can lis.

can lis.
coursework on materials + daylight + understanding architecture.
mallorca 2014.
CAN LIS MAGAZINE
1. udgave, 1. oplag, januar 2015
© Henning Larsen Architects
Research og tekst
Lise Mansfeldt Faurbjerg (Ed.), Klaus Mikkelsen,
Karoline Igland, Thorbjørn Golles, Anne Iversen, Ole
Egelund, Kyd Kitchaiya, Jody Lee Potvin-Jones
Grafisk design og Layout
Lise Mansfeldt
Fotos og illustrationer
Alle illustrationer af Henning Larsen Architects, med
mindre andet er nævnt neden for
Utzon Fonden (s. 2-3)
You have just opened the course curriculum for the Henning Larsen Architects
Can Lis study trip 2014.
The curriculum was originally a “naked” document that the participants
“dressed”. “Clothing” was observations, notes, comments, photos and drawings, thus allowing the participants to create their own personal Can Lis magazine. This particular magazine is composed by contributions from all participants – a common statement of a week of Utzon architecture on Mallorca.
Enjoy.
program.
DAY
DAY
DAY
DAY
DAY
DAY
1
September 29
AM: Arrival Mallorca. Rental pick-up. Check-in hotel.
PM: Can Lis. Curiosity and first impressions.
Excercise 1+2.
2
September 30
Can Lis. Introduction to materials.
Exercise 3+4+5+6+7.
3
October 1
Mallorca North/West: Architecture + nature.
Randa Monesteries, Soller, Cap Formentor etc.
4
October 2
Mallorca by foot: Hiking the East.
Cap Farrutx.
5
October 3
Mallorca Palma: Architecture + history.
Cathedral, Parc de lar mar, Es Baluard, Miró Museum
6
October 4
AM: Can Lis. Wrapping up + final discussions.
PM: Traveling back to Copenhagen/Oslo.
magazine.
TO MEET
meeting can lis
essay: rhythm
can lis dna
11
12
15
TO UNDERSTAND
essay: the innermost being of architecture
material study
registration and investigation of materials
glossary
background knowledge
material rendering: landscape + vegetation
lifecycle analysis
reflectance measurement of a material
linking utzon and mallorcan building culture
18
21
27
34
36
38
40
42
44
TO SEE
razzle dazzle
can lis analoque
49
52
TO EXPLORE
utzon-designed neighbor house
soller
palma cathedral
palau almudaina
randa monasteries
fundacio pilar i joan miro
miro’s sert studio
can ribas
es baluard
parc de lar mar
cap farrutx
cap formentor
66
68
70
72
74
76
78
80
82
84
86
88
TO CONTINUE
practical information
96
to meet.
10
MEETING CAN LIS
by jody lee potvin-jones
Approaching.
Nestled on a narrow cliffside street, the house first appears as a long sequence of
sandstone block walls, mostly without openings, parallel to the street and the cliff’s
edge. The stone seems to naturally belong in the landscape, and its humble character
is gently inviting. The mortar binds the sandstone blocks is a few shades darker than the
stone, and quite thick, making the basic module visually prominent, almost like a grid.
An immediate and dominating impression of privacy emanates from the house’s setting
on the site and its relation to the street, the sandstone walls acting as a protective shell.
Behind the walls, the clustered arrangement of the pavilions is perceptible. Pink and
orange bougainvilleas spill out of one opening and over a wall. Near the middle of
the street-side facade is a simple covered entry, protecting a modest wood door with
a brass handle. A single built-in chair, covered in bold patterned tiles, sits opposite a
column. Even from the street, the sound of waves crashing is a constant reminder of the
house’s proximity to the sea.
Entering.
The door opens. A crescent moon-shaped opening cut out of a mosaic wall offers a
glimpse of the cliffs and the blue sea beyond. From the threshold, none of the house’s
functions are visible, which seems like an invitation to explore and wander. Already a
sense of great privacy and intimacy is perceptible. The experience of entering the house
almost seems choreographed, based on a carefully planned sequence. To the right and
up one step, a small colonnade supports a shady roofed portico surrounding a terrace;
to the left and down one step, the branches of long-needled pines growing behind the
walls provide shade for a small contemplative courtyard. Four closed wood doors are
visible behind another series of square columns. Planters, one with two small trees, and
one with succulents, covered in pine needles, furnish the space along with built-in seats
and a small table, covered in more bold tiles. Across the courtyard, another pavilion and
a path signal that there is more to discover behind the wall.
Touching.
Porous. The sandstone gives an impression of solidity, but also one of impermanence,
almost like it could dissolve or disintegrate if a strong enough storm rolled in. Traces of
weathering and of time passing are visible – mostly in the form of cavities in the stone
blocks and pieces of chipped mortar. The sunlight has an almost material character,
transforming interior and exterior spaces as the day progresses. Fingers are naturally
drawn to the different surfaces where they are warmed and lit by the sun. The nooks
and passages surrounding the buildings are unified by layers of long, dry, rust-coloured
pine needles - a cushioned natural carpet muffling the sound of steps, tempting
for bare feet. On the floors and countertops, the Santanyi sandstone feels dense,
sometimes even polished, in comparison to the gritty Marès sandstone found on the
exterior walls.
11
RHYTHM
essay by klaus mikkelsen
The house sits behind the trees.
Not until in front of the main entrance, one is
sure about this being the correct address.
Towards the door the house takes over.
Across the stone paving –
a small step up –
seeking protection under the roof –
approaching the door –
stop –
the door opens towards the trespasser and
forces him to step backwards.
Inside embraced by sidelights from a proud
crescent penetrating the wall.
At first blinded by the lights i the low antechamber.
Slowly introduced to the first glimpses of the
ocean through the crescent swath.
An open space on the right surrounded by an
intense wall to the left.
Another little step and a door –
his time it pulls you in –
stop.
Through the door towards
the LIGHT –
the VIEW–
the OCEAN.
The house reenacts the role of a choreographer
and creates a rhythmic relation between guest
and building.
This RHYTHM alternately veils and unveils the
fact that the house is situated on a rock shelf
dramatically elevated above the ocean. The
house manipulates the body of the guest in a sly
choreography that embraces both the body and
the senses.
The architectural concepts leave behind a
notion of temple architecture with its use of
expansion and contraction of space. The conscious use of faint and strong light in order to
shape and dramatize the experience has the
effect of pointing the guest towards the host of
the house.
A charming little temple that slowly takes
gentle control over its guests throught quite a
grand architectural gesture.
km
12
13
CAN LIS
the house and its soul
Can Lis was built in 1972.
