Tipo: Concurso de Ideas internacional, Primer Premio. Expuesto en la Bienal de Venecia 2005 << Localización: Tromso, Noruega << Fecha: Enero 2003 << Superficie Construida: 25.000m2 << Cliente: Odd Berg Group/ Tromsø Kommune << Arquitectura: David Franco y Renata Sentkiewicz << Colaboradores: Arantza Gil Recalde <<<<<<<<<<<<<<<<<<<<<<<<<<<<<
Searching For New Techniques: Light in Tromso.
Discovering techniques to understand, comprehend and synthesize the mighty nature of the Tromso area, is the key aim of this project. Procedures capable of extracting the ability and adaptability of nature phenomenon and reproduce it as new desing skills. From the first researches looking for these new approaches it’s been obvious for us that all of the wide range of aspects belonging to the Tromso enviroment are affected by the unique geographical position of the. That means Tromso´s landscape is not only Botanics, Geology, etc...but also aspects and events of an enormous scale and influenece. Of all of these ‘different type’ aspects there’s one that gives a unique perception quality to the experience of passing by or living in Tromso, and that is LIGHT. Light in Tromso is perceived in a completely different way than in any other European town of its size and population, and that becomes it the most exciting starting point and a huge source of ideas for any architectural or urban project that takes place there. Therefore this project tries not only to adaptate to a hard and strange climate, but also to extract all the potential of beauty that stays under a material reality . The same way we understand the aurora borealis (northern ligthts), by its optical and phisical causes but we forget these when see it and turn astonished by its beauty.
What do we find interesting of the light perception in Tromso? First of all its uniqueness, its way to oppose what we find logical in any other latitud (light at night, dark during the day). And in second place its capacity to create extremely beautiful colour effects that we dont see in the sky anywhere else in. This feeling of uniqueness and strangeness remembers us more of a work of art (and now we’re thinking again of the aurora borealis) than an event of nature.
A New Geological Event: Desition or Accident
The whole bay formed by the Tromso Island and its components: the mountains, the Port, the town, the new Terminal, the factories on the Eastern Coast, The Tunnel, The Bridge..., compond a Natural/Artificial Network with varied relationships linking all of them. The New Dwelling Complex of Kroken is, by its size and position, a new important element of this network. The aproach we propose to face the project is an objective method that leads us to a structure that fits the patterns of a Natural Event. The designing of the laws that will lead this method will be as important as the desig itself. This laws will mainly be inspired by the general intentions presented on the previous point, and they’ll be adapted for every different scale studied on the project.
3A New Density Learnt From Urban Sprawl : Spreading Towers all around. To place 700 dwellings on the Europan site means to get a higher density than the usual in Kroken by now. The optimum strategy to increase the amount of dwellings and keeping a good proportion within the public space is to raise low towers, in a way that the ones placed near the water wont be higher than the main road, and each of them may have the benefit of a minimum of 5000sqm of free space. we propose a manner to reciclate the knowledge the city has gained from the suburbs typical urban structure. We dont believe the suburbs are just wrong, we believe they have opened a new manner to create a city conceived on independent elements that form a complex network. It’s a freer way to understand Modern Movement urbanism, achieved trouhg pleasure purposes not hygienic ones.
The emplacement of the towers will be decided in a preocess with four steps: 1.matrix.directly place the matrix of towers over the site.
2.physical environment. adapt it to the physical and nature enviroment of the site: respecting especially the existing forest on the south and adapting to the topography. 3.shadows/light. introducting the main copncept of light, the tower emplace in order not to cast a shodow on each other. Either for themical behaviour and for visual reasons (the shadows of the towers will be an amazing game of lights and colors)
4.views. Finally the towers spin so they can reach an specific view. We generate corridor views all along the site, These will perceived not only from the towers, but also from the public spaces between them.
4Two worlds in one?
Winter Urbanism. We propose an urbanism with two faces: winter and summer spaces. The public basement that links the towers will content public covered areas, wich will keep a correct temperature to be used on winter althouhg they’ll be treated as if they were common urban spaces: streets, parks, sqares,...They’ll be closely connected to the summer exterior areas. This tries to be extract a positive lessons from some degraded concepts we’ve seen in commercial architecture. Is it possible to create an Interior Space full of Public and Social Content in these times?
5.Buildings Like Rocks?
The metaphoric thinking we’ve used to design the proportion and the form of the towers takes us to those rocky ice configuration so characteristic to norwegian landscape. It also opens a very interesting argument on wich is the scale of the towers: wich os the scle of a rock, Wich is the scale of a mountain, wich is the scale o a glaciar. Th towers are not though to be seen as buildings from Tromso, neither from Kroken itself. They will be seen as some natural ‘things’ placed near the water. Is it possible that a building looks like a Translucent Rocks?
6A tower Is A Folded Sandwich?
The typology of the towers is not meant to be the obvious one in dwellings high-rise buildings. It’s meant to learn from other typologies related to lower densities: The towers programmatic structure is formed by vertical, not horizontal layers, as if it reproduced the typical sequence building-street-building. The layers are stacked vertically from the most sun-exposed surface (wich will be the fron of it), and where the dwellings will be stickedt. From this layer to the back of the tower will be organized the public and communication programm of the building.
These layers of public and private space are distorted until the building reaches its final form. The criteria that takes us to this form has two purposes: in first place the tower deforms to captate optimally the horizontal sunlight. In Second place this folding deformation makes the surfaces of the towers reflec the colours of the landscape and the Arctic skies, so unique and beautiful. Finally the back space of the tower enlarges so it triggers a higher urban-public content that connects programmatically the tower to the public basement.
7Mirrors To See The Landscape?
The reflection of all the colours on the surface of the tower will be powered and increased by the inclination of the front an back facades. This is meant to affect mostly the perception of the towers from the closest spaces. And to give them a lighter looking that also will link them to the Arctic landscape not only by their forms, but also by their material aspects.
8Traslucency is a material?
The tranluccent insulation Materials, such as Polycarbonate are currently developing fast for its use in cold climates, with extremely horizontal sunlight, due to their capacity to captate sunlight optimally, and their reasonable insulation properties. We propose to cover the towers wtih a continuous skin of poolycarbonate. Behind wich will be placed, when needed, windows, opaque walls, etc.
9Duplex are luxurious or just necessary?
The concept of stacking and elevating one-family houses led us to the conclusion that the dwelling typology of the towers should be based on the general use of duplexes and triplexes. In this manner the relationship with the exterior will be more complex and rich, and the surface of the building connected with the exterior, larger.