1:1

Today I went to the site and tested some sizes 1:1. I used a fence I found with height of 1.5 meters. The diagram above shows the heights and lengths that I tested for width and height for the bath.

Project through section

This is the concept section of the bath. A series of tall spaces with different qualities - materials, light, temperature, experiences in water and so on. Actually reception/tea room - wardrobes - wash room - middle zone (not on drawing) - hot relax space upstairs - cold/hot bath place down into the sea.

When inspired!

This is a quick sketch I made for the bath when I was on site some weeks ago.

Sirens and muses

This is a sketch a made of the large space that encourages you to make sound - sing, play waterdrums... this is the largest space in the bath, allowing more people to come together. The tide moves up and down in this space, and the sound of waves can be heard. As the tide moves on and off the levels in this space it produces a sound as shown in the below video "The sound of tide".

In Greek mythology, the Sirens (Greek singular: Σειρήν Seirēn; Greek plural: Σειρῆνες Seirēnes) were three dangerous bird-women, portrayed as seductresses who lured nearby sailors with their enchanting music and voices to shipwreck on the rocky coast of their island. Roman poets placed them on an island called Sirenum scopuli. In some later, rationalized traditions the literal geography of the "flowery" island of Anthemoessa, or Anthemusa,^[1] is fixed: sometimes on Cape Pelorum and at others in the islands known as the Sirenuse, near Paestum, or in Capreae.^[2] All such locations were surrounded by cliffs and rocks.

The Muses (Ancient Greek αἱ μοῦσαι, hai moũsai ^[1]: perhaps from the o-grade of the Proto-Indo-European root *men- "think"^[2]) in Greek mythology, poetry, and literature are the goddesses or spirits who inspire the creation of literature and the arts. They were considered the source of the knowledge, related orally for centuries in the ancient culture, that was contained in poetic lyrics and myths.

(wikipedia)

Atmospheres, tactility and DAV investigation

One of the four pillars of the BAS (Bergen School of Architecture) discipline is DAV (Den Andre Verda/The Other World). This is the approach to architecture through art. Through intuitive investigation with materials, we use DAV to find something that we could not see from where we were standing. Einstein said: "A problem cannot be solved by the same mind that created it", and I think DAV is like that. Trying to see something new by letting go of some control in your mindset.

DAV is not directly fine art, it is a way of investigating something, a method from art. I don't care so much about the label, what is important is what I find in the process of doing DAV. To different extent the traces of my understanding can be read by someone else when they see the DAV. After, I transfer my understanding of the DAV into spacial compositions. My understanding is in the investigation, in the proposal for a space, and not least - between the lines.

A German artist, whose name I cannot remember right now said that "Art is about revealing secrets", and in this sense DAV is art to the investigator. Further you could say that DAV is not about the object, it's an action.

The three DAVs demonstrated here is an investigation of different spaces and their atmospheres at the bath that I am working on for my master. The top one is for a large space filled with cool sea water. It has also a warm pool and a sauna. This space will have a special acoustic that encourages you to make sound, sing. You can move on levels down into the sea water according to your level of courage, or challenge that level.

The middle one is for the place where you wash yourself. It has no showers, but individual lockers for washing. You wash yourself by filling vases with water to pour over yourself. There is a soft stone to sit on. Damp air. Wet. This space is inspired by the most beautiful and intimate washing experience I have had. It was in Leh in the Himalayas. At the guest house where I was staying there was no hot shower, but the lady that ran the place, an old Ladakhi woman, boiled water for me to mix with cold water, and I'd use a cup to pour it over me. You see how much water you use. You are being very intimate and get very much in touch with your own body and yourself. You take care of yourself. You are with yourself. When were you last with yourself? Yesterday I was staring in the mirror and discovered it's been a long time since I've been with myself and really enjoyed my own company, not running off to any distraction, being a book, TV or anything else.

The last DAV is a meditative space. Very cool and relaxing. Nothing to look at. No special experience, except being there with oneself. This was a space I didn't know that I would have until I made this DAV and found it.

Concept model 7 - entering situation

This model is further investigating the entering situation with the bridge, as found in the previous model. The bridge has a generous size, two meters wide in this 1:100 scale model. As it touches land it splits somewhat and allows for a less dominant role on the port side. In the cracks wild grass from the site is allowed to grow. Pictures from site will come. Also this model shows how the same vegetation is found on the body of the structure, and on the land leading up to the bath. The surrounding area leading from the road to the bath I propose not to be planned for buildings, but to have a sea side park with the kind of flora natural to the place. This park area will have different situations, some benches, larger or smaller areas for hanging out and enjoying the atmosphere. This also creates a whole new entry/exit to the city for those using the coastal steamer. The natural landscape of Norway is not the renaissance parks found in the central area of Bergen. I am inspired by the renovation of the elevated rail road, now park, in NY.

