Partners For a Sustainable Future

PARTNERS FOR A SUSTAINABLE FUTURE BRIDGING ACADEMIA, STAKEHOLDERS, & PRACTICE 2019/2020 RESEARCH LAB 3 TEACHING PROGRAMME 3

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Radical Sustainable Architecture Teaching Programme 3 PROJECT LEADERS Thomas R. Hilberth Heidi Merrild CONTRIBUTORS Research Lab 3 Staff & Students of Teaching Programme 3 Kevin Kuriakose LAYOUT & DESIGN Kevin Kuriakose EDITOR Kevin Kuriakose PRINT Lasertryk ISBN: 978-87-90979-86-7 December, 2020 Arkitektskolen Aarhus Aarhus, Denmark

CONTENTS FOREWORD 8 SUSTAINABLE DEVELOPMENT GOALS

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RADICAL SUSTAINABLE ARCHITECTURE

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MISSION 15 INTRODUCTION & AIMS

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OBJECTIVES 19 APPROACH 21 REACHING OUT

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UNDERSTANDING OURSELVES

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VISUALISING COMPLEXITY

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KUMU 32 THE MAP

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ELEMENTS & CONNECTIONS

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THE LAYOUT

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DATA ANALYSIS

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RESEARCH & TEACHING

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MAPPING MACHINES

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WEBSITE 52 KLIMAFOLKEMØDET 2020

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INSTITUT FOR (X)

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THE FUTURE

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RESEARCH 2019/2020

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TEACHING PROGRAMME 3 2019/2020

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COMMON WORKSHOPS

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UNIT 2/3E

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UNIT 2/3F

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STUDIO 3

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STUDENT WORK 2019/2020

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GOAL 17: STRENGTHEN THE MEANS OF IMPLEMENTATION AND REVITALIZE THE GLOBAL PARTNERSHIP FOR SUSTAINABLE DEVELOPMENT

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FOREWORD

BY THOMAS R. HILBERTH Long before we started labelling it the Anthropocene and considering the human impact on the global climate and the environment, architects must have been aware of the destructive potential that had always shadowed their creativity.

Every architectural intervention, be it a concept, building or city, aims to alter a certain status quo into something that hopefully improves the current situation for a wide group of future users. The ultimate goal of architecture is to create beautiful form and space, which serve as an aesthetic, functional and secure framework for all kinds of imaginable (human) activity. This ambition always brings along change and transformation.

Architectural alteration and transformation are positively connotated terminologies for an often irreversible “destruction” of (spatial) settings, which may include the change of site conditions, scale relations, natural elements and even the invisible history and memories that are bound to certain spatial configurations and objects in our environment. This creative “destruction” furthermore consumes large quantities of energy and (limited) resources while simultaneously producing enormous quantities of (toxic) waste to be discarded or destroyed elsewhere.

Soon with more than eight billion people on the planet, this widespread form of destruction has reached a scale that impacts every living organism on the globe and cannot continue undisrupted without profound irreparable damage done to the environment with severe consequences for all.

Today, it is impossible to design without reflecting on the consequences that these interventions have on our environment; consequences that exceed thoughts about legality, cost efficiency, financial gain, and practical feasibility. Contemporary architecture faces numerous contextual and complex challenges that have to be thought of and addressed by both academia and practice.

Radical changes are necessary to transform architects’ destructive behaviour into sustainable conduct that preserves our common future. Radical changes require a clear self-conception and enlightened radical thinking that infiltrates every decision while considering all facts and data available. This starts with architectural education and can only be successful with the involvement of methodical research with the collaboration of relevant experts, responsible agents and concerned stakeholders. In our march towards a sustainable future, architects, institutions, municipalities, manufacturers and entrepreneurs must redefine corroded habits and initiate beneficial change with respect for our vulnerable environment. As a precondition, all stakeholders must develop a strong affinity to critical (self-) reflection and the courage and willingness to move the agenda of sustainability above all other goals. An honest commitment to the UN 2030 agenda with its 17 Sustainable Development Goals is a good first step.

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In an attempt to strengthen and qualify these collaborations towards a common objective, it was and remains necessary to monitor similar ongoing initiatives as well as to map and document our own activities and collaborative efforts before analyzing and reconfiguring initiated projects.

This publication together with a complex, multilayered and illustrative website serves as a guideline to the multifarious projects, initiatives and connections that started to unfold within and around AAA’s sustainability program during the last few semesters.

Through documenting and visualizing our relations between academia, stakeholders and practice within those initiatives, we created a tool and a (research) foundation to reflect critically, readjust, and improve the quality and impact of our collaborative efforts among our constantly evolving network of partners for a sustainable future.

THOMAS R. HILBERTH Coordinator TP3/LAB3 Aarhus, Denmark

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Radical Sustainable Architecture (RSA) is one of three thematic programs at Aarhus School of Architecture (AAA) that consists of a research laboratory (Lab 3) and a teaching program (TP3) with bachelor units and candidate studios that commits itself to the study, research and development of contemporary sustainable architecture. All entities within the program have their own undogmatic approach to the field with a common base of curiosity and critical

thinking. Another common feature is their wide range of contacts and collaborators from various related disciplines, professions and institutions both local and international.

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The sheer complexity that needs to be considered while dealing with the issue of sustainability is astounding. Circular, active or passive approaches, renewable energy and recycled or upcycled materials, resource- and waste management, as well as alternative materials, need to be considered. The sourcing, manufacturing, transportation, the assembly and disassembly of non-toxic, non-polluting renewable components and materials, their life expectancies and life cycles, as well as numerous social sustainability concepts, have to be studied for the holistic concept and the design of sustainable architecture today.

A holistic and complex approach should always be favoured over the appliance of isolated initiatives or the use of bureaucratic checklists and certification systems.

All stakeholders play an important and specific role in the collaboration to create long-lasting sustainable architecture. Success or failure depends on acting on the collective knowledge about inherent correlations and contextual interdependencies, the ability to ask the right questions and the trust in cooperatively arriving at the right answers. The very first step in this direction is a clear understanding of everyone’s role and potential in this complex collaborative process.

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The Sustainable Development Goals are a call for action by all countries – poor, rich and middleincome – to promote prosperity while protecting the planet. Architects can provide basic ideas and proposals for regulations that make it possible for us to have sustainable cities and communities in the future. Architects can facilitate the open dialogue and work in partnerships to give us good solutions and can encourage authorities to make the regulations necessary to move forward.

Mogens Lykketoft Former Danish Minister of Finance and of Foreign AffairsPresident of the United Nation’s General Assembly from September 2015 to September 2016. November, 2018

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SUSTAINABLE DEVELOPMENT GOALS THE 17 GOALS According to the UN, the 2030 Agenda for Sustainable Development, adopted by all United Nations member states in 2015, provides a shared blueprint for peace and prosperity for people and the planet, now and into the future. At its heart are the 17 Sustainable Development Goals (SDGs), which are an urgent call for action by all countries - developed and developing - in a global partnership. They recognize that ending poverty and other deprivations must go hand-in-hand with strategies that improve health and education, reduce inequality, and spur economic growth – all while tackling climate change and working to preserve our oceans and forests (United Nations, 2015).

The built environment, planning, architecture and design, interact with every one of the SDGs (Mossin, 2018). Architecture can and is contributing to humanity achieving these goals but the built environment is inherently a part of the problems that the SDGs

address. The built environment is a major consumer of energy and natural resources as well as a huge producer of waste and this is something we as a profession must reckon with and confront (Mossin, 2018).

This conflict is what we hope to help resolve at RSA. The SDGs help to provide a broad framework that helps TP3/LAB3 organise our visions and objectives. We will be utilizing the UN Sustainable Development Goals as a guide to address the global challenges we face together, including those related to poverty, inequality, climate, environmental degradation, prosperity, peace, and justice to achieve a better and more sustainable future for all. We hope that this will inspire architects and stakeholders involved in the built environment to engage with these challenges.

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THOMAS R. HILBERTH

PROGRAM COORDINATOR, ASSOCIATE PROFESSOR, Dipl.ARCH ETH, PhD th@aarch.dk

HEIDI MERRILD

TEACHING ASSOCIATE PROFESSOR, ARCHITECT MEGA hm@aarch.dk

NACHO RUIZ ALLEN

ASSISTANT PROFESSOR, M.Arch, PhD nra@aarch.dk

ELIZABETH DONOVAN

ASSISTANT PROFESSOR, MSc, PhD ed@aarch.dk

URSZULA KOZMINSKA ASSISTANT PROFESSOR, Eng. Arch., PhD uk@aarch.dk

SAREH SAEIDI DERAKHSHI ASSISTANT PROFESSOR, M.Arch, PhD ssd@aarch.dk

RICELLI LAPLACE RESENDE PhD Fellow rlr@aarch.dk

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STINE DALAGER NIELSEN PhD Fellow sdn@aarch.dk

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RADICAL SUSTAINABLE ARCHITECTURE RESEARCH LAB 3 Lab 3 focuses on research in the relationship between the growing and changing societal and environmental challenges for producing space and the competences, mindsets and methods of the architectural profession to address these challenges.

Cultural, social, economic, environmental, aesthetic, and technological developments of the recent past, as well as the evolution of advanced design tools and transdisciplinary demands for connecting all scales of our environment, have radically changed the way designers work, classify, evaluate, communicate, and disseminate content.

Architecture today is the result of successful collaborations, both on an extremely competitive ground in conventional professionalism and by entering the emerging fields of new practices. The varieties of architectures require strong research and discourses on the foundations and the mechanisms of the discipline. The goal is to address the enormous societal challenges while working with space on all scales and simultaneously improve the many different ways architecture is thought, designed, and implemented.

Radical Sustainable Architecture intends to pursue an architecture where sustainable solutions and their consequences are at the root of every decision taken in the process to create functional and aesthetic spaces in a vulnerable environment with limited resources. It poses and investigates the radical questions necessary to design contemporary architecture in an attempt to optimize the human impact on each other and the environment while providing better (living) conditions for future generations.

The Lab researches theories, history, aesthetics, concepts, skills, tools, methods, networks, and interdisciplinary constellations for raising the professional fitness of future architects and building practices. Theory building, methodological research, practice-based research, and research by design are different and intertwined pillars of this Lab and it actively looks for strong collaborators in practice and academia in and outside Denmark. This openness and necessity towards collaboration and mutual learning are the primary reasons that Research Lab 3 has initiated and which support this research project.

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THE MISSION OF THIS RESEARCH PROJECT IS TO DOCUMENT, ENCOURAGE, AND STRENGTHEN THE COLLABORATION AND INTERACTION BETWEEN ACADEMIA, PRACTICE AND A BROAD SWATH OF STAKEHOLDERS TO WORK TOWARDS A MORE SUSTAINABLE FUTURE. MISSION

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INTRODUCTION & AIMS PARTNERS FOR A SUSTAINABLE FUTURE

Diagram showing potential collaborators

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On another level, BASP is also seen as an opportunity to convey to the different stakeholders the different approaches to education and research that the school is currently involved in. In return, the school also gets

The project has included several milestones in the form of an exhibition, workshops, seminars, and contributions to Klimafolkmødet 2020. We hope that TP3/LAB3 can continue to stand out as a voice in achieving the SDGs.

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Our hope is that strengthening interaction between academia and the wider industry will lead them to be more ambitious and radical in their approach instead of sticking to the inherent conservatism of the building industry. The common aim is to challenge current production modes and regulations in order to face ever-increasing societal and environmental challenges.

a better understanding of how different stakeholders are approaching the SDGs. This improved mutual understanding can enable everyone involved to work towards common goals.

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The project, hereafter referred to by the acronym BASP (Bridging Academia, Stakeholders, and Practice), aims to strengthen TP3/LAB3 as an innovative contributor to the green transition agenda specifically through sustainable architectural research and teaching development. This involves fostering interdisciplinary collaboration with stakeholders for societal impact: universities, municipalities, architectural practices, manufacturers, entrepreneurs, and the public. Our common aim is to create more resilient, responsive, and sustainable solutions for our common future.

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OBJECTIVES TO BUILD BRIDGES One of our main objectives to achieve our goal of building partnerships was to become aware and visualize the multifarious connections that already exist within RSA, among its various members.

We hoped that this would reveal the quality of the fabric of collaborations of different entities associated with RSA. We wanted to see how this mutual learning through collaboration folds out, where our strengths are, and where there is space for improvements, as well as to find the missing links in our network. We

wanted to analyze and improve how our organization collaborates locally, within Denmark, as well as at a global scale, to enhance innovation and execution.

We aimed to do this by first focusing on documenting and analysing the existing framework of RSA and disseminating this to all potential stakeholders so that they might better understand and potentially offer insights on how best to collaborate with RSA.

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APPROACH METHODS & IMPACT OF COVID-19 The initial approach to BASP was that we were planning to collate information about our teaching and research methods, and present this information about RSA to various stakeholders to establish partnerships with them. This would then be followed by actively working on collaborative projects which we would collect data on to analyse and then document. The working approaches developed in the Lab and the Unit/Studio would then be collated into exhibitions, documentation, and websites. The expected outcome was to be a conceptual framework for strengthening future sustainable interdisciplinary collaboration and improving our working methods.

Some of our earlier goals had to be adapted and reformulated due to the ongoing coronavirus crisis.

Due to the restrictions that were put in place the process of seeking partners and arranging stakeholder meetings was delayed and subsequently cancelled.

The additional effort and pressure put on the staff, especially those with teaching responsibility, hampered the project’s ability to organise events. Planned teaching and research-related activities that would have seen the integration of collaborations facilitated by BASP are yet to come to fruition, but hopefully, this will continue shortly. The possibility of hosting an online workshop/seminar along with ARI, a research group at TU Munich, was discussed, which also had to be put on hold, but it might be something that can be carried out shortly as they were keen to apply for Erasmus+ funding along with us.

Adapting to the work from home environment that followed the lockdown forced us to consider the idea of creating an online platform that documents existing and new modes of collaboration and disseminating information to various stakeholders. For instance, the decision to build an online interactive map showing the ecosystem of activities taking part in TP3/LAB3 was almost entirely motivated by the fact that we had to find a new way of collecting, analysing, and conveying information.

To achieve our goal of strengthening collaboration and cooperation, a clear identity of the lab and an overview of existing expertise and collaborators was needed.

As a big part of the project, we have been mapping out the research, collaboration, and teaching activities of TP3/LAB3. This had to be done in a way that can be accessed and used by future collaborators as well as by staff and students to see the network of research and collaborations that we are involved in.

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A digital platform in the form of a website was also created where detailed information about various activities, research, publications, and collaboration that RSA is involved in can be accessed easily by various stakeholders interested in working with us.

Another consequence caused by the Covid-19 lockdown was at the Klimafolkemøde, where we were one of the contributors. The Klimafolkemøde was scheduled to take place at the end of August with almost 25,000 attendants expected, which would have been a huge event for Arkitektskolen Aarhus to be a part of. The event was postponed to the beginning of September and was unfortunately limited to just 500 attendants at a time.

Despite all the setbacks we hope that this research project can help facilitate more than just online interactions in the future.

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REACHING OUT ARCHITECTURE RESEARCH INCUBATOR During the initial phase of our research, we searched for similar initiatives to BASP by other institutions.

An interesting and relevant one that we came across was the Architecture Research Incubator (ARI). ARI is a central facility at the TU Munich Department of Architecture for coordinating interdisciplinary research and development competencies in the design, engineering, urban development, and IT sectors.

ARI was started 4 years ago by Dr.-Ing. Gerhard Schubert and developed along with Christos Chantzaras. We had several online meetings and they provided us with valuable insights into how their platform was developed. The platform helps strengthen existing research activities, opens up new fields of research, and acquires projects. It also organises and

develops partnerships with businesses and institutions in the municipal region of Munich (Schubert, 2016). The participating research groups work from a coworking space that adjoins the prototyping workshops at the Technical Centre. They even have access to specialised equipment and a workshop provided by TU Munich.

This space also hosts startups started by current and past students as well as by external practising architects. Usually, they see about 2-3 startups per year using their space. All the services of ARI are offered for free at this location to promote the growth of innovation. The facility promotes students with a strong research focus and aims to strengthen the culture of project development, cooperation, entrepreneurship, and funding application at the Department of Architecture.

Gerhard Schubert

Christos Chantzaras

Oskar von Miller Forum Werner Lang ARI

TUM Architecture

TUM Civil, Geo and Environmental Engineering

TU Munich

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Research network map created by ARI, mapping various chairs and their expertise

ARI approaches collaborations in a variety of ways, and whom to collaborate with is usually decided on a case-by-case basis. It started with a lot of promotion through personal contacts to get people aware of their existence. This is also facilitated by network events organized at TU Munich by ARI. ARI also meets with researchers to help frame research questions and put them in touch with partners outside TU Munich. This method of trying to network with a topic and researcher in mind is also something it engages in.

Companies also reach out with ideas for workshops and topics for students. ARI is careful to avoid stakeholders using students for cheap labour. The main criterion that they use to judge whom to collaborate with is to ask whether the outcome will be something of value for TU Munich and its research and teaching agenda. Sometimes companies reach out and

they might not be able to find a researcher or chair interested in collaborating. For instance, despite a large research network they have not been able to find any chair that focuses on researching new typologies of office design and indoor climatic qualities. Identifying gaps in research such as this can help the department decide on areas to improve upon as well as getting a better understanding of what industries are interested in.

Usually, a proposal for collaboration progresses through several stages of round table meetings with stakeholders that could eventually lead to a workshop if appropriate chairs (departments) are interested in the topic. This sometimes further progresses into a master thesis project or an industrial PhD. This is quite similar to how we approach potential collaborations at Lab 3.

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UNDERSTANDING OURSELVES COLLECTING AND ILLUSTRATING INFORMATION ABOUT RSA As outlined in our objectives, the first step in bridging academia and practice was to understand the way RSA already operates in the way it collaborates. What kind of collaborations are already underway? What are the expertises that various members of RSA possess?

How can someone who is not familiar with the way we operate within sustainability understand what we do and offer?

This was important information to convey to different stakeholders as well as to the lab members, as it’s not always clear to everyone even within our lab how different members and units operate when it comes to teaching, research, and collaborations.

To get an overview of this it was important to first collate information and provide a general overview of activities that take place during a year. This process was also done to pinpoint which formats of teaching could be most open to collaboration. It was clear from looking at the different phases of teaching that the units and studios found it easiest to utilize workshops to encourage collaboration with different stakeholders compared to the task of involving them over an entire semester. The shorter duration of the workshops with its more intensive and contained format lends itself well to working and involving different stakeholders.

The possibility of a deeper and more involved collaboration that stretched beyond the confines of workshops was discussed at the LAB meetings but the logistical challenges and coordination involved in organising such an endeavour hampered its adoption.