After Jørn Utzon left the Sydney Opera project in
1966, he decided to settle on Mallorca. The family
first bought land up in the mountains, where Can
Feliz is now located, but in the first instance, the local
authorities would not permit Utzon to build on the attractive mountainside.
So instead Jørn Utzon bought land near Porto Petro,
situated on a steep cliff facing the sea. Can Lis could
then become a reality.
Restoration was carried out between October 2011
and February 2012. The philosophy behind the restoration, undertaken by architect Lise Juel, was born of
a close study of the architectural basis of the house.
The ingenuity of Can Lis lies in its reinterpretation of
traditional Majorcan building methods and the use of
local building materials.
Can Lis was planned as an organic, unified whole, its
layout framing the day-to-day events that marked
Utzon family life. Jørn Utzon’s ideology centred on
this very phenomenon – that architecture is not an
external form: it is primarily the frame that encloses
a collection of ritualized events. Precise studies in 1:1
of the site potential resulted in a set of interim drawings. Based on these drawings and with the help of
the local building contractor Jaime Vidal, the house’s
final design emerged during the course of the building process.
Can Lis has been singled out by several leading architecture critics as one of the most important houses of
the 20th century.
14
CAN LIS DNA
by ole egelund and klaus mikkelsen
Take a piece of A3 paper. Use the paper –
nothing more and nothing less – to create a
spacial structure that expresses the dna of
the house.
Focus on how the structure plays with light.
“
To me Can Lis is all about the views.
Walls appear thick – but actually they
comply with the 40x40x20 cm block.
They are just created to funnel our attention towards the outside.
15
to understand.
essay
The Innermost Being of Architecture
by Jørn Utzon
18
We put everything in relation to ourselves. Our surroundings influence us through their relative size, light,
shade, colour, etc. Our condition depends entirely on whether we are in a city or out in the country side, on
whether the space in which we find ourselves is large or small.
Our reactions to these circumstances are at first quite unconscious, and we only register them on memorable
occasions, for instance in the sublime enjoyment of a detail or a happy alliance with the surroundings or by a
pronounced feeling of distaste.
But to elicit our unconscious reactions until they become conscious to us ought to be our starting point. By
rehearsing our ability to grasp these differences and their effect on us, by being in contact with our surroundings, we find our way in to architecture’s innermost being.
If we want further to enhance our grasp of architecture, we must understand that amidst all changes in circumstances, the architectonic expression is created in an alliance with the social structure. The true innermost
being of architecture can be compared with that of natures seed, and something of the inevitability of nature’s
principle of growth ought to be a fundamental concept in architecture. If we think of the seeds that turn into
plants or trees, evertyhing within the same genus would develop in the same way if the growth potentials were
not so different and if each growth possessed within itself the ability to develop without compromise. On account of differing conditions, similar seeds turn into widely differing organisms.
Our surroundings, the time in which we live, are quite different from what they ever were before, but the innermost being of architecture, the seed, is the same. The study of already existing architecture must consist in
letting ourselves be spontaneously influenced by it and appreciating the ways in which solutions and details
were dependent on the time at which they were created. For the architect to work in sovereign control of his
means, he must experiment, practise in the manner of a musician playing his scales, practise with mass, with
rhythms formed by masses grouped together by colour combination, light and shade, etc.; he must sense with
fervent intensity and generally rehearse his shape-creating expertise.
This requires close familiarity with materials: we have to be able to understand the structure of wood, the weight and the hardness of stone, the character of glass; we must become one with our materials and be able to fashion and use them in accordance with their
constitution.
If we understand the nature of the material, we have its potential close at hand and far
more tangibly that if we base ourselves on mathematical formulae and art forms. To the
architect, mathematics help him confirm that what he assumed was right.
It demands a good healthy common-sense understanding of life. An understanding of walking, standing, sitting
and lying comfortably, of enjoying the sun, the shade, the water on our bodies, the earth and all the less easily
defined sense impressions. A desire for well-being must be fundamental to all architecture if we are to achieve
harmony between the spaces we create and the activities to be undertaken in them. This is quite simple and
reasonable.
It requires an ability to create harmony from all the demands made by the undertaking, an ability to persuade
them to grow together to form a new whole – as in nature; nature knows of no compromise, it accepts all difficulties, not as difficulties but merely as new factors with no sign of conflict evolve into a whole.
To understand all inspiration present in every one of Man’s countless means of expression, to work on the
basis of our hands, eyes, feet, stomachs, on the basis of our movements and not of statistical norms and rules
created on the principle of what is most usual – this is the way forward to an architecture that is both varied
and human.
It is necessary to be in tune with the age and with the surroundings, to see inspiration in the task itself, if the
requirements of that task are to be translated into an architectonic language creating a unity of all the different factors.
At the same time the architct must have an ability to imagine and to create, an ability that is sometimes called
fantasy, sometimes dreams.
Jørn Utzon, 1948
19
Marés sandstone
Majorcan sandstone was traditionally used as a building material for houses, country homes and auxiliary
farm buildings. The outer walls and columns in Can
Lis use this type of stone in a cavity wall construction: an innovative reworking of traditional Majorcan
building methods.
Santanyi sandstone
A Majorcan sandstone with a higher density than
Marés, Santanyi is ideal for flooring, interior walls
and kitchen worktops.
Other materials
The main roof construction is composed of modular
tiled vaults called “bovedillas” supported by armoured concrete beams. The interior walls are Santanyi sandstone, as are the floor, the built-in shelves
and the worktops in the kitchen. All woodwork is
Madera Norte, a Majorcan pine.
20
MATERIAL STUDY
by thorbjørn golles
The Marés sandstone is the recurring material motif
in Can Lis.
The stone is being used as the structural – load-carrying – space-creating element in the facade and the
internal walls.
As one’s first impressed experience of the house and
its comtemplative rooms draws one towards the view,
one’s hands finds the warm surfaces of the limestone.
Hands and gaze explore the stone together.
Closer to the stone one beholds and focus on the
stone, one lets the hands run along the surface, one
feels the outline and the uneven joint – and then the
next stone. Rough, sharp, soft, smooth, cold, warm.
The stone has numerous manifestations.
Quickly one realizes that even though it is the same
material – the limestone – each stone has its own
character and texture created by carving and weather. Together with sunlight and daylight the stone create beautiful room.
The next pages display a small recapitulation of the
study of different individual stones – chosen randomly – from the patio.
