NATURUM in the Limhamn quarry

+33,300

+15,500

+8,100

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STITCHING A SCAR, Naturum limhamns quarry

Course - architecture in the contemporary

Location - Lund, Malmö

semester - 6th, 2022

Duration - 11 weeks

When the city of Malmnö decided to transform the limestone quarry into

a nature reserve in 2011, it was of ”great importance” to preserve the industrial historical remains and ensure that the industrial history wouldbe evident in the futurenature reserve and its surroundings. Today, there are traces of an abandoned cement industry, where nature has reclaimed what once was taken. The purpose of this Naturum is to narrate the past while stimulating conversations, thoughs, and emotions about what has become of the area, and potentially what it could become.

“Architectural monuments throughout history have served to remind us about past social and political dramas, and about the urgency of historical references in the shaping of future scenarios. Perhaps the architectural monument in the era of the Anthropocene may prompt contingency in the collective agreement on rules and values, which will be essential for the necessary restructuring of urban planning and development praxis.” (Dahl 2020)

Times are changing, and so is architecture.

Contemporary architecture is a vibrant discipline that captures the essence of our contemporary world. It contains the

latest technological advancements, prioritizes sustainability, and acknowledges our profound impact on the environment.

In the context of the Anthropocene, where human activities have become a geological force, architects face the challenge

of designing spaces that address the complex ecological, social, and cultural issues of our time. This era evokes architects

to embrace innovative approaches like adaptive reuse, renewable materials, and resilient design, aiming to create built environments that harmoniously integrate with nature while adapting to the evolving needs of society.

Abstract

This course has provided me with a unique opportunity to take a deep dive into the dynamic realm of contemporary issues, using metaphors to enhance complex design. Through immersive weeks of workshops, seminars, lectures, guidance, and site visits, I have crafted a concept that tackles one of the 17 global goals, employing the power of a metaphor. My project centers around the metaphor of “restoring,” aiming to uncover and revive the captivating narratives embedded within the old factory site, shedding light on its history and its remarkable transformation into its present state.

The Quarry

“Limhamn’s limestone quarry is a highly valuable industrial heritage site. The lime and cement industry played a crucial role in Limhamn’s history, serving as the foundation of the entire community. It is of utmost importance that this history is conveyed in the future nature reserve and its surroundings. Preserving the few industrial historical remains in and around the quarry is essential to achieve this.”(Schlyter 2010, My translation)

Located east of the Øresund Bridge, Limhamn’s limestone quarry has been a site of limestone extraction since the 1860s, which continued

until the mid-1990s. After cement extraction ceased in the quarry in the 1990s, the site remained abandoned until 2011. In that year, a decision was made to initiate a comprehensive transformation of the 91-hectare “hole”, which extends 65 meters below the water surface, into a nature reserve. This decision was made due to the unique habitats that had developed in the sandy and warm environment created by the remnants of the cement industry. (Länsstyrelsen n.d.)

Exploring the Quarry

Today, it takes about an hour to walk around the quarry. To descend into the quarry, one must either climb over large barbed wire fences, or book a guided tour. Many areas within the quarry are still dangerous to explore independently, as much of the sandstone is loose along the cliff edges. As well as the abandoned industrial buildings significant 40-meter steeps, without any railings. However, being inside the quarry provides a completely different experience than observing it from above. It is calm, warm, and enveloping. The contrasts created in comparison to the rest of Malmö contribute to an exciting combination of savannah, desert, and wetland characteristics at the site.

SDG Workshop

Greater emphasis was placed on the Sustainable Development Goals. One of the 17 goals needed to be applied through the use of a metaphor. I found inspiration in SDG

15: “Life on Land”. I aimed to focus on protecting, restoring, and promoting sustainable use of ecosystems and showcasing the unique biodiversity within the limestone quarry, while also educating visitors about the importance of preserving and restoring natural habitats.

My intention was to use my Naturum as a storyteller about what

has happened to the site: what it used to be, what it has become,

and what it could potentially be. This story would permeate both the industrial and ecosystem-related aspects. The goal was never to blame the industry, but instead to create a discussion and thoughts about its potential positive and negative impacts on biodiversity and ecosystems. This concept was metaphorically represented as “raising the restoring”

Metaphor “restoring“, giving back to the Quarry

Is the abandoned factory giving back to the ecosystems? Was this abandonment something good for the biodiversity?

