Torsby Finnskogscentrum

Torsby Finnskogscentrum

Architect
Bornstein Lyckefors Arkitekter
Location
Lekvattned, Sweden
Project Year
2014
Category
Libraries

Restaurants

Museums
Åke E:son Lindman

Torsby Finnskogscentrum

Bornstein Lyckefors Arkitekter as Architects

01-March-2017


Bornstein Lyckefors Architects has transformed a modest school building in the deep forests of Värmland, Sweden, into a public museum celebrating the slash-burn agriculture Finns who settled in the very same forests in the early 1600s. By acknowledging the qualities of the original building, resources could be used to address communicative challenges stressed by the client. An outer facade was erected, signalling the new purpose of the building. Conceived as a wooden palisade this new layer defines an envelope within which the museum can continue to expand, converting class rooms into new exhibition spaces as additional funds are raised. In 2013, Värmland's Museum decided to invest in new premises for its branch Torsby Finnskogscentrum. Commissioned to tell the story of the Finns who settled in the forests of Värmland, Sweden, the museum saw an increased relevance in this story, relating it to today's narrative of global migration. Having previously shared facilities with other institutions they now looked forward to having a building of their own. An old elementary school was found in Lekvattnet in the heart of the old Finn territory, and Bornstein Lyckefors Architects was involved to find a strategy for its physical transformation.


The Torsby Finnskogscentrum project by Bornstein Lyckefors Arkitekter has been announced as the winner of the WAN Adaptive Reuse Award. The architects based in Gothenburg, Sweden put emphasis on narrative qualities in strategic, poetic and communicative architecture. They are currently running against David Adjaye, Rex, Guggenheim Helsinki along with another two projects as finalists in WAN Future Projects Award. The winner of Adaptive Reuse was selected from six shortlisted projects which were chosen by an esteemed jury panel: Nina Rappaport, Publications Director at Yale School of Architecture & Project Director at Vertical Urban Factory, Michael Booth, Associate Partner at Pollard Thomas Edwards, Mat Cash, Architect and Group Leader at Heatherwick Studio, David Jennings, Director at EPR Architects and Ziona Strelitz, Founder Director at ZZA Responsive User Environments. The judges felt that the shortlisted projects highlighted the range of possibilities within Adaptive Reuse, highlighting fantastic examples of what’s possible in this category. They were all in agreement that there was one clear winner on the day.


David was impressed with the simple but strong concept: “I think it’s understood how an existing building might be adapted in the future, but addresses the fact that you want to make the building different. It’s an incredibly simple but very strong concept. I feel the architects have fully understood the brief and actually taken it a step further, by allowing the building to be adapted further overtime.” The fact that the project was achieved on a low budget also impressed the judges with Ziona saying: “I love the fact that this project is so low cost but has such high impact.” Mat continued: “It’s a very low cost, quite innovative approach to an existing building.” Nina particularly liked the combination of old and new styles: “The new raw timber cladding provides a view through to the historic building that becomes a shadow in the form, allowing for integration of old and new in a clever and composed design. The interior surprises while it also attests to the historic value of the site.” David concluded by saying: “I think the concept is so clear and so strong, it takes this project to another level.” The brief asked for exhibition spaces for permanent and temporary exhibitions, as well library and archives. Further, the architects were asked to alter the appearance of the building to clearly signal its new purpose as an outward public institution. The original building had, in its central positioning, some public qualities, but it clearly wasn't a museum. These communicative challenges proved to be what informed the design and the strategy for future development.


25-Jan-2016 Slash-­‐burn architecture, new museum by Bornstein Lyckefors.


Bornstein Lyckefors Architects has designed a new museum and cultural center in an old school in the forest outside Torsby, Sweden. The museum pays tribute to slash-­‐burn agriculture Finns who settled deep into the forests in the early 1600s.


A large group of Finnish immigrants settled in the border between Sweden and Norway and they lived on growing in forest soils by shifting cultivation and left behind a rich cultural heritage. Bornstein Lyckefors Arkitekter has designed a new Museum in the middle of the cultural landscape. The project also includes a library and an exhibition showing the Finns building techniques and crafts, and telling about their history, traditions and folklore. The building used to be a primary school and has been reconfigured for the new purpose. The architects chose to work with raw materials from the forest in the facade. “We wanted the building to communicate the Finn culture nearly as clear as an expression mark”, says Andreas Lyckefors at Bornstein Lyckefors.


To achieve that, the old school building was smutted black and covered with a veil of standing timber. The facade has openings for entry and extra sunlight intake. Protruding wooden boxes also provides space for benches, signage and artwork. The interior and exhibition design is an abstraction of the slash-­‐burn agricultural landscape. On the floor is a printed carpet depicting the burned ground, the walls are covered with mirrors and laser-­‐cut colour strips that create the effect of an infinitely large room and the exhibition stands are mounted on spring green steel racks with diagonal bracing to give associations to the first trees that grew out earth.


1. Logs cover the old school that has been painted black to appear only as a shadow behind the screen of timber. 2. The facade consists of 300 logs that has been cut down in the woods surrounding the museum. They are decorticated, untreated, cleaved in half, and mounted on a rack surrounding the building. 3. The façade timber and boxes are untreated and will age simultaneously. 4. The façade timber has been cut in the forest surrounding the building. 5. The façade timber has been cut in the forest surrounding the building. 6. The protruding wooden boxes work transforms the building to an urban furniture 7. The screen of timber wraps around the building with openings for entry and extra sunlight intake. Protruding wooden boxes also provides space for benches, signage and artwork. 8. The façade timber and boxes are untreated and will age simultaneously. 9. The timber is decorticated, untreated, cleaved in half, and mounted on a rack surrounding the building. 10. The interior is clad in wood and painted black with a gradient transition to resemble the smoke heated cabins the Finns used. By letting smoke pour out at the top of the ceiling the houses were kept warm leaving ash coloured traces as horizontal lines along the walls. 11. The interior is clad in wood and painted black with a gradient transition to resemble the smoke heated cabins the Finns used. By letting smoke pour out at the top of the ceiling the houses were kept warm leaving ash coloured traces as horizontal lines along the walls. 12. Stylized trees from green steel hold the exhibition. 13. The floor is a printed carpet depicting the burned ground 14. The green colour of the tree trunks are taken from small birch shot that just shoots up out of the earth. 15. The exhibition is displaying the Finns building techniques and crafts, and telling about their history, traditions and folklore. 16. The walls are covered with mirrors and laser-­‐cut colour strips that create the effect of an infinitely large room. 17. Agricultural tools for livestock 18. The fire is a central part of the exhibition. 19. Crops on display 20. The fire is a central part of the exhibition. 21. +)


From Wikipedia, the free encyclopedia


Forest Finns were Finnish migrants from Savonia and Northern Tavastia in Finland who settled in forest areas of Sweden Proper and Norway during the late 16th and early-­‐to-­‐mid-­‐17th-­‐centuries, and traditionally pursued slash-­‐and-­‐burn agriculture, a method used for turning forests into farmlands. By the late 18th century, the Forest Finns had become largely assimilated into the Swedish and Norwegian cultures, and their language, a variety of Finnish, is today extinct, although it survived among a tiny minority until the 20th century.


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