This could potentially be something that a project like BASP could help facilitate and set up collaborations for in the future which could then have a wider impact.

For instance, it would be interesting to see if it is possible to organise a common project that different units can work towards throughout a semester with shared stakeholders and at the same time engaging the research expertise that the lab has to offer. The

Responsible Architecture workshop organised by PhD fellow Ricelli Resende could offer us a template into how this common project could be organised in the future.

When we discussed our initial approach with ARI they were quick to offer us advice on how important it was to map out ourselves as they had a very similar approach at the start of their initiative. The architecture department at TU Munich is vaster and more complex than Arkitektskolen Aarhus with different chairs being responsible for various fields of study. They too started out by creating a digital system map of topics that each chair dealt with to get an overview of what kind of expertise they had. They did this by having informal interviews with different professors and plotting them into a map.

Inspired by this, BASP took a similar approach to develop its own multilayered system map that helped collect and illustrate a variety and wealth of information. The studios were mapped out using briefs and study materials produced as well as talking to the course supervisors. Various members of the LAB3 were also informally interviewed about their present and past research interests as well as their experience of collaborations and future collaboration interests.

Using this we created an online interactive ecosystem map to facilitate and visualize our collaborator network as well as to illustrate our expertise in various fields of study and research. The map also works as an information bank that can be useful for future users to access information about our activities. We hope that RSA can continue to maintain and add information to the map so that it stays up to date.

The following sections will discuss in detail our approach to mapping and how it was conceived and organised which formed a huge component of our research.

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VISUALISING COMPLEXITY MAPPING COLLABORATION How could we represent the myriad of activities and collaborations that take place within the RSA? How could information be organised in a meaningful userfriendly way that allows us to articulate different relationships and see patterns between different entities in this small yet complex ecosystem?

Developing a network map seemed to be a way of tackling this challenge.

Mapping helps us to visualise the system of collaboration by making the network of existing relationships visible. It can help us gain a better understanding of the quality of relationships and our strengths and weaknesses. It can also serve as a valuable resource to external stakeholders or new members of staff who are unfamiliar with our expertise and might not have much idea of what we are capable of as a research and teaching programme.

It also needed to be more expansive than the maps that can be generated using Pure which only shows collaborations based on research published.

Network maps, though visually engaging, can sometimes overwhelm the viewer with its complexity and lack of hierarchy. It might encode a lot of information but if it isn’t easily comprehensible then it might not be able to convey information effectively.

The choice of platform for the map had to be one that was user friendly and easy to manage while allowing for a wide degree of control over visuals and ability to convey information.

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KUMU PLATFORM FOR MAPPING After considering several digital tools that could fulfil our requirements the choice fell on Kumu. Kumu is a web-based data visualisation platform that helps people understand complex relationships, mostly through network, systems, and stakeholder maps. The reasons for the choice of Kumu are: •

It’s a very user-friendly tool and a powerful tool with which you can articulate networks and relationships

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It enables one to search across the whole map making information more easily accessible

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It’s an online tool that allows multiple users to collaborate on the same project which could be used in the future to update and maintain the map

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It can be used without any programming knowledge, though a bit of coding is needed to unlock more advanced features

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It allows for simple data analysis scripts to be run

Due to these reasons, Kumu was selected over alternatives like Gephi, which though powerful, had a much steeper learning curve and much more difficult to host online. However, Gephi could be a viable alternative if the school needs an open-source, self-hosted software with more granular control as the enterprise edition of Kumu that allows that is prohibitively expensive. It should also be possible to port the information stored in Kumu over to Gephi.

Fluxus Landscape: An Expansive View of AI Ethics and Governance Serife Wong and the Center for the Advanced Study in the Behavioral Sciences (CASBS) at Stanford University.

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THE MAP AN OVERVIEW The map might look complex but it essentially shows connections between different stakeholders and a variety of subjects which will be covered in the following section. It outlines the core competencies and areas that RSA might need to focus on concerning collaborations on the topic of sustainability.

This is where network maps come into play and they can help provide an exploration of the network, communicate understanding, and allow for the identification of knowledge gaps, intervention points, and insights (Acaroglu, 2017). The interactive nature of the map allows one to easily search and parse through information and find connections. This map can give an idea of the networks that we are embedded in and it can act as a bank of information that can be accessed and used by future collaborators and even by staff and students to see the network of research, teaching and collaborations we are involved in. It also allows one to perform simple data and social network analysis which can help uncover existing gaps and identify valuable connections and opportunities for synergy.

The hope is that RSA can continue to maintain and add information to the map so that it stays up to date.

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ELEMENTS & CONNECTIONS MAPPING NETWORKS The basis of the map are elements and connections that are used to depict the system or network of collaborations and activities. Visually the elements are circles with information embedded in them and connections are the lines between the elements which can also be loaded with more information illustrating their relationship.

Elements for instance can represent people and the connection between them can illustrate the interpersonal relationship. It can also show various

affiliations and areas of research interest and roles in various research and teaching activities. The map was started with the main categories of stakeholder we hoped to strengthen collaboration with and as the map has grown these categories have also widened.

The map as it stands has over 350 elements and 750 connections and it will continue to grow as more data is added.

Early version of RSA network map showing various elements and connections showing various affiliations

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‘Functional visualizations are more than innovative statistical analyses and computational algorithms. They must make sense to the user and require a visual language system that uses colour, shape, line, hierarchy and composition to communicate clearly and appropriately, much like the alphabetic and character-based languages used worldwide between humans (Woolman, 2002).’

- Matt Woolman, Digital Information Graphics

THE LAYOUT THE CORE The map is laid out in a radial segmented layout. The central area of the map is occupied by 4 different types of elements.

Research Area Research topics and areas of interest that concern the subject of sustainability

Research Projects Projects, workshops and other activities associated primarily with research

Teaching Projects Projects, workshops and other activities associated primarily with teaching

Events Events and activities that have been organized and conducted in collaboration with the AAA

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Around the central areas are the main types of stakeholders we are concerned with. As one moves outwards, the elements resolve into more detail as it progresses from organisations to smaller groups to finally individuals in the outer ring.

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Universities An institution of higher learning providing facilities for teaching and research and authorized to grant academic degrees

Public Institutions Encompasses organizations that are fully or partly funded by the state.

Municipalities Municipalities (Danish: Kommuner, sing. Kommune) are local administrative authorities.

NGOs A non-governmental organization (NGO) is a non-profit, citizenbased group that functions independently of government.

Experts/Artists Persons who are experts in their various fields of study. This includes artists as well as sociologists, psychologists, etc.

Aarhus Architecture School Elements that belong to or are affiliated directly with the Aarhus Architecture School (AAA)

Radical Sustainable Architecture Units/Studios and groups associated with Teaching Programme 3 as well as Research Laboratory 3

Manufacturers Companies or persons who are manufactures or distributers of a variety of goods or products

Funds Organizations both private and public that provide funds and grants

Practice Architectural practices or firms that provide architectural services.

Engineers Engineering firms, consultancies and individual engineers with varying specialties.

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The connections are categorised to illustrate the type of relationship that exists between different elements.

They are also colour coded with shades of green corresponding to connections related to research, red for collaborations and yellow for affiliations.

Affiliations Shows connections between affiliated elements

Research Research interest of groups and organizations

Individual Research Research interest of individual researchers

External Research Research interests of entities that are not directly affiliated with AAA

Interest Shows interest areas and connections that do not include active research

Collaborators Maps out collaborations & stakeholders both active and past

Connection Illustrates connections between elements that are not active collaborations or partnerships

Teaching Connections that involve teaching related activities or workshops

Funding Shows where the funds are coming from

Topics Connections between different topics and research areas

SDG Connections with UN’s Sustainable Development Goals

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DATA ANALYSIS VISUALISING INFORMATION The map can also be used to run basic data analysis.

On the right, the research areas are sorted and sized according to the number of people/projects researching it. There are other possibilities of how this could be utilized, for instance, it can be used to identify and sort projects with the most number of collaborators.

The main limitation is that the visualisation is only as good as the input data but it remains a simple way to communicate information and discover key stakeholders within the network.

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Scan to view Soo’s map

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RESEARCH & TEACHING IMPACT AND INFLUENCE The activities and mapping that were done as part of BASP have had an impact on other research projects and in teaching-related activities within TP3 as well as in other teaching programmes.

For instance, inspired by the map that BASP has produced, Soo Jung Ryu, a PhD fellow associated with Lab 1, is also currently developing a network map of her own. With some initial help from BASP, she hopes to develop a multilayered, multiscale for her PhD project, Urban Seascaping. The research focus of the PhD is the integration of the sea and marine-based ecologies as part of the city’s landscaping, sustainable urban drainage systems and coastal protection in East

Meso-Mapping being developed by Soo Jung Ryu

Jutland as a response to sea-level rise and climate change (Ryu, 2019). She is using it as an analytical and communication tool that she is hoping can help to analyse, visualize and convey the complexity and challenges involved in tackling rising sea levels. Also as part of her research, a workshop titled Meso-Mapping, with students from Studio 1A, which focused on network mapping was organised with the help of BASP. Another workshop, seminar and exhibition were also organised in Berlin as a part of BASP, in March by Studio 3.

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47 AARHUS SCHOOL OF ARCHITECTURE

Work done by students of Studio 1A as part of the Mesp-mapping workshop organised by Soo Jung Ryu

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MAPPING MACHINES WORKSHOP IN BERLIN Through a workshop in Berlin titled: MappingMachines: Rituals of Commoning“, closely related to the semester brief: “a Civic Platform for the Architect and others” studio 3 were bridging academia and practice foremost by two means.

First by establishing an interdisciplinary and open learning environment and secondly by establishing close connections to Berlin-based architects, institutions, community cooperatives and locals. The physical representation of this, above mentioned learning environment, came about as a temporary workspace in the community-house “Haus der Statistik”.

Mapping Machines Berlin

Haus der Statistik

Bank of Materials

Nina Peters

Carolina Dayer

Nuria Casais

Scan to view the map

49 AARHUS SCHOOL OF ARCHITECTURE

Kvadrat

Carl Ras

Hitsa

Niklas Fanelsa

Eduardo da Conceiçao

Markus Bader

BASP Brandlhuber

Anupama Kundoo

Atelier Fanelsa Roberta Jurcic

Anyana Zimmermann

Studio 3

Urszula Kozminska Nacho Ruiz Allen

Stine Dines Schmidt

Students got the opportunity to interact with the local urban context through their workspace, by hosting a public event and utilizing their Mapping Machines (interactive structures) - altogether an opportunity to practice real-time space making, offering headspace for reflections upon practising architecture and the role of the architect.

The close connections to practice arose from engaging with several Berlin-based architectural practices and institutions* - most of whom students were already familiar with (previously presented to them through research, case studies and as a guest tutor). Solid knowledge about the architectural practice was obtained through talks, project- and site visits whilst involvement of the Berlin-based architects, cultural workers and locals were made possible through the character of the temporary workspace. *(Anupama Kundoo , Brandlhuber+, Atalier Fanelsa, Raumlabor, Floating University, Construct Lab, Haus der Statistik - HdS, Werkstatt - Hds)

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51 AARHUS SCHOOL OF ARCHITECTURE

WEBSITE A DIGITAL PLATFORM As part of our effort to create a digital platform for collaboration we also created a website. The project website is built to inform and facilitate cooperations and collaboration on specific topics relating to sustainability.

The website acts as an information hub and archive for major activities, events and collaborations we have already engaged in. The interactive map is also incorporated into various aspects of the website to provide information and clarity.

It also includes the examples of student projects from the different units and studios which could help inspire future partners to work with us. Selected research publications from various members of RSA that might be of interest to future partners have also been incorporated into the website.

Map under development by the Institut for X. Map shows types of memberships and sized according to rental fees.

Scan to visit the website

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Scan to watch the debate

10:00 - 10:20 Presentation by Soo Jung Ryu, PhD fellow at the Arkitektskolen Aarhus 10:20 - 10:40 Presentation by Nicolai Skiveren, PhD at Aarhus University 10:40 - 11:00

Selected student films

PANORAMA KLIMABIO Scan to view the map

Scan to watch the films

53 AARHUS SCHOOL OF ARCHITECTURE

Scan for more information

KLIMAFOLKEMØDET 2020 KLIMAHANDLING NU AAA had the honour of being a contributor to the Klimafolkemøde 2020 that took place in Middelfart.

The Klimafolkemøde is an annual event that tries to engage and inspire citizens, stakeholders and other decision-makers about climate-related issues. As part of our contribution we organized a lively debate, a film screening that showcased films made by students and an outdoor exhibition with student work.

Due to the restrictions of Covid-19 we organised an outdoor exhibition showing student work from Teaching Programme 3 in front of the Middelfart town hall. The exhibition showcased a variety of student work from three different units/studios with a focus on sustainability and how we can deal as architects with climate change. We also included information about the research projects we are involved in. We are hoping that exhibition will also be shown as part of Forskningens døgn, 2021.

A part of our contribution to the Klimafolkemøde was the KlimaBio, where selected short films created by students at Unit E were shown. The films focused on the moving materials wind, water and sun.The films were preceded by presentations by Soo Jung Ryu, a PhD fellow at the school, and Nicolai Skiveren, a PhD fellow in Philosophy at Aarhus University.

The lively debate focused on how behavioural changes in response to the climate crisis can be brought about by architecture and the role architectural education and research plays in the green transition we need to undertake. The participants of the debate were Frank Erichsen, Thomas Hilberth, Emma Rishøj Holm, Jette Birkeskov Mogensen and Heidi Merrild as the moderator.

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KLIMA-DEBAT Kan vi ændre adfærd gennem arkitektur?

Vi har brug for alle kreative kræfter, hvis vi skal løse klimakrisen, og her får ikke mindst arkitekturen en nøgleposition.

Hvilken rolle spiller arkitektuddannelsen og forskningen for den grønne omstilling i praksis? Kan man tale om adfærdsregulering som et middel i klimakampen og kan vores bygninger, byrum og landskaberspille en aktiv rolle i denne forandring?

Read an article about the debate

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KLIMA-DEBAT PARTICIPANTS

MODERATOR

THOMAS R. HILBERTH

HEIDI MERRILD

Associate Professor, PhD Aarhus School of Architecture

Teaching Associate Professor, Aarhus School of Architecture

FRANK LADEGAARD ERICHSEN Self Sufficiency Expert Founder of Handar

EMMA RISHØJ HOLM Student Aarhus School of Architecture

JETTE BIRKESKOV MOGENSEN Senior project development manager Schmidt Hammer Lassen Architects

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57 AARHUS SCHOOL OF ARCHITECTURE

INSTITUT FOR (X) UNDERSTANDING OUR NEIGHBOURS As per their website, the Institut for (X) is a culture, business, and education platform founded in 2009. It is an independent and not-for-profit culture association arising from citizen initiatives (Institut for X, 2019). The organisation is poised to be our future neighbours at New Aarch in Godsbanen.

Ricelli Resende, a PhD fellow and Lab 3 member, has been working with them as part of her PhD project, ‘In Search of Responsible Architecture’. X has a lot of members who are engaged in a wide array of activities, from architecture studios to art, music, and dance.

They got in touch with us to get help with mapping out their organisation to understand it better and to show the impact they have on the culture scene of Aarhus.

This mapping could become a part of Ricelli’s research project.

After a few initial meetings with X and help from us, they have been able to start their efforts of mapping and have been granted funding from Aarhus Kommune to continue their efforts. The Institut for (X) could also be an interesting collaborator to work with in the future due to their close proximity to the new school as well as their wide range of competencies.

Map under development by the Institut for X. Map shows types of memberships and sized according to rental fees.

Scan for more information

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59 AARHUS SCHOOL OF ARCHITECTURE

THE FUTURE CONTINUING DEVELOPMENT There are several ways in which BASP can continue and expand as its full potential and objectives could not be realised due to the extenuating circumstances caused by Covid-19. Several workshops and seminars were in the works that had to be abandoned, and these could therefore be conducted in the future.

There were preliminary discussions of organising workshops along with the Laboratorie for Innovation og Kreativitet (LINKED) project which could be continued depending on what direction it is headed. As the school moves into a new phase of its history, with the move into NEW AARCH, it would be interesting to consider putting in place a physical infrastructure similar to the coworking space and workshops that ARI, TU Munich, have at their disposal. This space could be an innovative incubator of sorts where researchers and members of the industry could work together on projects and promote the growth of innovation.

Furthermore, there is the possibility of expanding the map to other teaching programmes in Arkitektskolen Aarhus so that we can find commonalities and points for synergy and cooperation across different labs. The mapping of collaborators is expected to be continued, and Lab 3 members can be trained to manage and maintain the maps themselves now that the basic framework is established. Alternatively, each unit/ studio will also be recommended to methodically keep track of and provide a list of collaborators that they have engaged with so that they can be added into the mapping by a coordinator.

We consider this endeavour as a pilot project, in which sustainability within established partnerships and common activities are further developed and enlarged in the coming years. The Lab 3 research projects and the TP3 will be necessarily influenced and enriched by collaborations with a wide variety of stakeholders. We hope the project is aligned with the school’s ambition ARI were very keen to apply for Erasmus+ funding to maintain and improve the professional competences and to hold a joint workshop and collaborate with us. of the students, where access to knowledge of This could be something that Lab 3 could conduct insustainability and expertise is becoming extremely person once travel restrictions are eased. We could also crucial. We hope that we can continue finding new and enlist ARI’s help in organising stakeholder meetings/ exciting partners for a sustainable future. workshops and networking events, where we allow different stakeholders to interact with research staff in the future.

Coworking space at ARI, TU Munich

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RESEARCH 2019/2020 OVERVIEW Based on the vision Engaging through Architecture, we emphasise working with architectural practice and the many actors of the industry, even when it comes to our research. We address current challenges to society in relation to architecture, space and planning. And through experimental research, we create knowledge that contributes to the future development of our physical environment. We focus on strengthening project-oriented and innovation-driven research of high quality and relevance. Architecture deals with scientific as well as artistic elements, and our concept of research therefore deliberately spans from academicbased research, over research by design to artistic research.

We particularly focus on developing the research approach research by design, where the architectural design process and the field’s tools, drawing, modelling and experiments are used as research methods to create new insights and knowledge. Artistic research (KUV) combines reflections on artistic practice with the creation of artistic products of high aesthetic quality.

INTRO TO RESEARCH

With our special emphasis on research by design, Aarhus School of Architecture emphasises developing research closely linked to the design methods, tools and processes of the field. It is about using the methods from the architectural discipline, creating realisation by working directly and physically with the material, and initiating experiments that explore, develop and challenge. The field of research by design is still evolving and we collaborate in the CA2RE research network and in a new European project on the supervision of PhD students with several other research institutions that also focus on strengthening research by design and artistic research. Within the field of research by design, the architectural design process forms how new insights, knowledge, practices or products are created. It generates critical questioning through design work.