The stones have been examined through the following parameters:
•
•
•
•
Limestone in its natural deposit
Photo documentation
Pixelation: Shows an abstraction of the colors
Photo study: Contrast between light/dark
Hand sketch: Interpretation of the experienced
stone characteristics
Different textures of the stone
Framing the view
21
STONE no. 1
Photo
Pixelation
Photo manipulation: Light/darkness
Hand sketch
22
STONE no. 2
Photo
Pixelation
Photo manipulation: Light/darkness
Hand sketch
23
STONE no. 3
Photo
Pixelation
Photo manipulation: Light/darkness
Hand sketch
24
STONE no. 4
Photo
Pixelation
Photo manipulation: Light/darkness
Hand sketch
25
26
REGISTRATION AND INVESTIGATION OF MATERIALS
by lise mansfeldt
The following pages comprise a systematic registration of selected materials present in Can Lis.
The registration is equally focused on architectural
and technical properties – many of which coincide,
cooperate or simply coexist.
Materials were selected for their dominance in the
house. Both quantitatively as well as aesthetically. The
study is not only a study of one single house, but can
be applied to most traditional house and buildings on
Mallorca. Can Lis, however, displays a significantly
“pure” version of the Mallorcan buidling material
palet, chosen carefully by Jørn Utzon to emanate
the Mallorcan soul – but in a both simpler and more
extravagant version.
27
EXERCISE 3
registration of materials
WHAT
28
WHERE
marés
limestone
Outer/inner walls
+
columns
santanyi
limestone
Flooring
+
kitchen stove
wood
Window frames
+
doors
+
shutters
concrete
painted
white
Load-carrying beams
brass
Window locks
+
door knobs
color
texture
reflectance
"Chalky" color pallette ranges
from whiteish to reddish. Plenty
of color play – partly due to the
red mortar and the shadows in
the very rough surfaces.
Very rough surface – partly due
to the carving, partly due to the
porous stone corroding over
time.
The "default" reflectance (even
surface) is high: Mineral-based
+ light stone gives a reflectance
of up to 0.80. However, the
rough surface and impurities
decrease the reflectance –
probably to 0.30.
Many of the same color
characteristics as the Marés
stone, but slightly smaller color
span focused on the beige
range – maybe even little gray
shades.
More even surface and less
porous than the Marés stone.
Little cavities and impurities
were exposed when carved.
Carving patterns still visible.
Due to more whitish colors
and a more even surface the
reflectance is probably around
0.35.
Warm-gray pine color with
visible year rings. Depending
on the age it ranges from warm
reddish to cool-silver gray.
Soft and almost moist surface.
However most surfaces has
been given an additional
texture by carvations or the
mere structure of the lamellae
for the shutters.
Dark color, but an even
surface would give the wood a
reflectance of 0.15.
White due to paint. The even
white shade hints to the fact of
the recent renovation.
Beams are cast with an
interesting profile on the flange.
The cast has left the beams
rough-surfaced, suggesting
that the concrete mix has been
quite rough.
Due to the white color and the
even surface the reflectance is
probably above 0.80. However,
the overall effect of this high
reflectance is minimal due to
the small quantities of concrete.
White due to paint. The even
white shade hints to the fact of
the recent renovation.
Beams are cast with an
interesting profile on the flange.
The cast has left the beams
rough-surfaced, suggesting
that the concrete mix has been
quite rough.
Due to the white color and the
even surface the reflectance is
probably above 0.80. However,
the overall effect of this high
reflectance is minimal due to
the small quantities of concrete.
29
EXERCISE 3 – CONTINUED
registration of materials
marés
limestone
santanyi
limestone
acoustics
heat absorption
Remarkably good acoustic
absorbtant – for instance in the living
room where there are no soft surfaces
except the cushions in the couch. It
must be due to the porous structure
of the stone.
Good heat absorptant. Stones seem
cool in the heat of the day – and
keeps the heat into the night, thus
"prolonging the night" aka. enable
sitting outside into the early morning.
Remarkably good acoustics inspite of
the hard, even surface. Mest be due
to geometrical features of the room
+ other more porous and roughsurfaced materials.
The density of the Santanyi stone
seems higher than that of the
Marés stone, meaning that the heat
absorption is probably even better
for the Santanyi stone.
Good acoustics. Mallorcan pine
is dense for pine, but still porous
enough for a good acoustical
absorption.
Wood is insulating as to heat
transportation and this very feature
makes it feels warm (heat from
your hand is "returned" to you)
even though it is not a good heat
absorptant per se.
Probably the same acoustical
properties as the santanyi stone.
However, the limited use reduces the
acoustical impact.
The density of concrete is probably
very much the same as the one
of the Santanyi stone. Good heat
absorption – a thermal buffer.
As a generic material brass does
not hold special acoustic properties.
It might – if designed correctly
as a rough surface – support the
acoustics, but it will never regulate
them. Even (strækmetal) will need
some acoustical insulation behind it.
Very quick heat absorption and
transmission. Under shady conditions
it will feel cold, while under sunny
conditions it will feel warm on the
hand.
wood
concrete
painted
white
brass
30
toxicity
emissions
embedded CO2
EoL scenario
Mineral-based material.
No coatings. No toxicity.
Mineral-based material.
No coatings. No
emissions.
Energy for carving
and transportation is
significant for stone
materials.
The mortar is local and
probably mineralbased.
Stones can be cleaned
and reused. However,
the load-carrying ability
should be investigated
due to its porosity.
Mineral-based material.
No coatings. No toxicity.
Mineral-based material.
No coatings. No
emissions.
Energy for carving
and transportation is
significant for stone
materials.
The mortar is local
probably mineralbased.
Stones can be cleaned
and reused.
The wood is oiled.
Probably a natural oil
(for instance lin seed),
but it should still be
investigated for toxicity.
Wood (harpics) and its oil
coating might comprise
VOC (volatile organic
compounds) that affects
the smell in the room –
probably not harmful if
natural.
Positive CO2 cycle. This
type of pine that seems
more dense than other
more rapid renewables,
so it might have a less
good profile.
Doors are solid and good
sizes, which makes them
easy to reuse as they
are. Window frames and
shutters are smaller and
more damaged due to
weather exposure.
The concrete itself
doesn't hold any toxic
particles (mineralbased),
but it is painted with
white paint. This is
probably mineral-based
(silikat), so no toxicity.
The same goes for
emissions as for toxicity.
I probably doesn't hold
any emissive compounds,
but depending on paint
type this should be
investigated.
Concrete has a heavy
CO2-footprint. This is
lowered by virtue of local
production and (tilslag?).
If the paint is silikat, the
footprint in production
is bigger – but longer
lifetime.
The mortar is local
probably mineralbased.
beams can be cleaned
and reused – or if loadcarrying properties
are not clear it can be
crushed and recycled.
Brass is a metal and does
not have any emission
during the operation
phase.
Brass is heavy in energy
production (high
temperatures required).
But lifetime is extremely
long, which partly makes
up for some of the poor
energy properties.
