while creating. 20 21 Here the dance clip was notated by portraying human figures. The movement of the body creates lines and direction, in the same time as the space they occupy creates a space, as well as the void between the dancers. TACTILITY & LIGHT “The architecture of the eye detaches and controls, whereas haptic and at- mospheric architecture engages and unites.” (Borch 2014 The politics of the Atmos- pheres, architecture, power and the senses p. 35) An early clay model, exploring a relationship between movement and static. The model is also showing a folding of light-inlet and how the clay texture differ when put into light. The skin is our most sensitive organ and have a close connection to other senses. Therefore the sur- face have an ability to affect the experience of a form or space. (Borch 2014) I find that texture, or the hap-tic is interesting in relation to technological developments, where images have a loss of surface. There have been a trend in architecture to strive after white, blanc surfaces. A surface that have an effect but that are also unrelated, without connota- tions or an understanding of the material. I would say that tactility is the simplest layer of ornamenta- tion. Something that as a part of a big architectural structure have a close relation to our sensory expe- rience, of a human scale. Having this close relation to the bodily experience, it becomes an important aspect in creating presence in architecture. Light is close related to both movement and tex- ture. The light is moving through the room as the day passes by. It could also help directing movement inside the building. Would you be more drawn to towards the light or the dark within a building? The light falling on a material are enhancing the texture of it. 22 23 CLAY Ceramic brick test with pieces that can create different kind of bended surfaces Crafts are sensitive in its approach, it provides knowledge of materials and are often done with care. With a close relation to the hand and the mak- er. Catherine Ross quotes Tim Ingold ”even if the maker has a form in mind, it is not this form that creates the work. It is the engagement with materi- als. Materials have a role in making buildings just as architects do.” As a counter reaction to industrializa- tion a renewal of the interest in crafts have arise due to its sensitive approach to materials, both in expe- rience, tactility and in terms of sustainability. (Rossi Catharine, 2017, Craft contains the critical think- ing that could unpack the current stage of architec- ture) Explorations of crafts, in relation to technical tools have also been a way to bring back knowledges off craftsmanship in a new way within architecture. I decided to work from a crafting approach to get an understanding of and come close to the experience of the material, as well as be free in my explorations and it’s possibilities of creation. Why clay or ceramics? When I’m thinking of ce- ramics, I’m rather referring to mortar material than the ceramic tile used in architecture. In the ceramic tradition there’s a lot of exploration of working with the surface, in bending, in glazing and texture. The question I chose to explore with in this project is if the sensitivity of ceramics also could be turned into architecture. Clay is one of the oldest materials, it can be find al- most anywhere on earth. From the beginning it was stone, that became hard crust, mostly granite while time and weathering broke it apart, turning it into clay. As a raw material clay is soft and easy to ma- nipulate, while after being put into fire it becomes hard, and durable. Something that made human do clay figures early in history (Staubach Suzanne, 2005 Clay, history and evolution of Humankind’s relationship with earths most primal element, p. 10, 12) Clay has also served to help keeping stories. Re- mains from clay tablets with scripts was find in a library from 669 bce and scripts on vessels, eg from the Mayas have helpt us to understand stories about their way of life and believes. (Staubach Suzanne, 2005 p. 108-111) Clay as a construction material was started to put into use as soon as human started to settle, mak- ing mud houses off unfired clay. Even today 1/3 of the worlds population live in unfired clay houses (Staubach Suzanne, 2005 p.114) The use of bricks first stated as unfired bricks, dried by the sun, where the fired ones where more time consuming and ex- pensive. Bricks have been used for stupas, Pagans, temples, and even skyscrapers such as Empire State building that consists of 10 millions of bricks. In 2900 fired bricks came into use in quantity in the Indus Valley, as roof tiles. The Romans mixed bricks with concrete and created the vault brick. Today the brick have become industrialized but the bricks shape and proportion have at most part stayed in- tact. (Staubach Suzanne, 2005 p.123-135). The project has been exploring possibility to use bricks but in the same time keep the organic and non per- fect essence of clay. Example of test from the process are seen on the picture to the right. 