61 AARHUS SCHOOL OF ARCHITECTURE Elizabeth Donovana

Assistant Professor, MSc, PhD

Urszula Kozminska

Assistant Professor, Eng. Arch., PhD

DANISH ARCHITECTURE BEYOND 2020

Stine Dines Schmidt

Research Assistant, Cand. arch

Nordic Sustainable Architecture

Responding to the Climate Emergency The Danish 2030 goals unfolded:

Around 50 years ago, it was clear that humanity’s consumption of resources began to exceed what the Earth could produce and renew in a year, which means, since the 1970s we have been consuming and polluting the environment more than it can recover naturally. By 2050 it is predicted that the Earth’s population will reach 9.6 billion people if we continue with today’s current lifestyles it will take three Earth’s to provide the natural resources needed. Not only are we running out of resources, but it is becoming more apparent that the increase of carbon and greenhouse gases is changing our climate.

- We are now facing a climate emergency.

goal” 0%’s Land-use Change, e -7 and Forestry (LULUCF) “Th Greenhouse Gas Emissions NON-ETS

colour: set by EU or DK

timeline: future

ambitious goal for DK campared to the EU

revised

Greenhouse Gas Emissions ETS

- 10

20 50

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-50%

-10 0

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goal significant for danish climate action campared to the EU

Index: targets

% avg. reduction for Member states

-50

national binding target

% -39

-5

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The target aims to reduce deforestation and forest degradation.

Greenhouse gas (GHG) emissions from land use are compensated by removals of CO2, made possible by supplemental actions such as planting new forest.

revision to increase collective end-goal (2021)

A target that aims for EU-countries individual reduction of GHG emissions in transport agriculture, non ETS-industry, waste and buildings. The reduction happens E.g. through renewable energy, energy efficiency and LULUCF.

collective end-goal

0%

- 43%

basis year

The national goal to reduce Green House Gas Emissions is set to 70% by 2030. The goal includes all sectors except for shiping trade and aviation.

The reduction is domestic, while it most be assured that Green House Gas Emissions is not moved abroad.

leading up to “2050 Climate goals” of becoming Climate Neutral

20 21

20 25

2030 20 05

19 90

Greenhouse gas emissions NON-ETS

information on targets and goals beyond 2050 is not specified, but according to the The Danish Climate Law(2019), climate targets are set with a 10-year perspective every 5

-100%

G oa ns ls/ io ta ss rg ets mi sE tha Ga t su use pport cut in Greenho

Land-use Change, and Forestry (LULUCF)

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20 35

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timeline: 1990-2030

20 45

use ho en re rG fo

How are they ambitious?

Emissions Gas

basis year

Go als /ta rg et s

Legend: overall reading

revised

Improvement in Energy Efficiency (Transport Sector)

Energy from Renewables

Phasing out Fossil Fuels in Electricity Production

32%

55%

A target that requires energy to be used more efficiently at all stages of the energy chain. Grids can E.g be optimized through digitalisation allowing for intermittent renewables.

14%

% 10 0

Improvement in Energy Efficiency

Transportation is the sector with the highest final energy consumption which is why it is an individual target.

The sector covers vehicles, trains and international aviation.

Phasing out Fossil Fuels in Electricity Production

Energy from Renewables

The target aims to reduce GHG emission by increasing the share of renewable energy across different sectors. Production can be from biogas and - fuel, geothermal, wind-, water and solarpower.

Improvement in Energy Efficiency (Transport Sector)

The target aims to outphase electricity production from fossil fuels by substituting with renewable energy production. This is the first step towards becoming climate neutral in 2050.

Climate Goals compared:

Legend: individual target

How are we progressing?

nf C ge 20 er N S lim 30 C ew (S ust ate cli OP D ain C Yo 2 m G rk at 1 & s) ab ha e & le ng th & th D e en e P ev Co e ar ne er EU elo n Th gy is A w w 2 pm fere e or 0 g fr 3 En am re e nc Cli k, ( 0 c eer nt e e m tar lim G gy oa Pr ate ge at A op la ts e gr ls ee os w rev & e m al (D is ne en of K) ed rg t( up y th D e w fra K) fir ar m st ds eEu ) ro pe an Cli m at e

Improvement in Energy Efficiency

3 2,5 %

A target limiting GHG emissions through a trade system valid for the most heavy energy using power stations, industrial plants and airlines operating between EU countries.

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Br 2020

100%

The enormous release of CO2 into the atmosphere comes from industry, transportation, burning fossil fuels and even plants and living things. However, architecture is accountable for a considerable amount of the problem, especially energy use and global CO2 emissions.

2030 2050

goal

19

EU or DK target

Area/DK target Climate-Neutral cut in Greenhouse Gas Emissions (non-ETS) cut in Greenhouse Gas

Su io m de m

W dtl Ch or and an ld C R gin o ep n o ba g A fere rt sis tm nc ye osp e o ar h n of ere the R

curve: decision year colour: set by EU or DK target: reduction

cli

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curve: basis year

target: increase

Improvement in Energy Improvement in Energy Efficiency (Transport sector) Energy from RenewaPhasing out of Fossil Fuels in Electricity

basis

set by EU/DK

revised

failed

Index: all targets 2020 goals and targets 1: Improvement in Energy Efficiency (Transport sector) 2: cut in Greenhouse Gas Emissions (non-ETS) 3: cut in Greenhouse Gas Emissions (ETS) 4: Energy from Renewables 5: Improvement in Energy Efficiency

estimated to fail

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(1)

2030 goals and targets 6: cut in Greenhouse Gas Emissions (non-ETS) 7: Improvement in Energy Efficiency 8: cut in Greenhouse Gas Emissions (ETS) 9: Phasing out of Fossil Fuels in Electricity Production 10: Energy from Renewables 11: Improvement in Energy Efficiency (Transport sector)

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information not available

2050 goals and targets 12:Improvement in Energy Efficiency (Transport sector) 13: Climate-Neutral

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Diagrams/illustrations based on information from: klimaraadet.dk, ec.europa.eu, ens.dk, kefm.dk stateofgreen.com, altinget.dk, unfccc.int

In the EU, buildings are responsible for around 40% of the energy use with an associated 36% of CO2 emissions. Thus, it is evident the construction industry plays a significant part in the problem, reducing CO2 upfront is not enough. We must also consider embodied carbon which includes the sum of the effects of materials throughout their entire life cycle.

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estimated to succeed

succeeded

Scan to learn more

INTRO TO RESEARCH

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NORDIC SUSTAINABLE ARCHITECTURE RESEARCH SUBGROUP The Nordic Sustainable Architecture research group is part of Research Lab 3, Emerging Sustainable Architecture, and is a collective of international academics who research sustainability approaches in contemporary architecture in the Nordic region.

Nordic architecture has (re)gained interest globally, inspired by many Nordic architects’ holistic approaches to current environmental, climatic and societal challenges, often innovating beyond energy and climatic issues; pushing new methods and innovations while maintaining or re-imagining architectural qualities from the humanist design tradition. It is this background that acts as a driver for our case-study based research of Nordic sustainable architecture. We are interested in non-traditional design processes and methods, starting from the built cases, looking back to understand the approaches, design and building processes, while also looking ahead to the building in-use and how it may be adaptable over time. We undertake this research both through testing existing quantitative and qualitative research methods and developing new mapping, evaluation, and analysis methods of different Nordic approaches to sustainable architecture and its regional design processes. We critically look at what works well and what could be improved, reflecting on what other regions can learn from, and be inspired by through these approaches and the developed methods.

Scan for more information

63 AARHUS SCHOOL OF ARCHITECTURE

“Nordic architects operate in a culture and tradition of carefully crafted architecture in response to the harshness of the local climatic conditions and diminished daylighting during the long Nordic winters”

©Torben Eskerod

RESEARCH

AARHUS SCHOOL OF ARCHITECTURE 64

DANISH ARCHITECTURE BEYOND 2020 RESEARCH PROJECT The DAB2020 project is a spinoff of a broader research project Nordic Sustainable Architecture lead by Sofie Pelsmakers (Tampere University), Liz Donovan and Ula Kozminska (Aarhus School of Architecture) – a collective of international academics located in the Nordic region with expertise in sustainable architecture.

This one-year research project aims to evaluate how the transition towards sustainable architecture could evolve after the failure to reach many of the 2020 sustainability goals and how Danish architecture can develop beyond the status quo. Going beyond is crucial as the 2030 and 2050 goals are in jeopardy at the current trajectory of progress in areas such as emissions reduction, waste generation and energy efficiency. Thus, this project investigates 5 emerging (sustainable) design approaches which are possible core drivers for the necessary shift in architectural practices. The approaches include circularity, UN Sustainable Development Goals, climate adaptation, health & wellbeing and participation. The research is divided into 4 phases – define, analysis, exemplify and disseminate – here you will see a snapshot of the initial findings from the first 2 phases of the project.

Scan to view DAB2020 websitre

Phase one – define – explores and characterises the principles, requirements and methods of practice for each of the five architectural approaches. The second – analysis – phase evaluates the qualities of the 5 architectural approaches and how they are implemented within Denmark. The third phase exemplifies these 5 approaches through 5 corresponding case studies. Finally, the dissemination phase presents and discusses the outcomes of the project through a seminar, which creates a platform for practice and academia; as well as in a visual online and analogue publication containing design guidelines for each of the five approaches.

65 AARHUS SCHOOL OF ARCHITECTURE

Elizabeth Donovana

Assistant Professor, MSc, PhD

Urszula Kozminska

Assistant Professor, Eng. Arch., PhD

DANISH ARCHITECTURE BEYOND 2020

Stine Dines Schmidt

Research Assistant, Cand. arch

Responding to the Climate Emergency

Nordic Sustainable Architecture

Mapping of 100 Sustainable Projects: What is the georgraphy of approaches to sustainable architecture?

This one-year research project aims to evaluate how the transition towards sustainable architecture could evolve after the failure to reach many of the 2020 sustainability goals and how Danish architecture can develop beyond the status quo. Going beyond is crucial as the 2030 and 2050 goals are in jeopardy at the current trajectory of progress in areas such as emissions reduction, waste generation and energy efficiency. Thus, this project investigates 5 emerging (sustainable) design approaches which are possible core drivers for the necessary shift in architectural practices. The approaches include: circularity, UN Sustainable Development Goals, climate adaptation, health & wellbeing and participation. The research is divided into 4 phases - define, analysis, exemplify and disseminate - here you will see a snapshot of the initial Project: findings from the first 2 phases of the project.

Omdrejningspunktet

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Læsø

Project: Villa Wood Location: Brønshøj Architect(s): Nord Architects Year: 2016-19 Type: Building Lemvig (new) Category: residential (single-family) Approach: Scale: 180 m2 Structure: concrete basement, CLT structure for upper floors (5) (6)

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Project: Venligbolig Plus / Project: The Biological Friendly Housing Plus House Location: Location: Middelfart Frederiksberg(CPH) Architect(s): Een til Een/ Architect(s): ONV Arkitekter GXN & We Do Democracy Year: 2017 Year: 2019 Type: Building (new) Type: Building (new) Category: residential ´ Category: residential (singleScale: 145 m2 Approach: family) Structure: Scale: 2000 m2 Structure: steel and timber

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Viborg

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Aarhus

Ringkøbing

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Approach:

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Silkeborg

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Rundhøj (Rundthøj Turning Point) Rundhøj Torv Location: Aarhus Architect(s): Kondens Demokratisk Arkitektur Year: 2016-2018 Type: Building (new) + Approach: landscape Category: public space Scale: xxx m2 Structure: shipping containers, timber

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Horsens

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Kokkedal

Hillerød Ejstrupholm

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Hørsholm

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Ordrup

Function

industry

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public building

(sport, culture, mixed use)

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Taastrup

Roskilde

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København

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Esbjerg

education

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Vejle

residential

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Kolding

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Middelfart

commercial

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Slagelse

urban space

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(masterplan, recreational)

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Approach

Korsør

Nyborg

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Næstved

Ribe

SDGs (FN’s sustainable participation

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Aabenraa

develoment goals)

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Haarby

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circularity health & wellbeing

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climate adaptation Nørre Aslev

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Scale XS S

101-1000 sqm

M

1001-7000 sqm

L

XL

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0-100 sqm

7001-25.000 sqm

Rønne

25.001+ sqm

Bornholm

1:50.000

Case Study: Circularity – an approach that relates to the regenerative economic model. It reduces the consumption of finite resources through their effective use and closing material flows. It considers the entire lifespan of the building, its function, usage, construction, maintenance, disassembly, and future reuse.

© https://www.nordarchitects.dk/villawood

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Project: Villa Wood Location: Brønshøj Architect(s): Nord Architects Year: 2016-19 Type: Building (new) Category: residential (single-family) Scale: 180 m2 Structure: concrete basement, CLT structure for upper floors

Case Study: Health & Wellbeing It is estimated that we spend 90% of our time indoors, therefore health and well-being approaches to architecture strive to create spaces that positively affect individual, community as well as global or environmental well-being. This includes physical and physiological health but also promoting equality for all – including the environment and non-human species.

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Case Study: SDGs

Project: The Biological House Location: Middelfart Architect(s): Een til Een/ GXN Year: 2017 Type: Building (new) Category: residential Scale: 145 m2 Structure: Screw-pile foundation, timber and bio-based materials

© https://kebony.com/dk/projects/det-biologiske-hus

– an approach that implements local strategies which are characterised by a broader global perspective of the project’s impact. The strategies exist in a broader framework of other interconnected 17 UN Sustainable Development Goals that centre around four overarching issues: human rights, labour laws, the environment, anticorruption and bribery.

© https://onv.dk/projekt/venligbolig-plus/

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Project: Venligbolig Plus / Friendly Housing Plus Location: Frederiksberg(CPH) Architect(s): ONV Arkitekter & We Do Democracy Year: 2019 Type: Building (new) Category: residential (single-family) Scale: 2000 m2 Structure: steel and timber

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Case Study: Participation – an approach that involves all actors affected by the development in the decision-making. It maps the community assets and creates a framework for its interactions. It delivers mutual learning experience and directly involves future users to co-design of the artefacts, processes and environments that shape their lives.

Project: Omdrejningspunktet Rundhøj (Rundthøj Turning Point) Rundhøj Torv Location: Aarhus Architect(s): Kondens Democratic Architecture Year: 2016-2018 Type: Building (new) + landscape Category: public space Scale: 120 m2 Structure: shipping containers, timber

© https://kondensarkitekter.dk/projekter

Case Study: Climate Adaptation The climate is changing and so must our architecture. Climate adaptation approaches to architecture are based on a contextual design approach – meaning buildings are developed from and adapt to their specific climate, context, society and culture. Which is even more important with the emerging climate emergency and uncertain future conditions of our built environments.

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Project: Enghavepark Location: Copenhagen Architect(s): Tredje Natur Year: 2019 Type: urban park Category: public space Scale: 35000m2 Structure: Concrete with various natural surfaces

© https://www.tredjenatur.dk/

Listing of 100 sustainable projects: Circularity: name, location, architect(s), year 1: Brick House, Nyborg, Leth & Gori, 2012-2014 2:Messinavej Facade Renovation, Copenhagen, Nord Architects, 20152019 3: Villa Wood, Brønshøj, Nord Architects, 2016-19 4: Længehusene, Aarhus, Loop Architects, 2018 5: Circle House, Valby(CPH), GXN/3XN/Lendager Group/Vandkunsten Architects, 2017 6: Green Solution House, Rønne, GXN, 2015 7: Apartments in the Constable School, Copenhagen, Vandkunsten Architects, 2015 8:Island Brygge Byhusene, Copenhagen, Vandkunsten Architects, 2016 9: Seaweed House, Læsø Island, Vandkunsten Architects, 2013 10: CPH Shelter, Copenhagen, Vandkunsten Architects, 2017 11: Musicon, HAL 7 Makers Corner, Roskilde, Vandkunsten Architects,

2011 2: Green Lighthouse, Copenhagen, Christensen & Co Architects (CCO), 2009 3: North Wing at Rigshospitalet, Copenhagen, 3XN, 2020 4: Storstrøm Prison, Gundslev, C.F. Møller, 2017 5: skole+ Søndervangskolen, Aarhus, friis moltke, 2017 6: The Biological House, Middlefart, Een til Een, GXN, 2017 7: Krøyers Plads development Copenhagen Cobe 2016 8: IBC Innovation Factory, Kolding, SHL, 2012 9: Framehouse, Dragør, SHL, 2019 10: DTU Life Science and Bioengineering, Lyngby, Christensen & Co Architects (CCO), 2018 11: Middelfart Savings Bank, Middlefart, 3XN, 2010 12: Aabenraa Hospital/ psychiatric clinic, Aabenraa, White architects, 2015 13: Livsrum Cancer Counselling Center, Næstved, Effekt, 2013 Health & Wellbeing: name, location, architect(s), year 14: GAME StreetMekka, Esbjerg, Effekt, 2016 1:Solhuset kindergarten, Hørsholm, Christensen & Co Architects (CCO), 15: Ørestad plejecenter, Copenhagen, JJW, 2012 2017 12: Lisbjerg Hill Housing, Aarhus, Vandkunsten Architects, 2018 13: Atrium Houses, Albertsund, Vandkunsten Architects, ongoing 14: Nordhavn Recycle Centre, Copenhagen, Lendager Group, 2016 15: Marthagaarden Kindergarten, Frederiksberg(CPH), Lendager Group 2013 16: Upcycled Sommerhus, Odsherred, Lendager Group, 2018 17: Upcycle Studios, Copenhagen, Lendager Group, 2018 18: Upcycle House, Nyborg, Lendager Group, 2013 19: Resource Rows, Copenhagen, Lendager Group, ongoing 20: Gymnasium for Street Sports, Gentofte, Vandkunsten Architects, 2015

16: Skolen I Sydhavnen, Copenhagen, JJW/Keinicke & Overgaard Arkitekter, 2015 (17:) Green Solution House, Rønne, GXN, 2015 (18:) Forfatterhuset Kindergarten, Copenhagen, COBE, 2014 (19:) Frederiksbjerg School, Aarhus, Henning Larsen, 2016 (20:) Marthagaarden Kindergarten, Frederiksberg, Lendager Group, 2013

