1.

0 Abstract
In the recent years, there is a renewed interest in the "terrain vague", because of the post-industrial urbanization that creates more and more spaces of this kind. There are two opposing views, one that condemns the disorder they represent in the city, and another one that considers that they are potential spaces of freedom in an urban environment that is gradually more standardized. This dissertation explores ways of reclaiming the terrain vague, applied to the case of the edieval !ark from "slo, #orway. The research $uestions are, how a terrain vague can be transformed into an eligible park with public facilities. %nd how the spirit of the place influences a new building, and what are the ways in which the new building can make more visible the genius loci of the respective place. The methods used to find the answers to these $uestions are& site mapping, literature review, analysis of case studies and research by design. The main finding is that, interventions in this spaces need to be done by paying a special attention and integrating the specific characteristics of the site.

This paper explores ways in which this site, that is defined as a terrain vague, can be transformed into a desirable park, and how can it work together with the program of museum. +ecause the theme of terrain vague is highly controversial lately, and because the spaces that are characterized as such are more fre$uent now than ever, is important to expand the information about what are the most appropriate ways to treat them. %nd so this paper tries to bring a contribution to the global knowledge. To achieve this, the place was analyzed during the site trips, the documents about the waterfront development were consulted and the literature about the theme of terrain vague was studied. It was also important to analyze other cases of terrains that were transformed into parks, as -andschaftspark from .uisburg- #ord, /ermany. "ther important tool was the research by design, where the effects of certain strategies that were implemented could be observed. The conclusions of the research are that is important to preserve the characteristics that define the place as terrain vague, by integrating them, and by acting only with small interventions.

1.1 Introduction
"slo is a city that goes today through a ma'or development on its waterfront area. !art of this development is the intention of bringing here cultural institutions, as a way of making it more attractive. The (niversity useum of )ultural *istory is one of the institutions that is planned to be relocated in the area of the +'orvika +ay, next to the edieval !ark. This park is of a national importance because it was the place of the first settlement of the #orway,s capital. %nd also contains valuable medieval ruins.

1.2 Research design

1.2.1 Context The context will be presented, by zooming in, from the general historical overview of the city of "slo, to the +'orvika bay, then to the edieval !ark, and to the useum of )ultural *istory. %dding in the end a description of the #orwegian landscape, as seen by )hristian #orberg-0chulz.

0imona +ontea. 1eclaiming terrain vague2 3

edieval

useum and !ark

"slo "slo is the capital of #orway, which is considered a global city and one of the most expensive in the world.3 "slo was founded around the year 3456 by 7ing *arald III in the area 8fig. 39 that is called today /amblebyen "slo8fig.:9. .ue to the great fire of the year 3;:5, the .anish 7ing )hristian I< decided to transfer the town on the other side of +yorvika bay 8fig.=9, near the %kerhus )astle 8fig.59. In the same period the name of the city was changed to )hristiania. In 3635, )hristiania became the capital of a new national state, when #orway was separated from .enmark. Then, together with the industrialization, the period between 36=> and 36?4 brought the biggest growth of population, from 64.444 to 3>3.444 inhabitants. In the twentieth century, together with the regaining of the name "slo in 3?:>, the city gained the dominant role in #orway because of the transport infrastructure. Thing that caused the covering of the old medieval town with railway and highway construction and the disconnection of the city from the f'ord 8fig. >9. In the year :444 the )ity )ouncil adopted the strategy for the development of the waterfront area, called the @'ord )ity 8fig. ;9. +'orvika bay The +'orvika planning area constitutes the largest part of the @'ord )ity, because here is the place where the first port of the town was located. In the beginning it was used for timber exports, shipbuilding and the export of fish. Then around 36;4 a shipyard and engineering workshop was established here, and new $uays were gradually built as the number of companies that settled has increased. +eing a part of the planning for the waterfront development, the plans for +'orvika were made in :44= 8fig.A9. The most important pro'ects realized or currently being constructed are& the tunnel under the bay, the "pera *ouse, the residential area at 0orenga, and the

+arcode. The development is supposed to be finished in :4:>, when the area should comprise 54B public spaces, promenades and s$uares, :4B infrastructure and 54B development areas. % small part of the +'orvika area, and most important historically for the city, is the /amlebyen "slo district, because as said before, it is here where "slo was founded. In the beginning it had a population of around =444 inhabitants who lived in wooden houses 8fig.69. The monumental buildings were built in stone& aria )hurch 8fig.?9, )lemens )hurch, 1oyal /ardens, *allvard )hurch, "lav onastery and )ross )hurch, whose ruins are visible today. .ue to the relocation of the city, the land was used for agriculture 8fig.349. Then, in the nineteenth century, together with the economic upturns, industrial activities developed around the "ld Town, causing the construction of railways 8fig.339 cutting through its central area, and of the locomotive workshop, demonstrating the lack of interest in the time for the historical remains. Chen =44 years of existence of )hristiania were celebrated, in 3?:5, the medieval history came into attention. %nd the excavation in the year 3?>4 revealed the important archeological remains hidden in the ground 8fig.3:9. %nd from 3?64 until today, there are ongoing debates about the regeneration of the area, that lead to the demolition of the highway, the implementation of the lake that suggests the original shoreline, and the decision to relocate here the (niversity useum of )ultural *istory. edieval !ark The edieval !ark 8fig.3=9 was built in :444 in the same district. It is located very close to the "slo )entral 0tation. It contains the lake that imitates the old shoreline and has a total surface of about A4 acres. There are two ma'or festivals that take