24 25 Brain The imaginary The media Structural systems supporting each other clay wood Body Nature Structure Organisation Thresholds light steady Solid Liquid Solid Emotion Thought Knowledge Disorder Imagination The most important aspect of the library is to be a place that mediate knowledge & inspiration but also a place where you can create. A safe meeting place for different kinds of people. The context contains A Story Nature Books Reading Reading ”lightspa” Lecture (listening) spatial sequence (movement) with ”corners” to stay Playscape Reflecting Exhibition (viewing) Information Program Meeting Movement/Social space Flexible parts Gravity ARCHITECTURAL ATMOSPHERE Tempo Unfolding Repetition and surprise Playfulness Explore some elements in more dept during ceramic course: e.g. a space a wall tactillity of an element viewpoints filtered From different directions Longer opening h Connecting to context Media (browsing) What in the library could be an interactive element? Physical spaceVirtual space Body Brain Materiallity SegregationFilter bubbles Library Low intensive meeting place Architecture creating Presence Nature Movement Tactillity Light Crafts Se ns es Wood Clay Place City library Trainstation Approach to existing building Café The movement are used to: Create spatial gualities Direct movement Create a sensation of movement/coreographing space THE LIBRARY Past Present Future ? Books reserved for the elite Ability to access bookshelf Ability to share own stories The development of the Library as a public insti- tution parallels the progress of the individual rights from the time of enlightenment. In the 1900s the library transferred from a public institution to a fa- miliar living room in the city. Since then libraries have adopted to the change of times and local com- munities. (Lushington, Wolfgang, Liliane, 2018) As explained in the picture above when books transfer to the digital sphere there will be less place needed for books, instead the space could be used for more places for people or other media. If the core role of the library is to provide information and storytelling it can also be done in other ways than through books. I could see a “natural” devel- opment of democracy in libraries not only in bor- rowing books but also an ability for the citizens to share own stories. (As seen in illustration to the left). When books can be accessed from home the library becomes more interesting as a low intensive meeting place or a place for contemplation. I have developed the library from a notion that some may like to lin- ger and look in books or go over to read a tradition- al magazine, but that there are fewer books than in traditional programs for libraries. Something that is already happening in contemporary libraries. In the social sciences the change of digitalization and fear of fragmentation have created an interest about the public sphere. Research shows that libraries have the possibility to expose citizens who visit the library to other values. In the discussion of the social aspect of the library Audunson introduced the relation of low intensive meeting places: ”Where low intensive meeting places are arenas where one is exposed to otherness and pluralism, and Audunson discusses the potential of public li- braries to develop into such low intensive meeting places which a society threatened by fragmentation needs.” (Audunson, Aabo m.fl. 2019 p. 777) These studies shows that high information flow also creates a need for sorting all information and find- ing what you’re looking for in big databases. And even if the library not always is an equalizer for de- mocracy there is a need for places in the city where different stories can be heard, a place to be and meet without commercial activities. Söderholm and No- lin are mentioning the third wave of community en- gagement ”The third wave took off at the beginning of the twenty-first century and can be interpreted as a result of digitization: digitization creates a need for physical spaces opening up for human interac- tion and community. This third wave, according to Søderstrøm and Nolin, focuses upon community hubs, open so- cial space and diversity” (Audunson, Aabo m.fl. 2019 p.780) In the Swedish governments strategy for future li- braries there’s an emphasis on digitalization of books but it also highlights the importance of the library as a place for meeting and democracy. It’s stated that 26 27 Brain The imaginary The media Structural systems supporting each other clay wood Body Nature Structure Organisation Thresholds light steady Solid Liquid Solid Emotion Thought Knowledge Disorder Imagination The most important aspect of the library is to be a place that mediate knowledge & inspiration but also a place where you can create. A safe meeting place for different kinds of people. The context contains A Story Nature Books Reading Reading ”lightspa” Lecture (listening) spatial sequence (movement) with ”corners” to stay Playscape Reflecting Exhibition (viewing) Information Program Meeting Movement/Social space Flexible parts Gravity ARCHITECTURAL ATMOSPHERE Tempo Unfolding Repetition and surprise Playfulness Explore some elements in more dept during ceramic course: e.g. a space a wall tactillity of an element viewpoints filtered From different directions Longer opening h Connecting to context Media (browsing) What in the library could be an interactive element? Physical spaceVirtual space