Naust paa Aure Boathouse/summerhouse, Aure (Norway) Tyin tegnestue Architects Bart Kleuskens
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 Pag. Pag. Pag. Pag. Pag. Pag. Pag. Pag. Pag. Pag. Pag. 3 4 5 6 7 9 11 13 14 20 21 -3- 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 -4- -5- 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 Location -6- -7- 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. -8- -9- 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. - 10 - - 11 - 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. - 12 - - 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. - 14 - - 15 - 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. - 16 - - 17 - 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. - 18 - - 19 - 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. - 20 - - 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]
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