0imona +ontea. Reclaiming terrain vague/ Medieval Museum and Park :

place in the summer& "slo iddelalderfestival: 8fig.359 and "yafestivalen= 8fig.3>9. The park contains remains from the time of the first city of "slo, and will be further developed as a cultural and recreational park. !art of this development is the decision to build here a new building for the *istory useum of the (niversity of "slo. (niversity useum of )ultural *istory The useum of )ultural *istory was established in 3???, and belongs to the (niversity of "slo. It is composed of five museums& The #orwegian %nti$uity, The )oin )abinet, The ethnographic exhibitions, The edieval /allery and the <iking 0hip useum. The first four, and the laboratories, are located in four buildings in Tullinlokka area, in the city center, while the <iking 0hip useum is on +ygdoy !eninsula. The #orwegian landscape In "The *eaven, the Darth and the "ptic %rray& #orberg-0chulz,s !lace and !henomenology and its .egree of "perationability" 8:4469 %kkeliese van #es, presents #orberg-0chulz,s thoughts on the landscape of #orway and how it is perceived by people. *e says that the #orwegian dream is for each to live behind a hill, or alone along a river or a lake, and that the dream house is a "cave of wood". %nd because of the long and snowy winters, the #orwegians want to capture the colorful summer into the interiors by painting it or the furniture, in strong colors, to stand in contrast with the white winter landscape. %lso, most of the traditional farms consist of groups of small buildings. 0o the typology and location of their settlements are adapted to the landscape, but the interiors complements it. Problematic:

@rom my field trips and from the discussions had about the @'ord )ity pro'ect, I saw that a large part of the developments will be placed close to the sea shoreline, and will consist mostly of residential developments. +ecause they will be only accessible to people with high incomes who can afford them, all the other people will be deprived from en'oying the waterfront. The edieval !ark is a very hard to define place, because it is on the one hand of a national importance, but on the other hand, besides the ruins, it has buildings from other periods of time& the %ftenposten #ewspaper building 8fig. 3;9, which is empty, the locomotive workshop 8fig. 3A9 and parasite wooden sheds used for different kinds of businesses. 5 It has a railway cutting through it, a highway 'ust next to it, and a bus parking on its site. The visual connection with the water is blocked by buildings under construction. The park it,s ruptured from its surroundings and the city center. 0o because it,s hard to define, it,s a mixture of contrasting things, and its memory of the past predominates over the present, according to 0ola- orales description of terrain vague, this park can be also considered a terrain vague area. I have also noticed that the medieval remains are not well valorized, there are not enough explanation panels, and the existing ones are poor in information. 0o many people are not aware of the ruins great value. There is an ongoing debate about the relocation of the )ultural *istory useum on +'orvika area, since the city council decided to develop the waterfront. @irst it was proposed that the <iking 0hip useum 8fig.369 should be also moved in the edieval !ark 8fig.3?9. 0o between :44= and :44? several pro'ects were made for the building of the museum 8fig.:4, :3, ::, :=, :59. +ut the end result of the study was that it is too risky to move the ships to a new location.

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This brought up the discussions of :434 and :433, of the possibility of moving then the *istory useum at +ygdoy next to the <iking ship useum 8fig.:>9. +ut after studying the impact of this on the peninsula, the final decision of "ctober :43: was to make an underground extension of the museum in the existing location, at Tullinlokka area 8fig.:;9. +ut this decision is also criticized, because the extension in the underground it,s expensive. 0o the discussion remains open, and the relocation on the edieval !ark, of only the *istory useum can still be taken in account.

1.2." Research methodolog# The framework of the research methods that are used, is defined by& research by design, case studies, literature review, and the interpretive historical and correlational research methods, as described by -inda /roat in her book "%rchitectural 1esearch ethods" 8:4439. 1esearch by design gives the possibility of updating the urban or the architectural strategy, when a change occurs in one of them, that will influence the other one. )ase studies are analyzed because certain patterns can be found, and can be learned from the ways others have dealt with similar themes. Interpretive historical research method investigates the socialphysical phenomena by explaining them in a narrative form and in a holistic way, and focusing on a setting or circumstances from the past, as in my pro'ect is important to investigate the history of the edieval !ark. This research method will serve to find the answer to the first two $uestions. +ecause to understand the area better as a terrain vague, and how it can be transformed into an ade$uate park, its necessary to investigate its evolution in time. 0o its strategies will be used to explore the today,s context of the +'orvika +ay and the development of the @'ord )ity, and the history of the area that is called the edieval !ark. %s tactics, I have chosen to work with the tactics of the "evaluative categories"& the determinative, contextual, inferential and recollective evidence, because they provide the means to construct the image of the each historical period that the edieval !ark has been through. )orrelational research method deals with discovering patterns or relations between specified variables in a particular setting. This method will be used mainly to answer to the third $uestion, of how the genius loci influences the new building. 0o its strategies will be

1.2.2 Objectives

research !uestions

The main ob'ective is to explore ways of "1eclaiming the terrain vague". %fter seeing from the analysis of the edieval !ark that it has some of the traits of the terrain vague, being characterized by indeterminacy and being ruptured form the area surrounding it, my main goal became to find solutions for its integration in the network of attractive public spaces. The $uestion for the urban strategy is how to transform a terrain vague into an eligible park with public facilities, so the theme of reintroducing the edieval !ark into the network of green spaces. The architectural strategy is "resuscitating the past", and the $uestion is how the spirit of the place influences a new building, and how the new building can emphasize the genius loci of the respective place.