Body Brain Materiallity SegregationFilter bubbles Library Low intensive meeting place Architecture creating Presence Nature Movement Tactillity Light Crafts Se ns es Wood Clay Place City library Trainstation Approach to existing building Café The movement are used to: Create spatial gualities Direct movement Create a sensation of movement/coreographing space PLACE / SPACE Traditional library Books transfer to the digital sphere New information flows & more place for people the library should be safe, peaceful and inspirational and that the citizen should feel like it’s their library. That the library should support interaction with art and creativity in a known milieu. (Fichtelius, Persson, Enarson 2019) To get a perspective from someone with a lot of knowledge about libraries I did an interview with Katarina Forsström, who is working with the devel- opments of libraries in Malmö. She emphasized the importance of libraries in the city to create open and safe meeting places where you can share knowledge and create. A place that can help to increase safety in the city room and connect the city. A place more important than in a long time due to existing pres- sure of the democracy. When asking how the library will change when books becomes digitalized she mentioned that the function of the library as a place to mediate knowledge and be an important actor for democracy will not change, just the media will change. Books will find its way e.g. children books can have a learning aspect when turning the pages and it’s better to read a book than on a screen before you go to sleep. Forströms believes it will rather be sustainability aspects that affects when you use what medium. Though the future of the library will be needed flexibility and to be thinking in new ways. The library today actually have to include more functions rather than less, which is also a challenge when it can’t be the same depth in each function. Other challenges is if it’s possible that some parts of the library could have longer opening hours and how to really link the library with the city. The closeness of the library to its users increased the vis- itors and in Malmö they are working with a 1,5 km radius. Even if it’s not been totally decided if there will be a library developed in Nyhamnen it’s an area that are outside the radius of today existing libraries. Architectural space are traditionally connected with place. Whereas Social media/virtual realities are creators of space without an obvious connec- tion to a place. The new connection with the world creates new relationships within space. The sense of place are also challenged in a global world where things turns general. In this relationship I would argue that architectural place have a possibility of connecting us to the world, creating presence. Virtual space can connect people to each oth- er across physical boundaries. It comes with wast possibilities, maybe even a small crisis for architec- ture. Though architectural places have the ability to connect to the earth and to create non expected encounters. Futuristic images have often showed a shiny, high tech version of the future. Fast speeds and complex infrastructure, white and shiny sur- faces. The question is if that is the world we as hu- man thrive to have around us. The material reality of architecture have the ability to tell stories about where it came from. Both existing buildings within the urban fabric and the materiality of newly built. In the context of libraries there’s initiatives outside the containment of the building. Including smaller interventions of swapping books. The digitalization gives you the possibility to borrow a book just at the moment you have some time over. There’s situations when spatial relationships can be created outside a built structural solution. Thus place gives you the possibility to return, linger and connect. What we give place to in the cities also shows what we value and I think we should value the library as a non commercial public place for contemplation, story sharing and democracy. In the digital sphere filter bubbles are created. Therefore I would argue that the library could be a place with a possibility to encounter and see information that you are not actively searching for. Places are con- nected to the physical, something that also libraries need. For meeting pluralism, others and a possible way to get out from “the bubble”. 28 29 PROCESS An early sketch of movement 30 31 1. Tools used while doing model: wood pieces, clay, glue, water, hands. 2. While the clay was still wet, different support was needed to hold up the clay. 6 (3). When the clay had dried, much of the support could be taken away and left is a path of clay-movement created. 7 (6). An early exploration of burnt and glazed clay. 4. The model created direction, and an elements that turns away or 8 7. Exploration of relation of liquid and solid clay elements, also using light inlets. 5. Clear directions seen within the space. 3. A few clay pieces still remaining as support, movement start with one anchor point 32 33 13. When the clay is folded in a space with a feeling of safety are created. 9 10. 2nd model, are using the idea of folding, while the first model focused more on a sense of direction. 