Remake Remake. Lukas Johnell. Peter Lynch, Nina Lundvall, James Payne, Elizabeth Hatz. Supervisor. Examiner

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Per Franson Examensarbete inom arkitektur, avancerad nivå 30 hp

1 Remake Remake Lukas Johnell Handledare/ Supervisor Examinator/ Examiner Peter Lynch, Nina Lundvall, James Payne, Elizabeth Hatz Per Franson Examensarbete inom arkitektur, avancerad nivå 30 hp Degree Project in Architecture, Second Level 30 credits 25 maj 2018

2 thanks to all of you who have contributed to this project, it would not have been possible without you. 2

3 index...3 thesis booklet...4 the reconstruction...8 presentation panels...39 sketches...42 remembered spaces...50 index 3

4 thesis booklet 4

5 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. JL Borges. Pierre Menard, author of the Quixote. Definition of RECONSTRUCT transitive verb : to construct again: such as 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

6 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. One can say that the city itself is the collective memory of its people, and like memory it is associated with objects and places. The city is the locus of the collective memory. This relationship between the locus and the citizenry then becomes the city s predominant image, both of architecture and of landscape, and as certain artifacts become part of its memory, new ones emerge. Aldo Rossi. Architecture of the City. To compose the Dramaten at the beginning of the twentieth century was a reasonable undertaking, necessary and perhaps even unavoidable; at the beginning of the twenty-first, it is almost impossible. It is not in vain that a hundred years have gone by, filled with exceedingly complex events. Amongst them, to mention only one, is the Dramaten itself. Since reconstructing the form of the building would not result in a resurrection of the dead building nor is desired, I will instead aim to reconstruct the building by recreating the mental picture of the building, reconstruct the building as it once was perceived by the city. 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

7 But just as the archaeologist builds up the walls of the building from the foundation that have remained standing, determinates the number and position of the columns from depression in the floor and reconstructs the mural decorations and paintings from the remains found in he debris, so does the analyst proced when he draws inferences from the fragments of memories, from the association and from the behaviour of the subject of the analysis Sigmund Freud. Constructions of Analysis. 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. 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 (plan, section, axonometric and detail), and large scale models (interiors, details). In this work Dramaten will keep its function as a theatre, but the gathering of memories will not focus on function of the different spaces, but the spaces themselves. The program for the new spaces will be researched from other contemporary theatres as well as separate interviews focusing on function of the theatre. I will try to stay objective toward the memories, and not re-evaluate or question their architectural qualities, but everything drawn will be drawn by my hand. The new building will follow modern standards in building, comfort and social values. We may live without her, and worship without her, but we cannot remember without her. John Ruskin. Seven Lamps of Architecture A group of blind men heard that a strange animal, called an elephant, had been brought to the town, but none of them were aware of its shape and form. Out of curiosity, they said: We must inspect and know it by touch, of which we are 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. Architecture serves as memory, and we all have memories from it, but could a reconstruction of those memories serve as a reconstruction of the architecture? 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

8 the reconstruction 8

9 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

10 photograph of the main entrance, façade toward nybroplan birgitta manners stålhammar. dramatikens hus 100 år, s 35. birgitta manners stålhammar och carlsson bokförlag,

11 assembled memories of the façade toward nybroplan 11

12 photograph of the recontructed stage entrance, facade toward nybrogatan paper & wood modell, 1:20 12

13 photograph of the lobby manners stålhammar. dramatikens hus 100 år, s 41 13

14 assembled memories of the main entrance 14

15 photograph of the recontructed lobby paper & wood modell, 1:20 15

16 photograph of the lobby manners stålhammar. dramatikens hus 100 år, s 49 16

17 remembered detail of bar lamp 17

18 assembled memories of the foyer 18

19 photograph of the recontructed foyer paper & wood modell, 1:20 19

20 photograph of the stage & auditorium stefan schäfer, lich - eget arbete, CC BY-SA 4.0, 20