0imona +ontea. Reclaiming terrain vague/ Medieval Museum and Park 5

used to find the relations between the two. %s tactics to work with have been chosen the tactics of "collecting data"& observations, mapping and archives, because they are necessary for the process of defining what the genius loci of the edieval !ark consists of. 1.2.$ %ata anal#sis In this part is presented the data analyzed for my themes. In the literature review are presented books and articles whose sub'ect deal with the topics of the three previous stated research $uestions. %nd in case studies, there are two situations analyzed, that gave answers to similar $uestions. In the end there are conclusions drawn, as to what can be learned from each review, and applied to my particular situation, to be able to construct a proper strategy. &iterature revie': To answer to the first $uestion, of how the terrain vague can be reclaimed, I have studied the notion of terrain vague and the other related concepts. "Terrain vague" is a term introduced in 3??> by the professor Ignasi de 0ola orales. *e defines it as an area that is without specific limits and hard to define, and where "the memory of the past seems to predominate over the present". *e says that the architect has a problematic role when dealing with this kind of spaces, because he is used to imposes limits, forms and order, that are not the right way to treat the vague terrains. "n the contrary, he says that because the city inhabitants look for forces, for the incorporated, the haptic and the rhyzomatic, the architect should act in terrain vague by paying attention to the continuity of forms, rhythms and energies that were established by the passing of

time, and by treating it in a matter that will not destroy the elements that maintain its continuity in time and space. 0o what I can learn for my pro'ect is that I should treasure the elements that made the space what it is today and accentuate the flows and energies of it. -aura .elaney 1uskeepaa is an architect that also explores the concept of terrain vague, in particular the $uestion of how can its $ualities be preserved in the context of urban redevelopment, in her pro'ect entitled "*elsinki,s Terrain <ague& %lternative !ublic 0pace and Expectant .esign" 8:43:9. 0he says that even though vague spaces are economic unproductive, they should be allowed to be perpetuated after redevelopment. %nd that space need to be not clearly planned, regulated, owned and maintained, in order to be a place of potential intervention. %nd that the users of public spaces should be given the possibilities to "alter function, materials and configuration, the opportunity to imagine a different use, and the potential to feel temporarily a sense of proprietorship". 0he concludes by saying that is possible to maintain the characteristics of the terrain vague if the design itself is an open and flexible process and if the design,s $ualities are "open and fluctuating, with enough vagueness in spatial definition, regulation and program to leave freedom of the imagination, presence, and authorship of the user". 0o in order to maintain the characteristics of the terrain vague, there should be a degree of flexibility left in the final design, so that the user can have the possibility to intervene. In "Terrain <ague& The future belongs to -andscape %rchitecture", !hilip (rsprung 8:43:9 defines terrain vague as an area that includes track fields, industrial wasteland or old

0imona +ontea. Reclaiming terrain vague/ Medieval Museum and Park >

fortifications, areas with historical connotations, that are at the same time open for unexpected. "The terrain vague is a field where fragments of the old and the contours of the new merge - a place of anachronisms". "In the form of parks, landscape architecture can allow people to experience the process of decay of old industrial areas, while at the same time creating a stage for something new". 0o I take for my pro'ect that the park and its ruins should be combined with new elements in order to offer an enriched experience. %nother concept, is the third landscape, a term that is used by /illes )lement 8:4449 to frame the urban ecologies. It comprises transitional or unused places, undeveloped land and officially designated natural places, as fragments which all form the potential to ensure the future of earth,s biodiversity. *e describes the third landscape as an "unpredictable biological time capsule and a valuable asset for the future in an irreversibly altered environment". %nd he proposes to preserve certain spaces and return them to nature rather than allowing them to become developed. 0o the edieval !ark should have areas that are intentionally left undeveloped, in order to preserve nature as it is. ark ink'an in "The !oetry of .ecay" 8feb. :43=9 talks about how the urban and architectural decay often appeals to the imagination. %nd that the city,s scars are stimuli for the mind, that they raise $uestions, about memories and imaginations of a forgone past, and of potential futures, and they visualize the passage of time. *e underlines once more the importance of preserving the terrain vague. <oids are spaces that are often defined as terrain vague. 0imone !izzagalli underlines the narrative importance of voids in "0pace,

!oetics and <oids" 8:4339. *e draws the parallel between the language and space, in order to show that the city can be interpreted as a se$uence, an arrangement, in which the void has an important place. "<oid contains in itself all the potential of the space, all the relation nor written and experienced". *e makes reference to the spirit of the terrain vague and says that the inspiration for their future design can be found in their own essence. In "1eclaiming urbanity& Indeterminate 0paces, Informal %ctors and (rban %genda 0etting" 8:44>9, Eac$ueline /roth and Dric )ori'n discuss about the phenomenon of informal actors that influence the agenda of urban planning, by their actions of temporary reappropriation and animation of indeterminate spaces. They define these spaces as "left out of time and space" and say that their unclear status may allow for the "emergence of a nonplanned, spontaneous urbanity". 0o I should look for the ways in which people have already used the area and try to learn from them, and carry them further by integrating them into the new design. *eike 1ahmann and arieluise Eones analyze the potential of open spaces in the city of elbourne, %ustralia in "(rban <oids& The *idden .imension of Temporary <acant 0paces in 1apidly /rowing )ities" 8:4339. They are driven by the fact that most of the publications written on this sub'ect focus on the Duropean and #orth %merican contexts, where the discourses are motivated by the conse$uences of shrinkage and urban decline, so they are not applicable to the %ustralian situation of urban growth. %fter comparing different examples, they conclude that the condition of growing of urban density might re$uire a certain