14. The relation between the clay and the wood creates thresholds 12 13. The liquid clay as a roof going down, explores the sense of gravity. 15. 3d model, using a clear idea of the wood structure as a base 16 15. The relation between the wood and the clay can create inter- esting light inlets and contrasts. 10 8. Relation between the wood and the clay are explored 11 9. The two materials are used to support each other 34 35 19 18. Building pieces (scale 1:10) 22 20. By stacking on top of each other a knitting like pattern are created, creating texture and movability. 20 22. The piece creates a more straight wall, with possibilities of interesting light-inlets. 21 19. Pieces could be put together while changing the direction 18 16. Wood platforms when taking away the clay. 17. The wood platforms creates both fragmentation and connection within the space. Working with different hight levels, and lights from above. 36 37 27 24. Pieces put on a steel-wire To investigate how several pieces stacked would and could spin 30 26. Several pieces put together on steel-wire to see how a surface could bend (scale 1:20)25 27. Possible floor/wall change, using mortar on the floor 28 25. Bending pieces with light 29 28. Twisting23. Flooring using mortal to add up the differences. 26 21. A try of how the pieces could be used in relation to a wooden grid 24. Bending pieces with soft clay(mortar) 31. 1.1 prototype 32. 1.1 prototype 38 39 PROPOSAL 40 41 DIRECTIONS CONCEPT THE STATIC IN MOTION The wood platform have a static structure and appearance, even if the stairs are where you move they have the same language of stability as the wood platforms The movement inside the building does apart from creating a sense of movement with spatial qualities within the building also helps with creating directions with- in the building The movement support the directions of the stairs, and thereby the movement of people inside the building. Illustrations showing situations where the stairs and the ceramic movement inside the building are supporting each other. 42 43 turn fold direct THE MOVE Folds Turns Wrinkle SITUATION FROM EARLY EXPLORATIONWITH CERAMIC BRICKS Simplification of the movement created within the building are illustrated as a line. Specific situations are further explained, as to early clay models and the development of ceramic bricks. This illustrates spa- cial qualities but also the origin of a sensation of movement. 44 45 turn fold direct Gravity meeting Anchor point Floor movement SITUATION FROM EARLY EXPLORATIONWITH CERAMIC BRICKS 46 47 SPATIAL QUALITYFUNCTION PROGRAM Spaces with ”interesting” light qualitites. More relaxed seating areas. Spaces with not to much distractions, a view to the outside but not to many di�erent elements that can steel the attention. Spaces ordered in relation to each other so it’s easy to �nd what ones are looking for. Rational and connected. Non �at surface that invites for movement. = = For foucesed work, e.g. study Spaces where one are browsing through di�erent media/books.Exhibition, Bookshelfs, computers, or other new ways of media, information= = Spaces that invites to play Enclosed spaces Activity = Meeting rooms, community space, some spaces that can be booked Spactial quality Function Browsing Space fot creative activity. = Space with axess to creative tools; 3d printer, sawing mashine, (�xotek ?) etc. Spaces for re�ection, contemplation and informal meetings. Focusing on the free re�ecting, to �nd pause. ACTIVITY Spaces with ”interesting” light qualitites. More relaxed seating areas. Spaces with not to much distractions, a view to the outside but not to many di�erent elements that can steel the attention. Spaces ordered in relation to each other so it’s easy to �nd what ones are looking for. Rational and connected. Non �at surface that invites for movement. = = For foucesed work, e.g. study Spaces where one are browsing through di�erent media/books.Exhibition, Bookshelfs, computers, or other new ways of media, information= = Spaces that invites to play Enclosed spaces Activity = Meeting rooms, community space, some spaces that can be booked Spactial quality Function Browsing Space fot creative activity. = Space with axess to creative tools; 3d printer, sawing mashine, (�xotek ?) etc. Spaces for re�ection, contemplation and informal meetings. Focusing on the free re�ecting, to �nd pause. Spaces with ”interesting” light qualitites. More relaxed seating areas. Spaces with not to much distractions, a view to the outside but not to many di�erent elements that can steel the attention. Spaces ordered in relation to each other so it’s easy to �nd what ones are looking for. Rational and connected. Non �at surface that invites for movement. = = For foucesed work, e.g. study Spaces where one are browsing through di�erent media/books.Exhibition, Bookshelfs, computers, or other new ways of media, information= = Spaces that invites to play Enclosed spaces Activity = Meeting rooms, community space, some spaces that can be booked Spactial quality Function Browsing Space fot creative activity. = Space with axess to creative tools; 3d printer, sawing mashine, (�xotek ?) etc. Spaces for re�ection, contemplation and informal meetings. Focusing on the free re�ecting, to �nd pause. Spaces with ”interesting” light qualitites. More relaxed seating areas. Spaces with not to much distractions, a view to the outside but not to many di�erent elements that can steel the attention. Spaces ordered in relation to each other so it’s easy to �nd what ones are looking for. Rational and connected. Non �at surface that invites for movement. = = For foucesed work, e.g. study Spaces where one are browsing through di�erent media/books.Exhibition, Bookshelfs, computers, or other new ways of media, information= = Spaces that invites to play Enclosed spaces Activity = Meeting rooms, community space, some spaces that can be booked Spactial quality Function Browsing Space fot creative activity. = Space with axess to creative tools; 3d printer, sawing mashine, (�xotek ?) etc. Spaces for re�ection, contemplation and informal meetings. Focusing on the free re�ecting, to �nd pause. Spaces with ”interesting” light qualitites. More relaxed seating areas. Spaces with not to much distractions, a view to the outside but not to many di�erent elements that can steel the attention. Spaces ordered in relation to each other so it’s easy to �nd what ones are looking for. Rational and connected. Non �at surface that invites for movement. = = For foucesed work, e.g. study Spaces where one are browsing through di�erent media/books.Exhibition, Bookshelfs, computers, or other new ways of media, information= = Spaces that invites to play Enclosed spaces Activity = Meeting rooms, community space, some spaces that can be booked Spactial quality Function Browsing Space fot creative activity. = Space with axess to creative tools; 3d printer, sawing mashine, (�xotek ?) etc. Spaces for re�ection, contemplation and informal meetings. Focusing on the free re�ecting, to �nd pause. Spaces with ”interesting” light qualitites. More relaxed seating areas. Spaces with not to much distractions, a view to the outside but not to many di�erent elements that can steel the attention. Spaces ordered in relation to each other so it’s easy to �nd what ones are looking for. Rational and connected. Non �at surface that invites for movement. = = For foucesed work, e.g. study Spaces where one are browsing through di�erent media/books.Exhibition, Bookshelfs, computers, or other new ways of media, information= = Spaces that invites to play Enclosed spaces Activity = Meeting rooms, community space, some spaces that can be booked Spactial quality Function Browsing Space fot creative activity. = Space with axess to creative tools; 3d printer, sawing mashine, (�xotek ?) etc. Spaces for re�ection, contemplation and informal meetings. Focusing on the free re�ecting, to �nd pause. Spaces with ”interesting” light qualities. More relaxed seating areas. Spaces for reflection, contemplation and infor- mal meetings. Focus on free reflecting, to find pause. Spaces with not tot much distractions, a view to the outside but limiting things that could steal attention. Calm. . For focused work e.g. study Space ordered in relation to each other so it’s easy to find what ones are looking for. Rational and connected Spaces where one are browsing through differ- ent media: books,, exhibition, computers, or others Non flat surface that invites for movementSpace that invites to play Meeting rooms, community space, some that can be booked Enclosed space “Embraced” by the ceramic pieces. Soft lightSpace for creative activity Reflecting Focus Browsing Playing Meeting Creating 48 49 Brain The imaginary The media Structural systems supporting each other clay wood Body Nature Structure Organisation Thresholds light steady Solid Liquid Solid Emotion Thought Knowledge Disorder Imagination The most important aspect of the library is to be a place that mediate knowledge & inspiration but also a place where you can create. A safe meeting place for different kinds of people. The context contains A Story Nature Books Reading Reading ”lightspa” Lecture (listening) spatial sequence (movement) with ”corners” to stay Playscape Reflecting Exhibition (viewing) Information Program Meeting Movement/Social space Flexible parts Gravity ARCHITECTURAL ATMOSPHERE Tempo Unfolding Repetition and surprise Playfulness Explore some elements in more dept during ceramic course: e.g. a space a wall tactillity of an element viewpoints filtered From different directions Longer opening h Connecting to context Media (browsing) What in the library could be an interactive element? Physical spaceVirtual space Body Brain Materiallity SegregationFilter bubbles Library Low intensive meeting place Architecture creating Presence Nature Movement Tactillity Light Crafts Se ns es Wood Clay Place City library Trainstation Approach to existing building Café The movement are used to: Create spatial gualities Direct movement Create a sensation of movement/coreographing space Brain The imaginary The media Structural systems supporting each other clay wood Body Nature Structure Organisation Thresholds light steady Solid Liquid Solid Emotion Thought Knowledge Disorder Imagination The most important aspect of the library is to be a place that mediate knowledge & inspiration but also a place where you can create. A safe meeting place for different kinds of people. The context contains A Story Nature