Concept model 6 - tactility and atmosphere

This concept model shows a structure set out from land. There is land vegetation on the upper body and sea vegetation and fauna on the lower level of the body. You can see through the structure to the other side. What I really like about this model is the composition of materials and colours, scale and the sense of calm lonesomeness in the different situations. Also I like the sense of mystery about the space.

Mystery in wiktinary:

Etymology

From Middle English mysterie < Latin mysterium < Ancient Greek μυστήριον (musterion), “‘a mystery, a secret, a secret rite’”) < μύστης (mustēs), “‘initiated one’”) < μυέω (mueō), “‘I initiate’”) < μύω (muō), “‘I shut’”).

[edit] Noun

Singular mystery

Plural mysteries

mystery (plural mysteries)

1. Something secret or unexplainable; unknown.

   The truth behind the events remains a mystery.

2. Someone or thing with an obscure or puzzling nature.

   That man is a mystery.

3. (Catholicism) A particular event or series of events in the life of Christ.

   The second decade of the Rosary concerns the Sorrowful mysteries, such as the crucifixion and the crowning with thorns.

Concept model 5 - vertical and horizontal layers

This model shows some smaller situations. An outside situation where the body of the build offers vegetation to grow on it, a long hall with round windows, a smaller intimate crypt with a small bath, that lets in light from above. Below is anther source of water, maybe seawater coming in through a hole in the floor.

Also in this model I experimented composition of materials; the main build is in a harder material with slick surfaces. In the hall there is soft wood to walk on. The roof of the hall that extends over the main build is a rougher, darker material.

Concept model 4 - the generous facade

I imagine that the body of the skinship can be available to people that are not using the inside. At the site, an industrial area slowly in transformation, many people already finding small intimate spaces to hang out. I believe they experience it as finding special secret places, and this is a notion I would like to work with and preserve.

The bath

Yesterday I made this first concept model of the bath at Nøstet. Main elements are a more closed entrance space, represented by white cube, where changing of clothes happens. Could also have more elements such as after bath relaxation space. A main platform stretches from this space through to the bath, which is a translucent space, and out on the other side of the bath. The dressing space is halfway hanging off the pier. The bath has drowned in the ocean, its walls going down into the water. The walls of the bath allows daylight to enter during the day and like a light tower it lights up during the night. It is not transparent enough to allow silhouettes to shine through to the outside.

I suggest a modern kind of bath which is a lot to do with the sense of water in Bergen. A place where you can experience waves and the salt water, because it is that which is entering the enclosed bath space. The openings are big enough to let the motion of the ocean come through, however I must look at this if I need filters to take away oil from the sea. In the same big bath space are smaller tubs with hot water.

At one place there is a sauna aswell.

To be with people, and to see people, in this situation, is a very humble meeting. It is very tactile and bodily. The space is large. Sound of water hitting surfaces. Play of light.

This is also why bath

Upper right side of sketch: The way I perceive it informal meetings between different cultures/social class/etc. happen in Bergen mostly between boy/girl, typically in a bar/something similar, in the weekends, and many times involves alcohol. It is something about the meeting that happen under influence of alcohol that doesn't justify either. Meetings otherwise within ones sex happens often with people from similar background. This only strengthens ones locked idea of reality, since these people tend to have similar opinions, perceptions etc. as yourself. It's hard to r e a l l y understand that no one a c t u a l l y perceives what you do, although mistakenly it can seam like it on the surface.

Lower right side: A bath is an activity that can attract young, old, sick etc. and they can all use it at the same time! I suggest that the bath is sex segregated. For example Mondays for women, Tuesdays for men, Wednesdays for families.... or something like that.

Lower left side: diagram of division of space in Turkish hamam and Roman thermae. I am also going to check out Japanese bath and the traditional baths in Bergen to create a modern bath.

This is not a common place - a common place!

Concept model of BIKS today. Located in narrow streets that are not much visited, especially in the evenings. The big scene, Fensalen, is reached through several halls and staircases. You cannot know what is going on there from the outside, a problem since the program always varies.

Lately I have been thinking about how to create a program that can make a background for meeting, a place where people of different cultures can meet, understand... but not forced socializing. I have been aware of the many young women/girls that have an immigrant background and that have many restrictions as to which activities they can participate on. Many have school as one of the few places to meet new people. Others, anyone, are blinded by their own cultural or familiar traditions, and do not know of alternatives.