Naust paa Aure
Boathouse/summerhouse, Aure (Norway)
Tyin tegnestue Architects
Bart Kleuskens
Studentnr. 0628615
Jules Gielen
Studentnr. 0613947
Content
Prologue
Tutorial
Project
Location
Design
Material use
Experience
Full scale model
Act of making
Epilogue
Sources
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This assignment for the course 7X500 Architectural Engineering: Production and Parts,
is a challenging quest to find the relation between an architectural design and the act of
making it. Looking for an interesting, though simplistic detail we found the project of a
boathouse in the idyllic landscape of Norway.
In this assignment we give you the experience to see and feel this relation between the
chosen detail and its act of making by this report and the 1 to 1 scale model. This report
will give you all the information you need to fully understand the 1 to 1 scaled model. In
the beginning of this report a clear tutorial gives you the instructions which actions you
need to accomplish to experience the working of the detail in real life and to threat the
detail with respect to the detail itself and its producers. After that the report gives the
textual and above all the visual information about the project, the detail and the process
of making the detail.
Prologue
Tutorial
Overview
1. Plug in
2. Open drop lock
3. Pull rope
4. Attach carabiner
Fixed position
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Traditional Norwegian boathouses have been used to store boats
and fishing gear, but now many of them are being converted for
recreational summer use. The boathouse of “Naust Paa Aure”,
designed by the Norwegian architects of Tyin Tegnestue, is one
of them. The name “Naust Paa Aure” comes from the neighboring
town of “Aure” and the word “Naust” is the name for traditional
boathouses along the Norwegian coast. The original dilapidated
1800s boathouse was dismantled because of its poor condition and
at the very same place, a new boathouse was erected.
Project
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Location
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Design of the building
The design of the building is very minimalistic and simple with classic forms,
containing modern functionality and a futuristic looking façade. It features relatively light materials (for example the cotton canvas at the inside of the moving
façade and the wooden construction) and has a very open nature. Another important design element is the honest use of materials within the design. We will
come to this aspect later.
The design consists of a collection of balanced parts. If one part isn’t in place, the
whole construction loses its integrity. This collection of balanced parts can also
be derived to the design itself. If one part, for example the façade panels, wasn’t
there, the whole design would lose its charm and strength. Therefor the success
of the design comes from the combination of different parts and material use.
Design
Design
Design in model
During the production of the detail, we also experienced that some parts of the
design were balanced. Parts of the primary construction for example are fixed
with just one screw, but due to the form of the fixing position or the balanced
design, more fixing methods aren’t necessary. The point is that material use is
reduced as much as possible by applying the materials in a very optimal way. Due
to this use of less (construction) materials we experienced some problems constructing our detail, because sometimes we were simply missing the “other side”
of some parts in order to maintain the constructive integrity. A good example is
the steel tube which has to make sure that the facade is able to rotate. In the real
design, this tube is supported by two columns. We have only one column available in our detail, but we still need to keep a constructive integrity. The problems and their solutions for this fact can be found in the “ Act of making” part.
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Recycling and reusing
The architects used building materials that were at hand, such as the 150-yearold wooden planking, the corrugated sheet roofing of the old boathouse and
windows from an old farmhouse nearby which is owned by the architects client.
This historic building style is contemporized by a sensitive combination with
new elements like polycarbonate and multi-wall sheets and backlit canvas, which
is one of the key parts of the detail. The re-use of existing materials makes sense
because of the relative inaccessibility of the location.
Material use
Material use
Flexibility
Flexibility during the building process was crucial for the design.
The distance between the main supporting beams for example
comes from the measurements of the old farm windows. Other examples of the reuse of nearby materials are the building envelope,
which is mainly composed of local pine and parts of the inner cladding are made of the torn-down boathouse, hiding the construction
bracing composed of steel ropes. This is of course not authentic.
The original construction was in a very poor condition and the clay
ground wasn’t stable enough to support the new building. Therefor
the original wooden construction is partially replaced with eight
meter long steel beams, which rest directly on the rocky parts of
the ground.
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Contradiction
When you look at the building from the outside, it looks like an uninteresting and
common boathouse. The design blends in with the environment very well due to
the use of cold, grey and weathered materials. The boathouse is placed along the
western coast of Norway, a very harsh place in winter times and therefore the
materials ensure a certain protection for the comfortable inner environment of
the design. This inner environment is completely different and ensures a warm
feeling: In comparison with the weighted and rigid looking outside, light and soft
looking materials and elements have been used on the inside (For example the
cotton fabric, the white supporting beams and the lights in the movable façade).
Experience
Experience
On-site design reactions
The boathouse is used in the summer for recreational purposes
and in summer times the climate in Norway isn’t that bad at
all, compared with the winter. Therefor the north façade can be
opened and allows on-site design reactions. When opened, the
environment blends in with the interior of the boathouse and
a breeze can blow through the design. The boathouse transfers
from a dark and closed design into an open and warm place.
It invites you to enter, the same as the Norwegian landscape
invites you to come over in summer times.
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- 13 Because of the fact that the moving facade has such a great impact
on the charisma and the sensation of the design we chose a detail
of this part of the building to recreate into a full scale model. In
the winter time there is a great contradiction between the outside
façade and the inside cladding. On the outside, sheets of recycled
corrugated metal have to protect the building against the harsh climate. On the inside, cotton canvas and lights give the user a warm
and comfortable feeling. In summertime, the façade can be opened
to welcome cooling breezes into the building. This causes the interior to blend in with the environment of the building.