Books Reading Reading ”lightspa” Lecture (listening) spatial sequence (movement) with ”corners” to stay Playscape Reflecting Exhibition (viewing) Information Program Meeting Movement/Social space Flexible parts Gravity ARCHITECTURAL ATMOSPHERE Tempo Unfolding Repetition and surprise Playfulness Explore some elements in more dept during ceramic course: e.g. a space a wall tactillity of an element viewpoints filtered From different directions Longer opening h Connecting to context Media (browsing) What in the library could be an interactive element? Physical spaceVirtual space Body Brain Materiallity SegregationFilter bubbles Library Low intensive meeting place Architecture creating Presence Nature Movement Tactillity Light Crafts Se ns es Wood Clay Place City library Trainstation Approach to existing building Café The movement are used to: Create spatial gualities Direct movement Create a sensation of movement/coreographing space A block of darkness Paint with light Open bottom floor Liquid movement SITE The lower part of the building are connecting to the context, inviting people to interact, blurring the relation between inside and outside. Whereas, while moving up to the upper floor the movement becomes slower, more controlled. And the visitor is invited to a versatility of spaces. You could go to the library to get help with information, to join a group, listening to lecture, seeing friends, reading a book or just to find a pause from your everyday life. To connect to the site, the movement are leading the visitors into the building while in the same time creating a water harvesting pond. A garden/square are created in relation to the building as well as stairs connecting to the water. APPROACH TO EXISTING BUILDING Existing building as a concrete shell with created light inlets and connection to the movement. 50 51 Section A 1:00 52 53 Section A Se ct io n B Water harvest pondSquare/Garden Site plan 1:200 Connection to water 54 55 Section B 1:100 56 57 BRICKS The created clay bricks can be stacked and put together in different ways. In the project I have mainly worked with stacking them on top of each other as it gives possibilities to bend a surface and create spatiality. Turning the bricks, the wholes can create light inlets that are also used in the windows in the contemplative cor- ners on 2nd and 3d plan. Further investigations can be down in how to treat the bricks with glazing/not glazing etc. Though in the proposal I have worked from an idea with having mainly white bricks but with some use of colour, as seen in the picture above. The edge of the bricks are exposing it’s nature clay that works well together with the wood texture. Partly a result of needing to keep a surface free from glaze when burning. Stacking bricks that can bend. Used to create the sensation of movement inside the building. Bricks in relation to a window could create light inlets. Used in contemplation corners. Brick used for plants Bricks used as a seating bench Backgrund picture shows tested of pieces in 1:20 Test-pieces of bricks in burnt and glazed clay, scale 1:10, with soft clay (mortal) as a way to connect them 58 59 Pictures of 1:1 prototype of the brick, to give an understanding and sensation of what the brick may look like in actual scale. Different textures of the sides of the brick have been tested and the idea of having another glaze on the inside have been kept. 60 61 SITUATIONS C. Small atrium 1st floor Contemplation corner 1st floor 62 63 A. Coming up from the stairs to first floor B. Illustration of play-scape on first floor. 64 65 H. Exhibition space plan 3 66 67 E. Quiet area plan 4, with a view to contemplation corner on plan 3 F. Mixed use area plan 5 68 69 1 2 3 4 5 1. Relaxed seating area 2. Magazin/New books 3. Flexible room that can be booked 4. Reception 5. Café Ground floor Scale 1:200 1. Children area 2. Litteratur 3. Study space 4. Playscape with seating corner 5. Small auditorium 6. Contemplation corner Plan 1 Scale 1:200 1 2 3 4 5 6 B C Illustrated situation A,B,C A 70 71 1. Bookshelves 2. Reading space 3. Study space 4. Meeting rooms floor 1 1 2 3 4 Plan 2 Scale 1:200 Plan 3 Scale 1:200 1. Contemplation corner with ceramic brick window 2. Meeting rooms floor 2 3. Exhibition floor, bookable 1 2 H Illustrated situation H 72 73 1. Quiet zone 2. Contemplation corner 3. Study Space 1 2 3 Plan 4 Scale 1:200 Illustrated situation E E 1. Creative corner, with access to tools, printers etc. 2. Mixed use area Plan 5 Scale 1:200 1 2 Illustrated situation F F 74 75 DISCUSSION PROCESS Making the models by hand became an intuitive and creative process. Where I started to design from the experience of space, from inside of the building rather than from the outside. I believe trying to ex- press movement became easier when working with my hands. I don’t think I would have been able to come up with the same kind of essence by sculpting digitally. Though I can not state that it would be the case for everyone. Due to time and personal skills I did had very limited incorporation of technical tools, in an early stage of the project I had an idea of using 3d scanning to merge the relationship between the hand made model and technology, though I decid- ed to leave this step out I think it