9: Tingbjerg Library and Culture House, Copenhagen, COBE, 2018 10: The Library, Copenhagen, COBE, 2011 11: Red Cross Volunteer House, Copenhagen, COBE, 2017 12: Frederiksvej Kindergarten, Copenhagen, COBE, 2015 13: Kid’s City Christianshavn, Copenhagen, COBE, 2017 14: Forfatterhuset Kindergarten, Copenhagen, COBE, 2014 15: AlmenBolig+, Copenhagen/Rødovre/valby, Vandkunsten Architects, 2010-2014 SDGs: name, location, architect(s), year 16: Midgården Kindergarten, Vandkunsten/Virginiavej Kindergarden, 1: Venligbolig Plus / Friendly Housing Plus, Frederiksberg(CPH), ONV Copenhagen, Vandkunsten Architects, 2011-2013 Arkitekter & We Do Democracy, 2019 17: Student Village, Aarhus, Lenschow & Pihlmann, 2016 2: Dortheavej Residency, Copenhagen, BIG, 2018 3: Konditaget Lüders (fitness roof), Copenhagen, Jaja Architects, 2014- (18:) Marthagaarden Kindergarten, Frederiksberg, Lendager Group, 2013 (19:) Lisbjerg Hill Housing, Aarhus, Vandkunsten Architects , 2018 2016 (20:) CPH Shelter, Copenhagen, Vandkunsten Architects, 2017 4: Frederiksbjerg School, Aarhus, Henning Larsen, 2016 5: Taasinge Square, Copenhagen, GHB Landskabsarkitekter, 2013-2014 6: Lindevangs Park, Frederiksberg, Marianne Levinsen Landskab, 2015 Participation: name, location, architect(s), year 1:Byens Hus, Gentofte, arki_lab, 2019 7: The Wadden Sea Centre, Ribe, Dorte Mandrup, 2017 2: Taarbæk School, Taarbæk, arki_lab, 2019 8: Novo Nordisk Nature Park, Bagsværd, SLA + Henning Larsen, 2014

3: Ordrup High School, Ordrup, arki_lab, 2018 4: Valby Have waste separation units, Valby(CPH), arki_lab, 2016-2017 5: Gadehave School, Høje-Taastrup, arki_lab, 2016-2017 6: A co-creative City Lab Asnæs, arki_lab, 2016-2019 7: Strategies for Kvarterspark, Gadehavekvarteret, Høje-Taastrup, arki_lab, 2017-2018 8: A sustainable learning space at Johannes High School, Copenhagen, arki_lab, 2016 9: Vesterbro Youth Club, Copenhagen, arki_lab, 2014 10: Sortedam School Interior Design, Copenhagen, arki_lab, 2015 11: School + Haarby, Assens, arki_lab, 2015-2017 12: Rundthøj Turning Point, Rundhøj Torv, Aarhus, Kondens Demokratisk Arkitektur, 2016-2018 13. Langkærtunnelen, Tilst(Aarhus), Kondens Demokratisk Arkitektur, 2018 14: Bæredygtig Engdraget (Sustainable House), Tidselbjerget Slagelse, Hele Landet, 2015-2017 15: Håndværkskollegiet, Horsens, Hele Landet, 2018

16: Udviklingsplan for Odder bymidte, Odder, Hele Landet, 2018-2019 17: Udvikling af Ejstrupholm Bymidte, Ejstrupholm, Hele Landet , 20182019 18: Democracy Garage, Copenhagen, We Do Democracy, 201919: Ravnshøjgaard, a social institution, Roskilde, Rural Agentur, 201720: Musholm, Korsør, AART, 2017

9: Sønæs, Viborg, Møller & Grønborg, 2016 10: Enghavepark, Copenhagen, Tredje Natur, 2019 11: Maria Park, Vejle, Bascon, 2013 12: Gødvad Enge, Silkeborg, Aarstiderne Arkitekter/VEGA Landskab, 2016 13: Laasby Lake park, Laasby, LabLand, 2016 14: Miljøcenter Nordhavn, Copenhagen, Christensen & Co ArchiClimate Adaptation: name, location, architect(s), year tects (CCO), 2013 1: SDU, Kolding campus Kolding, Henning Larsen, 2015 15: The Future of Sustainable Social Housing, Kolding, Dissing + 2: Solrødgård Water Treatment campus, Hillerød, Gottlieb Paludan/Hen- Weitling, 2019 ning Larsen, 2017 - 2019 16: Naturkraft, Ringkøbing, Hune & Elkjær/Thøgersen & Stouby/SLA, 2020 3: Copenhagen International School, Copenhagen, C.F. Møller, 2017 4: Climate City, Middlefart, ADEPT, 2018 17: Hvidovre Beach Park, Hvidovre, VEGA Landskab, 2017 5: Copenhill/Amager Bakke, Copenhagen, BIG, 2020 18: Silo, Copenhagen, COBE, 2017 6: Lemvig Climatorium, Lemvig, 3XN, 2020 (19:) Lindevangs Park, Frederiksberg(Copenhagen) Marianne Levinsen 7: The climate project - Legedammene, Gladsaxe, Bisgaard LandskLandskab, 2015 absarkitekter, 2014 (20:) Taasinge Square, Copenhagen, GHB Landskabsarkitekter , 8: Kokkedal climate protection, Fredensborg, Schønherr, 2017 2013-2014

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RESEARCH

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RESPONSIBLE ARCHITECTURE: CREATING SHARED VALUES FOR SUSTAINABLE BEHAVIOUR IN DESIGN PHD PROJECT BY RICELLI LAPLACE RESENDE Responsible Architecture (RA) as a term was proposed by the European Union of Architects in 2001 but is yet not explored deeply in research and practice.

This PhD is a theoretical and practical exploration of what it means to practice Responsible Architecture and in which values is it based. This study emerges from two central understandings: First, that the ecological and social issues are entangled, and therefore should be addressed together in architectural projects.

Secondly, that architecture highly impacts sustainable human behaviour; consequently, the understanding of environmental psychology and human behaviour should be part of the architect’s competency.

This study uses environmental psychology to address human behaviour from the premise that behaviour is impacted by our values and attitudes, which are central parts of the belief system that compose our world view.

Based on this understanding, RA’s worldview explores a design process that is focused on five central values: Architecture for equality, based on ethics of care.

Architecture for togetherness, based in co-creation, building trust and deep listening. Architecture for shared values, based in building community and a common goal. Tangible architecture, which fights alienation, is easy to understand and practice, affordable and for all. And lasting architecture, based on long term effects of projects on society and the environment.

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In this PhD, these principles are explored in a case study in a participatory self-build community project, between local communities from Institut for (X) and architectural students. To promote these principles, the architect plays a central role as a mediator (between people and different types of knowledge) and as an activist (based on educational praxis, bringing academia closer to local issues).

RA uses methods for sharing all participants’ values as a starting point of the design process. This is done in a series of participatory design workshops, where students and stakeholders are encouraged to reflect on their core values in relationship with ecological and social issues related to the project. The aim is to bring awareness of values and behaviours and promote more sustainable behaviour that can address local environmental and social issues through architecture.

If Responsible Architecture can impact people’s perception of value and behaviour, it can promote a new design approach that reflects the state and values of the society we want to create for our sustainable future.

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RESEARCH

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ARCHITECTURAL SUSTAINABILITY AS A CULTURAL PRACTICE PHD PROJECT BY STINE DALAGER NIELSEN The project engages in a practice-based, theoretical discourse for a broad and long-term implementation of sustainability as a cultural practice.

The project questions whether a juxtaposition of vernacular architectural practices and the current design- and construction process may inform a new methodological framework for integrating intrinsic architectural sustainability in the current sustainable architectural practice. Intrinsic architecture is a projectspecific term, which is inspired by the vernacular practice of human settlement. ‘Vernacular architecture’ refers to a pre-industrial building conception, which is informed by implicit guidelines and traditions within the immediate context. The vernacular tectonics present a functional and aesthetical unison of materials, elements and building components, whereof the best examples transcend their unique character and enable the emergence of a global system. Hence, the tectonics, when they are at their strongest, become the architectural manifestation of a cultural whole: Tradition, (locality), use (construction) and aesthetics.

This represents the project notion of intrinsic architectural sustainability.

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RESEARCH

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ECLOSING THE COCOON RESEARCH PROJECT BY THOMAS HILBERTH AND SAREH SAEIDI. “To say that [hu]man’s physical and mental life is linked to nature simply means that nature is linked to itself, for man is a part of nature” (Marx, 1844/1992, p. 328).

The research project suggests an investigation on the correlations between ecology (aka natural environment) and architecture within the sustainable architecture.

The positive impacts and essential benefits of spaces that accommodate more natural living environments in cities (in comparison to artificial ones) are arguably among the essential factors for a sustainable future.

Nevertheless, approaches to architectural design that attentively foregrounds the physical and psychological connection of humans to the natural environment are significantly underrated; remaining peripheral and specific to certain architectural research and practices.

Many current approaches to architecture tend to create a strict boundary condition that secludes the inhabitants from the natural environment. This insulation and disconnect resemble an impermeable cocoon that also emphasizes the notion of a hostile outside vs. a safe and secure inside environment. Such an approach to architecture has been increasingly promoted by policymakers and real estate agents mainly as a result of profit maximization or regulatory aspects, the examples of which are material specifications, energy efficiency, certifications, etc.

This is while the need for alternative propositions that emphasize on other essential needs of humans than shelter seems evident.

At the same time, we (aka humans) are also facing many pressing issues i.e. global warming, mass extinction, climate change, biological genetic modifications, air and water pollution, and the list goes on. The unpredictability of how our ecological actions today might affect tomorrow’s chain reactions tend to usually become an action barrier, causing a worrying

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and frightening environment to which we really don’t have much of a clue how to respond to. This resulting, either conscious or subconscious, anxiety leads to anticipation followed by the urge for participation, which usually manifests itself by the way we act upon and on the information we receive regularly through the mass media. In his discussions around ecological information dump, Timothy Morton argues that by dumping the information to ourselves, we do not only know it but also actually live it. This is what he refers to as: “inhabiting ecological knowledge”; explaining that “knowing stuff” is never only knowing stuff but is also “a way of living things” (2019, p. xx). An interesting point here is the further arguments he makes by which he states that ecological information dump is “exactly the opposite of what we need in order to comprehend where we are and why – [to enable ourselves to think and act ecologically and] to start to live the [ecological] data” (2019, p. xxiv).

Within this context, the research aims to address the following questions: What are the symptoms of the anxiety associated with ecological crisis, and how are they manifested, in today’s practice of architecture?

How can we, as architects, address this anxiety through an ecological approach that aims for the close integration of architecture into its natural context?

Underlining the increasing disconnect of humans from the natural environment in built urban spaces, this investigation demands an alternative approach to architecture that rather than cocooning, opens up towards and embraces the ecological world and allows for urban biodiversity. The more we transgress into the mode of enjoying the presence of natural elements, and co-existence with other species-beings and lifeforms, the more we “care” (Heidegger, 1962) and build “solidarity”(Morton, 2017), resulting to an elevated ecological awareness and thinking. As such, architects can facilitate a socio-cultural disposition leading to a higher symbiotic real and hopefully a more sustainable future.

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“SEVERAL THOUSAND YEARS FROM NOW, NOTHING ABOUT YOU AS AN INDIVIDUAL WILL MATTER. BUT WHAT YOU DID WILL HAVE HUGE CONSEQUENCES. THIS IS THE PARADOX OF THE ECOLOGICAL AGE. AND THAT IS WHY ACTION TO GLOBAL WARMING MUST BE MASSIVE AND COLLECTIVE.” Timothy Morton Morton, T. (2019), Being Ecological, MIT press. p.xiii

RESEARCH

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TEACHING PROGRAMME 3 2019/2020 AN OVERVIEW

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The programme has a specific focus on sustainability.

The programme is passionate about investigating and imagining architectural approaches to societal, climatic and environmental challenges in a rapidly changing world. We explore the making of space and our role within this process through emerging methods and tools both at different scales and in local and global contexts. We design for the needs and well-being of people, which is the foundation of a resilient and healthy environment.

Our emphasis is on examining how trans-disciplinary approaches involving anthropology, sociology, and psychology can qualify architectural design and how contextual influences such as politics, history, culture, ethics, climate/climate change, pollution, ecology, (scarce) resources, economy, technology, etc., can foster new qualities and imagination. These contextual influences inspire rather than inhibit architectural design.

OL OF ARC HO HI SC

Teaching programme 3: Radical Sustainable Architecture offers study environments that harness the school’s vision of Engaging Through Architecture and its three focus areas: transformation, habitation, and sustainability at both Bachelor’s and Master’s level.

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U n i t 2 / 3 E and U n i t 2 / 3 F

INTRO TO COMMON WORKSHOPS

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COMMON WORKSHOPS INTRODUCTION Common workshops are organized at the beginning of every semester and it is conducted for the whole teaching programme. Every semester the workshop is organized by different members of the teaching team and will deal with a variety of themes and include a lot of collaboration with different experts and entities.

Since it involves a mix of both masters as well as bachelor’s students, there is a lot of opportunities for cross-pollination of ideas and collaboration and peer to peer learning.

The workshops also act as a springboard for the rest of the semester for TP3 as a whole and help set different themes of sustainability that run like a thread through all the units and the studio. In the future, these workshops could really benefit more integrated collaboration with different stakeholders.

INTRO TO COMMON WORKSHOPS

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MASSIVE WOOD ELEMENT / GROUP 3 August Schollain Birckner Elinborg Tróndardóttir Durhuus Jens Rudolf Kristiansen Ugelstad Maria Cole

Design for Disassembly

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aarch.dk

STARTUP WORKSHOP TP3, 2019 This workshop was an open-source design workshop directed towards developing an architecture that is responsive to environmental change. Emphasis is placed on learning through discovery with a course on creatively exploring the potential of massive timber systems. will have a common focus on circular building systems with an emphasis on design for disassembly.

Design for disassembly is a holistic design approach where products are made easy to disassemble into all of their individual components. Design for disassembly allows the different components to fit into a closed material cycle, where they can be reassembled into new high-quality products. We will primarily work with reclaimed wood as a test-case to add value to waste material.

In groups that include both bachelor and master students, they worked on creating a new concept and system with massive wooden components that are responsive design approaches. They designed concept models, physical model at 1:20 assembling a given set of components, and finally 1:1 scale mock-ups. It finally concluded with a group exhibition in October at the School of Architecture.

Reuse

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Timber Architecture

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Unit 2/3F Unit 2/3E

Heidi Merrild

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Attending Guest Professor: Dale Clifford

Dinesen

Dale Clifford was a visiting professor from Cal Poly and he has initiated coursework and research programs to develop building technologies based on regional building practices, biomimetics, and advances in materials science.

Manufacturer: Dinesen Offcut wood for the workshop was provided by flooring manufacturer Dinesen

Research/Teaching Areas 1.

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Design for Disassembly Upcycling Reuse Timber Architecture

Participants in the Workshop reWood was a common workshop for the entirety of Teaching Programme 3 and involved bachelor’s as well master’s students

Organiser: Heidi Merrild RSA personnel who organised the workshop

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Images by students of TP3

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UNFAMILIAR FAMILIARITIES STARTUP WORKSHOP TP3, 2020 The start-up common workshop aims to understand the value of the context as a subject composed of several layers to be documented, analyzed and mapped. The workshop will focus on identifying the local and global cultural dimensions that define most of the contemporary urban environments and challenge architects’ work today. Two practitioners with different backgrounds (international and local) have been invited to run the workshop: Tono Fernández (IDOM, Spain) and Eske Bruun (Kondens, Aarhus).

The sociodemographic reconfiguration of contemporary societies and the geographical relocation of projects have radically transformed the traditional context in which the architect operates.

On the one hand, the massive emigration flows have transformed the local context, by altering the profile of the user for whom we design spaces; on the other, the internationalization of professional services allows us to operate in culturally diverse, and in some cases, unknown environments. This new social multiculturalism adds an extra level of complexity to the traditional role of the architect. The development of new methodologies, competences and skills, both in the field of conceptualization and management, is essential to assure the quality of the spaces we project.

The workshop is grounded in social sustainability and the lectures and tasks aim for a reading of the context as a diverse and heterogeneous setting, in contrast with a simplifying and homogenous vision based on a prevailing culture.

Distributed in teams of 5, the students will analyse a given context – Gellerup, Aarhus. The first task is hard data collection about a given category. This involves gathering information and processing and organizing the obtained data. The second task involves visiting the area and soft data gathering. The students have to document all the found elements related to the topic of investigation by using different media. The last task consists of data analysis and dynamic mapping.

This involves identifying, discussing and mapping the divergences between the hard and soft data obtained from the place. As a result, the original category is to be questioned and its name reformulated into a new one. Digital video will be the main tool used to document and disseminate the process and its results.

The results of the workshop were publicly presented in the format of an informal film festival, followed by a short discussion and conclusions.

Final posters produced by the students

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Area Charlotte Lyberth Jensen Emma Rishøj Holm Stine Bang Hannah Hill-Wade Aske Svane Enevold

Research, Development & Innovation Nick Cole Josefina Arriagada Majken Haugaard Nielsen Odin Olesen Pinru Zhu

Immigrants & Descendants Johannes Rasmus Lundahl Jens Rudolf Ugelstad Toya Causse Mathias Gaardsted Braae Diljá Sigurðardóttir

Equality AsgerBrix Pedersen Michelle Skov Justesen Charlotte Sandbrekke Isabel Aharonian Alexander Throm

Education Sophie Robinson Mathilde Bjerg Pedersen Site Location: Middelfart, Denmark Population: 15,540 Nelly Therese Melberg Katarina Bramsen Buhl

Health Iben Tranberg-Jensen Elodie Duwernell Halvard Hauge Hornes Karla Citlali Steninge Hernandez Gard Meisingseth Rognes

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UNIT 2/3E 2019/2020 OVERVIEW stack (n.) c. 1300, ”pile, heap, or group of things,” from a Scandinavian source akin to Old Norse stakkr ”haystack” (cognate with Danish stak, Swedish stack ”heap, stack”), from ProtoGermanic *stakon- ”a stake,” from Proto-Indo European *stog- (source also of Old Church Slavonic stogu ”heap,” Russian stog ”haystack,” Lithuanian stokas ”pillar”), variant of root *steg- (1) ”pole, stick” Throughout history, building techniques have relied on simple applications of geometry, gravity and a focus on the nature of materials. These vernacular architecture practices that focus on stacking has however been forgotten throughout the 20th century in favour of building practices that are more focused on efficiency and industrial production where components and materials are simple ‘glued’ together thus making recycling or reuse almost impossible.

Unit 2/3E will focus on stacking as a sustainable strategy which will enable the reuse of building components and materials in the future. The unit also works with the theme of stacking to generate concepts, programs and spaces that build on one another.

INTRO TO UNIT 2/3E

A key goal of the unit is to generate not only buildings and tectonics that are rooted in sustainability but the programming of the buildings also reflects different sustainable agendas. So along with coming up with new and innovative ideas for future sustainable construction that can be reused in a new way the students are also encouraged to think about diverse ways to engage with the topic of sustainability through the programme of their projects.

