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Looking in bewteen -
about a jurney into a fantastic world
DALE NKD VILLA FAGERHEIMprogramatic exposéKRISTIAN FERDINAND ADOLPHSENBAS master course spring 2014/28/02
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This book is about
excoriation
division
composing
This work is made by
printing
layering
deviding
Preamble
From the beginning of the course, „skin“ has been a topic of interest. The task of building a model of the Villa Fagerheim has increased this interest to work with layers and fictive spaces both inside the Villa and in between the walls or bet-ter said of the model.The first decission has been to figure out some particular spaces of the model to be able to overcome the task. The spaces are chosen by its shape and size. The creteria for the most complex cast is the treatment of mauld by fil-ling the whole basement of the side appartment.The casts are taken out of the model`s context and are photographed individually.The casts are 1:1 by the same materials used in the model, including the images of the view. These left- overs becomes contextual elemtents initiating the processe of investigation, testing, transforming and developing the work.
The casts appear in new contexts when unfolded, combined with the casing elemets or set into relation with a modulor.
Later on, the work becomes more experemental and the methodes changed:
The casts get less important by the time, while spatial spe-culations get more into focus. Basically is the work about layers and not about volumes. The methods are zooming, expanding, multiplying, layering with different oppacity, mixing pictures of the originals, in-verting the colour, contrasting and rotating. This work is about finding ways to explore spaces and trying to make a fairy tale as an leading tread to spetial questions.The model of Villa Fagerheim was characterized as „paranor-mal“. The topic of parallelity occurs again in this work
A former teacher told me about one of Leonardo Da Vinci´s investigations asking for what there is in bewteen water and air. I think this is a physical as much a methaphysical question.
Later I found out more. It is about the tensions between the four elemets in order to fatal scena-rios.
„Observe first of all sea and earth and sky [. . .] one day shall consign to destruction the mighty and complex system of the world, upheld through many years, it shall crash into ruins.The watery element will be pent up; . . . (then) the cold and rarified air has disappeared. Then the earth will be forced to close with the element of fire and its surface will be burnt to cinders, and this will be the end of all terrestrial nature.
By lucretius
In theese scenarios there are different catalyst, the smaller ones, are the battle bewteen the ele-ments were one of those wins, sometimes water, air, or fire or even earth. In the final destruction stones fall off mountains, temples and images are destroyed. It is a matter of nature and culture as well as the ruin of humankind.
A catalyst is something disturbing, changing and accelarating a process.
This text works partly as a catalyst in this project.
Studies of the four elements by Leonardo Da Vinci
preamble and presentation of the material
chapter one: images, prints and space
chapter two:layer, print and skin
chapter tgree: atagonist - protagonist, invisible forces
chapter four: tension, plasticity and elasticity
chapter five: scales and transformations
chapter six: potential of spaces
chapter seven: interactions create spaces
chapter eight: potential and synthesis
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Plans: Thanks to Gjøran Dørheim
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Arise of a parallel world. The basement of the side- apartment of Villa Fagerheim is expected to be the origin of mauld. It is a poisened space to avoid and maybe the most eerie space in the villa. Filled and inaccessible, it becomes a spa-ce for speculation: What could be inside or even what should be there? By cou-louring white, the character of the space as well as the spaces in between changes
Theese are sketches on the initial idea of turning the space into the opposite. It is creating another kind of space which is beyond the understanding of the spaces in Villa Fagerheim. It creates another logic of space as well as the con-cept of the spaces, when taken out of its former context inside the Villa.
What is an image?Can view be an image?Does an image have to be „painted“?Has an image to be framed?
Is an image a skin or a layer?Does one watch a picture or looking into the cast?
A „parallel world“ appears.
chapter one: images, prints and space
Negative space, space, print
The casts are a representation of the volume of the space. The cast has a coat, given by the surface of the wood, but it also works in the opposite. The surface is the boundry point.
All three elements are originals and different (will be specified) by the same process. All layers has left a print on each other.Are they images, unfoldet layers or space?
„There are controversal opinions about casting among architects (Utzon, Le Corbusier). Some say casted con-crete should not have any traces of the casting form, others argue for the opposite.
I can only speculate that it has something to do with the nature of a material and its pureness. Is it naked or pure?
chapter two: layer, print and skin
A print is telling about what have been there.An image is a layer which is neglecting.A print is creating new spaces.
What is skin?
Is it a print or an image. Is skin an organ, which is protecting, hiding and containing something?What is it attached to?Is the skin a referance to the wall?Can it be a referance to something else?
Hypothesis: the skin is creating the space.
F concrete = F casting form = 0
Is the cast a mass?Is it a sequence of layers?What is binding it?
Is force (F) an invisible layer?Layers can be immaterial. Force and light.