would have been an interesting investigation. Probably also creating a different result. Starting from the material and pro- ducing things in it, have definitely created an under- standing of the behaviour of the material in a way that would not have been able to have by only using simulations in the computer. Though I want to be humble in expressing that the interaction with clay is relatively new for me and I have more to learn to really understand the behaviour of the material, and even more the structural capabilities of it. Making the test-bed of the small ceramic pieces (fig 28-30) gave me a good understanding of the time required to make this bricks. And the added complexity of constructing when moving away from the tradition- al block. Making the 1:1 prototype made me see developments and improvements when scaling it up but mostly to understand how it could look like in an actual scale. The completive aspect of working with clay also generated ideas. When coming to the ceramic study, the material can not make you rush, and thereby situated me in a sense of presence in the process. One of the most interesting parts of working with clay was its ability to turn from soft too solid. In the model making the models required support, and it was almost collapsing at a few points. (fig 2) When the model had hardened and some of the support could be taken away the form could come forward, as a positive surprise. For example creating a tension in areas that previous would have required support (fig. 12). This relation became interesting when add- ing the wood, and trying to find situations where the two materials could support each other (fig 9 -11). Though in the development of the project, trying to make more precise models the clay became harder to work with, being hard to be exact in its nature. In that way clay has many contradiction to traditional model-making in architecture where there is often a strive for being so exact and precise as possible. Though this have advantages, that in the sense of the hand, it can create sensitivity and unexpected forms. Creating the smaller bricks (fig. 19 ) became a good tool to find back control and realizable ele- ments to create the movement within the building. With the starting aim of working with texture the brick made it possible to combine the creation of a soft texture and the construction of the shape. To keep a softness and blur out hard edges, all edges of the bricks are softened. The bricks made it possible to bend in different ways, creating movement in a straight surface (fig. 30) or bend the wall in different directions ( 25, 28) as well as twisting (29). When the light falls on the assembled bricks it also creates a shadow pattern (28). To make the project realizable the bricks would need to be test-assembled in 1:1 scale. When assem- bling the burned and glazed pieces (fig. 20-24) I’ve been using soft clay with the aim to be able to use clay mortar in construction. In the surface created by the smaller pieces (fig 28-30) I’ve been using metal wire to connect the pieces. Some or both of this principle might be able to use in further de- velopments. Though the structure have not been further investigated in the project, where the focus has been on exploring the material and creating a strong architectural concept. The aim of the project have not been that the bricks in a final stage need to be constructed by hand, something very time con- suming. But rather to start from the handicrafts of thing to develop the project and how that can affect the output of the design. In a second stage there would be a need to develop how to be able to create and manufacture the ceramic bricks in an industrial scale, also as a way to reduce costs. An argument to continue with a craft process would be to be able for citizens to be involved and influence the texture of the brick, and thereby leave a ”fingerprint” in the library. How the bricks would be used in relation to a window could be further investigated, and maybe creating different versions of the brick dependent on the use. When it comes to the sustainability of the brick I believe the most questions thing is the glazing, containing strong chemicals. A second stage could investigate alternative glazing or other ways to add or change colours of the bricks. The engage- ment with the material have definitely influenced the final design of the project and made it easier to understand how the material will influence the final result. New technologies makes it possible to merge the technical with the material and I see a great value to use both, even if this project have been focusing on the material. To increase the investigation of the material when making a project makes it possible to create new expressions, coming closer to the sensory experience and moving away from just using stand- ard elements. Creating something specific, made in relation to the expression of the material that makes it unique and could enhance an experienced con- nection with the material, creating presence. 