Summarized, the fascinating things of the façade are there for
its ability to give the user the opportunity to change the impression of the building completely and the contradiction between the
façade in winter and in summer time. We chose this detail to be
recreated on a 1 to 1 scale because of the fact that it is a very simplistic solution for achieving these desired abilities of the design.
Full scale model
Act of making
Now a small explanation of the process of recreating the detail
on a 1 to 1 scale will be given. Different interesting parts of the
detail will be highlighted and discussed on how we build it ourselves compared with the original detail, the use of materials
and other possible problems we encountered. This will be done
on a chronological timescale of building the model, starting
with the main construction.
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Column
The main construction consists of a vertical column with a beam
attached to it on a 45 degree angle. This beam has been attached
with a single lag screw. In the original design, this beam is attached firmly, because the whole construction balanced. In the
recreated model this doesn’t cause a problem, but the joint isn’t
perfect.
In the column we drilled a hole in order to place the steel tube,
which allows the façade panels to be opened. In the original design, the tubes are spanning the gap between two columns and
they will turn with the movement of the panels. In our model the
tube has been put through the column to give the model (mainly
the panels) its stability. Therefor we lose the ability to turn the
panels separately if we want the tube to turn with the panels. We
made the choice to only give the panels the ability to turn. A problem occurs when the cables of the lights have to be put into the
tubes, but more about this in the “ lights” part.
Act of making
Act of making
Facade panels
The façade panels consist of two separate parts, the upper part
and the lower part. These parts are attached to a steel bracket
under an angle of roughly 127 degrees. This angle is situated at
the pivot point. In order to save weight, we made this bracket
out of wood in the beginning stages. This caused the upper
part of the panels to lean over and breaking the bracket. Therefor we had to made the bracket out of 6 mm. thick steel. Two
parts have been welded together and after that the required
holes have been drilled.
The panels still lean over a bit, but this is due to the fact that
we make only one half of the panel. In the original design, both
sides of the panels are balanced.
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Unusual fixation
Both parts of the panels consist of a wooden frame with the inner and outer cladding (we didn’t use steel, but a lighter plastic
material) attached to it. The different parts of the wooden frame
have been attached to each other in an unusual way. Normally
they would be attached as shown on the figure at the bottom in
the middle, but in the original design they are fixated as shown
at the left and right figure. The bolds have been put through the
wood. We can’t come up with another explanation than to ensure
strength and stability of the panels. Maybe only screws weren’t
enough to keep the panels together and that’s why the architect
made the choice to use bolds and angel irons.
Act of making
Act of making
Lights
Also attached to the wooden frame are the fluorescent lights.
The cables of these lights run through the steel tubes to their
destination somewhere along the end of the façade. To ensure
that these cables will not wrap around the steel tube when the
panels are opened, the tubes are able to turn with the panels
in the original design. In the “ Column” part we stated why we
chose otherwise in the recreated model. We drilled a separate
hole for each of the three cables. This gives them a bit of freedom when wrapping around the tube.
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Rope
Finally the rope for opening the panels. This rope has been attached to carabiners at the top of the panel and the bottom of the
column. The carabiner at the top comes back in our model, but
for the carabiner at the bottom we obviously had to come up with
another solution. In our model we simply screwed a hook to the
bottom plate, where we attach the carabiner when the panel is
opened. In the original design, the rope can be put around a hook
roughly in the middle of the column. This assures that the panel
stays upwards. Therefor the length of the rope determines the
position of the panel when opened. The shorter the rope, the more
the panel is able to be opened. The mentioned hook also doesn’t
come back in our model, simply because we only made to top part
of the panel.
Act of making
Epilogue
Now that we are at the end of this report we hope you have
gained all the knowledge that is needed to understand the act
of making and using the detail. We would be very excited if you
have experienced the architect’s creative ideas to the use of natural recycled materials and it’s expression in the context of the
idyllic landscape of Norway.
We also like to take this opportunity to thank everybody who was
involved by making the detail; providing workspace, tools or materials and their time for giving a helping hand in suggestions for
solutions. Special thanks to Lendert Coppens building company,
Biemans & Kranenbroek and Jeu Gielen and ofcourse one of the
architects of Naust paa Aure, Yashar Hanstad, who provided us
with the materials and extra knowledge to come to a satisfying
result.
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- 21 - Lydia, “Architect visit: boathouse by Tyin Tegnestue in Norway”.
Scandinavian Rustic, Volume 5 Issue 45, Nov. 7-13, 2011
- Motruk, N., “Boathouse near Aure”. Detail, Volume 1+2, 2012,
Jan. 26, 2012
- Jett, M., “Boathouse/Tyin tegnestue”. (http://www.archdaily.
com/168642/boathouse-tyin-tegnestue/), Feb./Mar., 2012
- Tyin Tegnestue, “Naust paa Aure”. (http://www.tyinarchitects.
com/projects/naust-paa-aure/npa-projectdescription/), Feb./
Mar., 2012
- Db, L., “Tyin tegnestue architects: naust paa aure”. (http://www.
designboom.com/weblog/cat/9/view/16737/tyin-tegnestue-ar
chitects-naust-paa-aure.html), Feb./Mar., 2012
- Hanstad, Y., Architect of Tyin tegnestue
Sources
Naust Paa Aure
Bart Kleuskens
Masters student product design
Studentnr. 0628615
[email protected]
Jules Gielen
Masters student product design
Studentnr. 0613947
[email protected]