Inspirations

Much of my design has been inspired by architects and architectural theorists from around the world. One of the greatest inspirations has been Lebbeus Woods, and his “Havana project”.

Lebbeus was not only an inspiration for his creative and experimental drawings, but also his way of displaying how architecture can act upon social and political change. This by pushing traditional architecture and exploring unconventional ideas and challenging the established norms, thinking critically about the relationship between architecture, society,

and politics, highlighting the transformative power of visionary thinking in the field of design.

This is something I wanted to embrace, but instead of political and social change, engage in the conversation about climate change and educate society that maybe it’s not too late for change.

Zeitz MOCAA Cape Town – Thomas Heatherwick (Baan 2017)

Conical Intersect 1 (Matta-Clark 1977)

Drawing by Malevich (Malevich 1916)

Sunset Spectacular (Wiscombe 2021)

Havana Project by Lebbeus Woods (Woods 1994)

High Houses (Woods 1995)

Ningbo History Museum by Wang Shu (Chenzhou 2017)

Parasitic behaviour

One significant aspect of the project that underwent

changes after the workshops was my approach to the

Factory. I made a deliberate decision to immerse myself

within the Factory, breathing life back into its essence. To

achieve this, I devised a design that involved a structure

penetrating the three silos, creating new interconnected

spaces that simultaneously with the existing factory

eloquently portray its rich history.

Establishing a dialogue between the parasitic structure

and the building involved a daring experiment, aimed

at extracting negative spaces from within the factory.

These voids became fertile ground for the exploration of

diverse spatial typologies. The parasite, constructed using

salvaged elements from abandoned industrial nearby,

was thoughtfully inserted within these voids. Supported

by beams and pillars, these assembled volumes form

areas that may appear enigmatic at first glance, but

beckon visitors to embark on a curious journey through

the captivating “industrial forest.” The aim is to evoke a

sense of being in a workplace, navigating safely through

uncertainty.

The added volume interacts with the industrial building

akin to the quarry’s relationship, while the building

embraces the parasite as a newly incorporated factory.

The varying heights and scales introduce a multi-

dimensional experience, enabling visitors to develop a

deeper understanding. Static and dynamic encounters

combine to establish distinct relationships within the

space. The intention is to provoke visitors to grasp the

quarry as a whole, despite its vast and distant nature.

Such an immersive environment should encouraging

visitors to delve into the narrative and essence of the site

and spark questions such as:

What is this parasite doing for the quarry today?

Was the factory a parasite to the quarry when it was built?

What purpose does this space serve in relation to the industry and the quarry?

Final results in negative space + adding parasite

The parasite is built upon generic industrial forms which is taken from abandoned factories close by, and stitched together to a uniform volume.

Moving around in the “Industrial Forest“

Strengthened construction by pillars and beams Notion of vizual scale

Easy/bare construction

Reviving elements

Unspecified movement

Site 1:1000

asphalt

greenery

limestone

PLAN AT +33,300

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Plans 1:200

PLAN AT +1,000

1. Ticket office/Counter

2. Toilet

3. Naturum shop

4. Main Exhibition Space

5. Movie space

6. Temporary Movie Space

7. Observation Deck

8. Staff office

9. Naturum Café

10. Toilet

11. Building Services Plant Room 12. Park Exhibition

Concrete slab

concrete board 250mm insulation 200mm

wooden framework 600cc plywood sheet

concrete finish

bolts and shears hold together the connecting angels to the slabs

Steel slab

steel panel

omgeda profile 600cc insulation

wooden framework 600cc plywood sheet

steel panel

silo, concrete

Detaildrawing

Stitching the parasite together, aswell as stitching it to the existing silos will be a challenge at a level of great craftsmanship.

Exploded Axo

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Section BB 1:500

The factory and the parasite engage in

an ongoing dialogue, with moments where

the parasite takes

the spotlight, while

other times the silos regain their voice. The diagram illustrates

an opportunity for

the silo to express

itself independently,

as the parasite

allows it to have a dedicated platform

for communication. Additionally, a projector system is incorporated to enable temporary installations, creating a dynamic space where both the silo and art can take center stage based on the desired focus.