Across two semesters students will engage in a wide variety of activities, assignments and design in varying scales, utilizing different methods of analysis and production to develop their knowledge of sustainable architecture. Most of the assignments are focused on the city of Middelfart.

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INTRO TO UNIT 2/3E

Site Location: Middelfart, Denmark Population: 15,540

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PHASE

01 CASE STUDIES

In the first phase, the students studied the example of existing architecture which are modern in-fill buildings that are part of an urban context. These buildings are relatively tall and narrow houses that demonstrate various principles of stacking, both in their structure as well as how the spaces and functions are organised vertically. The eight-building projects are explored in detail, with the students looking into the history, tectonics and culture associated with these projects through drawings and reflection. This phase will be a starting point for the subsequent phases and activities in the autumn semester’s ongoing task.

In the first, half students will collect information and draw a set of drawings that present the overall design of the building as it appears today in 1:100. While doing this they will reflect on a various question such as the construction of the building, how it responds to context, who was it built for and how the building responds to the climate and surrounding environment.

At the end of the exploration, each individual student will select an element from the building they find interesting. This drawing, done at a scale of 1:20, is a

FALL UNIT 2/3E

deeper, more detailed analysis of how this element relates to the larger architectural, constructional and spatial context. The drawings try to accurately map and represent how the building looks from the patina, the signs of wear and cracks and material characteristics.

Students are expected to construct a set of drawings that relate and contribute to a narrative of the selected element in relation to the building.

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Maison de Verre

Maison de Verre

Drawing: Emil Thorup Holm Photograph: Francois Halard

Drawing: Amalie Andreasen

Drawing: Malene Sundbøl Jakobsen Photograph: Gareth Gardner

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STUDY TRIP SWEDEN In the first phase, the students studied the example of existing architecture which are modern in-fill buildings that are part of an urban context. These buildings are relatively tall and narrow houses that demonstrate various principles of stacking, both in their structure as well as how the spaces and functions are organised vertically. The eight-building projects are explored in detail, with the students looking into the history, tectonics and culture associated with these projects through drawings and reflection. This phase will be a starting point for the subsequent phases and activities in the autumn semester’s ongoing task.

deeper, more detailed analysis of how this element relates to the larger architectural, constructional and spatial context. The drawings try to accurately map and represent how the building looks from the patina, the signs of wear and cracks and material characteristics.

Students are expected to construct a set of drawings that relate and contribute to a narrative of the selected element in relation to the building.

In the first, half students will collect information and draw a set of drawings that present the overall design of the building as it appears today in 1:100. While doing this they will reflect on a various question such as the construction of the building, how it responds to context, who was it built for and how the building responds to the climate and surrounding environment.

At the end of the exploration, each individual student will select an element from the building they find interesting. This drawing, done at a scale of 1:20, is a

Photos by Liva Christensen

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02

TECTONIC PROGRAMMING

Based on the survey and mapping done in the first phase the second phase will continue with work on developing a final layered map that will inform the program of the project. The students have to work within a set of requirements, for instance, it should be a min. 1000m2, and accommodate both private, common and public functions. It is also key to address housing as part of the proposal and it must engage with a vision for a radically sustainable urban design.

Compared to last semester the students are required to work at much more urban scale (1:1000), but at the same time zoom into certain spaces and rooms (1:50).

how and consider where it should be placed and how it integrates into the urban fabric of the city. They also must imagine and describe future scenarios for various events and activities made possible by their speculative architectural vision trying to answer the question of how we will live in a radically sustainable way in their Climate Laboratory.

The work starts with students working on an analogue urban section to examine the architectural and spatial relationship between the existing city and the vision for a radically sustainable design for the Climate Laboratory Middelfart 2020-2070.

They also must develop and convey the necessary and essential requirements to be able to fulfil a satisfactory development of their proposal using a combination of diagrams, illustration and texts. They should consider what the project seeks to address and

Work by Aske Hartje Jakobsen

FALL UNIT 2/3E

91 AARHUS SCHOOL OF ARCHITECTURE

DIAGRAM. DE OVERSK DER FRA IN SÆSONHAV TIL PRÆSER TEN. DETTE FOR DE FLERE P GER I LOKA

UDDELEGEONHAVER. ER MOD AT LD FRA BYAMT SKABE KONOMI.

ERING. AF LACNG ER CO2.

DUKT ØNGES I BYGRO NYE AFSTHUSE.

Self Study

Design Development

Tectonic Programme

ROJEKTET ER E MÆNGDEN ES FØDEVA-

UD MED DE DE BYGER OG MAGER UDEN GAMLE YPOLOGI. KER AT BRINNE ELEMENT EN.

Analysis

TP3 Workshop

CWR

36

Sep

37

38

39

40

41

42

43

Oct

44

45

46

47

48

Nov II

Digital Robot Workshop

Study Trip

49

Dec

50

51

52

01

02

03

04

05

Jan

II

III

Digital Thinking Media

Digital Thinking BIM

BA Assessment

FALL UNIT 2/3E

AARHUS SCHOOL OF ARCHITECTURE 92

PHASE

03

DESIGN DEVELOPMENT

In the final phase, the students will prepare a concrete project proposal for an infill townhouse in Middelfart.

This will further the studies and discoveries done in the previous two phases and finally lead to a project proposal that can meet the needs associated with the programme that one has developed.

Through critical and investigative sketching, experimentation one must try to develop a proposal that is designed for disassembly, that uses stacking as a method for developing tectonics and has a programme and spaces that are original and innovative. This infill building includes both business and housing and will be a mixed sustainable proposal. These projects include speculative aspects of how architecture can contribute to and respond to relevant societal and climate challenges in Middelfart. The projects were developed in a variety of scales and mediums to fully represent the complexity of the projects.

Work by Emil Thorup Holm

FALL UNIT 2/3E

93 AARHUS SCHOOL OF ARCHITECTURE

Self Study

Design Development

Tectonic Programme Analysis

TP3 Workshop

CWR

36

Sep

37

38

39

40

41

42

43

Oct

44

45

46

47

48

Nov II

Digital Robot Workshop

Study Trip

49

Dec

50

51

52

01

02

03

04

05

Jan

II

III

Digital Thinking Media

Digital Thinking BIM

BA Assessment

FALL UNIT 2/3E

AARHUS SCHOOL OF ARCHITECTURE 94

Work by Julie Hunsballe Jensen

FALL UNIT 2/3E

95 AARHUS SCHOOL OF ARCHITECTURE

FALL UNIT 2/3E

Site Location: Middelfart, Denmark Population: 15,540

Phase 03

Phase 02

Architectural Programme Mapping

Phase 01

Digital Thinking Process & Method

06

07

Feb

Courses

08

09

10

11

12

Mar

Lectures

Assessment

UNIT 2/3E 2019/20

Workshop Pin Up

14

Apr

TP3 Workshop

Building Technology

13

Architecture & Sustainability

Pin Up Mapping

15

16

SPRING

1:10 1:50 1:200

1:1

Design Development

17

18

19

Film Workshop

20

21

22

May

23

24

25

Jun

II

Construction Technology

Building Technology

Building Technology

BA Assessment Mid-Term Review

Project Sheet Submission

Project Submission

26

27

AARHUS SCHOOL OF ARCHITECTURE 98

PHASE

01 MAPPING

The first phase will consist of studying the context of Middelfart. The primary method of doing so will involve mapping where Middelfart is examined through careful analysis and where initial design methods for transformation are tested and explored.

This form of critical and creative mapping will reveal various aspects of Middelfart’s qualities and conditions.

This in turn will lead to the triggering of new ideas about possible futures, where speculations of future scenarios on how Middelfart can be developed and projected into the year 2070. Here the local issues are brought into play concerning global conditions and to speculate on how Middelfart can be part of the discussion on resilience in the future and play part in our global responsibility.

economic conditions. Thought-out the phase the entire unit collaborates across the smaller table groups and work with an open-source approach. The maps made throughout this phase will inform their future explorations and design for a radically sustainable transformation of Middelfart. The work will culminate in an exhibition and discussion of all the maps which will then be opened up to the public.

Working out of Middelfart students and locals are encouraged to interact with each other as well as move around and experience the city. The students worked at varying scales primarily at scale of 1:1000 using various analogue and digital mapping techniques.

These maps will try to illustrate not only climatic conditions but also cultural, political and socio-

Maps by: Frederikke Adamsen Hammer Isabel Aharonian Selma Gulden Laura Lykke Nygaard

SPRING UNIT 2/3E

99 AARHUS SCHOOL OF ARCHITECTURE

SPR

Site Location: Middelfart, Denmark Population: 15,540

Design Development

Film Workshop

Architectural Programme Mapping Digital Thinking Process & Method

Feb

Mar

Apr

May

Jun

II

TP3 Workshop

Construction Technology

BA Assessment

SPRING UNIT 2/3E

AARHUS SCHOOL OF ARCHITECTURE 100

Map #01 Tracks and Streams

Map #02 Circulation Flow

Map #02 Space, Public and Private Jens Rudolf Ugelstad Asbjørn Lien-Iversen Toya Causse Frida Nordvik

SPRING UNIT 2/3E

101 AARHUS SCHOOL OF ARCHITECTURE

Map #0 People Flow

Map #05 Material Flow

Map #06 Flow of Time

SPRING UNIT 2/3E

AARHUS SCHOOL OF ARCHITECTURE 102

PHASE

02

PROGRAMMING

Based on the survey and mapping done in the first phase the second phase will continue with work on developing a final layered map that will inform the program of the project. The students have to work within a set of requirements, for instance, it should be a min. 1000m2, and accommodate both private, common and public functions. It is also key to address housing as part of the proposal and it must engage with a vision for a radically sustainable urban design.

Compared to last semester the students are required to work at much more urban scale (1:1000), but at the same time zoom into certain spaces and rooms (1:50).

The work starts with students working on an analogue urban section to examine the architectural and spatial relationship between the existing city and the vision for a radically sustainable design for the Climate Laboratory Middelfart 2020-2070.

how and consider where it should be placed and how it integrates into the urban fabric of the city. They also must imagine and describe future scenarios for various events and activities made possible by their speculative architectural vision trying to answer the question of how we will live in a radically sustainable way in their Climate Laboratory.

They will also focus on developing a wall element and trying to apply principles of stacking, joining or intertwining. They must all try to consider and examine what it is that a wall does? i.e. how can it contribute to connecting and separating spaces, between public and private, inside and outside and various programs and activities?

They also must develop and convey the necessary and essential requirements to be able to fulfil a satisfactory development of their proposal using a combination of diagrams, illustration and texts. They should consider what the project seeks to address and

Work by Amalie Lykke Baadsgaard

SPRING UNIT 2/3E

103 AARHUS SCHOOL OF ARCHITECTURE

WEST

EAST

unit placed on rail grid

55°30′N 9°44′Ø

s

6 m/ ent em lac ep h t ce uen infl sun

sea level rise

the day g through unit movin

unit ada ptin g to

sun, w

ind wat er

SPR

Site Location: Middelfart, Denmark Population: 15,540

Design Development

Film Workshop

Architectural Programme Mapping Digital Thinking Process & Method

Feb

Mar

Apr

May

Jun

II

TP3 Workshop

Construction Technology

BA Assessment

SPRING UNIT 2/3E

AARHUS SCHOOL OF ARCHITECTURE 104

PHASE

03

PROJECT DEVELOPMENT

The students will continue in phase 3 with the preparation of a concrete project proposal for their climate laboratory in Middelfart. They explore and experiment with stacking programs, spaces. tectonics and ‘design for disassembly’ to radically rethink what architecture can do.

In the previous phases, we closely examined and analysed the context to create an understanding of the framework we are working with and different interpretation of stacking and joining of spaces and programmes with the wall element as a hinge.

This phase thus continues and builds on the studies and discoveries of the previous phases. In addition to this, they also have to consider the influence and movements of the wind, water and light in the programmes and spaces. Exploring sustainable concepts of architecture, the students will try the program and design their visionary projects that respond to future challenges both globally and locally concerning the UN global goals and to continuously translate principles of stacking into an architectural proposal.

The architecture and possibly the tectonics and construction of your project should aim to communicate the projected climate challenges we face locally as well as globally. This can be based climatic experience, resource consumption or our behaviour and consumption patterns. It can also be a focus on recycling and upcycling. Students are asked to ponder what is needed if we want to reduce our footprint in Middelfart and by extension the rest of the world?

Could we create a society where waste does not exist, where projects move towards seeing waste as a resource?

Work by Toya Causse & Frida Nordvik

SPRING UNIT 2/3E

ALGEPRODUKTION

POTENSIELLE RESSOURCER

105 AARHUS SCHOOL OF ARCHITECTURE

01 Mad 02 Medicin 03 Biobrændstof

PROGRAMATISK SNITT

04 Gødning

4

05 Foder

1 3

2

Blåmuslinger opptager

KVÆLSTOF

Alger binder

CO2

SPR

Site Location: Middelfart, Denmark Population: 15,540

1 Fremstilling av frø 2 Dyrking 3 Høsting 4 Bearbeidning

Design Development

Film Workshop

Architectural Programme Mapping Digital Thinking Process & Method

Feb

Mar

Apr

May

Jun

II

TP3 Workshop

Construction Technology

BA Assessment

SPRING UNIT 2/3E

AARHUS SCHOOL OF ARCHITECTURE 106

SPRING UNIT 2/3E

107 AARHUS SCHOOL OF ARCHITECTURE

LÆNGDESNIT 1:200 PAPIRSTØRRELSE: 420*1000mm

A

A // SOLAR CHIMNEY B // BIOMILER

AKKUMULERET VARME FRA SOLEN OPVARMER LUFTEN INDE I SKORSTENEN. DETTE SKABER EN NATURLIG OPDRIFT AF LUFT IGENNEM SKRUKTUREN.

C // BIOMILE KRAN D // LAGER - BIONEDBRYDLIGT MATERIALE

C

E // MARKED F // TRANSPORTBÅND G // BOLIG

TAGETS HÆLDNING TILGODESER BIOMILERNES BEHOV FOR SOLLYS. SOLENS VARME ER MED TIL AT IGANGSÆTTE KOMPOSTERINGEN I MILERNE OG DERMED SKABE VARME OG ENERGI.

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BYENS HAVER

4,2 - 16,1 KM

MARKSTATION

DRONEINDLEVERING

AUTOMATISERET LANDBRUG

BYENS FORBINDELSE TIL MARKAREALERNE OG OPLANDET.

HAVEAFFALDET FRA BYENS HAVER BENYTTES SOM RESSOURCE I FORARBEJDNINGSANLÆGGET. NÅR AFFALDET INDLEVERES BRUGES DET I BIOMILERNE DER BÅDE GENERE VARME TIL ANLÆGGET SAMT ELEKTRICITET TIL MASKINERIET.

I OMRÅDET MELLEM FORARBEJDNINGSANLÆGGET LIGGER BYENS OPLAND: SPORTSANLÆG, VILLAKVATERE OG KONTORFÆLLESSKABER.

FRA OPSAMLINGSSTATIONERNE LANGS TOGSPORENE OPSAMLES BÆLGPLANTER FRA DE OMKRINGLIGGENDE MARKER.

I TAKT MED DEN TEKNOLOGISKE UDVIKLING SKER EN TRANSITION FRA KONVENTIONELT LANDBRUG TIL ET AUTOMATISERET LANDBRUG.

ANLÆGGETS PLACERING MIDT I BYEN TILLADER EN OPMÆRKSOMHED BLANDT BORGERNE.

BÆLGPLANTERNE BLIVER TRANSPORTERET I ET MODULSYSTEM MONTERET PÅ TOPPEN AF TOGVOGNENE OG HELE MODULET AFLÆSSES DEREFTER DIREKTE I TØRRINGSSYSTEMET.

SOM EN FORLÆNGELSE AF DET AUTOMATISEREDE LANDBRUG BENYTTES DRONER TIL AT TRANSPORTERE BÆLGPLANTER TIL MARKSTATIONERNE FRA DE MARKER DER IKKE LANGS TOGBANEN.

EN MANIFESTATION AF OMLÆGNINGEN AF LANDBRUGET, DER INVITERER BORGERNE TIL AT INTERAGERE MED FØDEVARENE OG DERES FORARBEJDNINGSMETODERNE OG DERIGENNEM SKABE ET TÆTTERE FORHOLD TIL DERES MAD.

DE NÆRMESTE MARKAREALER LIGGER 4,2 KM FRA FORARBEJDNINGSANLÆGGET MENS KOMMUNENS FJERNESTE LIGGER 16,1 KM DERFRA.

DRONERNES AFHENTNINGER KONTROLLERES AF LANDMÆNDENE PÅ FORARBEJDNINGSANLÆGGET.

LANDMÆNDENES ROLLE BLIVER PLANLÆGNINGSOG LOGISTISKE STRATEGIER.

BÆLGPLANTE MARKER DE 150 MARKER I MIDDELFART MED HUSDYRAVL BLIVER OMLAGT TIL BÆLGPLANTEPRODUKTION. DENNE OMLÆGNING SKER FOR AT EFFEKTIVISERE LANDBRUGSAREALET OG DERMED KUNNE OPTIMRERE PRODUCERINGEN AF PROTEIN OG GENFORVILDE MARKAREALER.

SITUATIONSPLAN 1:500 PAPIRSTØRRELSE : 420*597

PLAN FØRSTE SAL 1:250 PAPIRSTØRRELSE : 420*597

GRUNDPLAN 1:250 PAPIRSTØRRELSE : 420*597

PLAN ANDEN SAL 1:250 PAPIRSTØRRELSE : 420*597

A SKAKTEN DER SKABER FORBINDELSEN MELLEM KÆLDEREN OG TAGET BENYTTES TIL AT HIVE SOLLYS IGENNEM BYGNINGENS ELLERS MØRKE OMRÅDER

TVÆRSNIT 1:200 PAPIRSTØRRELSE: 420*600mm

VARMEFORSKELLEN I SKORSTENEN SKABER NATURLIG OPDRIFT IGENNEM STRUKTUREN. DETTE BENYTTES TIL AT TØRRE BÆLGEN TIL DEN ØNSKEDE FUGTIGHEDSPROCENT

TVÆRSNIT 1:200 PAPIRSTØRRELSE: 420*600mm

A // MULDJORDSSILO

A // SOLAR CHIMNEY

B // OPBEVARING - BIONEDBRYDELIGT AFFALD

B // LAGER KRAN

C // KOMPOSTSKAKT

C

A

B

B

Work by Emil Thorup Holm & Aske Hartje Jakobsen

Work on the left by Cordelia Kert Sønder

SPRING UNIT 2/3E

AARHUS SCHOOL OF ARCHITECTURE 108

Work by Brita Lysne & Laura Lykke Nygaard

RENATURE FILM WORKSHOP REnature is a three weeks workshop to produce a short film of 60 seconds to be part of Aarhus School of Architecture´s contribution to the annual Klimafolkemøde in Middelfart taking place 3-5 September. Some of the films were selected by a jury to be shown at Klimafolkemødet in Middelfart.

