Remake
Remake
Lukas Johnell
Handledare/ Peter Lynch, Nina Lundvall, Supervisor James Payne, Elizabeth Hatz Examinator/ Per Franson Examiner
Examensarbete inom arkitektur, avancerad nivå 30 hp Degree Project in Architecture, Second Level 30 credits
25 maj 2018
thanks to all of you who have contributed to this project, it would not have been possible without you.
2 index...... 3 thesis booklet...... 4 the reconstruction...... 8 presentation panels...... 39 sketches...... 42 remembered spaces...... 50
index
3 thesis booklet
4 “He did not want to compose another Quixote -- which is easy -- but the Quixote itself. Needless to say, he never “Definition of RECONSTRUCT contemplated a mechanical transcription of the original; he did not propose to copy it. His admirable intention was to transitive verb produce a few pages which would coincide -- word for word and line for line -- with those of Miguel de Cervantes.” : to construct again: such as JL Borges. Pierre Menard, author of the Quixote. a : to establish or assemble again b : to subject (an organ or part) to surgery to re-form its structure or correct a defect c : to build up mentally : RECREATE reconstructing a lost civilization
Definition of RECONSTRUCT for English Language Learners verb
: to build (something damaged or destroyed) again : to find out and describe or show the way an event or series of events happened”
“reconstruct.” Merriam-Webster.
This thesis sets out to Reconstruct the Royal Dramatic Theatre (hereafter “Dramaten”).
Dramaten is the national stage for spoken drama in Sweden, located in Nybroplan, Stockholm. The building stood finished in 1908, an Art Noveau palace, designed by the Swedish architect Fredrik Liljekvist.
The thesis is as a case study of a reconstruction method, rather than an actual proposal of a replacement.
5 “To compose the Quixote at the beginning of the seventeenth century was a reasonable undertaking, necessary and per- One can say that the city itself is the collective memory of its people, and like memory it is associated with objects and haps even unavoidable; at the beginning of the twentieth, it is almost impossible. It is not in vain that three hundred years places. The city is the locus of the collective memory. This relationship between the locus and the citizenry then becomes have gone by, filled with exceedingly complex events. Amongst them, to mention only one, is the Quixote itself." the city’s predominant image, both of architecture and of landscape, and as certain artifacts become part of its memory, new ones emerge. Jorge Luis Borges. Pierre Menard, author of the Quixote. Aldo Rossi. Architecture of the City.
To compose the Dramaten at the beginning of the twentieth century was a reasonable undertaking, necessary Since reconstructing the form of the building would not result in a resurrection of the dead building nor and perhaps even unavoidable; at the beginning of the twenty-first, it is almost impossible. It is not in vain that a is desired, I will instead aim to reconstruct the building by recreating the mental picture of the building, hundred years have gone by, filled with exceedingly complex events. Amongst them, to mention only one, is the reconstruct the building as it once was perceived by the city. Dramaten itself.
Let not a hundred years have gone by in vain. In today’s world we cannot build for the twentieth century man, reconstruct his socio-political values, nor can we cut or lay the stones as he did.
Even if I could relive the life of Fredrik Liljekvist; get a nineteenth century architecture education at the Royal Institute of Technology followed by art studies at the Royal Swedish Academy of Fine Art, become employed at and later the director of the National Property Board of Sweden, make a restoration of the Gripsholm Castle in the then contemporary way of restoring, make a model of central sixteenth century Stockholm for the Stockholm Exhibition in 1897, forget about history between 1902 and 2018 and finally fall in love with Art Noveau and compose the Dramaten it would not be the same building.
“Do not let us decieve ourselves in this important matter; it is impossible, as impossible as to raise the dead, to restore anything that has ever been great or beautiful in architecture. That which I have above insisted upon as the life of the whole, that spirit which is given only by the hand and eye of the workman, never can be recalled. Another spirit may be given by another time, and it is then a new building; but the spirit of the dead workman cannot be summoned up, and commanded to direct other hands, and other thoughts. And as for direct and simple copying, it is palpably impossible. What copying can there be of surfaces that have been worn half an inch down?”
John Ruskin. Seven Lamps of Architecture.