Brass is a metal and can
be reused and recycles in
numerous product cycles.
There will be an "angel's
share" for each product
cycle due to corrosion.
Brass is an alloy of
copper and zink. Both of
these metals are known
to course ecological
disturbances due to runoffs from water exposure.
31
EXERCISE 3 – CONTINUED
registration of materials
RELATION TO...
... neighboring materials
marés
limestone
santanyi
limestone
The wide color range of the Marés
stone is the common denominator
that makes the rest of the materials
come together.
The irregularity of the surface along
with the white-rosy colors is a great
counterweight to the strong colors
of the ocean and the vegetation. The
structure literally frames the views –
both from the inside and the outside.
The Santanyi stone with the more
limited color range create a more
calm alternative to the (spraglede)
Marés stone. It works equally well
with wood and ceramics. Santanyi is
the more "gray" brother of the Marés
stone.
The Santanyi stone and its color
and texture can be refound in the
surrounding cliffs and rocks. It is
the more polished bedrock that the
house sits on. The needles from the
pines is a beautiful additional layer to
the exterior floors.
The wood is the darker surfaces in
the house, but the reddish Mallorcan
pine integrates beautifully with the
red ranges of the stone; especially
the red mortar plays with the wood.
The wooden doors falls more into the
expression of the house than to the
landscape. However, where the wood
has been exposed to withering it is
starting to look like the surrounding
vegetation.
The white paint on the geometrical
beams and ceilings is a pristine and
pure layer to the natural and irregular
textures in the stone. It elevates
the ceiling, thus giving the whole
structure a lightness.
The white paint on the concrete
reflects the blue color of the ocean
and sky, giving the house shades of
blue.
The brown-greenish brass door
handles is a contrast to the rest of the
material swatch – both in color and
in texture. Especially the green brass
creates some material depth with the
house.
The brass colors can easily be
refound in the surrounding
vegetation – but it is especially the
pine needles on the exterior floors
that gives the brass this reference.
wood
concrete
painted
white
brass
32
... landscape/views
Variability with regards to...
... sun, shadow, overcast sky
... moisture
The Marés stone becomes almost
lucid when exposed to the direct
Mediterranean sun. The irregular
sufaces gives a lot of play with
shadow, thus conveying a very
3-dimensional surface. During dusk
and dawn the stone gets very red.
The Marés stone keeps its wide color
range – including the white colors –
during showers.
The Santanyi stone changes
significantly from diffuse to direct
light and shadow.
The Santanyi stone gets much darker
when wet. The moisture is kept in the
dense-porous stone for a long time,
giving the house a humid feel even
long time after rainshowers (or actual
showers for bathrooms).
Most doors are situated in patios and
thus in shade most of the time. When
in sun it gets much ligther – also over
time (weathering). Exposed window
frames are very light – reminiscent of
high quality wood.
Again the doors are protected from
the weather, reducing the exposure
to water. But when wet it becomes
almost red-brown combined with
silvergray traces. Although not in
direct contact with ocean water, the
wood takes up the salt.
As the Marés stone the white beams
and ceiling get almost lucid when
exposed to the sun. When in shade
or during overcast conditions the
white still reflects a significant part of
the diffuse light.
The white beams virtually don't
change during and after rain showers.
Depending on the level of corrosion
the golden brass reflects sun light
directly, creating rays of light. When
corroded the changes in weather
does not bring any differences to the
material.
The brass virtually doesn't change
during and after rain showers.
33
GLOSSARY
34
WHAT
What material have you observed? If you wish, you can put in a picture of
the material in question.
WHERE
Where in the house/in the room have you observed the material?
geographical origin
Where was the material originally mined/forested/harvested – and where
was it manufactured?
service life [yrs]
What is the service life for the material? What is the service life for potential coating etc. linked to the material?
color
How would you describe the color of the material?
texture
What is the haptic properties of the material? How does it feel? What is
the roughness of the surface?
heat absorption
How well does the material absorp heat? How well does it keep heat?
Does the material feel cold or hot compared to the air temperature?
reflectance
How well does the material reflect light? Color and roughness of the surface are major parameters to assess the reflectance.
Is it a diffuse reflection? Or does it have a certain direction?
acoustics
How well does the material absorp acoustics? Does the material contribute to or prevent reverberation?
toxicity
Does the material emit any particles or gasses that might conflict with
health and well-being of occupants?
emissions
Does the material emit any particles or gasses that might conflict with
environmental issues?
embodied energy
Embodied energy is the sum of all the energy required to produce any
goods or services, considered as if that energy was incorporated or ‘embodied’ in the product itself.
EoL scenario
The End-of-Life scenario describes the potential of the material after its
primary service life. Can it be reused or recycled?
35
BACKGROUND KNOWLEDGE
Life Cycle Assessment (LCA)
The technical way of evaluating the performance of
materials is to carry out a Life Cycle Assessment (LCA).
The LCA is used for creating an overview of the environmental impact of a material. Per definition the environmental impact of a material is reviewed over a
fixed lifetime of 50 years.
The life cycle assessment evaluates the environmental
impact within six (seven) different categories.
GWP
global warming potential
ODP
ozone depletion potential
POCP
potential of ozone
photochemical oxidants
AP
acidification potential
of land and water
36
The global-warming potential is a relative measure of
how much heat a greenhouse gas traps in the atmosphere.
The ozone depletion potential of a given substance
is the loss of ozone due to a given substance. Ozone
is capable of absorbing short wave UV-rays and thus
protecting Earth from global heating and mankind
from UV-A and UV-B radiation.
Photochemical ozone formation happens when gasses
like nitrogenoxide or hydrocarbon is exposed to UV
radiation. The ozone is harmful to human respiratory
systems.
Acidification is regarded as a regional effect and
caused by releases of protons in the terrestrial or
aquatic ecosystems. In certain areas, acidification
leads to increased mobility of heavy metals and aluminium.
EP
Eutrophication potential
Eutrophication is the ecosystem response to the addition of artificial or natural substances, mainly phosphates, through detergents, fertilizers, or sewage, to
an aquatic system.
PEREN
renewable
primary energy use
The PEREN describes the renewable primary energy
use during all adressed phases of the life cycle analysis.
PENONREN
non-renewable
primary energy use
The PEREN describes fossil-based primary energy use
during all adressed phases of the life cycle analysis.
System boundaries
A lifecycle assessment can be carried out on different
levels of detail. Below is a table with the system boundaries for dominating LCA-systems.