Phase 1 - Investigating: Discover the movement of the three elements (wind, water and light) Phase 2 - Storyboarding: Create a visual story for the final film Phase 3 - Filmmaking: Make a 60-sec film

The workshop aims to become ecologically aware by You can view the films that were shown at the focusing on and observing the moving elements (Wind, Klimafolkemøde by scanning the QR code.

Water and Light). This new ecological awareness will help us reflect on the reciprocal relationships between these elements, the non-human world and us and how they ultimately influence the architecture we produce.

The workshop is divided into 3 phases. The students were allowed to team up in pairs or work on your own during the period. Each phase was rounded up with a common review session on Microsoft Teams and Miro.

Scan to view the films

109 AARHUS SCHOOL OF ARCHITECTURE

10:00 - 10:20 Presentation by Soo Jung Ryu, PhD fellow at the Arkitektskolen Aarhus 10:20 - 10:40 Presentation by Nicolai Skiveren, PhD at Aarhus University 10:40 - 11:00

Selected student films

PANORAMA KLIMABIO

AARHUS SCHOOL OF ARCHITECTURE 110

UNIT 2/3F 2019/2020 OVERVIEW The world is in constant flux, undergoing significant changes and ageing. This inevitable change affects the climate, context, and community - and the architectural profession needs to take a position and respond.

Currently, we are in the midst of a monumental climatic and societal shift, especially in changing demographics.

By 2050 the world’s population over 65 will have doubled to 16.7%, coupled with an ongoing increase in urban migration and rising temperatures means that we, as architects, need to start to reconsider how we design the communities of the future. These changes can all be considered a form of ageing. Ageing, time, and the velocity in which these processes occur are the theme of this academic year. During the academic year, students will focus on ageing (both societal and materiality) through two opposing contexts.

The fall semester will be situated in a rural setting, speculating a future scenario for the ageing spa town Horn-Bad Meinberg, creating a space for community

INTRO TO UNIT 2/3F

engagement to support the existing built fabric. While in the Spring, students will focus on an urban context in Aarhus, integrating an ‘architecture for ageing with.’

Students will explore the topic of ageing through both people and materials, creating an architecture which considers both processes of ageing and if we can age in symbiosis with our buildings, celebrating both the wisdom and patina of age. Within the unit, there is a focus on designing scenarios rather than objects - changing the way we design architecture, shifting from a static architecture to something which responds to the changing context. With this, you will learn to integrate and develop passive approaches (daylight, orientation, natural ventilation, etc.) to sustainable architecture, and this will be an underlying theme throughout all aspects of the year. Each semester is split into different phases which are designed to inform each other to create a cohesive semester project.

111 AARHUS SCHOOL OF ARCHITECTURE

© Alexander Throm

INTRO TO UNIT 2/3F

Site Location: Horn-Bad Meinberg, Germany Population: 17,185

1:1

Phase 03

Phase 02

Preliminary Design & Context Study Trip

Phase 01

Architectural Programme

CWR

36

37

38

Sep

39

40

41

42

Oct

43

44

45

46

Nov II

Courses

TP3 Workshop City of Fear

Digital Robot Workshop Exhibition City of Fear

Lectures Architecture & Sustainability

Assessment

UNIT 2/3F 2019/20

Collage Pin Up

E. Donovan Lecture

Pin Up Phase-01

Building Technolo

M

FALL FALL

1:100 Self Study Intermezzo Project Development & Detailing

47

48

49

50

51

Dec

52

01

02

03

04

05

Jan

II

III

Digital Thinking Media

Digital Thinking BIM

ogy

Mid-Term Review

BA Assessment

Portfolio Review

Intermezzo Pin-up

Design Pin-up

History & Theory Hand-in

AARHUS SCHOOL OF ARCHITECTURE 114

WORKSHOP CITY OF FEAR The workshop City of Fear asked the students to examine and survey areas of the city of Aarhus where traces or elements of security permeate. These could be spaces where danger is imagined or perceived, where uncanny, unlawful actions are suspected to take place.

Different strategies are deployed to counter these perceived and imaginary threats and many of these strategies contain elements that are counterproductive to the establishment of the preposterous and livable atmosphere in our cities.

Ethologist Robert Ardrey identifies three elementary needs in many living species. It is the need for identity, stimulation and security. All three needs are satisfied through the very architectural concept of territorialisation and are psychological necessities that have to be carefully balanced especially in the development of our urban spaces. Too much security infrastructure can become a constant physical reminder of abstract dangers and threats expressed through surveillance cameras, jersey barriers and bollards, the new and obnoxious manifestations of society and city of fear.

FALL UNIT 2/3F

Students are asked in pair to find spots in Aarhus with clearly visible security infrastructure and conduct short interviews asking people, during the day and night, about their views of on security and safety in the city of Aarhus. They will further document through photographs and video to try and capture the unsafe atmosphere of the location through exaggerating or staging an uncanny situation (dark shadows, poor light conditions, the person hiding in shadows, etc.). The 4 best pictures and one video from each site became part of the official exhibition at ONESITE gallery at Godsbanen.

115 AARHUS SCHOOL OF ARCHITECTURE

Self Study Intermezzo Project Development & Detailing

Preliminary Design & Context Study Trip

Architectural Programme

CWR

36

37

Sep

38

39

40

41

42

Oct TP3 Workshop City of Fear

43

44

45

46

47

48

Nov

49

Dec

50

51

52

01

02

03

04

05

Jan

II

II

III

Digital Robot Workshop

Digital Thinking Media

Digital Thinking BIM

Exhibition City of Fear

BA Assessment

FALL UNIT 2/3F

AARHUS SCHOOL OF ARCHITECTURE 116

STUDY TRIP HORN-BAD MEINBERG The starting point for the project will be one-week fieldwork and workshop (KurKulturKur) in Horn-Bad Meinberg in Germany, where we will investigate the different conditions and challenges for the area speculating on a future scenario for the town. HornBad Meinberg is a small spa resort town, with around 17,000 inhabitants, in the north-east of North RhineWestphalia. During the week, we will also find sites for your project development for the fall semester.

The KurKulturKur workshop will give you the possibility to gain one of many ways of understanding the place; discovering how a pre-proposal consisting of designs and strategies can work as an initial driver for your own project development. It is a great opportunity that you have a week to stay and work in the area where you are able to experience the place for a more extended period. You can experience the daily and weekly rhythm of shifting conditions of a specific context; which include climatical, cultural and atmospheric – conditions that are difficult to capture from the drawing desk.

FALL UNIT 2/3F

Your workshop in Horn-Bad Meinberg, Germany will be arranged by the TH-OWL in collaboration with Sanierungsmanagement KlimaQuartier ”Am Südhang“ and the city of Horn-Bad Meinberg - Germany.

Together with students from the Netherlands, Portugal, Belgium, Serbia, Pakistan, and Germany, you will work in international groups of students on the challenging tasks to find out what is to be done with abandoned hotels, what are the limits of their typological flexibility? Who would like to live in this spa town? And, what is actually the optimum counter form to contain all this spa water?

In the workshop experimental, innovative, inside out and, lateral design thinking will be encouraged. The development of strategies of how these approaches can be put to work in a real project is an inseparable part of the workshop´s end results.

117 AARHUS SCHOOL OF ARCHITECTURE

CONCEPTS CONCEPTS

LEAF RIVER MOCK-UP

CARDBOARD RIVER MOCK-UP

Self Study Intermezzo Project Development & Detailing

Preliminary Design & Context Study Trip

Architectural Programme

CWR

36

37

Sep

38

39

40

41

42

Oct TP3 Workshop City of Fear

43

44

45

46

47

48

Nov

49

Dec

50

51

52

01

02

03

04

05

Jan

II

II

III

Digital Robot Workshop

Digital Thinking Media

Digital Thinking BIM

Exhibition City of Fear

BA Assessment

FALL UNIT 2/3F

AARHUS SCHOOL OF ARCHITECTURE 118

PHASE

01A

UNDERSTANDING THE CONTEXT, AN ABSTRACT REPRESENTATION & TRANSLATION

Parallel to the workshop the students are asked to investigate and map different conditions and themes. This fieldwork will focus on two themes, climatic elements as a basis for sustainability and the subsequent atmospheres they create.

Four climatic elements, wind, water, sun and earth have been chosen to be the foundation of the fieldwork as they respond to critical needs and play an essential role in sustainable architecture. In pairs the students investigated and the general climatic conditions of Horn-Bad Meinberg and their chosen site while focusing on how these elements interacted and flowed through their site. Along with this, students are also asked to think and discover the poetic and atmospheric potentials of the four climatic elements. You will need to collect material to inform an atmospheric and spatial collage and model exercise which you will develop and create once back in Aarhus.

will receive a map of which line you have to experience and map by the tutors. All this information gathered through photographs, sketches and videos will be used to make an experienced section. The section does not have to be in a specific scale as we call it an experienced section – the section line is for you to also reflect on the topography line.

The final task is focused on context. The focus will on the surroundings of the site through a section focusing on thresholds; building to building, building to nature, building to the street, etc. During the study trip, you

Work by Josef Eglseder

FALL UNIT 2/3F

119 AARHUS SCHOOL OF ARCHITECTURE

Self Study Intermezzo Project Development & Detailing

Preliminary Design & Context Study Trip

Architectural Programme

CWR

36

37

Sep

38

39

40

41

42

Oct TP3 Workshop City of Fear

43

44

45

46

47

48

Nov

49

Dec

50

51

52

01

02

03

04

05

Jan

II

II

III

Digital Robot Workshop

Digital Thinking Media

Digital Thinking BIM

Exhibition City of Fear

BA Assessment

FALL UNIT 2/3F

AARHUS SCHOOL OF ARCHITECTURE 120

PHASE

01B

ARCHITECTURAL PROGRAMME FOR ‘HOUSE FOR COMMUNITY’ In this phase, you will have to analyse and critically reflect on your material collected during the study trip and make it operational - translating it into an architectural process for your project development.

This first phase will provide the foundation and backbone for your design process and decision making.

This may not result in one singular idea, but instead, you may have many different concepts which guide the individual parts to form a whole. Sustainable architecture is based on contextual understandings; subsequently your programme and narrative will develop throughout this phase based on the many dimensions of your site - discovering the limits, restrictions, and opportunities of the context which that can add depth and meaning to your conceptual approach. For the remainder of the phase, 3rd-semester students will work in peers, while everyone else will work individually In the first task, one will have the opportunity to reflect on the study trip and initial design process through the development of your critical writing, which will help form the basis of your architectural programme for the

FALL UNIT 2/3F

semester project. One will have to also make a collage which investigates and communicates one’s findings from the study trip exercises.

The next task for this stage is to make an arkitekton.

An arkitekton is a spatial investigation that is without a context, function or orientation. The arkitekton will build directly on the collage exploring one’s architectural interest spatially.

The final task is to work on a programme sheet that communicates your concept and main functions of your ‘House for Community’, supported by relevant investigation, text, diagrams and a title for your project.

121 AARHUS SCHOOL OF ARCHITECTURE

Work by Alexander Throm

Self Study Intermezzo Project Development & Detailing

Preliminary Design & Context Study Trip

Architectural Programme

CWR

36

37

Sep

38

39

40

41

42

Oct TP3 Workshop City of Fear

43

44

45

46

47

48

Nov

49

Dec

50

51

52

01

02

03

04

05

Jan

II

II

III

Digital Robot Workshop

Digital Thinking Media

Digital Thinking BIM

Exhibition City of Fear

BA Assessment

FALL UNIT 2/3F

AARHUS SCHOOL OF ARCHITECTURE 122

PHASE

02

PRELIMINARY DESIGN AND CONTEXT

A ‘House of Community’ is an open brief for you to explore a public typology which adds value and builds or strengthens community in the town of Bad-Meinberg. The architectural project should be inherently sustainable and encourage social engagement, address inequality and improve the lives of the inhabitants. Based on the previous phase and study trip, you should identify the community needs, creating a new scenario or narrative which supports the design of facilities that help to create a sense of community-specific to Bad-Meinberg. This should include public amenities to gather and may house the community’s social, cultural, recreational, and civic activities. Your ‘House of Community’ must respond to the chosen site, and may include a (partial) transformation of the existing building, however, access must be maintained to the small bridge which connects the neighbouring houses to the rear of the site.

to integrate with your site. Through sections, you will need to select the elements/themes/concepts from your model to stretch, shrink or distort in order to respond to your architectural approach, site, context as well as the neighbouring buildings. Additionally, through this positioning and confrontation, you will find ways to address the local climatic conditions such as solar orientation, wind directions, topology or ground conditions to capture the sun’s energy for heating, wind for cooling or retain the sun’s warmth through window placement and thermal mass.

The next task involves creating a site model in pairs, making sure the site can be adjusted or ‘plugged in’ with your final project. This model should extend to include the facades of the buildings on the opposite side of the roads, and the buildings at the back behind the river. This model will be very useful to understand both the relational volumes, but also, wind tunnels and the daylight and shadowing of the existing buildings.

Phase two will build directly on phase one, developing your abstract atmospheric and spatial ideas into conceptual and contextual preliminary designs for a ‘House of Community’. In this phase you will further develop your project using drawings, images, collage as well as 3D models to integrate your design within the site, context and community.]

In conjunction with the site model, you are to create a situation plan, to gain an understanding of the bigger context surrounding the site as well as positioning your project within the given area, depicting the location of the building on the site, access and how it responds and connects to the town’s circulation etc.

In continuation of phase one, you will now experiment with confronting your site through your arkitekton or atmospheric collage. In this task, you will identify spatial potentials from your arkitekton which you are

During these weeks, you will continue your preliminary design through plans and sections, building on the already produced sections at the start of the phase and your situation plan, zooming-in, in scale.

FALL UNIT 2/3F

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Work by Alexander Throm

Self Study Intermezzo Project Development & Detailing

Preliminary Design & Context Study Trip

Architectural Programme

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SOCIAL INTERRELATION DIFFERENT GENERATIONS OF PROTAGONISTS

TEENAGERS

MEETING FIRENDS HAVING A DRINK, COFFEE HAVING LUCH, DINNER PREDRINKING, PARTYING SHOPPING ANIMALS CARING STYDYING

MOVABLE LAYERS control of heat, sun, water and wind

_RELATIONS WITHIN EACH CATEGORY _INTERACTIONS INBETWEEN THEM

ELDERLY PEOPLE

HEAT WASTE serving to the vegetation

SOCIAL INTERRELATION OUTDOOR OR INDOOR PLAYING GETTING CRAFTY; DRAWING, PAINTING

DIFFERENT GENERATIONS OF PROTAGONISTS

MEETING FIRENDS HAVING A DRINK, COFFEE HAVING LUCH, DINNER PREDRINKING, PARTYING SHOPPING ANIMALS CARING STYDYING

TEENAGERS BOARD GAMES

ELDERLY PEOPLE

GARDENING

MEETING FRIENDS HAVING DRINK, COFFEE HAVING LUNCH, DINNER COOKING GARDENING ANIMAL CARING BOARD GAMES PLAYING FILM WATCHING

ANIMALS CARING KNOWLEDGE PASSING

_RELATIONS WITHIN EACH CATEGORY _INTERACTIONS INBETWEEN THEM

MOVABLE LAYERS SOLAR control of heat, sun, water and wind

THERMAL PANELS HEAT WASTE serving to the vegetation

COLLECTION OF RAINWATER

HEAT OF THE ANIMALS transmitted to the domestic heating system

BOARD GAMES GARDENING ANIMALS CARING

OUTDOOR OR INDOOR PLAYING

KNOWLEDGE PASSING

GETTING CRAFTY; DRAWING, PAINTING

STORY TELLING ANIMALS CARING GETTING CRAFTY; DRAWING,PAINTING COOKING

STORY TELLING

MEETING FRIENDS HAVING DRINK, COFFEE HAVING LUNCH, DINNER COOKING GARDENING ANIMAL CARING BOARD GAMES PLAYING ANIMALS CARING FILM WATCHING

WATER STOCK biological cleaning

SOLAR THERMAL PANELS HEAT OF THE ANIMALS transmitted to the domestic heating system

HAVING LUNCH, DINNER HAVING A DRINK, COFFEE

GETTING CRAFTY; DRAWING,PAINTING COOKING

ANIMALS CARING GARDENING

HAVING LUNCH, DINNER HAVING A DRINK, COFFEE

DOMESTIC GREY WATER

HEAT GENERATED

BY THE COMPOST transmitted to the domestic heating system

GARDENING

ANIMALS CARING

HEAT GENERATED

BY THE COMPOST transmitted to the domestic heating system

CREEK

HAVING LUNCH, DINNER ANIMALS CARING

PLAYING WITH FRIENDS ANIMALS WATCHING GETTING CRAFTY PLAYING WITH WATER

PLAYING WITH FRIENDS ANIMALS WATCHING GETTING CRAFTY PLAYING WITH WATER

COLLECTION OF RAINWATER

CHILDREN

HAVING LUNCH, DINNER

GARDENING

ANIMALS CARING

GETTING CRAFTY

GETTING CRAFTY

GARDENING

GETTING CRAFTY; DRAWING, PAINTING,..

ANIMALS CARING INDOOR OR OUTDOOR PLAYING

CHILDREN GETTING CRAFTY; DRAWING, PAINTING,..

ANIMALS CARING INDOOR OR OUTDOOR PLAYING

ADULTS

MEETING FRIENDS MEETING FRIENDS HAVING DRINK, COFFEE HAVING DRINK, COFFEE HAVING LUNCH, DINNER HAVING LUNCH, DINNER PARTYING GARDENING PARTYING SHOPPING GARDENING ANIMAL CARING SHOPPING ANIMAL CARING

ADULTS

COMPOST

COMPOST

PHYSICAL / SCIENTIFICAL INTERRELATION BETWEEN ELEMENTS _HEATING SYSTEM _WATER SYSTEM

PHYSICAL / SCIENTIFICAL INTERRELATION BETWEEN ELEMENTS _HEATING SYSTEM _WATER SYSTEM

Work by Nadia Doriot

FALL UNIT 2/3F

DOMESTIC GREY WATER

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Work by Alexander Throm FALL UNIT 2/3F

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PHASE

03

f i r s t f l o o r

PROJECT DEVELOPMENT AND DETAILING

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Phase three is the continuation of your project development – a ‘House of Community.’ Individually or in pairs you are to refine your programmatic and spatial qualities within your architectural intervention.

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Questioning and exploring through plans, sections, details and models: • In what scenario or narrative does your project exist?

• What is a ‘House of Community’ for Bad-Meinberg?

• What facilities and activities are required to foster a community environment?