6 “But just as the archaeologist builds up the walls of the building from the foundation that have remained standing, In this work Dramaten will keep its function as a theatre, but the gathering of memories will not focus on determinates the number and position of the columns from depression in the floor and reconstructs the mural decorations function of the different spaces, but the spaces themselves. The program for the new spaces will be researched and paintings from the remains found in he debris, so does the analyst proced when he draws inferences from the fragments from other contemporary theatres as well as separate interviews focusing on function of the theatre. of memories, from the association and from the behaviour of the subject of the analysis” I will try to stay objective toward the memories, and not re-evaluate or question their architectural qualities, Sigmund Freud. Constructions of Analysis. but everything drawn will be drawn by my hand. The new building will follow modern standards in building, comfort and social values.
The primary source of information about the building will come from memories, both my own memories of the building as well as memories obtained through reading and through interviews with others about theirs. We may live without her, and worship without her, but we cannot remember without her. The memories will be translated into sketches and models of the remembered spaces and experiences. The translations will then be processed into one proposed building. The final proposal will be presented in drawings John Ruskin. Seven Lamps of Architecture (plan, section, axonometric and detail), and large scale models (interiors, details).
“A group of blind men heard that a strange animal, called an elephant, had been brought to the town, but none of them Architecture serves as memory, and we all have memories from it, but could a reconstruction of those memories were aware of its shape and form. Out of curiosity, they said: ‘We must inspect and know it by touch, of which we are serve as a reconstruction of the architecture? capable’. So, they sought it out, and when they found it they groped about it. In the case of the first person, whose hand landed on the trunk, said ‘This being is like a thick snake’. For another one whose hand reached its ear, it seemed like a kind of fan. As for another person, whose hand was upon its leg, said, the elephant is a pillar like a tree-trunk. The blind man who placed his hand upon its side said, ‘elephant is a wall’. Another who felt its tail, described it as a rope. The last felt its tusk, stating the elephant is that which is hard, smooth and like a spear.”
Blind Men and an Elephant.
Peoples memories does not necessarily describe factual events as they happened, and people can have contradicting memories, but that does not make them less relevant in this subject. Just as an elephant, a building can give contradicting experiences, and it is the combination of those that makes the closest description.
7 the reconstruction
8 “He did not want to compose another Quixote -- which is easy -- but the Quixote itself. Needless to say, he never contemplated a mechanical transcription of the original; he did not propose to copy it. His admirable intention was to produce a few pages which would coincide -- word for word and line for line -- with those of Miguel de Cervantes.”
“To compose the Quixote at the beginning of the seventeenth century was a reasonable undertaking, necessary and perhaps even unavoidable; at the beginning of the twentieth, it is almost impossible. It is not in vain that three hundred years have gone by, filled with exceedingly complex events. Amongst them, to mention only one, is the Quixote itself."
Jorge Luis Borges. Pierre Menard, author of the Quixote.
9 photograph of the main entrance, façade toward nybroplan birgitta manners stålhammar. “dramatikens hus 100 år, s 35. birgitta manners stålhammar och carlsson bokförlag, 2009 10 assembled memories of the façade toward nybroplan
no scale 11 photograph of the recontructed stage entrance, facade toward nybrogatan
paper & wood modell, 1:20 12 photograph of the lobby manners stålhammar. “dramatikens hus 100 år, s 41 13 assembled memories of the main entrance
no scale 14 photograph of the recontructed lobby