21 remembered detail of the proscenium arch 21

22 assembled memories of the auditorium & stage 22

23 photograph of the recontructed stage paper & wood modell, 1:20 23

24 photograph of the royal staircase manners stålhammar. dramatikens hus 100 år, s 67 24

25 photograph of the recontructed royal staircase paper & wood modell, 1:20 25

26 assembled memories of the surrounding 26

27 hamngatan raol wallensbergs torg an am n sgat nen ybr oh ingemar ber gmans gata 2 1 1:250 site plan of the surrounding an ropl nyb 3 4 öfsga tan nybroviken alml 6 5 si b y l l egat an ogata n nybr bir g rl er ja nd v ägen ar ga t an main entrance (nybroplan) bar entrance (nybrog.) stage entrance (nybrog.) stage door (almlöfsg.) loading door (almlöfsg.) royal entrance (sibylleg.) st r a väp n

28 aseembled memories of the entrance fl oor 28

29 plan of the entrance fl oor 1: lobby 2 ticket booth 3 sound & light lock 4 wardrobe 5 auditorium, parquet 6 ticket hall 7 bar 8 stage 9 stage wing 10 reception 11 stage managers offi ce 12 dressing rooms 13 royal lobby 29

30 aseembled memories of the fi rst fl oor 30

31 plan of the fi rst fl oor 1: foyer 2 sound & light lock 3 wardrobe 4 auditorium, fi rst bacony 5 private box 6 café 7 actors foyer, green room 8 dressing rooms 9 royal foyer 10 royal box 31

32 aseembled memories of the second fl oor 32

33 plan of the second fl oor 1: foyer, balcony 2 sound & light lock 3 wardrobe 4 auditorium, second bacony 5 private box 6 managers offi ce 7 secretarys offi ce 8 offi ces 9 dressing rooms 33

34 aseembled memories of the third fl oor 34

35 6 5 3 plan of the third fl oor 1: black box 2 sound & light lock 3 wardrobe 4 auditorium, third bacony 5 canteeen 6 dressing rooms 35

36 section through the auditorium 1:250 36

37 section through the foyer 1:250 37

38 façade toward nybrogatan 1:250 38

39 presentation panels as presented on diploma days 1/

hamngatan raol wallensbergs torg 2 3 nybroplan site plan of the surrounding 1:250 1 4 nybroviken 6 5 strandvägen väpnargatan 1 main entrance (nybroplan) 2 bar entrance (nybrog.

) assembled memories of the surrounding 12 11 10 7 6 4 9 2 plan of the entrance fl oor 1:250 aseembled memories of the entrance fl oor 1 5 8 3 2 4 9 13 1 lobby 2 ticket booth 3 sound & light lock 4

40 hamngatan raol wallensbergs torg 2 3 nybroplan site plan of the surrounding 1: nybroviken 6 5 strandvägen väpnargatan 1 main entrance (nybroplan) 2 bar entrance (nybrog.) 3 stage entrance (nybrog.) 4 stage door (almlöfsg.) 5 loading door (almlöfsg.) 6 royal entrance (sibylleg.) assembled memories of the surrounding plan of the entrance fl oor 1:250 aseembled memories of the entrance fl oor lobby 2 ticket booth 3 sound & light lock 4 wardrobe 5 auditorium, parquet 6 ticket hall 7 bar 8 stage 9 stage wing 10 reception 11 stage managers offi ce 12 dressing rooms 13 royal lobby plan of the fi rst fl oor 1:250 aseembled memories of the fi rst fl oor foyer 2 sound & light lock 3 wardrobe 4 auditorium, fi rst bacony 5 private box 6 café 7 actors foyer, green room 8 dressing rooms 9 royal foyer 10 royal box ingemar bergmans gata almlöfsgatan birger jarlsgatan nybrogatan sibyllegatan nybrohamnen presentation panel 1 diploma days, 1/ presentation panel 2 diploma days, 1/