0imona +ontea. Reclaiming terrain vague/ Medieval Museum and Park ;

"gradient between architectural uses". %nd that the urban void can have the role of a "mediator between existing and new". 0o the transition to the new should be done in a smooth way. @or the second $uestion, of how to work with a park that is defined as a terrain vague, I read the paper of landscape architect 7rystallia 7amvasinou, "<ague !arks& the politics of late twentieth-century urban landscape" 8:44A9. 0he explores here three principles of the terrain vague& emptiness, indeterminacy and occupation, and proposes that a new type of urban public space is emerging based on these principles& the vague park. %fter analyzing terrain vague as a model for public space in the city, she says that vague parks emerge through the least-formed design, by setting the rules for occupation to take place, but not the form that this will take. 0he concludes by saying that there is an urgent need to recognize and preserve terrain vague spaces in urban environment, because they make room for some of the most important public value, accommodating indeterminate and collective occupation and offering access to emptiness and openness. 0o there shouldn,t be a final solution offered but rather some guiding principals for the future use, should be proposed. The third $uestion is how the genius loci can have an influence on the new buildings. 0o I explored the concept of genius loci, as presented by )hristian #orberg 0chulz in his book "/enius -oci& Towards a !henomenology of %rchitecture" 83??39. *ere he talks about the concept of genius loci applied to architecture, that means "the spirit of the place" and refers to a location,s distinctive atmosphere. *e says that the atmosphere and character of a place are determined by the inter-play between the heaven, the earth and the optic array and

that a settlement must make the natural structure of the place visible. 0o the elements that shape the place,s character are the $uality of light form heaven and the color and material from the earth,s surface. *e analyzes how a settlement can ad'ust to the natural spatial structure, and he says that it can be done either by emphasizing it 8like it happens in #orway9 either by complementing it 8like in #etherlands or %rabic countries9. #orberg-0chulz states that the interiors of buildings symbolize the = outside elements& floor- the earth, ceiling- the heaven, wallsthe borders of the optic array. %nd that the shape, size and the placement of the windows are the most important place- shaping factor in the atmosphere of a room. 0o what can be learned is that the characteristics of the natural setting need to be carefully identified and analyzed, and made more visible. %nother author that talks about the concept of the spirit of the place is /eorge .escombes. In the essay "0hifting 0ites& The 0wiss Cay, /eneva", from the book "1ecovering -andscape" edited by Eames )orner 83???9 he talks about the philosophy behind his pro'ect "the 0wiss Cay". *e says that to achieve an architecture of place, a haptic and kinesthetic approach to the design is essential. %nd that the differentiations of a given situation should be marked by using the changes in light, position, density, material, geometry and intensity. The logic of the future settlement shouldn,t be determined by prototype solutions and by a "clumsy ,totality, of the master plan" but by "discrete, tactical operations". +ecause, as he believes, even large territories can be restructured through "small, laconic interventions".

0imona +ontea. Reclaiming terrain vague/ Medieval Museum and Park A

In "The 0wiss Cay" pro'ect, the path is seen as a way of researching the landscape, and the walkers are encouraged to "interpret their experiences however they see fit". 0o the conclusions that I can draw are, that the most suitable approach for my area is to amplify the specific characteristics of the place, by using small and tactical interventions and let the users experience the site in their own way. 0o maybe the users can create their own path in their search of discovering the site. Case studies: @or case studies analysis I have chosen two pro'ects that have dealt with the same themes as I do, the terrain vague and the genius loci. &andscha(ts)ar*+ %uisburg, -ord+ .erman# -F In designing the .uisburg-#ord -andscape !ark 8fig.:A9, !eter -atz introduced a new type of treating the terrain vague, described by )arla I. )orbin as "protecting destruction", because his concept was to create a new public park without erasing its former industrial character. "%s such it has set a model for reclaiming terrain vague landscapes". > The park is located on the site of a former blast furnace plant. -atz analyzed what was already there and tried to integrate it in the new design. The park has now different areas, defined by the existing borders, the roads and railways, that are united by waterways and walkways. Dach area has a specific element reconverted, like for example the old gas tanks that are now used as pools by the scuba divers. The designer also took existing elements, like the railroad ties, or steel plates, and reused them for a different purpose than the original one, in order to inspire visitors to make new connections of the present

with the past. It has been declared a "highly successful cultural park". 80teinglass, 3:?9 1eclaiming the terrain vague in this case, meant to work with the elements existing on site, to put value on them by reusing or leaving them 'ust be, and not 'ust integrating but basing the concept of the design on them. 0o in my pro'ect I want to work in the same way, putting in the light the remains of the medieval times. /he -ordic Pavilion -F 0verre @ehn is one of the most representative 0candinavian architect for the theme of phenomenology in architecture, because he repeatedly tried to capture the spirit of the place in his works. "ne of the most known pro'ect of his is the #ordic !avilion 8fig.:69 for the <enice +iennale 83?>6-3?;:9. *ere, he interpreted the #ordic specific features, but not 'ust by imitating them, but by adapting them to the existing context in which was placed. 0o the pavilion was carved into the slope on the southwest corner, and the opposite walls, on the west and north side, were intended to be open in order to allow the existing circulation to continue through the building. The roof structure is composed of 'oists of 3m2;cm at a distance of >:,= cm form each other 8fig.:?9, that block the direct sun rays from reaching the floor. To incorporate the existing trees, the grid is interrupted where they are placed, and the interior rooms are defined by the trees and circulation patterns, rather than by walls. The architect assembled in this pro'ect the existing elements& the topography, circulation, trees, weather, natural light and context. 0o that the pavilion became integrated in the place and could not work elsewhere.