paper & wood modell, 1:20 15 photograph of the lobby manners stålhammar. “dramatikens hus 100 år, s 49 16 remembered detail of bar lamp
no scale 17 assembled memories of the foyer
no scale 18 photograph of the recontructed foyer
paper & wood modell, 1:20 19 photograph of the stage & auditorium stefan schäfer, lich - eget arbete, CC BY-SA 4.0, https://commons.wikimedia.org/w/index.php?curid=34658258 20 remembered detail of the proscenium arch
no scale 21 assembled memories of the auditorium & stage
no scale 22 photograph of the recontructed stage
paper & wood modell, 1:20 23 photograph of the royal staircase manners stålhammar. “dramatikens hus 100 år, s 67 24 photograph of the recontructed royal staircase
paper & wood modell, 1:20 25 no scale assembled memories ofassembled the surrounding
26 väpnargatan
strandvägen 1 2 3 main entrance (nybroplan) 4 bar entrance (nybrog.) 5 stage entrance (nybrog.) 6 stage door (almlöfsg.) loading door (almlöfsg.) entrance (sibylleg.) royal
5 sibyllegatan 6 nybroviken
almlöfsgatan 4 1 1:250 site plan of the surrounding
3 nybroplan nybrogatan
2
nybrohamnen ingemar bergmans gata bergmans ingemar
birger jarlsgatan raol wallensbergs torg
27 hamngatan no scale aseembled memories of the entrance fl oor memories ofaseembled the entrance fl
28 13 9 1 lobby 2 3 4 wardrobe booth ticket 5 sound & light lock 6 7 bar auditorium, parquet 8 stage hall ticket 9 reception10 11 stage wing 12 ce 13 stage managers offi dressing rooms lobby royal 4 2 3 8 5 1 1:250 plan of the entrance fl oor plan of the entrance fl 2 9 4 6 7 10 12 11
29 no scale aseembled memories of the fi rst fl oor fl rst memories ofaseembled the fi
30 9 1 foyer 2 3 wardrobe 4 sound & light lock 5 6 café rst bacony auditorium, fi 7 box private 8 9 green room actors foyer, 10 dressing rooms foyer royal box royal 3 2 10 4 1 1:250 plan of the fi rst fl oor fl rst plan of the fi 5 3 6 7 8
31 no scale aseembled memories of the second fl oor memories ofaseembled the second fl
32 1 2 3 wardrobe balcony foyer, 4 sound & light lock 5 6 auditorium, second bacony 7 box private 8 ce managers offi 9 ce secretarys offi ces offi dressing rooms 3 1 2 4 1:250 plan of the second fl oor plan of the second fl 5 3 6 8 7 9
33 no scale aseembled memories of the third fl oor memories ofaseembled the third fl
34 1 2 3 wardrobe box black 4 sound & light lock 5 canteeen 6 auditorium, third bacony dressing rooms 3 2 4 1 1:250 plan of the third fl oor plan of the third fl 3 5 6
35 1:250 section through the auditorium
36 1:250 section through the foyer
37 1:250 façade toward nybrogatan façade toward
38 presentation panels as presented on diploma days 1/6-2018
39 12 9 8
9 13 9 11 8 10 5
10
7 4 3
4 5 3 4 3 2
2 2
7
1 1
6 6
1 lobby 2 ticket booth 3 sound & light lock 4 wardrobe 1 foyer 5 auditorium, parquet 2 sound & light lock 6 ticket hall 3 wardrobe 7 bar 4 auditorium, fi rst bacony 8 stage 5 private box 9 stage wing 6 café 10 reception 7 actors foyer, green room plan of the entrance fl oor 11 stage managers offi ce plan of the fi rst fl oor 8 dressing rooms 12 dressing rooms 9 royal foyer 1:250 13 royal lobby 1:250 10 royal box
ingemar bergmans gata
almlöfsgatan 4
5
birger jarlsgatan
nybrogatan 3
6
2 sibyllegatan
hamngatan 1
väpnargatan nybroplan
strandvägen
raol wallensbergs torg
nybrohamnen nybroviken
1 main entrance (nybroplan) 2 bar entrance (nybrog.) 3 stage entrance (nybrog.) site plan of the surrounding 4 stage door (almlöfsg.) assembled memories of the surrounding aseembled memories of the entrance fl oor aseembled memories of the fi rst fl oor 5 loading door (almlöfsg.) 1:250 6 royal entrance (sibylleg.) no scale no scale no scale
presentation panel 1 presentation panel 2
diploma days, 1/6-2018 diploma days, 1/6-2018 40 9 6 5
3 3
3 3 4 4 2 2
8
7 5 1
1
6
1 foyer, balcony 2 sound & light lock 3 wardrobe 4 auditorium, second bacony 1 black box 5 private box 2 sound & light lock 6 managers offi ce 3 wardrobe plan of the second fl oor 7 secretarys offi ce plan of the third fl oor 4 auditorium, third bacony section through the auditorium façade toward nybrogatan 8 offi ces 5 canteeen 1:250 9 dressing rooms 1:250 6 dressing rooms 1:250 1:250
aseembled memories of the second fl oor section through the foyer aseembled memories of the third fl oor no scale 1:250 no scale
