Category: Second Life

For her latest region design at Binemust, Biné Rodenberger offers visitors a most unusual taste of Sweden’s Gotland.

The largest of Sweden’s islands, and also a province, county, and municipality in its own right, Gotland is a fascination place, rich in culture and opportunities for exploration and discovery, offering many unique experiences (ever had a fish cooked using molten glass? If not, Gotland’s Restaurant Rot is the place to go).

Bungenäs, the inspiration for Biné’s design, lies at the opposite end of Gotland to Restaurant Rot, and is perhaps one of the island’s most unusual attractions. During the 20th century, the peninsula was home to a limestone quarry marked by a pair of unique kilns, and a large Swedish Army training zone, complete with bunkers, barracks, and open and wooded training areas. The quarry enjoyed a 50-year run from 1910 to 1960, while the rest of the 160-hectare site was used by the army through until 1963, when it was also abandoned.

For the 40 years that followed, the peninsula was closed to the public, until moves were made to re-open it as a park / tourist destination in the early 2000s. However, entrepreneur Joachim Kuylenstierna – whose father had served in the army and trained at Bungenäs – was concerned about  such a move would do to the unique aspects of the location: the ageing bunkers, the run-down buildings and deserted quarry facilities, and so on, if the peninsula was turned into some sort of tourist resort with all the modern trappings – an up-to-date hotel, a golf course and so on.

To ensure this did not happen, Kuylenstierna purchased the land himself and turned it into a most unusual development: a new community location without roads or houses. Instead much of the existing infrastructure of bunkers and buildings would be be converted into unique homes, with the bicycle the primary mode of transport. He employed a specialist architecture firm to convert the bunkers and other buildings into homes and community facilities, and to zone the remaining landscape into plots and parcels that clients could purchase and have homes built to their  own specification and fully in keeping with the existing structures and integrated into the natural environments found across the peninsula, and also carefully redeveloped by the architects in keeping with Kuylenstierna’s broad vision.

We don’t design and build buildings – we work with the landscape and the existing constructions to create structures that are formed after their surroundings. We’re not the least interested in creating “boxes” on the ground. Each plot of land is specifically laid-out and, in turn, has its very own zoning plan. The peninsula was also divided into different regions with their own defined type of nature, which required different types of structures.

– Lisa Ekström, Skälsö Arkitekter, developers of the Bungenäs site

Within Binemust, Biné offers her own take on this unique setting, centred on the the old limestone quarry, its kilns and outbuildings. These sit within a low-lying part of the region, the quarry itself flooded, the kilns and outbuildings rising above its rocky ring. Cold sands border the east and south sides of these lowlands, merging with grasslands cut by a fast flowing stream. As the sands curve around to the south, so the land rises to form a bluff between sea and inland quarry, a number of aged bunker-like shells among the sand a grass, hinting at the old military preserve that once existed at Bungenäs.

To the west, a ribbon of sand continues along the coast, marked on one side by old piers that may have once served the lime factory, and a line of old beds that offer a most unusual sun loungers, Biné suggesting they might have been pulled from the old barracks, as is the case at the physical Bungenäs in Gotland.

The north side of the region is marked by a highland plateau, rich in fir trees and crossed by tracks and paths, representing the more natural aspects of the Bungenäs peninsula and, perhaps, the 3 km tour trail that winds through the region – as noted, road vehicles are generally banned from the region to help preserve its natural state. These highlands are also split by the stream, which drops by way of a single waterfall to continue its way the the sea across the lowlands.

There are differences between Biné’s vision of Bungenäs as the real thing: houses at Binemust are represented more by modern structures than converted bunkers; there is a camp site at Binemust, although as Bine notes, there doesn’t appear to be anything like it within Bungenäs. She’s also added horses to roam alongside the sheep (which are a feature of Bungenäs).

However, she’s also replicated some of the original’s cosier features: the mess hall at Bungenäs, for example has been converted into a café with a small suite of hotel rooms above it that visitors can book for short stays.  Bine offers the same through a small bed-and-breakfast house tucked away in the region. She also includes bicycles, which for the common mode of transport within the community. Finally, and in a touch of her own, she’s included a small selection from her personal art collection from SL, located in the limestone warehouse, which doubles as the region’s café.

All of which makes for an engaging and educational visit – be sure to look up Bungenäs on the interwebz for yourself when visiting.

SLurl Details

• Bungenäs (Binemust, rated: adult)

Archetype11 Nova, aka Schmexysbuddy Resident, has been responsible for some of the most evocative / thought-provoking region builds in Second Life. I’ve covered a number of them in these pages – notably his Hotel California builds; his work embraces landscape design and artistic statement, often mixing ideas and sentiment, ideals and imaginings in an eclectic whole that captivates the eye and challenges us to look deeper, think a little harder and take a closer look at what is being offered.