0imona +ontea. Reclaiming terrain vague/ Medieval Museum and Park 6

@ehn didn,t used the clichGs of the #ordic identity, like the wooden huts, but he tried to invoke the shadowless light using local materials and means. *e tried to find the #ordic $uality of light in a different context. "*e is re-telling a story in a foreign language". 8 arc #eveu in ""n stories& %rchitecture and Identity" :4469. Chat I learned form this examples is that I should look at the exiting elements present on the sites and try to integrate them in my buildings, and in the same time, to evoke the #orwegian specific characteristics. 0issing lin*s1 .a)s The data analysis gaps are resulting from my particular situation, where I chose to $uestion the decision of relocation the *istory useum in the edieval !ark. 0o the problematic that I will try to find a solution for, is how a museum, which traditionally is seen as an institution on its own, with certain inflexible characteristics, can work together with a site that needs to be approached in a sensitive way, in order to preserve its valuable characteristics of a terrain vague.

1." 2rban strateg#

1.".1 Research design inter)retation @irst I will talk about the strategies found for the problem of the relation of the site with the bigger area where it,s placed, and then about the strategies for the site itself, defined as terrain vague. %s seen in the problematic chapter, the site is very fragmented and disconnected from its surroundings and from the city center. This leads to my first strategy, that is to integrate the site within its surroundings.

To be able to define this surroundings, I have analyzed where the potential users come from, what are the other close by attractions, what are the other natural recreational areas and what elements give to it a special character. The integration will be done in two ways, making connections and creating networks. )onnections are made from the park to where the users might be coming from, and the networks are going to create relations between the attractions already existing in the park and others similar placed elsewhere. The users will also be of two kinds, the tourists, that will come from the city center, where the main train and bus station are also placed, and from the residential neighborhoods in the close by areas. The connections will consist of public transport lines, pedestrian and cyclists routes, and car roads. 0o I analyzed the existing connections, and I proposed that where they are missing, to be added, and where the $uality of the existing is poor, to be improved. The special attractions of the park are the medieval ruins and the fact that the park itself is a green space area publicly accessible. I have analyzed the maps of the archaeological findings, compared them with the present situation and found that there are ruins not 'ust in the park, but also in other close by areas. 0o the first set of networks will connect this hot spots where the ruins are situated. Then, I analyzed other green areas, and proposed a network of spaces that can be connected to form a bigger system of parks. %fter doing this, I found out that the connections with two of the residential districts can be made by proposing structures over the railways, that will be covered with green, so the green areas become the connections themselves. %lso, after establishing the connections and the networks, and analyzing the end result, I saw that from an area to be connected, it became the connector,

0imona +ontea. Reclaiming terrain vague/ Medieval Museum and Park ?

that was itself, the mean to bond the different residential areas with each other. The same rupture from the surroundings lead me to the decision to eliminate the highway that separates the park and the waterfront, and to deviate its traffic on the streets that get around the park, on the opposite part. %lso, I propose the covering of the railway line that crosses the park. %nother problem noticed was that there are areas that even though they are supposed to be for the larger public, actually can be used only by some lucky few. "ne of this spots is the waterfront located ad'acent to the park, where its proposed to be built a highly luxurious residential area, so very expensive, leaving 'ust two commons to connect physical and visual the waterfront with the park 8fig.=49.; 0o my proposal in this case will be to unite the two commons into one, by extending the edieval !ark until the waterfront . @or the strategies of the edieval !ark itself, defined as a terrain vague, I will make an overview of the findings from the literature review and case studies. @irst I understood that the inspiration for the design can be found in the essence of the vague park and that it,s very important for the contemporary times, to maintain its characteristics. I have to look for the ways in which people have already used the park, for the existing elements present on site and for its special natural features, and find the proper ways to amplify and integrate them in the new interventions. 0econd, my interventions should be made in small and tactical approach, intervening only where is necessary and needed. Then, I should include the users not 'ust in the final result, but also in the process of making it. I should let them experience the site in their own way, by offering guiding principals, instead of 'ust final given solutions, and by allowing a degree of flexibility so that they can have the possibility to intervene when using the site. 0o, the

synthesized strategies are& integrate the existing, act in small interventions and allow flexibility. To achieve this, I needed to analyze how people are now using the park, the special characteristics of it, and the specific natural environment. y findings from my site visits and by searching the internet and reading people,s opinions, are that people like to walk here, relax at the beach and have picnics. They also attend the concerts at the "yafestivalen music festival and participate in the activities of the edieval @estival. 0o my proposals for the park are& to build small buildings scattered around, rather than only an imposing one, to leave a part of the final design of the park open and flexible, for example, people can define the paths according to their interests. %nd to relate to the ways people are using now the park, by making for example, facilities that can be used also for festivals. This facilities can be integrated in the built structures of the *istory useum that is going to be built there, which program I accept to work with further.