presentation panel 3 presentation panel 4
diploma days, 1/6-2018 diploma days, 1/6-2018 41 sketches
42 green room ticket hall & bar sketch out of memory, sketch out of memory, obtained through interviews obtained through interviews
no scale no scale
managers office detail of clock & managers office sketch out of memory, sketch out of memory, obtained through interviews obtained through interviews
no scale no scale 43 managers corridor detail of cloack check & stage sketch out of memory, sketch out of memory, obtained through interviews obtained through interviews
no scale no scale
main entranve main entrance & lobby sketch out of memory, sketch out of memory, obtained through interviews obtained through interviews
no scale no scale 44 facade toward nybroplan lejonkulan and sibyllegatan sketch out of memory, sketch out of memory, obtained through interviews obtained through interviews
no scale no scale
lobby main entrance & lobby sketch out of memory, sketch out of memory, obtained through interviews obtained through interviews
no scale no scale 45 foyer canteen sketch out of memory, sketch out of memory, obtained through interviews obtained through interviews
no scale no scale
detail of canteen window detail of proscenium arch sketch out of memory, sketch out of memory, obtained through interviews obtained through interviews
no scale no scale 46 auditorium stage sketch out of memory, sketch out of memory, obtained through interviews obtained through interviews
no scale no scale
auditorium, detail of boxes detail of stage door sketch out of memory, sketch out of memory, obtained through interviews obtained through interviews
no scale no scale 47 stage entrance stage entrance sketch out of memory, sketch out of memory, obtained through interviews obtained through interviews
no scale no scale
detail of make up table detail of revolving stage sketch out of memory, sketch out of memory, obtained through interviews obtained through interviews
no scale no scale 48 detail of pilar & foyer auditorium sketch out of memory, sketch out of memory, obtained through interviews obtained through interviews
no scale no scale
siteplan first floor sketch out of memory, sketch out of memory, obtained through interviews obtained through interviews
no scale no scale 49 excerpt from ‘remembered spaces’
50 index remembered spaces
HOUSE & FRONT OF HOUSE
Basement First fl oor
“Lejonkulan” (stage) Coat check - Lobby - Wardrobe - Bathroom - Stair - Wardrobe - Bathroom - Stage Auditorium (fi rst balcony) - Balcony - Box Entrance fl oor Foyer - Foyer “Lejonkulan” (stage) - Balcony - Entrance Café Main entrance - Café - Lobby - Corridor - Ticket booth Royal box Vestibule -Stairwell - Vestibule - Foyer - Corridor - Box - Bathroom Stairwell Café Second fl oor - Salon - Bar Stairwell Coat check Coat check - Wardrobe - Wardrobe - Stair - Bathroom - Bathroom Auditorium (second balcony) Auditorium - Balcony - Parquet - Box Royal box Foyer - Entrance foyer - Balcony - Stairwell
Third fl oor
Stairwell Coat check - Wardrobe - Bathroom Auditorium (third balcony) - Balcony - Box “Tornrummet” (stage) “Målarsalen” (stage)
5 6
51 index remembered spaces
STAGE & BACKSTAGE AREAS
Basement Third fl oor Stairwell Stage technicans room Stairwell - Stage technicans lounge Private dressing rooms - Stage technicans dressing room Electrical workshop Trap room Sound studio - Sound studio Fourth fl oor - Passageway Study Stairwell Private dressing rooms Corridor Entrance fl oor - Corridor Reception - Elevator - Reception area - Kitchen - Offi ce - Bathroom Stairwell - Offi ces - Gangway First fl oor Secretary’s offi ce Manager’s offi ce Stairwell Nurse’s reception Stagemanger’s offi ce Private dressing rooms Stage Fifth fl oor - Stage - Wing, right - Wing, left Stairwell Corridor Corridor - Corridor - Corridor - Elevator - Elevator - Bathroom Dye-works - Dye workshop Actors foyer - Actors foyer - Patina workshop - Study Canteen - Canteen - Kitchen Costume storage Second fl oor Rehersal area - Corridor Stairwell - Rehersal room 1 Private dressing rooms - Rehersal room 2 - Rehersal room 3
7 8
52 index
EXTERIOR ROOMS & FACADES
Nybroplan - Facade - Entrance (Main entrance) - Stair - Square Nybrogatan - Facade Almlöfsgatan - Facade - Gangway Sibyllegatan - Facade - Entrance (Lejonkulan) - Entrance (Royal box)
9
53