Physical Models made Above, an volume model of the parasite in the factory

Underneath, an cut out part of the parasite/silo connection

Final Thoughts

Construction

I am happy with the constructed parasite and how it handles the existing building. My goal was to minimize the footprint while incorporating a majority of reused elements in the building. This design generates spaces themselves, which become the entire project when the assemblage of the parasite meets the existing context. I am satisfied with the

result, but I could have also explored further how the relationship between the existing and added elements could have interacted with each other.

Flexibility and Use

The use of the building is fairly straightforward. The rooms are defined, although the exhibitions are more fluid. In

the main exhibition space, it is the scale, the encounter between the new and old elements together that drives the exhibition, while the silos can act as an exhibition on their own or be projected into other exhibition spaces. I believe

that the interaction and relationship between these spaces, along with observing from the platform and the park below, contribute to a dynamic atmosphere.

Site

The location itself became evident quickly. I wanted to have minimal impact on the environment, and the abandoned roads and parking lots of the factory were clearly a step in the right direction. The southern sun and the view over the entire quarry made it an obvious choice that I am pleased with.

General

The future consequences of climate change remain uncertain, making it challenging to predict the full extent of our current actions on what lies ahead. Designing a building with the intention of prompting contemplation about this abstract and daunting future is no easy task. Perhaps, embracing an experimental approach like this is the right path to tackle such issues. It allows us to navigate uncharted territories, encouraging individuals to confront and grapple with the complexities of an uncertain future.

I am content with my result and what has been achieved. Working continuously in three dimensions with the metaphor in mind created clear visions for me. Perhaps this is a project that needs some time to be fully appreciated, so maybe

I would have liked to explore more ways to communicate my concept. The process of exploring my design and the complex shaping has been rewarding but sometimes challenging. Through the guidance of my tutors, literature seminars, and workshops, I have been able to address these issues and have grown stronger in understanding the different approaches available.

References:

Dahl, P. (2020). Agency in the Sauna. Ardeth, (6), ss. 189-203. DOI: 10.17454/ARDETH06.14

Länsstyrelsen. (n.d.) Limhamns kalkbrott. https://www.lansstyrelsen.se/skane/besoksmal/naturreservat/malmo/limhamns-kalkbrott.html?sv.target=12.382c024b- 1800285d5863a89a&sv.12.382c024b1800285d5863a89a.route=/&searchString=&counties=&municipalities=&reserveTypes=&natureTypes=&accessibility=&- facilities=&sort=none [2023-05-29]

Schlyter, O. (2010). Planeringsunderlag Limhamns kalkbrott INDUSTRIHISTORISKA LÄMNINGAR. Malmö Stad. http://media.skanesmoderna.se/2016/02/ Rapport_2010_011_low.pdf

Illustrations:

Baan, I. (2017) Zeitz MOCAA Cape Town – Thomas Heatherwick. [photograph] Available at: https://iwan.com/portfolio/zeitz-mocaa-cape-town-thomas-heather- wick/#17082 (Accessed 28 May 2023)

Chenzhou, Z. (2017) Ningbo History Museum. [photograph] Available at: https://www.archdaily.com/798567/spotlight-wang-shu (Accessed 28 May 2023)

Malevich, K. (1916) Untitled. Available at: https://www.guggenheim.org/artwork/2601 (Accessed 28 May 2023)

Matta-Clark, G. (1977) Conical Intersect 1. [photograph] Available at: https://whitney.org/collection/works/43339 (Accessed 28 May 2023)

Wiscombe, T. (2021) Sunset Spectacular. Available at: https://www.archpaper.com/2021/05/facades-tom-wiscombe-architecture-sunset-spectacular-harness- es-aerospace-engineering/ (Accessed 28 May 2023)

Woods, L. (1994) Havana. Available at: https://www.archdaily.com/288469/lebbeus-woods-experimental-architect-dies (Accessed 28 May 2023)

Woods, L. (1995) High Houses, Sarajevo, Bosnia and Herzegovina. Available at: http://hiddenarchitecture.net/high-houses/ (Accessed 28 May 2023)