Does concrete have an inner force? What is its force when fluid and what when massiv?
When dry, there is a tension between formwork and cast when removing. It needs another, third force to seperate something which has been a unit. At least there has been a layer tying framework and plaster together.The skin becomes a left- over and a trace of the process of seperating.
chapter three: atagonist - protagonist,invisible forces
This image is a plan, section, eleva-tion. It is made by several layers of prited and unprinted tracing paper. There are equal layers which are invisible but affecting the space. The technique is about adding and repeating with equal and different materials.
It is an experiment about plasticity and elasticity of space.
chapter four: tension, plasticity and elasticity
How big is space? ...and what is it?
The elements, the surface, the spaces in- and outside the surface, patterns are changing dimension and meaning by scaling through a modulor and setting it into relation to the body´s di-mension.There are parallel dimensions and meanings at the same time. Parallel existence.
chapter five: scales and transformations
Could you enter it? How big are you?
chapter six: layers and accuring spaces
Theese are sections through the pocket models of Villa Fagerheim. The spaces which occured are unseen before.What kind of spaces are they containig?
Section through two different pocket model of Villa Fa-gerheim.Elements get a new meaning. They become walls or ca-ves creating spaces in a mystical world.Spaces are boundry points and containers.Is there forces or layers in between? Again there is a discussion about scale when speculating on space inside the „bubbles“.
Extraction of a section of a pocket model of Villa Fager-heim.27 layers creates space with different as well contradic-ting deapths.
chapter six: potential of spaces
The pictures can be read as plan, elevation or perspectiv pictures of spaces. Theese are spaces which are not existing on the plan of Villa Fager-heim. They are imagenary spaces which could be there...or maybe they are, but invisible. The image below can be about fire or a „gate to hell“. Turned around it becomes something lighter from a dreamy world.This can be a possibility for telling a catastrophic or a fantastic storry.
Disappearing surfaces opens spaces. It is maybe about the potential of surface and light.
chapter eight: potential and synthesis
D-W-B-M tells a history about moving through a kind of landscape with different characters and maybe dangers. A map helps you orientate and navigate. It is telling about spatial changes and characters of elements. There are different ty-pes of maps and different criterias. Some are pragmatic, prosaic and measurable, some poetic, giving other information about qualities, colours, shapes and can tell tails. I guess such a map occurs when a picture beco-mes „tree- dinensional“ and is articulating points.
Is there a particulare movement pattern and ryth-ms in Villa Fagerheim and its spaces.Are there landmarks? How are the spaces/ will the space be combined?
Work in progress....
chapter seven: interactions create spaces
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Thoughts on Leonardo:
What do the elements relate to and how?Fire - iron. Fire - air. Fire - wood. Fire - water.Fire- water - damp -air. Theese combinations seem to be something about a kind of harmony in order to trans-formation and on the other hand about destruction and winning.
Thoughts on Nietzsche:
Ecce Homo
Ja, ich ich weiss woher ich stamme,ungesättigt gleich der Flam-me, glühe und verzehr ich mich. Licht wird, was ich fasse,Kohle, was ich lasse.Flamme bin ich sicherlich.
Friedrich Nietzsche
A catalyst is a disturbing moment. Dancing Tango, one breaks the rythme to provo-ke new movements from the partner and thereby gives a new „character“ to the dan-ce. Hypothesis:Catalysts are influencing the space. They are changing the qualities of spaces and maybe changing the, dyna-mics, pasticity, attachment, affinity of layers and spaces. The layers can allow spaces to accoccur, be connected or denied. There are possibil-lities of being pushed off or melting.
Is it a space or a wallpaper? Is this a picture and were is it hanging?Is it the surface of a material?If it is a space, where is it? What is hap-pening there?Is it back a wall?Is it between?How big is the space or how big is the viewer in front the wallpaper or in the space?Is it in a bubble in the casts?
Theese pictures have been created by zoo-ming inro the woodwalls, turning overlaying several layers of different material.It could be interesting to see if there is an affinity between material, technique and result.
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I understand this work as a collection of material which can create a story line.
I assume that layers and forces will be an important topic for the further project later on.
The task will be to find out what the layers and spaces are, what they consist of and what they are connecting to.It will be nessecary to figure out what the catalyst are and how they behaves and how they are influencing lay-ers and spaces.Anyhow - It will be a jurney.
by Kristian F A
It is clear to me that the fungi affected spaces should be kept in order to this project. Maybe there are other ways to keep it but filling it. It is still open if other parts, rooms, walls should be kept or not.It will be necessary to find and to delve into references of the building and its surroundings. This could be spa-ces, building/ construction elements (Olgiati), cracks in the wall (Thomas Wiesner), building process and/ or spaces.