Full LCA –
Stages
Full LCA –
Categories
Part of the
DGNB system
Part of an EPD
Raw material supply
Production
Transport to manufacturer
Manufacturing
Transport to building site
Construction
Installation into building
Use
Maintenance
Repair
Operation
Replacement
Refurbishment
Operational energy use
Operational water use
Deconstruction/demolition
Transport to EoL
End-of-Life
Waste processing
Disposal
Next product
system
Reuse,
Recovery or
Recycling
potential
37
MATERIAL RENDERING: LANDSCAPE + VEGETATION
by lise mansfeldt
38
39
LIFE CYCLE ANALYSIS
drawing the environmental impact of mallorcan pine wood
by lise mansfeldt
Pick one material from exercise 3 and create an
infographic that explains the story of the life cycle
for your chosen material. You might let yourselves
be inspired by and use the words from the glossary
to structure your process.
16 | reuse, recovery or recycling potential
Reuse is not likely in this specific case. Can Lis is an
acknowledged piece of architectural heritage, and the
building and its intended function will continue for many,
many years. In other words, the wood will not survive the
stone, but keep being replaced in smaller parts when
needed (if building on the current renovation strategy).
More likely is is that the wood will be burnt after its
service life for energy production purposes – either
locally or regionally (district heating). Depending on the
development process of Mallorcan infrastructure energy
production from biomass is an option, but based on
current conditions burning seems more realistic.
15 | disposal
As mentioned in the previous steps disposal is less likely
than burning. But if disposed of – untreated is conditional
– it will reenter its natural cycle and break down and end
up as soil.
14 | waste processing
A rule-of-thumb is that construction sites generate just
as much waste as actual building. In the case of Can
Lis and its pinewood there is a wide variety in the size
of different members, meaning that waste from the big
window frames members can be used for the smaller
shutter members. This should decrease the waste
significantly. However, waste can be used for energy
generation through burning or – if untreated – can simply
be deposited in order to reenter its natural cycle.
13 | transport to EoL
The End-of-Life scenario for the wood will probably be
burning for energy consumption. No matter the set-up
it will probably be handled on the island, meaning that
the maximum transportation distance to the End-of-Life
place is 100 km. Likely less.
12 | deconstruction/demolition
Again: According to the mechanical joints it is easy to
deconstruct the wooden parts.
spillover 2 | glass panes
the wood for the window
frames is actually secondary
to the glass panes: The
purpose of the window
is to allow daylight to
come in and inhabitants
to look out. Glass is very
energy-demanding during
production and depending
on construction the lifetime
of the window (the full
component) is relatively
short. However, in the case
of Can Lis Utzon used a
singlepane. With limited
joints and no insulating
gases the service life of the
glass panes are probably
much longer (so far 40+
years and still looking good).
11 | operational water use
No water is used for the operation of the wooden
elements (only for window wash, but that is strictly
speaking not linked to the wooden frames).
10 | operational energy use
No energy use for operation. Only manpower to open/
cloor doors and shutters.
9 | refurbishment
See above.
40
1 | raw material supply
the pine is local and can be forrested withing few
kilometers of the site.
2 | transport to manufacturer
the wood is used for shutters, doors and window frames.
all elements are customized to the house and either
made on-site or in the workshop of the contracter. Jose
Monserrat Ripoll has his workshop in Felanitx, a town
just 18 km from the construction site. A maximum of
20 km distance between tree and manufacturer is not
unrealistic.
spillover 1 | brass
For doors and shutters
details of brass has
been chosen for closing
mechanisms and door
handles. Brass is an alloy of
copper and zinc, and it is
energy-heavy and has to be
mined. There are not natural
occurences of copper/zinc
on Mallorca, and thus is has
to be transported overseas.
Copper and zinc are both
well-known leachers,
meaning that harmful ions
interact with the natural
habitat (vegetation, water
etc.).
3 | transport to building site
see step 2.
4 | installation into building
Even though Mallorcan pine is quite dense and thus
heavy, it is only used for smaller items. All of the items
can be handled manually and without used for craneways
for installation. For durability purposes the wood should
be treated with a coating, preferably oil with no harmful
additives. Chemical coatings should be avoided.
5 | use
No energy-use or use of chemicals during the usage
phase.
6 | maintenance
The climatic conditions on top of the cliff facing South
are harsh and take their toll on the structure’s surfaces. In
spite of the dense texture of the pine wood (reminiscent
of high quality wood) the wood breaks down due so
salts, winds, heavy rain and direct sun. Wood has to be
maintained by reapplying the coating (preferably oil).
7 | repair
All joints on the window frames, doors and shutters are
mechanical. This has enables the renovation crew to
only substitute very poor parts of the wood with new
wood. It is quite visible where new meets old, but that
is conceived as a strong expression. Many other clients
wouldn’t have accepted this even though it is by far the
most environmentally and financially fit solution.
8 | replacement
All wooden elements are easy to replace – see above.
However, due to extraordinary acceptance of new
aesthetics only minor parts have been replaced.
41
REFLECTANCE MEASUREMENT OF A MATERIAL
by anne iversen
Reflectance of a mat surface can be done by using a
lux-meter (appoximately):
• The illuminance is first measured at the surface
(Ef)
• The reflected illuminance (Er) measured by the
•
photocell facing the surface at a distance of 1030 cm is then measured
The reflectance is then given by: r = Er/Ef
Materials needed
• 1 photopic illuminance meter
Describe the light in which the measurements were performed:
Not entirely overcast, but we found a place with primarily diffuse
daylight
Reference photopic illuminance meter and input-sensor (type and serial number):
Minolta illuminance meter T1
Searial no. 2099811
Recordings:
Material/surface description
(e.g. pictures)
Ef [lux]
Er [lux]
r = Er/Ef
1 Marés stone (new)
1203
758
0.63
2 Marés stone (weathered)
1788
1037
0.58
3 Santanyi stone (light)
2445
1589
0.65
4 Santanyi stone (weathered)
2520
1386
0.55
5 Mallorcan pine wood
505
151
0.30
6 White concrete
689
482
0.70
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What cautions are important to take while doing measurements?
The illumance meter should have constant light exposure for both
measurement of Er and Ef, eg. the measurer should not move
Elaborate on what happens if the lux-meter photocell is not perpendicular to the
surface when measurements are performed?
If the illuminance meter is not perpendicular you might measure the
reflectance for the immediate surroundings in stead of the material in
question only.
Elaborate on what additional information you will get if you are using a spectrometer instead of a lux-meter:
If using a spectrometer you will get the whole spectre of light,
both visible and UV- as well as infrared light, eg. light and heat. The
illuminance meter only measures the visible light, thus making this the
most interesting measurement for daylight studies. Infrared light (=heat)
is interesting to investigate when you want to know about solar heat
gains and the corresponding heating/cooling demand of the building.