With Isolation’s Passengers, Archetype11 offers what might be his most provocative  – and possibly his most personal – region design yet. It occupies a private full region that has the additional Full region LI bonus, although it does not currently make use of the extra land capacity. This additional space  – previous builds by Archetype11 / Schmexysbuddy have tended to be on Homestead regions – appears to offer plenty of opportunity for expansion or (perhaps) for multiple environments within the same location.

The foundational aspect for this design is that of the SARS-COV-2 pandemic. This is not an uncommon theme within art and region design at present, but with Isolation’s Passengers, Archetype11 offers a different perspective on the pandemic, one which – as noted – touches on the personal for him, as he noted to me whilst I was visiting the region:

It’s intent is the onslaught of 2nd and 3rd order effects of isolation that aren’t readily visible…the invisible passengers of this pandemic. It was inspired by the death of a friend and brother of mine.

– Archetype11 Nova, describing Isolation’s Passengers

The story of that death can be found here, and should be read as a part of a visit to this region, as it helps to frame some of the motifs to be found within it.

For those unfamiliar with the concepts of the 2nd and 3rd order effects of isolation, in the 1980s and as a part of studies into the long-term impact of isolation can have on the psyche among groups such as submariners, small teams on long-duration expeditions in the Antarctic and crews aboard the International Space Station. In particular, they noted three distinct reactions to being so isolated, linked to different points in  the isolation period.

The first order comes early on, encompassing the initial weeks / months of isolation.  It is marked by heightened anxiety, possibly mixed with periods of confusion and panic (think of the early stages of the the pandemic: anxiety over lock-downs, panic buying of toilet rolls, etc.). The second order (sometime referred to as the “sourdough order”) is marked by a sense of routine, possibly edged with a sense of newness / novelty (again, in terms of the pandemic: the novelty of working from home, the formation of a new routine based on self-motivation, etc). And then there is the third order. This is more negative: the dropping of routine as everything blurs into a never-ending whole where days are difficult to separate, and encompasses resentment towards our situation and towards those who are around us (not so much because of who they are but rather because they represent the fact we cannot interact with anyone else), and is a time that can be marked by emotional outbursts, aggressiveness, rowdy or anti-social behaviour.

The 3rd order can often include a further emotional response that might appear as contrary to the others listed for it: that of anticipation – the sense that things will soon be over, and life can “get back to normal”, which in turn can lead to further frustration as “the end” doesn’t seem to get any closer, despite the passage of time.

Within Isolation’s Passenger’s we see many motifs representing elements of the second and third order effects of isolation – take the line of large masks with waterfalls falling from one eye: their repetition suggestive of routine; painted bodies suggestive of excitement that the freedom of expression isolation and working from home appears to initially present. Then there is the large clock sitting to one side of the region, representing the dragging passage of time and the resentment it can cause – the reminder of how long its been, and how long, potentially, we may still have to go before things “get back to normal”.

But there is more here as well: the personal element of love and loss of a friend beautifully offered through these suggestions of life and death, love and loss through the use of angelic figurines (some partially dismembered), the shrouded busts with their crowns of thorns, the floating bodies under their own shrouds, the great church, the huddled skeletons, the shiny Morgan sports car with its “Just Married” sign and the promise of a bright future,  sitting amidst the wreck of several junker cars suggestive of age and decrepitude – and loss.

The layering of images and ideas within this build is compelling in their sheer diversity. Take the line of masks noted above; within them might also be seen the cracking of our daily façades – the faces we present to the the rest of the world that are becoming increasingly redundant in this age of isolation; also to be found within them is the sense of tears offered by the falling water. Between two of them sits  the carcass of an ageing ship, an orchestra playing even as pumps fail to keep the water at bay. This is rich in multiple motifs: there’s the idea of trying to carry on as normal in the rising tide of change; the echo of the Titanic and the idea we’re facing the sinking of all that can be normal in an increasingly  confusing, isolating world; the hint that despite the current disorder, perhaps normality can return; and then there’s the personal element again: music played in remembrance of a loved one.

Poignant, beautifully presented, and watched over by the floating spores of a virus that hang in the sky – a reminder that as per that title of the build – we are all just passengers in the unfolding situation in the world today. Even the region’s core name – Solveig – seems to reflect the intertwined themes presented in the build – Sol and Veig being old Norse words meaning “house” or “hall” (the place where we most commonly have to isolate) and “strength” or “battle” (reflective of the strength we draw on from within in handling the battle we face in moving beyond the 3rd order of isolation).

SLurl Details

• Isolation’s Passengers ( Solveig, rated Moderate)