1.$ Architectural design

1.$.1 Program .uring my field trips in "slo, I became fascinated with the area of the edieval !ark, so I chose it as an intervention area. %fter researching more information about it, I found out about the proposal of moving here the (niversity useum of )ultural *istory. %nd since the location is well chosen for it, because of the area,s historical importance, I decided to $uestion the proposals made for it, and work further on the program of historical museum. 1.$.2 3trateg#

0imona +ontea. Reclaiming terrain vague/ Medieval Museum and Park 34

The main ob'ective for the architectural part, is to find out ways in which the spirit of the place can influence the new building and how the building can emphasize it. To achieve this I have researched the sub'ect of the "genius loci", and I have presented in the literature review my findings. Chich in short are, that I have to analyze the specific aspects of the site, especially the natural characteristics, and try to give a response to them, either by integrating in the design either by complementing them. +ut this aspect is more for the detailed part, after I have already analyzed the program, and decided the emplacement. I have already presented in the problematic part, the ongoing debate about the relocation of the *istory useum, and the final decision that has been made, of not moving it after all, but extending it where it is. 0o I made a table, where I have put in parallel all the decisions and possibilities, and compared them, by looking at positive and negative aspects and effects. The final result was that the best decision would be to move the museum, but only the part situated at Tullinlokka in the city center, and not he <iking ships from +ygdoy. The arguments for it were& the creation of a network between the different cultural institutions, the views that can be created towards the %kerhus )astle, and most importantly that this move will bring attention to the area of such a great importance, that is now neglected. "ne negative opinion was that the museum will be hidden because of the development near the water front 8fig.=39, in front of the park, but since, a previous decision in the urban strategy part, to unite the commons and extend the park, this is not an issue anymore. The second decision to take was, if all the museum from Tullinlokka should be moved here, or only the edieval useum of it. +efore I did the literature review, I inclined to chose to move the museum as a whole, because I wanted to use also the existing buildings on site, the

empty building of the %ftenposten newspaper and the locomotive workshop building, for administration and laboratories, so I had already a lot of space available. @irst I have analyzed the existing proposals for the museum, and looked at their minuses. "ne was that all of them have worked on the same spot, when clearly there were others that could be taken in account. 0o I made an analysis of the whole area and proposed four locations 8fig.=:, ==, =5, =>9, that I compared to see which has to more $ualities. The one that I chose is the option where the museum is located between the two existing buildings, next to the difference in terrain level 8fig.=59. +ecause is more centrally located in the park, can create physical connections with the other buildings, doesn,t block the view towards the waterfront, it,s in proximity of the ruins so can create relations with them, and can take advantage form the difference in level of the terrain,, by making grass covered ramps that can lead naturally on the roof of the new building. The intention for the museum itself was that the building would be not 'ust a shell for the things exhibited but to induce certain feelings and create atmospheres, inspired from the elements of the medieval times. @or example, the narrow streets, the sinuous tracks, the importance of nature, the way of perceiving arts and light, and life in general. I looked for references, museums that had the same intentions, of inducing feelings& +reche and #oye %rcheological and 1esearch )enterA 8fig.=;9, *istorial useum 1iversaltes6 8fig.=A9, and %rcheological museum and !ark 7alkriese? 8fig.=69. %nd I have researched the specifics of #orwegian medieval environment& the houses made from wood, with dimensions dependent of the log lengths, the carving in wood, the colorful interiors, the calming effect of the horizontal lines of the log constructions, and the typologies of the settlements.

0imona +ontea. Reclaiming terrain vague/ Medieval Museum and Park 33

Then I translated the re$uirements of the program, and saw that the total surface needed was of almost >4.444mH. 0o, even if using the existing buildings that have =;44mH and ?44mH, there is still a need of a new building of 5>.>44mH. %ssuming that the 3>.444mH for storage can be in the underground, =4.>44mH, in a 3>4m by A4m form, possible on this location, will need to be comprised in a three storey building. If part of it is buried under the hill, the impact will be smaller but it will still make a huge impression on the park.. %nd the railway line will need to be erased and the traffic deviated. %fter deciding all the spaces that are needed for a museum, plus the four submuseums of it, I have made a proposal for the building in this circumstances 8fig.=?9. The first idea for the design of the park, was inspired form the 0olaorales idea of "paying attention to the flows and energies established in time" in the terrain vague. I thought of analyzing the layers of history& the medieval town 8fig.549, the agricultural land 8fig.539, the industrial development 8fig.5:9 and the today situation and reinterpreting their essential characteristics. %n important turn point for my pro'ect was the moment I finished my literature review and drew conclusions. Chen I saw that the way I was going to, was not the most suitable for the area I was working on. !art of this conclusions I have already presented in the urban strategy part. "thers, more related to the architectural strategy are& that the museum should have a flexible use, its interior should be in contrast with the landscape, and must respond to the re$uirements of the small interventions tactics. To research about the program of museum, I have read ""rganization on the Terrain <ague- /ateways to the %rt Corld", where !ierre /uillet de onthoux 83?6A9 presents the transformation of the museum along time. It is stated that today,s museum role has

changed from the original idea of impressing the masses. %nd that museums no longer focus on "tracking down an old and forgotten past" but turn to the future. 0o the present day museum should be a new kind of museum, not 'ust a showcase for things exhibited but it should look for ways to include not 'ust the old past but also the present and the future. %nd should include the users not 'ust in the finite product but also in the process of making it. )arlos -eite in "(rban pro'ects in the ordering conditions"8:4459 says that the architecture of the contemporary metropolis must have "the plasticity that allows it to absorb the net of flows, the wastelands, and the new dynamics present in the disarticulated territory". 0o the new structures that are going to be implemented in the park, should have a degree of flexibility, to be able to respond in a more suitable manner to the needs of the contemporary city. This also helped me to chose the final program, which is the edieval useum. In this way, is more easy to place it in small structures, because it doesn,t re$uire so much surface anymore. %nd since the ruins in the park are from the medieval times, their importance will be more amplified. %lso, in the buildings in the city center, where the museum is currently located, the available space left after the medieval part is moved, can be used for the needed extension. 1.$." Architectural design 0tarting form the strategy of making small interventions, I decided to divide the museum in pavilions. In this way, instead of another closed off institution building, with security and closing time, the museum can function as small structures, that can have a