43
LINKING UTZON AND MALLORCAN BUILDING CULTURE
refinding traditional elements in can lis
by lise mansfeldt
marés
The Marés stone can be found all over Mallorca – in
all types of construction. Typically the load-carrying
structure is built using the Marés stone, thus also in
Can Lis. The stone is typically found as large blocks of
individual size and left raw. Utzon chose a more stringent format for the stone (all stones 40x40x20 cm),
but left the stone raw in the traditional manner.
left
remains of defense tower | parc natural mondragó
middle
traditional arid wall | randa lower monastery
right
chimney stack of neighboring building | miró foundation
left
inner courtyard columns + floor | can lis
middle
arid wall with top of concrete | can lis
right
chimney stack in the living room | can lis
44
marges
The arid walls is a typical construction in the rural parts of Mallorca. It consists of carefully carved
stones that are put together in a wall construction
using only geometry and meticulousness. No mortar
or other wet media. The discipline has existed for
centuries, and today the marger is trained at Escola
de margers de Mallorca in Soller.
chimney stacks
The characteristic triangular chimneys can also be
found throughout the island in different variations
depending on the region. Utzon interpreted the design
and integrated it into the load-carrying walls to avoid
the impression of an add-on. The original chimney
stacks are often found painted light, but Utzon let his
chimney stack keep their Marés appearance.
45
to see.
TEXT
Om at opleve arkitektur
Steen Eiler Ramussen (1898-1990) was a Danish
architect, planner, writer and debater. From 1938 he
was a professor at the Royal School of Architecture in
Copenhagen, and in 1957 he published the book Om
at opleve Arkitektur: An apprehensive, but yet accessible introduction to experiencing architecture.
Rasmussen focuses on archtypical architectural
means and how they can be found in both classical as
well as modern architecture.
The two excerpt comprise the sections of Architecture
experienced as color surfaces along with Daylight and
Architecture.
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EXERCISE 6
razzle dazzle by kyd kitchaiya
Choose a room.
Take a picture of the room from an angle you like.
Import the photo to PhotoShop.
“Retrofit” the surfaces in the room with new materials. Your choice for a new material should be
motivated. You choose what you motivation is: Light,
acoustics, heat absorption, aesthetics – you name it.
Q1. What does the altered material palette do to
your perception of the room? Can the space perception be maintained or does it change the spacial
feel of the room?
Now “retrofit” the surfaces of the room with fictional pattern inspired by 1910’s dazzle-painting.
Q2. What does the dazzle-painting do to your perception of the room? Can the space perception be
maintained or does it change the spacial feel of the
room?
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51
CAN LIS ANALOGUE
photo essay by ole egelund jensen
Camera:
Minolta MX7 (135 film)
Lomo Lubitel 166B (120 film)
Negatives:
Scanned with a high-resolution film scanner, Epson V500 Photo.
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56
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63
to explore.
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UTZON-DESIGNED NEIGHBOR HOUSE
Next to Can Lis is a sister house that – when approaching
Can Lis for the first time – could easily be taking for Jørn
Utzon’s hommage for his wife, Lis. However, this building is
not Can Lis, but the product of the neighbors fascination with
Can Lis and the Utzon family’s willingness to redo Can Lis in
a sister version.
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68
SOLLER
Joan Rubio I Bellver’s Gaudí-inspired church
The impressive church of Sant Bartomeu dominates the
town square and was first built in the 13th century. A baroque structure was added in the late 17th century and the
modernist facade was created in 1904 by the architect Joan
Rubid (an ex pupil of Gaudi). The church also has a 1912
arched tower suspended above the rose window, with spires
like huge needles pointing into the air. The same architect
designed the equally impressive Banco Central Hispano next
door.
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70
PALMA
cathedral and medieval town
As the Mallorca Cathedral stands today it reaches a height
of 44 metres and covers an area of just under 7000 square
metres, which is about the same size as the football pitch at
Wembley. It consists of three façades each offering a unique
entrance portal. The most spectacular and technically perfect façade is the southern that looks out on to the bay of
Palma. Here we can clearly appreciate the Gothic style of
the Mallorca cathedral, with domination of horizontal over
vertical lines, and decorative features such as the gargoyles,
railings and spires. Its structural audacity manifests itself
through the rhythmical series of abutments and flying buttresses, forming a cadence of lights and shadows visible from
the seaside.
On this side also lies the jewel in the crown of the Palma
de Mallorca cathedral - the Mirador portal. This is the huge
arched entrance half way along the façade, which surely
contributes the most important Gothic group of sculptures
in Mallorca (Majorca). Between 1380 and 1422, Northern
European and Mallorcan artists worked on this Gothic masterpiece, with the Mallorcan architect and sculptor Guillem
Sagrera being the leading local contributor.
Within the arches are two clearly differentiated horizontal
sculptures: the first depicting the Eternal father with adoring angels and the other, directly below, the last supper. On
the pillar between the two doors is a delightful Virgin Mary
with child and in the niche of each arch are the sculptures
of five saints; James, John and Peter on the left, and Andrew
and Paul on the right. Together, they make this portal one of
the most important examples of Mallorcan medieval art on
the island.
On the west side of the Mallorca Cathedral, which looks on
to the Almudaina Palace, is the Main façade. The only feature on this side to survive the earthquake of 1851 was the
portal, so the rest of the architecture is the fruit of the neoGothic reforms carried out in 1852 by Peyronnet. It appears
he didn’t know how to imitate its structural logic, which has
resulted in a rather eclectic composition.
Today one of the most famous chapels is the one made by
Antonio Gaudi. For three years he studied and sketched until
finally in 1904 he presented his drawings and work could
begin. Then, for another ten years he laboured without interruption, completing some incredible work, until suddenly
from one day to the next he decided not to finish. Why this
happened is still not quite clear today but it may have been
due to criticism he received at the hands of the Mallorcans
(Majorcans). Some claimed he was acting more like a revolutionary than a restorer and that he should place himself at
the service of God rather than trying to outdo him.
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72
PALAU ALMUDAINA
palma
Originally built as an Arab fortress, the palace became the
official Majorcan residence of the Spanish Royal Family at
the beginning of the 14th Century through King Jaume II.
Although the royal court already had its official residence
at Perpignan, Jaime II wanted to restore the citadel for his
summer palace - so enter Pere Salvà who also built the Bellver Castle.
Standing opposite the Cathedral and overlooking the harbour, it is an imposing sight. Surrounded by a fabulous green
space in the form of the S’Hort des Rei you can walk along
shady paths or sit a while and listen to the gushing fountains.