• How does your project respond to the site, town and wider context?

• How is sustainability integrated within your project?

• What is the materiality and tectonics of your project?

Additionally, within in this phase, you will jump in scale to resolve selected details in conjunction with the intermezzo

FALL UNIT 2/3F

s e c o n d f l o o r Work by Alexander Throm

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STAIRCASE SECTION

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Work by Josef Eglseder Self Study Intermezzo Project Development & Detailing

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FALL UNIT 2/3F

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Work by Alexander Throm

FALL UNIT 2/3F

Site Location: Aarhus, Denmark Population: 336,411

Phase 03

Design Development Phase 2B

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Digital Thinking Archeology of the Future

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UNIT 2/3F 2019/20

Architecture & Sustainability

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PHASE

THE ARTEFACT IN A BIGGER ASSEMBLAGE

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PHASE 3 - THE FINISHED RESULTS ARCHEOLOGY OF THE FUTURE Selma, Josef, Mathias, Pinru & Anne Sofie

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ARCHAEOLOGY OF THE FUTURE Plan

This integrated digital workshop will operate as the first phase of the semester. The goal is to establish fundamental knowledge in computational design and digital manufacturing. This workshop will instigate the semester as an abstract start-up exercise, working with fragments which respond to different tactility, sensations, or ageing processes.

The artefact seems to be a piece of a building, your job is to try to read the artefact as a way to understand this historical culture. To begin, you must understand the artefact in every detail, then beginning to speculate on how it was made, and try to reproduce the process.

Then, you will use your imagination to reproduce the building culture that created the artefact. You will work closely with your group, dividing the different responsibilities - from writing and drawing to hands-on building and understanding robotic processes.

Work by Phuong Uyen Nguyen Selma Blomberg Josef Eglseder Mathias Gaardsted Braae Pinru Zhu Anne Sofie Geertsen

SPRING UNIT 2/3F

Section

A part of a dome strcutre that holds the surrounding walls

Original Artefact

a reproduction of the Artefact in aliminuim

An interpretation of the Artefact keeping the same structural values

Etienne-Louis Boullée's Cenotaph for Newton 13

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Work by Phuong Uyen Nguyen Karla Citlali Steninge Hernandez Hannah Gwenyth Hill-Wade Otto Graabæk Arlien-Søborg Katariina Mustasaar Gard Meisingseth Rognes

Design Development

Finalizing Design

Phase 2B Phase 2A

Digital Thinking Archeology of the Future

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PHASE

02A

MAPPING & THE ARKITEKTON

In a fast-moving society, the slowness of the elderly seems not to fit in, during this phase and part, specific exercises relating to ‘walking slowly in a high pace society’ will form a basis of experiential mappings which will then be translated into a spatial model – an Arkitekton.

You are to document this experience in groups, moving from your site in Aarhus to key locations which are part of our everyday life. The first phase will begin by walking through Aarhus, you are to map your intuitive, non-quantitative movements through the city, giving special focus and attention to how nonquantifiable factors, perception, and social presence influence your experience and decision-making while moving slowly in a fast-paced environment. You are encouraged to use experiential or alternative mapping techniques to discover different relationships and reveal the considerable amount of site information that is otherwise left “hidden”; and to represent the analysis of your personal, experiential perception of the urban environment of Aarhus in relation to your site.

The main focus of the next arkitekton exercise is to investigate the spatial qualities in the model.

An arkitekton is the model of an abstracted spatial investigation without a context, function, or orientation.

In this exercise, you are encouraged to explore spacemaking by relating it to your empirical experiences and mappings of the site, and the artefact from the digital thinking workshop. The model should incorporate a spatial sequence through which you can examine various spaces and atmospheres (light qualities, material characteristics, etc.). This exercise allows you to investigate your spatial ambitions concerning your understanding and experience of the project’s site and its surrounding context.

Work by Nadia Doriot

SPRING UNIT 2/3F

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Design Development

Finalizing Design

Phase 2B Phase 2A

Digital Thinking Archeology of the Future

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PHASE

02B ’HOME FOR AGEING WITH’

During this second part of phase 2, you will explore ideas about what it means and how it feels to be old and how others view this. Older age can often bring with it a growing sense of marginalization, of being overlooked, of being somehow less visible, made to feel less relevant. However, ageing is a continuum rather than an event in which both people and our built environments cannot avoid.

As we grow older, our housing needs change – no one should feel forced to move out of the home they love just because of their changing circumstances.

Additionally, there is significant evidence that the vast majority of older people do not want to move later in life, leaving their comfort zone and social network.

There are far too few suitable new homes being designed, and many older people are living in homes which are unable to meet their changing needs. The World Health Organisation (WHO) indicates that older people are facing increasing challenges due to sensory and other changes that ageing brings. It is crucial to understand the complexities of ageing and therefore, in this part of the phase you will have the opportunity to interact and better understand the users and functions of your ’home for ageing with’.

purpose-built geriatric care centres. Instead, we are heading for a future with fit, active, older adults, who will need to adapt their living and working environments to cope with their slow reduction in physical, sensory, and sometimes mental, capacity.

While you may incorporate different demographics within your project development, the primary user group of the housing will be people in their later years of life – from around retirement age and older. You may develop a concept such as intergenerational living; however, it must fit with the concept of ’ageing with.’

Some key questions you may answer in this phase are: • What are the programmatic potentials (narrative, concept, user group, etc.) for your ‘home for ageing with,’ and how could they be developed?

• How do you integrate learnings from your excursion to encourage inclusive design?

• What is your architectural approach? What do you want to emphasize, and what are the potentials?

• How can you approach/understand/integrate sustainability

Many myths are surrounding what is labelled the ’grey burden’. The first misconception is that ageing populations are disabled, frail older people requiring

Work by Otto Graabæk Arlien-Søborg

SPRING UNIT 2/3F

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Design Development

Finalizing Design

Phase 2B Phase 2A

Digital Thinking Archeology of the Future

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PHASE

03

PROJECT DEVELOPMENT A ‘home for ageing with’ is not a retirement/ care home or an institution but rather an age-friendly community which sits between mainstream and specialised housing, facilitating the process of growing older with independence. In an age-friendly community, physical and social environments are designed to support and enable older people to ‘age actively’ – that is, to live in security, enjoy good health and continue to participate fully in society.

A ‘home for ageing with’ may be characterised by being living spaces which have the potential for multiinhabited rooms with flexible layouts; adaptable (function and physical) spaces; plenty of natural light and ventilation even in circulation spaces; circulation and shared spaces which offer connections to the broader context and public – supporting independence; places which encourage social interactions; spaces which give thought to the public realm – encourage positive interactions with the street and development of the natural environment and ensure passive sustainable measures – such as passive solar design, orientation, deciduous planting, external blinds or shutters, awnings, green roofs, cooling chimneys etc.

While the primary users of your project will be in their later stages of life, this does not exclude younger generations - an age-friendly community benefits people of all ages.

SPRING UNIT 2/3F

Work by Stine Brochmann Jørgensen

Individually students will create an architectural intervention for ‘ageing with’ on a selected site in Aarhus. This site is one which is under development, and thus, the students will respond to the proposed proposal, integrating their project within the current plan. To initiate this phase, students will work with their arkitekton in section as well as through drawings and modelling methods, understanding how their response sits within the rhythms of an urban environment, focusing on inside and out, circulation and accessibility, various spatial and functional thresholds, levels and connections between programs/ functions. The programmatic requirements will be given, and spatial qualities will continue and develop from the previous phases.

Phase three builds directly on Phase One and Two, developing your spatial ideas into conceptual and contextual designs of a ‘home for ageing with’. In this phase, you will work individually to progress further your project using drawings, images, collage as well as 3D models to incorporate your design within the site, context and community. Additionally, to help integrate and position sustainability within your project, you will further develop your critical thinking through four discussions, specifically concerning topics related to your project brief.

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Work by Sara Sadeghian Pedersen

Design Development

Finalizing Design

Phase 2B Phase 2A

Digital Thinking Archeology of the Future

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SPRING UNIT 2/3F

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Work by Sara Sadeghian Pedersen

SPRING UNIT 2/3F

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Iceland

Finland Faroe Islands

Norway

Sweden Denmark

(NORDIC) VERNACULAR ANALYSING INTRINSIC ARCHITECTURAL SUSTAINABILITY Can vernacular building practices and traditional ways of building offer some (re)newed insights into sustainability in the current built environment?

In June 2020, the digital workshop ‘(Nordic) Vernacular Architecture -analysing intrinsic architectural sustainability’ was conducted with 2nd and 3rd-year students of unit 2/3 F. The workshop involved studying vernacular architecture and traditional building types in Northern Europe, examining the influence of geographical context and local culture on their built form. The outcome was analysed to identify five sustainable aspects resulting from either the physical landscape or local culture. Finally, these sustainable aspects were related to a contemporary architectural project utilising similar sustainable aspects to the ones deriving from the vernacular building practice.

SPRING UNIT 2/3F

The learning objective was to challenge the notion of sustainability as being a separate and complex engineering discipline. Instead, the students were invited to approach sustainability from a perspective of their own common-sense aided by a few inputs on basic building physics and vernacular building practices.

In a research context, workshop constituted the first step of the PhD-project ‘Architectural Sustainability as a Cultural Practice’ by Stine Dalager Nielsen, articulating and testing a basic framework for reflecting on architectural sustainability to (re)introduce this as an integrated architectural practice in the contemporary design- and construction process.

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YOUR HOUSE TYPE Icelandic turf house Intrinsic Sustainable Architecture farmaxonometic house TitleGlaumbær of annotated

Image courtesy of http://www.glaumbaer.is/

THERMAL INSULATION To combat their susceptibility to erosion from rain and wind, turf houses are designed in a manner to keep the heat inside. They are usually built on the side of a hill so that the living part can be completely protected and supported while the front part sticks out. They’ve consisted of a group of smaller houses or rooms that are connected by passages, so that people would not need to leave to move between dwellings and thus preserve the heat inside.

Even the barns and stables would often be organized in the same manner and connected to the rest of the house. Since heating from coal, oil, or wood stoves was not available until the 19th century, all the warmth was provided by the fire in the kitchen. Rooms were often situated a couple of feet below the ground level, which meant below the frost line where the ground could not freeze.

RELATION OF STRUCTURE TO INTERIOR This functional combination allows for a very efficient use of the interior space as well as an economical use of the rare local building material, wood.

FACADE Icelandic turf houses originally very seldom had exposed wooden exterior since it insulated worse than the turf, however under danish influence, it seemed more prestiguous to have a wooden exterior, thus much more kindling was needed to heat up the houses. Usually only servants or ’lower class people’ slept close to the wooden walls because it was warmer by the turf insulated wall.

STRUCTURE/SUSTAINABILITY The timber structure of the house is covered with turf bricks and a roof. The grass from the roof grows over, providing the roof with further stability. These buildings, made with biodegradable materials, are eco-friendly and energy-efficient. Even the lava stones can be recycled and reused.

Usually, a house can last for about 20 years, serving one generation depending on frost, after which it must undergo repairs. But sometimes turf houses can last from 50 to 70 years.

Turf houses in Iceland are special because of their unique building technique, influenced by the local climate and available materials.

Since the supply of wood was extremely low, most of the timber was imported from abroad. On the other hand, lava stones and turf, the main building materials, were available in large amounts. Turf has proved to be very durable–it is both renewable and widely available. It has been taken from the wetlands in order to be properly compacted.

The initial foundations are made of lava stones, which are covered with a layer of turf that is compacted, followed by alternating layers of stones and turf.

NORDIC SUSTAINABLE ARCHITECTURE 1 Alex,Group Otto, Citlali & Dilja Names Design Development

Finalizing Design

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Digital Thinking Archeology of the Future

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STUDIO 3 2019/2020 OVERVIEW At Studio 3 we aim to critically investigate the production of architecture under unstable territorial and environmental conditions, both now and as imagined – shifted - in the future. We have an open and experimental approach towards sustainability where the idea of time is core in our investigations. The overall goal is to allow the students to formulate, test, and develop their own architectural agenda, responding to site-specific programmatic, environmental, and material contexts over time. We design scenarios, not objects.

During the academic year 2019/2020 we are investigating the role of the architect and the meaning of their actions. We will examine the changing significance of practising architecture and different modes of working. We will explore what are the different ways of engaging in architecture. How do the architects position themselves in society? How can architecture react and contribute to the community?

How do the time and environmental challenges

INTRO TO STUDIO 3

influence the architect’s actions? How can they redefine their engagement in design and construction processes? Eventually, how does the space in which architecture is imagined influence such processes?

We will address these questions by exploring architects’ working and living spaces, their institutions and the places where they meet society. In the Autumn semester – ROOM FOR US - you will design a space for a small community of architects in the shifting and environmentally challenging West coast of Jutland. In Spring – HOME FOR ALL - you will create a place for architects where they share their skills and knowledge in Berlin, a hub for innovative and alternative modes of producing architecture

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Alvar Aalto –Aalto House, Helsinki, Finland(1936)

INTRO TO STUDIO 3

Site Location: Lønstrup, Hjørring Municipality, Denmark Population: 558

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PHASE

01

CASE STUDIES WORKSHOP I

We shape our buildings, and afterwards, our buildings shape us -Winston Churchill If we synthesize the traditional role of the architect to one single statement it could be the following: to provide space for humans’ daily activities. The attributes of that space evolved over time spreading its original basics into multiple functions, forms, meanings, and typologies. However, the main purpose of the architect’s contribution to society –the creation of useful and meaningful space- remained until recently.

It is only in the last decades when a relevant shift in architect´s role was detected. We are no longer merely creators of space. We also proved to develop with success in many other different ways. The architect’s profile has been layered, ramified and gained complexity. How to synthesize the role behind the complexity of our new attributes? Well, probably we can no longer say that we create spaces, but platforms.

Today, we provide platforms –could be physical, emotional or conceptual- that allows us to contribute to society in many other ways while giving us room to explore what being an architect means.

What are the conditions of the space where we imagine architecture –as a platform- for the others? What is, eventually, the platform we have to provide ourselves?

To dig deep into this question we will start by analysing spaces created by architects for themselves.

The students, distributed in pairs, will start the project process by analysing residential/ working spaces designed by architects for themselves. Those spaces could be their homes, studios, or both together in a single entity. The critical reflection on the traditional room of the architect –how it has been differently understood in contemporary architecture- will be used to trigger our projects’ initial deliberations. The selected case studies offer a wide range of architectural statements, spatial approaches, and construction methodologies formulated and tested over the last century. The output of this workshop is a 1/20 scale section model depicting a fragment of the case study.

Each pair has to investigate and represent in a section model the interplay between a pair of opposed attributes identified in the case study, such as: inside/ outside, intimate/extrovert, individual/common, massive/light, open/closed, fixed/movable, private/ public, etc. By the end of week 39, a visit to the area around Lønstrup is organized, where the students individually have to find and document their project site.

Muuratsalo Experimental House by Alvar Aalto Section Model by: Marie Engelhardt Sjögreen Lara Sterneberg

FALL STUDIO 3

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Intermezzo

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Incubator Common Studio Site Visit Case Studies CWR

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Moore House House by Charles W. Moore Section Model by: Mathias Schlünzen Jalil Kinefuchi Amine

Wall House by Anupama Kundoo Section Model by: Lilith Jolanda Elise Unverzagt & Marlene Abild Hindsted

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PHASE

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PROJECT DEVELOPMENT AND DETAILING

In this semester, you are exploring various modes of practising architecture by investigating architects’ working and living spaces. In the Project Development Phase, you will investigate how these diverse approaches spatially manifest the needs of a small community of architects in the shifting and environmentally challenging West coast of Jutland.

What does it mean to be an architect? How can you practice architecture? How do you position yourself as an architect in an unstable environment? What is your interest in the discipline? How do you engage with space? How do you participate in the architectural community? What does the community of architects share? How does it act? Where do you meet the architects? What kind of space is needed for the encounters of the architects and their activities? You will look for answers to these questions by designing a space for around ten people – the architects, their associates, families, etc., who are supposed to stay

for a short period and share knowledge, experiences, wishes and, why not, frustrations. Even though the user is predefined, it is supposed to be a selfprogrammed project, and the functional requirements of the complex are to be defined by each student.

The previous investigations and models created in the case studies workshop will serve you as a starting point for the design process. Once having selected a site, the analysed fragment has to be introduced there as a graft. Next step consists of its formal manipulation to make it fit in the context and accommodate your thoughts and positioning. Further development of programmatic, formal and spatial aspects of your architectural intervention will be developed through contextual and conceptual design in 2D and 3D.

Model by Hugo Alexander Shackleton

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Rugbjerg Knude Fyr

Lønstrup

Nørlev Strand

THE SITE The site for this semester project is the stripe along the West Coast of Denmark – more accurately the stripe along the coastline limited by Rubjerg Knude lighthouse and the dunes to the South, through the hilly town of Lønstrup and wide beach in Nørlev Strand to the North. The chosen fragment is characterised by the dramatic shifts of its landscape, shape, material, and atmosphere. It starts with the high, sandy dunes in the South which are being eroded by the sea and moved inland by the force of the wind.

Later, the height of the coastal cliff decreases towards the town of Lønstrup, which is thoughtfully sheltered from the harsh sea climate by the grassy hills. In the North, closer to Nørlev Strand the coastline falls significantly towards the wide beach surrounded by summer houses which lack necessary shelter from the severe climatic conditions. Thus, they are swallowed by the sea. During the study trip, you are asked to

explore the selected part of the coastline and find the site for your project. Investigate dramatic shifts in the landscape. Analyse its geographical, structural, climatic, and social conditions. Map and understand the physical and nonphysical context for your project and select the most desirable location for your small community. When choosing, consider the climate of the coast and how it affects existing and to be built architecture. Reflect on the strategy for your project.

Is it possible to design a durable and long-lasting building in such a context? Or should architecture react with the shifting environmental conditions? Should it adapt? Should it surrender?

Satellite view of Lønstrup

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NØRLEV STRAND

LØNSTRUP

RUGBJERG KNUDE FYR

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Models by Kristian Knorr Jensen

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INTERMEZZO

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MEETING THE GROUND

The Project Development Phase is supplemented with a one-week break in the form of an Intermezzo. The idea is to pause the project process for a while and look back into the models made in the Case Studies Workshop with a more qualified and contextual critical sight. The students are to reformulate the findings obtained in the workshop according to their project´s demands and new ideas. Model making and digital fabrication tools will be used as the main drivers for the investigations.

The goal is to make new section models, this time of your own proposal, where the same pair of attributes is revisited. In addition, the context has to be included, and the model has been used to investigate how the project meets the ground and, if relevant, the evolution of this meeting over time.