0imona +ontea. Reclaiming terrain vague/ Medieval Museum and Park 3:

more flexible approach, a :5 hour use, and can be more appropriated by the users, can be more "human". They can provide facilities for the festivals that take place in the summers, and can be used as learning centers about the medieval history by the university, and by the schools that are in the surrounding neighborhoods. Dach pavilion will house a different medieval theme& social life, way of dressing, way of cooking, working the land, crafting, religious aspects, construction techni$ues, etc. I propose that the physical characteristics of the pavilions to be inspired from the medieval model, so to use mainly wood, and maybe even use some traditional techni$ues for construction. In this way it will also be more feasible and easier to construct. The construction process itself can be a learning experience, because it can be done for example during summer workshops, by interdisciplinary teams of students, that study history, architecture, landscape, etc. @or their placement I established the strategic points of the park& the entrances and the proximities of the ruins 8fig.5=9. There are three points through which the users will come into the park, so they will each have a pavilion. Their name will be "!ortal pavilions". Then there are three zones with ruins, so the same, each will have a pavilion, which I named "%rchaeological pavilion". %nd the last interesting point is the connection with the extension of the park towards the waterfront. 0o the last pavilion will be placed as a bridge over the lake. Its name is the ")onnector pavilion". Dach pavilion will be customized for the place where it will be situated, to be able to achieve the main ob'ective, of using the spirit of the place as a boost for the design concept. They will have general characteristics, that come from the common functions that they will each need to have, and specific features, depending on the special traits that each place has, the view points, the natural surroundings and the things exhibited.

The functional areas that the pavilions will incorporate will be& an info point, seating area, working areas for workshops, children playgrounds, exhibition areas, toilet units and view point structures. The "!ortal pavilions" will have very similar structure, because their role is to guide the eye, so they will have a "going though" flow. They will frame the view towards the park, so the basic organization will consist of a free central area open on two sides and all the functions will be aligned on the other two 8fig.559. The ")onnector pavilion" will bring together the two sides of the lake, will take advantage of the accessibility to the water of the lake, and besides the common functional areas, will comprise a coffee shop, which exterior terrace can be used as a concert stage, and a shower and dressing unit because of the possibility of playing in the water 8fig.5>9. The "%rchaeological pavilion" is each oriented towards the ruins, and the shape of the volume itself provides the stairs that lead to a view point over the ruins 8fig.5;9. There are some problems that this solution could be raising, regarding& connections between them, security and #orwegian weather. The connections between them can be solved in several ways. )an be made through visual connections, a computer application, and panels at each pavilion showing the placements of all, and what each has to offer. @or security, one might say that because the museum is split, it will re$uire more security persons, but if we remember that even in the museum in one building, there are a lot of people re$uired because of its size and its internal space division, in the end seven persons is not that much. %lso the organization of the pavilions can be made that the exhibitions are placed in such a way that

0imona +ontea. Reclaiming terrain vague/ Medieval Museum and Park 3=

after the visiting program is finished, they cannot be accessible anymore, only visually present. To deal with the special weather conditions, where the winters are cold and long, the pavilions can be made in such a way to have spaces that can be closed and warmed in the winter, and open in the summer.

1.4 Integration
To find out how the strategies respond to my $uestions, I will first review the main ob'ective, the $uestions, and the urban and architectural strategies, that are to explore ways in which to reclaim the terrain vague as a public park and how the genius loci influences a new building. %fter the analysis that I made of the site I have found several strategies that can help me achieve my ob'ective. @or the urban part, the strategies are& to integrate the site in its surrounding, to make it more accessible, for different type of users, to extend the park by incorporating the two commons that make the relations with the waterfront, and the space in between them. Then the strategies extracted from the literature review and case studies are, to integrate the existing& buildings, the ways in which people are using the park, natural and special featuresI to act in small tactical interventions, and live a degree of flexibility to the final design, so that the users can have choices, for example to let them define the paths. The architectural strategies are& to make a new kind of museum, that responds to the contemporary society needs, to propose structures that people can use in a flexible way, to design buildings smaller in size, and to find the inspiration for their main concept in the spirit of the place. In the end this lead to the implementation of the seven pavilions that will house different parts of the edieval useum, that are placed in the chosen strategic points.

I can say that in a certain way, the strategies respond to my $uestions. @or the urban level, if the interventions in the park are made in a sensitive way, that pays attention to the specific characteristics of the terrain vague, but in the same way offer possibilities to be used as a public park by taking the users in account and offering them facilities that can be used in a flexible way, could be a good solution for the $uestion of how a terrain vague can be used as a public park. %nd by analyzing carefully the specific natural conditions of the edieval !ark and of #orway in general, by trying to give a response to them through finding inspiration for the design from within them, I think the architectural $uestion of how the spirit of the place can influence a new building, will have at least one possible answer. +ut of course, my final solution will be able to respond only partially to my ob'ectives, because my pro'ect is only one piece in the big puzzle of the "slo development, and because there could be a lot more other ways in which a terrain vague can be reclaimed.

