“A clock that removes the right time, restores true time”. John Hejduk

condition # 2_Shoyna Dissected






1500x1500_2 kopi

The project Shoyna Dissected-Chests of Sand takes part in a changing nature if aims are to confront society with a building that demonstrates environmental loss. Fishing families founded Shoyna in the 1930s. An abundance of fish and sea life led to prosperity within the collective farm organized there, and by the 1950s some 1,500 persons lived in Shoyna with a fishing fleet numbering more than seventy vessels. Shoyna has today the appearance of a Ghost from the past. Shoyna Dissected- Chests of Sand is based upon the present state of housing, and searches for a new construction – a new way of accepting the nature of Shoyna. Can the predicted future of such a place become a discovery of a new start?

It began in the 1980s when the rustle of sand blown against the outer walls of Shoyna’s bulidings took on a different timbre and became something more, a dark whisper full of portent. A tide was coming ashore, but this time it was not water. It was sand. And if you want to indulge in a sense of drama, it was the sand of retribution. Years of misalignment between local fishing practices and the marine ecosystem they harvested, had scraped the ocean floors clean of their marine lifeforms and their intricate systems of checks and balances that had held these submerged sandy steppes in equilibrium through untold seasonal cycles. Now the ocean floor began coming ashore. It began piling up against homes. Shoyna began sinking.

It wasn’t until the beginning of the 1990s, though, that this ominous trickle transformed into a flood. In the 90s the sand began to come in waves that could literally submerge a house in the span of a single night. The arrival of these devastating waves coincided with the advent of Perestroika and Shoyna’s subsequent loss of the political and organizational systems that had sustained the township so far. To the inhabitants of this remote hamlet, it must have seemed like the end of days. Two great floods began to wear at the cohesive social fabric of the town – the great current of sand piling onto and into the settlement, and an equally woeful stream of people departing from it.

In the last decade things seem to have stabilized somewhat for the town. But Shoyna is still a place at the mercy of the sands inadvertently set loose by its own inhabitants. It still appears poised to go the way of Atlantis into an ocean of sand.

The landscape of Shoyna is perhaps one of the most unique and emotionally poignant symbols of humankind’s present involvement with the environment. The calendar function that this Russian settlement at the coast of the White Sea has taken on is one of gradual erasure.

I think it is of great importance that we as architects, through constructed space, are searching for the edges, the untold and the loss of Nature.  “We need to ask how directly and how forcefully a given community is impacted by the cycles of The sun and moon; by ebbing and flowing tides; by shifts in the seasons, stars and planets, life and death; by the arrivals and departures of migratory life”; – How we live in and make use of the Nature that surrounds us.

The drawings of Shoyna are mapping a current state of Place. By detailed measurements the village is, in its potent state, being evaluated – according to the amount of light and darkness. The project is being represented by a set of large-scale drawings and models. Measurements were done together with curator Luba Kuzovnikova and the drawings were exhibited at Shoyna.

The models are divided in two parts.

Phase 1_ Exploring tools for sand. Outside each door in Shoyna there is a shovel, a shovel that are meant for sand. The shovel is a poignant symbol of survival. The tools were made at a workshop at Oslo school of Architecture and design, under professor Neven Fuchs-Mikac.

Phase 2_ The tools were adjusted towards an architecture. Spatial properties were further explored. The result shows six wooden constructions.The landscape of Shoyna is perhaps one of the most unique and emotionally poignant symbols of humankind´s present involvement with the environment. The calendric function that this Russian settlement at the coast of the White Sea has taken on, is one of gradual erasure.

Проект архитектора Яна Гуннара Шелдсея – результат трех походов по побережью Финнмарка и Кольского п-ва, и самой последней резиденции в поселке Шойна Ненецкого округа. В прошлом процветающий рыбацкий поселок с консервным заводом всесоюзного значения – его окрестили в свое время «новый Мурманск», Шойна представляет собой призрак своего прошлого,  будучи наполовину погребенным под песками в результате чрезмерной рыболовной (траулерным способом) деятельности в послевоенное время.

Проект “Шойна рассеченная” – это и исследование возможностей жилой архитектуры в жестких условиях песчаных бурь, и сигнал тревоги от лица хрупкой арктической природы. Проект также является попыткой примирения с силами природы: может ли предсказанное трагическое будущее места обернуться новым началом?



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