Unfortunately many of the rooms are empty however as
part of his design plan The King also encompassed a Royal
Chapel, known as the Chapel of Saint Anne. Although it is
quite small it is exceptionally beautiful and so well worth a
visit. Its Romanesque portal is one of the rare examples of
this style of architecture on the island and a painting by the
Majorcan painter Rafael Mojer, from 1465, hangs inside.
Other highlights are Flemish tapestries from the 16th and
17th centuries illustrating Spanish history, 17th and 18th
century Spanish tapestries and banners depicting the battle of Lepanto (1571) in which Spanish and Venetian fleets
jointly defeated the Turkish fleet.
During the annual summer holidays of the Spanish Royal Familiy on Mallorca the Almudaina palace is the official office
of King Juan Carlos I, being used for ceremonies and state
functions.
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74
RANDA
Monasteries from the 13th century
In the centre of the island of Mallorca, between the municipalities of Algaida and Llucmajor, is the mountain of Randa,
where the Hermitage for Sant Honorat, the Sanctuary for
Our Lady of Grace and the Sanctuary of Our Lady of Cura are
to be found. To access the mountain, people must approach
via the small village of Randa, at the foot of the the mountain
of the same name, and follow the road that leads to the top
of the Puig de Cura.
In the first place we find the Sanctuary for Our Lady of Grace,
that has its origin in the cave of s’Aresta, where in the mid
XV century, two Franciscan friars started to live and converted it in a hermitage. Facing East, it is in a vale at the feet
of the Ermita de Sant Honorat and has been closely related
throughout history to Llucmajor, the town the old path to the
sanctuary leads from.
Further on, we come across the Hermitage for Sant Honorat. Arnau Desbrull, a noble knight who had chosen this hermit life, asked the Bishop of Mallorca in 1394, after living
for 30 years on the mountain, for permission to build the
Chapel to Sant Honorat. Once he received the authorisation,
Arnau Desbrull chose the part of the mountain that would
face South to build the chapel that was finished in 1397. In
1661, due to the ruinous state of the primitive hermitage, the
present church was built.
Finally, we find the Sanctuary of Our Lady of Cura, situated on the Puig de Cura, 548 metres high. The Puig de Cura
is the highest point of the Randa mountain and an excellent vantage point over the island of Mallorca. Here is were
Ramon Llull lived for a while in 1273 and where in the XV
century a Lulian school was founded to spread his doctrine,
that resulted in the Estudi General in Palma, and later in
the same building the Aula de Gramàtica, where 150 pupils
who lived together in the Sanctuary studied. After a long
period of decadence, the Sanctuary of Cura was restored and
in 1913 was handed over to the Franciscans’ care. At present
four friars of the Order live there, and with the help of some
workers and volunteers, they administer the Sanctuary. The
Sanctuary of Cura has accommodation in cells , built since
1947, particularly for groups, families and people who wish
to spend some time on the Puig de Cura.
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76
FUNDACIÓ PILAR I JOAN MIRÓ
museum
The Fundació Pilar i Joan Miró a Mallorca is unique to the
world. It is one of the few museums where visitors can contemplate the artist’s creative surroundings, through direct
contact with the studios in which Joan Miró worked from
1956 until his death in 1983. Through these studios, we gain
an insight into the atmosphere that formed the backdrop to
his work and we can reconstruct Miró’s creative process by
contemplating his paintings, objects and the tools he used.
In 1979, Joan Miró (Barcelona, 1893 – Palma, 1983) and his
wife, Pilar Juncosa, donated the Son Boter studios and another studio designed by J. L. Sert to the city of Palma. These
buildings were the starting point for the creation of this
foundation. Years later, in 1992, a new building by architect
Rafael Moneo was added to act as the main seat of the foundation. All three buildings are surrounded by Mediterranean
vegetation, with sculptures by Miró that blend skilfully into
the natural setting.
Miró wished the foundation to act as a stimulus and reference
for future generations of artists and to promote research by
specialists in his work, pushing back the boundaries of normal museums by achieving a dynamic living centre
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MIRO’S SERT STUDIO
palma
Juan Miró decided to move from Barcelona to Palma in 1954
and asked his friend the architect Josep Lluís Sert to design
his studio. Miró and Sert had met in 1932, and from then
on had a fruitful and lasting personal and professional connection, which was reinforced by their common interests,
particularly their urge to integrate art and architecture and
their interest in teamwork. In 1937, Sert designed the Pavilion of the Spanish Republic for the Paris World’s Fair, a
building that was charged with political meaning, for which
Miró painted a large-format oil mural, The Reaper. Catalan
Peasant in Revolt. The end of the Spanish Civil War and Franco’s dictatorship forced Sert into exile in the United States,
where he would later be appointed Dean of the Graduate
School of Design at Harvard University. Sert and Miró exchanged some of their ideas about the project’s conception in
their correspondence. Miró’s brother-in-law Enric Juncosa
supervised the project in Palma.
Sert designed a building that adapts to the terraced slope
in the land. Miró provided his input on practical issues, for
instance, suggesting that Sert consider the local climate and
its effect on the conditions inside the studio. He asked to have
a clear separation between a work space and a storage area
where he could put his pieces away for a while and gain
some distance from them. He reminded Sert that in designing the work surface he had to bear in mind the size of his
large format paintings, such as the Cincinnati mural. In the
fall of 1956, construction of the studio designed by Sert was
completed and Miró was thrilled by the final result.
Using numerous sketches and plans, Sert had designed for
Miró a studio on a human scale, merging tradition with innovation. The concrete structure strikes a contrast with other
materials traditionally used in the Mediterranean, such as
stone or clay. The L-shaped floor plan is laid out on two levels and covered by a vaulted roof. The undulating roof vaults
add sinuous movement to the building’s even geometry. All
the façades have a highly visual, even chromatic treatment,
particularly the one facing south, which juxtaposes white
concrete with the color of clay and the blue, yellow and red
of the woodwork. Ultimately, Sert was exploring a new language that ventured beyond the rigidity and limitations of
strictly orthodox functionalism, leaning towards a more visual, sculptural architecture, in keeping with his notion that
“architecture itself can become a piece of sculpture” (2).
In order to create a space that would induce creativity, Miró
began populating his studio with a highly heterogeneous ensemble of natural and artificial elements that coexisted in
perfect harmony with the utensils for his work. Even now,
the studio shows Miró’s creative environment, and the canvases, oils, watercolors, pencils, brushes, and sponges continue to relate to his “collection” of highly diverse objects:
postcards, newspaper cuttings, objects found in nature such
as stones, butterflies, shells, Mediterranean folk culture artifacts such as the clay whistle figurines known as siurells,
palm leaves, nativity figures, or objects from faraway cultures such as Hopi kachinas dolls or Oceanic masks. At times
Miró would use one of these objects, such as the turkey, as
a point of departure for a piece, and actually immortalized
some of them in his sculptures. The studio also recreates the
creative process followed by the artist, who usually worked
on several pieces at the same time. In addition, these works
illustrate his ongoing passion for experimenting with new
materials and techniques, incorporating them into his artistic activity, even during his later years.