76 77 MOVEMENT Why should a movement be created within a li- brary? The movement inside the building are to be used both as creation of shape , bending in (e.g fig. 11) and bending away (e.g fig 3 ) as well as a way to direct the visitor through the building (fig 5) that might help in way finding as seen in the concept explanation. Though this is not deeply explored. As stated in the references, a shape or sensation of movement would also influence the experience of space and the bricks created are enhancing the cre- ated shape. The movement inside the building have an ability to create the sensitive architecture I’ve been striving for, its form and texture has a sense of another world. The connection with the wood creates as warm contrast to the concrete shell. It is a movement but in the same time it could also be connected to a sense of an imaginary landscape. Something that fits very well in a library, maybe it could be considered an inspiring space or even make you dream. Further investigations about the treat- ment of the bricks surface, in texture or glaze could enhance the experience of the elements, creating differences that could create a wish to slow down and look closer. When moving in the space I’ve been striving for creating differences in contraction, e.g. from being squeezed between walls in the staircase to opening up, looking out in the atrium (seen on illustration on Concept). Differences in perception might enhance a feeling of presence. The fragmen- tation of the space, creates different experiences when visiting the building. There is a main staircase but the building also gives possibilities to different directions, a freedom in movement. The fragmen- tation of slabs creates different roof heights, and different qualities of spaces. That have aimed too in relation to the activity based program create differ- ent qualities of space to support different activities and sensations. May it be too support movement or create a place to stay, as the contemplation corners to support reflection. The non flat floors created, in the play cape and area leading to the contemplation corner on floor 3 are elements that would require you to be present, to mind your step and maybe inspire to movement. THE LIBRARY As for the question of finding an alternative sce- nario for the future of libraries, it seams like both the government, and the developments of libraries in Malmö see the importance of the library as a place. The open interpretation in the program, as the browsing gives space for a flexibility of change in media. Also finding ways for contemplation in a segregated society, that are not your home could be an important aspect for the library. Functions added in the program, the exhibition and the crea- tive space gives possibilities for people to create and share own stories. The creative space could also be a sustainable aspect in the ability to borrow tools and fix things. As earlier mentioned the idea with the library is not to neglect its ability to expand digitally but to explore an importance of it as a place in the city with a highlight of architecture ability to create presence, to connect to our senses and materiality. The use of clay in the library also connects to a ma- terial aspect in how we are and have been keeping stories and knowledge in history. As a criticism towards the project, the library is still in some ways similar to contemporary librar- ies. Further investigations about how and for what the library are used for today could have created a deeper understanding of its current use and needs. Maybe creating a possibility to look further into the future. Though the program of the library have not been the main focus of the project, but used as a test bed for exploring sensitive architecture. Therefore I believe the investigations have been done in such a way that it gives an insight in the use of libraries in the future that have influenced the program and design. While still giving space and time for the ex- ploration of movement and the use of clay within the project, which have been the main focus of the project. The discussion of the creating of place has not been deeply explored but hopefully the project could open up for a reflection about place and space in relation to a technological world. CONCLUSION To conclude the process of using craftsmanship helped me to come closer to the materials in the process and created a sensation of movement in- side the building. The project is still in a concep- tual phase, and further investigations would be needed to make it realizable. Example given to put the bricks into use or further investigations in the relationship of the new design and the ex- isting building. The library have been designed to create different spatial qualities that could support its activities that are supported by the ceramic movement inside the building. The enhancing of the textural/material and the movement in con- nection to the place could support a creation of presence. 78 79 REFERENCES Johnson Mark, 2007 The meaning of the body, the aesthetics of human understanding, Chicago university press Borch Christian 2014 Architectural Atmospheres on the experience and politics of architecture, with texts by Gernot Böhmer, Christian Borch, Olafur Eliasson and Juhani Pallasmaa, Baser: Birkhäsuer Auduson Ragnar, Aabo Svanhild, Blomgren Roger, Evjen Sunniva, Jochumsen Henrik, Larsen Håkon... 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