9 7 8 6 3 5 plan of the second fl oor 1:250 aseembled memories of the second fl oor 4 2 1 3 1 foyer, balcony 2 sound & light lock 3 wardrobe 4 auditorium,

the third fl oor 1 4 2 3 1 black box 2 sound & light lock 3 wardrobe 4 auditorium, third bacony 5 canteeen 6 dressing rooms section through the auditorium

41 plan of the second fl oor 1:250 aseembled memories of the second fl oor foyer, balcony 2 sound & light lock 3 wardrobe 4 auditorium, second bacony 5 private box 6 managers offi ce 7 secretarys offi ce 8 offi ces 9 dressing rooms plan of the third fl oor 1:250 aseembled memories of the third fl oor black box 2 sound & light lock 3 wardrobe 4 auditorium, third bacony 5 canteeen 6 dressing rooms section through the auditorium 1:250 section through the foyer 1:250 façade toward nybrogatan 1:250 presentation panel 3 diploma days, 1/ presentation panel 4 diploma days, 1/

42 sketches 42

43 green room ticket hall & bar managers office detail of clock & managers office 43

44 managers corridor detail of cloack check & stage main entranve main entrance & lobby 44

45 facade toward nybroplan lejonkulan and sibyllegatan lobby main entrance & lobby 45

46 foyer canteen detail of canteen window detail of proscenium arch 46

47 auditorium stage auditorium, detail of boxes detail of stage door 47

48 stage entrance stage entrance detail of make up table detail of revolving stage 48

49 detail of pilar & foyer auditorium siteplan first floor 49

50 excerpt from remembered spaces 50

51 index remembered spaces HOUSE & FRONT OF HOUSE Basement Lejonkulan (stage) - Lobby - Bathroom - Wardrobe - Stage Entrance floor Lejonkulan (stage) - Entrance Main entrance - Lobby - Ticket booth Vestibule - Vestibule - Corridor - Bathroom Stairwell Café - Salon - Bar Coat check - Wardrobe - Stair - Bathroom Auditorium - Parquet Royal box - Entrance foyer - Stairwell First floor Coat check - Wardrobe - Stair - Bathroom Auditorium (first balcony) - Balcony - Box Foyer - Foyer - Balcony Café - Café - Corridor Royal box -Stairwell - Foyer - Box Second floor Stairwell Coat check - Wardrobe - Bathroom Auditorium (second balcony) - Balcony - Box Foyer - Balcony Third floor Stairwell Coat check - Wardrobe - Bathroom Auditorium (third balcony) - Balcony - Box Tornrummet (stage) Målarsalen (stage)

52 index remembered spaces STAGE & BACKSTAGE AREAS Basement Stairwell Stage technicans room - Stage technicans lounge - Stage technicans dressing room Trap room Sound studio - Sound studio - Passageway Study Entrance floor Reception - Reception area - Offi ce Stairwell First floor Stairwell Stagemanger s office Private dressing rooms Stage - Stage - Wing, right - Wing, left Corridor - Corridor - Elevator - Bathroom Actors foyer - Actors foyer - Study Second floor Stairwell Private dressing rooms Third floor Stairwell Private dressing rooms Electrical workshop Fourth floor Stairwell Private dressing rooms Corridor - Corridor - Elevator - Kitchen - Bathroom - Offi ces - Gangway Secretary s office Manager s office Nurse s reception Fifth floor Stairwell Corridor - Corridor - Elevator Dye-works - Dye workshop - Patina workshop Canteen - Canteen - Kitchen Costume storage Rehersal area - Corridor - Rehersal room 1 - Rehersal room 2 - Rehersal room

53 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

Intervention for the specific

Intervention for the specific -an architectural dialogue with the historical city of Visby Lisa Ekström Handledare/ Elizabeth Hatz, Peter Lynch Supervisor Examinator/ Examiner Per Franson Examensarbete