79
Carrer Brotad, 27
ES-07007 Palma
80
CAN RIBAS
Neighborhood revitalization and industrial
heritage
Neighborhood revitalization and preserving the elements of
industrial heritage are the aims of this urban project being
undertaken in the La Soledat area of Palma, Majorca. Proposal is being developed in several stages after winning the
open competition in 2005 and consisting in urban general
development, public spaces and main square, industrial heritage restoration and future social housing.
Dedicated to the production of wool blankets, the Can Ribas
factory was built in 1851 in the La Soledat neighborhood to
the east of Palma. Located in an area outside the city walls,
the military administration required the factory be built on a
provisional basis, which manifests itself in the bays’ system
of walls with pilasters and in the simplicity and rationality
of the complex’s construction. In the 1970’s, after successive expansions and transformations, the factory’s obsolescence led textile production to be abandoned. There were
also other highly significant changes around the La Soledat
neighborhood which also created another barrier that further increased the neighborhood’s physical isolation.
With its organization as an enclosed area, the Can Ribas factory had become a barrier dividing the La Soledat neighborhood in two. The plan to restructure La Soledat seeks to open
the industrial area to neighborhood. In 2003 the Special Plan
for Interior Reform (PERI) drafted by Joan Busquets only the
main bay, earmarked for housing a facility, and the chimney
from the Can Ribas industrial complex were protected, and
the bays affected by the plan for the new street were slated
for demolition. In developing the project, however, the most
valuable heritage elements have been recovered and will be
integrated into the urban surroundings.
The incorporation of the middle bay, the steam pavilion and
the wall of another bay enables recognition of the value of
the industrial area shaped by different pavilions that were
home to different stages of textile production. A system of
openpublic spaces is thus structured by a concrete foundation, which serves to create a visual and physical connection
between the new Brotad Street and the historic elements
of the Can Ribas factory generating a richer, more complex
public space
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ES BALUARD
contemporary art museum
Es Baluard Museu d’Art Modern i Contemporani de Palma is
located within the perimeter of the Sant Pere bastion, part of
the Renaissance wall that surrounded the city of Palma until
the beginning of the 20th Century.
This fresh water reservoir was completed in the 1640s. It
has a classical rectangular ground plan of 353 square metres, a lowered barrel-vault roof and openings for ventilation. Following its restoration we can see the different building techniques applied to its walls, one of which is the very
ancient fish bone method.
Since its inauguration, the museum has had multiple uses: it
is offered to international contemporary artists, interdisciplinary activities or multi-use space that can be hired due to its
volume and amazing acoustic quality.
The new building is part of the old Renaissance bastion. The
21st Century and the 16th Century buildings coexist harmonically.
The museum building is defined by simple, clean lines and
shows great respect for the historical heritage that surrounds
it, fitting in perfectly with the profile of the Renaissance bastion. The dialogue between the contemporary architecture of
the new building and the ancient walls is present and constant, and you are aware of it as you walk through the different areas of the museum. The aim of the designers was to integrate a modern building into the historical heritage of the
walls, but at the same time clearly differentiating it. For this
reason it has been built with materials such as concrete and
glass, making it easy to distinguish between the two types of
construction.
The building was designed by Lluís García-Ruiz, Jaume
García-Ruiz, Vicente Tomás and Angel Sánchez Cantalejo
and covers a total area of 5,027 square metres, of which
2,500 are devoted to exhibition space. It is divided into three
floors that relate to the exterior and the ancient walls and
are interconnected by ramps, skylights and large interior
balconies, with the idea of creating an interior street.
The exterior areas are conceived as exhibition spaces and
places to walk and follow the perimeter of the walls. The
17th century reservoir is also an exhibition area and is used
for different events in the museum’s programme.
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84
PARC DE LA MAR
Public park in front of the medieval cathedral
Until the 1960s the sea reached up to the city walls, providing the perfect reflection for the cathedral. When the building of a new road changed all that, an artificial lake was
constructed to reproduce the effect.
The park around the lake is now a popular weekend and
summer spot, with several cafes, a mural donated by Joan
Miro and an art gallery in the vaults of the old city walls. Sit
beneath the palm trees gazing up at the cathedral and try to
imagine the travellers of days gone by arriving at this same
spot from the sea by boat. The park also hosts a number of
events, concerts and festivals throughout the year
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CAP FARRUTX
national park in the northeast
The Artana range of mountains across to the east are gaining increasing popularity amongst visiting walkers and of all
the things you can do in the area the “Peak of Farrutx” is a
must.
We commence near to the small urbanisation of Betlem facing the bay of Alcudia. A very accessible ravine takes us up
to the Binialgorfa sanctuary and from here on in, we’re up
high most of the day.
The rocky sculpture of Farrutx is unmistakable and a delight
to walk along.
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CAP FORMENTOR
striking drive + sunset
Cap de Formentor is a spectacular place, located on the
northernmost point of the Balaeric Island Majorca in Spain.
Its highest point, Fumart, is 384m above sea level. It has
many associated bays, including Cala Fiquera, Cala Murta
and Cala Pi de la Posada.
The 13.5 km road which runs from Port de Pollença to Cap
de Formentor was built by the Italian engineer Antonio Parietti. His masterpiece on Majorca, however, was the snake
to Sa Calobra. Instead of being overwhelmed by what stood
in his way on the cliffs, Parretti observed the Tramuntana
winds and understood: where the slope was too steep, he
made a curve. When he had to remove part of the cliffs, he
placed the waste in other places where it was needed. The
result was the two roads, which are nestled together in the
mountains like abandoned silk ribbons.
In 1863 the Formentor Lighthouse was opened, the remote
and rugged location on the Cap de Formentor making the
construction difficult. The only access being from the sea, or
via a long mule track.[1]
When the poet Miquel i Llobera, who owned the Cap de Formentor peninsula, died, it was divided into lots and sold. In
1928 Adan Diehl, a native Argentinian and art lover, decided
to build the Hotel Formentor and to endow the purchase of
art.
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to continue.
PEOPLE
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PRACTICAL
HLA STUDY TRIP
CAN LIS 2014
HOTEL
Hotel Playa Mondragó
www.playamondrago.com
CAR RENT
2 x Budget cars
Full insurance
LENGTH OF STAY
6 days/5 nights
October 2014
NUMBER OF PARTICIPANTS
8 persons