1.5 Conclusions
The main ob'ective, of finding ways to reclaim the terrain vague was achieved by the totality of the interventions done. +ut it was achieved only partially, because there could be other possibilities of reclaiming it, and because "to reclaim" can have different meanings. The second ob'ective, of transforming the terrain vague into an eligible park, was accomplished by the new design of the park, that provides the spaces that can be en'oyed by the people& picnic areas, facilities for festivals, seating areas for concerts, spaces for meditation, sport facilities. The architectural goal was to find how the spirit of the place influences a new building. In this case, spirit of the place meant the

0imona +ontea. Reclaiming terrain vague/ Medieval Museum and Park 35

history of the place, the particularities of the nation, and the natural characteristics of the place. The history was evoked by the way in which the museum is divided in pavilions, that resemble the typical #orwegian farm organization, where the activities are spread in different built structures clustered around a courtyard. %nd also by the using of the wood as a construction material. "The #orwegian dream is to live behind a hill each" 8%kkelies van #es, :4469 is also evoked by the emplacements of the museum pavilions. The natural setting has an influence on the buildings in the way in which the trees are all kept, the manipulation of the ground levels are kept to minimum and the way in which the pavilions take advantage from their situation, for example the playing in the water or the orientation towards the ruins. 0o the influence of the genius loci means to pay special attention to the historic and natural setting where the building is situated. %nd of course, it is different from place to place. The urban strategy was to integrate the park in its surroundings. To achieve this, there were made connections with the city center, residential areas and waterfront. It were also created networks with the other green accessible areas. %nd the park was extended until the sea shoreline. % way in which the architecture has changed the initial intentions, was for example, when the program has changed from museum in one building, to pavilions, when wasn,t necessary anymore to remove the railway line, but only to cover it. %lso the pavilions of the museum through their emplacements, are uniting the areas of the park in a more efficient way, that the solution with the one building could. The architectural strategies were to divide the museum in pavilions, to make buildings with flexible use, to find a new type of museum and to be inspired form the genius loci. The flexible use was achieved with the workshop space that each pavilion has, because it can be used by the groups of visitors, by the student associations, or it can be a coffee

shop or a temporary exhibition hall. To be a new type of museum was, the exhibition area was organized in such a way that the things exhibited are placed next to the windows, in such a way that they are visible all the time, even in the night and when the museum is closed. %nd because they are visible, they are also making the people that are spending time in the park, more aware that there is a museum exhibition that can be visited. The genius loci is visible in the design of the volumes and their interior spaces, because they are inspired and determined by the elements of the natural and historic setting. %s for the future, it could be interesting to find out what other results would be, if there would be different approaches. @or example there can be other methodologies used, so they will provide different findings to work with. The ob'ectives for the area could be changed, or the way in which the "reclaiming" is understood. "r the terrain vague can be treated in a different way, to not be reclaimed but to be left as it is today, and 'ust the museum to be implemented, to study what impact it has, and if it triggers itself the development of the area. In conclusion, to refer to the gaps found in the data analysis, one can agree that the final solution found for the implementation of the museum, demonstrates that this kind of program, which is traditionally perceived as being inflexible, can work with a terrain vague, that needs a sensitive approach, if it pays attention and integrates its controversial and valuable characteristics.

0imona +ontea. Reclaiming terrain vague/ Medieval Museum and Park 3>

6ndnotes:

0imona +ontea. Reclaiming terrain vague/ Medieval Museum and Park 3;

)lassified as a +eta level city by the /aC) global network connectivity ranking made for the year :434. http&22www.lboro.ac.uk2gawc2world:434t.html
:

"slo edieval @estival is an annual festival, that takes place two days in Eune, and tries to recreate the medieval atmosphere by organizing activities for children, knights, tournaments, wandering 'ugglers, historical plays, longbow shooting and concerts with medieval songs and instruments. http&22oslomiddelalderfestival.org2
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Jyafestivalen is one of #orway,s biggest music festival held for four days in summer. The festival area consists of four stages. ore than 64 bands played in the park in :44?. http&22oyafestivalen.com2
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+usinesses located in the locomotive workshop building& - % *ansen +likkenslagerverksted -F roofing - Tresgaard EKh DntreprenLrer %0-F construction - @lateTak %0-F roofing - 1efx #orge %s-F sound instruments - )ramo %s-F rental and leasing - Ivar -angberg /reftegreff-F photographic studio - 1yen %s Truck-(tleie-F truck rental - +arents Dxplorer-F sport diving +usinesses located in the ad'acent sheds& - Inger Eunno 0andhandel-F wholesale trade - "stkanten +ilutleie as "slo-F car rental
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7rystallia 7amvasinou "<ague parks& the politics of late twentieth-century urban landscapes"

The seven public commons are open spaces that connect the city center with the @'ord )ity development areas. The commons and the waterfront promenade have commercial and recreational activities.
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+reche and #oye %rchaeological and 1esearch )enter-F reinterprets the themes of primitive architecture, dug into the rock.
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*istorial useum 1iversaltes-F material encounters the symbol in the form of a space inclined toward the heavens. The museum emerges from the ground 'ust enough to mark its presence.
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%rcheological useum and !ark 7alkriese-F the building and the park work together to create a setting where the 1oman roads and the dense network of /erman trails are highlighted