Working intensively in a project process in an era dominated by the visual media has the risk of creating visually appealing proposals that disregard other highly valuable architectural attributes. At Studio 3 we understand architecture as a dynamic scenario, instead of a pristine singular object. Therefore, we are interested in investigating how architecture evolves alongside shifting conditions in the territory -external and internal- and introduces its dynamics as a primary project´s design parameter. This approach asks for

introducing the time as a project’s driver, but also for understanding the construction not as an isolated element detached from the physical context but deeply integrated into it. Thus, architecture and landscape perform as a single entity where the attributes and constraints that define one side necessarily affect the other side, and vice-versa, in an endless dynamic interplay.

Jørn Utzon suggests that by being in touch with our surroundings, we get to the nature of architecture.

Let´s focus on this idea and investigate for a while how our projects touch the landscape and become part of it, how they meet the ground. How many elements define each system? What is the materiality of the elements that divide the intimate spaces from the earth below? Is it segregating, connecting, a friction area, or has it melting qualities? What is the encounter between materials? How do their different properties interact? How vertical loads are carried down? How do horizontal pressures perform?

Model by Malene Jørs Nielsen

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INCUBATOR DAYS PEOPLE, PERFORMANCE, POETICS OVER TIME Architecture has different temporalities. It looks into the past, exist in the present moment, and transforms in the future. It remains in a constant process of adaptation, appropriation, and change. Thus, as architects, we design scenarios, not objects. In Studio 3, we design for an (un)stable environment – for the impermanence of the territories, functions, users, forms. Thus, we are committed to an understanding of architecture OVER TIME. Our designs are influenced by passing time, by the users, the environment, the materiality. Therefore, we explore the issue of time in architecture through three lenses, which are immanent aspects of sustainable architecture.

Those are PEOPLE – the approach which investigates how architecture changes over time due to usage, PERFORMANCE – which looks into how architecture changes over time due to the environment and POETICS – which deals with how architecture changes over time due to its materiality.

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You are asked to choose your preferred approach for this semester project. Do you want to focus on people’s impact on architecture over time? Or on the influence of the environment? Or is it the materiality of the designed building? You will explore the chosen interest in-depth in this semester project. However, you should not forget about the other approaches as only the overlapping of those three elements can result in sustainable architecture.

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POETICS Work by Melissa Bacher

PEOPLE Work by Amine Jalil Kinefuchi

PERFORMANCE Work by Kristian Knorr Jensen

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Renders by Hugo Alexander Shackleton

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CWR CRITICAL WRITTEN REFLECTION

The CWR programme practice is in line with contemporary developments within artistic research.

To unfold and intentionally pursue expansion of the field of potential modes of operation, through our workshops and our Transformational Practices Lecture Series we offer students insights into a broad scope of professional practices to which (read-)writing is fundamental.

Furthermore, in the workshops, we offer students insight into modes of operation concerning mutual practices of constructive critique, essential support and expected driver in their exploration, attainment and communication of new insights.

The students are expected to reflect on and conceptually communicate their position towards an emerging sustainable architecture within a local Danish context. CWR in Studio 3 will support the generation of an architectural vision and a project’s approach.

CWR texts and writing will support the formulation of the conceptual framework of the student’s proposal.

The students will continue elaborating their position towards an emerging sustainable architecture within a local Danish context, in connection with their project´s approach over time, in an individual draft report. Support by peer-review sessions, individual consultations, and midterm presentations.

In Studio 3 the theoretically based CWR research and report will critically investigate how architecture changes over time due to usage (people), environmental issues (performance), and its materiality (poetics).

Drawing by Amine Jalil Kinefuchi

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Sketches and process

From the Case study shop to the design process

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Site Location: Berlin, Germany Population: 3,75 million

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Workshop Pin Up Workshop Pin Up

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PHASE

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CASE STUDIES WORKSHOP II

The students, distributed in pairs, will start the project process by analysing institutional/ cultural spaces in which architects engage with society. Those spaces could be schools of architecture, museums, exhibition venues, company’s headquarters, etc. The selected case studies offer a wide range of programmatic environments formulated over the last century that convey different spatial approaches and construction methodologies. The output of this workshop will be a 1/50 scale section model depicting a fragment of the case study. For DR (Design Realization), individually, each student has to select and draw a detailed component of the case study building that enables to critically reflect on a sustainable aspect of the project.

SPRING STUDIO 3

In the following design phase, we will introduce the community as another user of the spaces for architects.

A reflection on how the studied typology and the programme could be adapted to architects interact with the community could inform the following design phase.

169 AARHUS SCHOOL OF ARCHITECTURE Utzon Center by Jørn Utzon Section Model by: Alexander Hugo Shackleton Asger Brix Pedersen

Arkitekturmuseet by Rafael Moneo Section Model by: Charlotte Lyberth Jensen Line Østergaard Poulsen

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MAPPING MACHINES

This workshop is preparatory for engaging and taking agency in the context of the spring semester 2020. The aim is to create a setup, functioning as a meta-layer for the semester brief: “spaces where architects engage with the society”.This workshop will also introduce alternative definitions of themes as: “Design for Disassembly”, “Commoning”, “Ritual”, “Property” and “Context” through talks, discussions, and development of bottom-up mapping strategies.

Mapping Machines are understood as devices that conjoin the ritual and mobile and lightweight structures. The reference to a device provides a bodyrelated scale while the ritual indicates a sequence of actions – altogether acting as a space making object.

The Mapping-Machines are designed to be mobile and lightweight, related to the moving body – serving a temporary purpose. Principles of “Design for Disassembly (DfD)” ensure the mobility of the device and the reuse of its parts, which becomes crucial due to their temporality. Therefore, DfD will inform decisions and material choices – reflected in joints and robustness. This intention is also reflected in Studio 3’s partnership with Bank of Materials (BOM), Hitsa, Kvadrat and Carl-Ras. The concept of Mapping-Machines is inspired by contemporary movements within the field of architecture, which use self-initiated interventions in public space as a participatory tool of urban development (ON/OFF, Raumlabor, Kondens, Hele Landet, etc). By working bottom-up, we intend to expand the idea of the architect’s role within today’s society. Mapping-Machines will raise questions of social, political and environmental dynamics within

SPRING STUDIO 3

architecture. Hopefully, allowing us, for a moment, to free the concepts from their usual opposites – centre/ periphery, private/common, left/right, nature/culture, to let ourselves imagine new relationships.

In Berlin, Mapping Machines will be used to explore the area of the possible site for the semester brief.

Students will work in pairs or choose to form groups of pairs to place several Mapping-Machines in various constellations. We understand mapping as a process which explores the dynamics of a spatial environment during fieldwork and urban research.

Mapping-Machines act as a counterpart to large-scale mapping strategies (maps, statistics, big data etc.) and supplement qualitative mapping strategies (field-notes, interviews, observations etc.) allowing us to be critical and reimagine the large scale.

Mapping machines act as performative devices.

They are meant to occupy and disrupt an existing spatial context by introducing new mobile and space making object – an impermanent alternative to the existing – changing its context inside out. Disruption initiates spatial and social interaction and ultimately let us explore existing dynamics of a place while revealing new potentials. The output of the MappingMachines might not give us specific data, but change our perception of the spatial environment, while uncovering underlying rules, habits and routines.

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STUDY TRIP BERLIN The site for this semester project has to be found in a defined area that extends from Alexanderplatz to the banks of Spree River, in the centre of Berlin. This constantly changing city is famous for its tradition of urban architecture, troubled history, rapid growth and the ability to rethink its development strategies.

Moreover, it is known for its citizen-focused politics, sharing initiatives and spaces of commoning. The urban context of the city centre acts as an arena for public and private interactions. Thus, the building situated here naturally negotiates between the individual and common interests and needs.

Alexanderplatz, destroyed during II World War and redeveloped in the 1960s, is a large public space and an important transportation hub full of public buildings, commercial centres, citizen initiatives. Haus der Statistik, our temporary office in Alexanderplatz, is an abandoned building that has been adapted to become an informal place for art, education and social activities. We will use the space to synthesize the output of mappings, contextual explorations and we will contribute to a community-house for refugees, cultural workers, production, educational and civic initiatives.

The area for your project site starts with Haus der Statistik and extends along Karl-Marx Allee and Spree River (includes both river banks) to Andreastrasse as an Eastern limitation. The city dramatically shifts within these boundaries: from a large and monumental public square and avenue -Alexanderplatz and Karl-Marx Alle, through socialist buildings -Haus der Statistik- small

SPRING STUDIO 3

scale pavilions, high-rising plattenbaus and typical Berlin blocks, to the industrial areas on the Southern river bank and omnipresent new urban developments.

During the study trip, you are asked to investigate the given area and find the site for your project.

Investigate the dramatic shifts within this fragment of the city. Analyse its urban, architectural, structural, environmental and social conditions. Map and understand the physical and non-physical context for your project and choose the most desirable location for the architects to engage with society. When choosing a site consider the existing urban fabric and its social context. Reflect on the strategy of your project. How will you position the building within the existing urban landscape? How will you connect to established social networks? How do you invite diverse stakeholders?

How do you construct a community?

We will also explore diverse self-designed spaces, institutions and places for commoning created by and for architects, i.e.: Bauhaus in Dessau by W.Gropius, Floating University Berlin by Raumlabor or the studios of N.Fanelsa, A.Brandlhuber, Rundswei, S.Chermayeff, etc. Moreover, during the study trip, you will find, analyse, and map the site for your Spring semester project in Haus der Statistik/ Alexanderplatz area.

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PHASE

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PROJECT DEVELOPMENT PHASE

The students will be looking to design a space where the architects encounter society in the constantly developing and rapidly shifting city of Berlin. The aim is to create a place where architects share their skills and knowledge, a hub for innovative and alternative modes of thinking, producing and engaging through architecture.

layers. The investigations of already established case studies will help you understand how architects used to interact with society. The created devices will help the students find a unique way of engaging with the place.

They will also reflect critically on how valid are those reflections, references, and tools in the fastchanging context of Berlin and the contemporary They will decide what kind of meeting you want to world. Once having selected a site, the fragment of create, which function(s) may accommodate predefined the building analysed in the case study workshop needs and who are the users involved. After analysing has to be introduced there as a graft – directly or specific Berlin context, one will select a site and decide metaphorically. The next step consists of its formal or who your building is for. The only requirement is that conceptual manipulation to make it fit in the context the users of the designed space are architects and non- and accommodate one’s thoughts and positioning. architects, representing diverse stakeholders of society. Further development of programmatic, formal and It is a self-programmed project, and the functional spatial aspects of the architectural intervention will be requirements of the complex are to be defined as part developed through contextual and conceptual design of the process. in 2D and 3D. The previous investigations: contextual reading, case studies analyses, and mapping machines fabrication, will serve you as a starting point for the design process. The discussions on the cultural aspects of the context will help you to discern between its multiple

Work by Nick Cole

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Work by Hugo Shackleton

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DR

DESIGN REALISATION

The DR programme tries to educate and give students an overview of the overall law and framework behind architecture and design as well as providing resources to help with the realisation of their design.

This involves the programmes arranging a seminar, based on a case with several stakeholders from politicians, city planners to specialists and engineers.

The seminar should address common interests and the focus of the teaching program concerning Design Realisation. The seminar could as an example emphasize the need for early collaboration and give students an overview of the complexity, challenges and dilemmas concerning realization in practice

The practically based DR research and a report will graphically investigate how architecture changes over time due to usage (people), environmental issues (performance), and its materiality (poetics). You will reflect on and aesthetically represent your position towards an emerging sustainable architecture in a nonDanish context.

The DR development is structured in two parts over the Spring semester. In the first part, the students will work on a logbook where their initial investigations, site analysis, conceptual approach and project process are outlined. In the second part, the students are to elaborate detailed drawings of their project.

Drawing by Hugo Alexander Shackleton

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1. Precast, reinforced concrete beam (rectangular) 500x450mm.

2. Precast, reinforced concrete column with shallow corbel 800x500mm.

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3. Precast, reinforced concrete beam (inverted T-shape) 500x450mm.

4. Precast, pre-stressed double-tee slab 1200mm flange; 7000mm span; 150mm web.

5. Screed 40mm.

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6. Precast concrete facade panel 1785x210mm.

7a. Rigid insulation 50mm; 80mm.

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8. Sheathing board and weather membrane 25mm.

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10. Stud cavity bracket 100mm.

11. Shear connection cast into panel 100x550mm.

12. Anchor plate cast into beam.

13. Anchoring bolt 25mm.

14. Cellulose insulation cavity 85mm.

15. Reclaimed siding board and plywood lining board 20mm.

16. Reclaimed flooring board 15mm 17. Flooring battens 30x30mm.

18. Reclaimed timber studs ‘2x4’ 90x40mm.

19. Salvaged window frame.

20. Double-glasing 21. Reused corrugated plastic cladding 8mm.

22; 23. Aluminium drainage plate 3mm

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STUDENT WORK 2019/2020 OVERVIEW Teaching Programme 3 had the honour of being a contributor to the Klimafolkemøde 2020 that took place in Middelfart. The Klimafolkemøde is an annual event that tries to engage and inspire citizens, stakeholders and other decision-makers about climate-related issues. As part of our contribution, we organized a lively debate, a film screening showcasing films made by students and an exhibition with student work in front of the Middelfart Rådhus.

As the headliner for the Klimafolkemøde was ‘Climate Action Now’ (Klimahandling nu) and we selected some student projects from the various units and studios that dealt with our changing climate. In this section, you can see the selected projects for the Klimafolkemøde.

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© Kevin Kuriakose

STUDENT WORK

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SYDVENDT OPSTALT 1:200 PAPIRSTØRRELSE: 420*1000mm

UNIT 2/3E 2019/2020 2070 KLIMA LABORATORIUM MIDDELFART Danmarks landskaber er alle menneskeskabte, kun vores kystlinje står uberørt som et naturligt spor fra istiden. Reguleret og kontrolleret fremstår samtidens landskab som en dokumentation af landets historie.

Hvordan vil dette palimpsest, der vidner om tidligere produktionsmidler, bosættelser og transportveje, i fremtiden afspejle nutidens globalisering, industri og menneskelig påvirkning af naturens miljøer?

I dag er vi bevidste om klimaforandringerne, men kender ikke omfanget af konsekvenser, hverken lokalt eller globalt. De klimaudfordringer vi står overfor er ikke kun miljømæssige, men i høj grad også noget, der påvirker kulturelle, sociale og økonomiske forhold. I en verden under omdannelse, hvor vi blot kan spå om fremtiden, har vi derfor brug for at tænke langsigtet.

Funderet i spekulative fremtider, 30 og 50 år fra nu, eksperimenterer studerende med KlimaLaboratorier og alternative bosættelser som konceptuelle grundlag. Gennem observation, registrering og dialog med lokalbefolkningen, tager projekterne afsæt i Middelfart og Vejle som lokale omdrejningspunkter og

UNIT 2/3 E STUDENT WORK

klimaudfordringerne som global kontekst.

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Drawing by Emil Holm & Aske Hartje

Scan to learn more UNIT 2/3 E STUDENT WORK

AARHUS SCHOOL OF ARCHITECTURE 188

THE SOAPNUT HOUSE Building relations between the Soapnut House and the surrounding dwellings

EN VERDEN PÅ PÆLE The Soapnut Community er lokaliseret i Ny Rosborg på en forurenet affalds- og genbrugsplads i Vejle. Med udgangspunkt i klimaforandringernes mulige verdenshavsstigninger, og den hollandske kunstner Constant Anton Nieuwenhuys teorier ”New Babylon” og ”Another City for Another Life”, er projektet funderet i vandet, og på Constants fiktive menneske Homo Ludens.

Homo Ludens er et folk af kreative nomader, der går igennem verdenen på platforme hævet på pæle, da jorden er giftig. Mennesket i projektet har mere tid grundet teknologiens udvikling og teknologiens erstatning af store dele, af det arbejde der fylder vores liv i dag. Det betyder, at de fag man i stedet kan arbejde med vil være relaterede til omsorg eller til udfoldelse af mennesket. Kreativt såvel som socialt.

The Soapnut Comunity er fokus på, at mennesket og naturen skal harmonere og fremme den omsorg, der er brug for i verdenen. Derfor er det vigtigt med sæbenødden. Det fælles ansvar for sæbetræets ve og vel, samt ritualet i at samle og dyrke aromagivende urter såvel som at indsamle nødder og at vaske med dem. Disse ritualer kan give folk en empati og respekt for naturen og få dem til at møde folk, de ellers ikke ville møde i et helt almindeligt dagligdags ritual.

Future speculations of Vejle fjord

The Soapnut House

Three sizes of dwellings

Construction of dweling

Movement through dwelling

Christian Reese 2050 Vejle, Denmark

The act of using the soapnuts growing within the construction

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The relation between The Soapnut House and dwelling 01 viewing the inhabitants usage of the constructed and the waters

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CONSTRUCTION PRINCIPLE

Plans 1:50 //

Scan -> print -> assemble -> change

01_ Framework for habitation: Platform constructed of carbon fibre h-beams

02_ 3d-printet beam structure of FRP-plastic, attachable into platform

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Section 1:50 (attached file) 2376 mm x 840 mm

Detail 1:20 +

Construction principles

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A location for technologically coded dwelling

191 AARHUS SCHOOL OF ARCHITECTURE

ection

1:8000

Plan + section

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VEJLE MUNICIPALITY_ GOALS FOR 2050

THE DIGITAL SUBLIME

_01 co-creating city Vejle will create tomorrows resilient city through productive partnership across public and private sectors

_02 climate resilient city Vejle will use water and climate change as cohesion and create the best conditions for future generations

_03 socially resilient city Vejle will increase social and economic cohesion and create the best conditions for future generations

_04 smart city Vejle will embrace new technologies and improve co-creation, efficency, outreach and inclusivity

Vejle bridge 12m

Vejle bridge 12m

The wave 35m

Inustrial building 50m

The house of fjords 28m

The wave 35m

The white facet 56m

Inustrial building 50m

The house of fjords 28m

The white facet 56m

“Bryggen” 15m

The five sisters 40m

DGI-house 30m

“Bryggen” 15m

The five sisters 40m

Speculative section of the landmarks of Vejle 2050

DGI-house 30m

Ny Rosborg server central 12m

Ny Rosborg server central 12m

Territory of opportunity

of the landmarks of Vejle 2050

Speculative section of the landmarks of Vejle 2050

Structure

Views

Seagulls

Mountain of trash

Vejle

cent

rum

EVOLVING STRUCTURES DEPENDENT ON CLIMATIC CHANGES AND HUMAN NEEDS Through history, the site of Ny Rosborg in Vejle has been shaped and distorted by man (for man) through cultivation (crop- and fish-farming), Plan + section painting (romanticism) and industrialisation.

These acts of modulation are a part of history, standing VEJLE MUNICIPALITY_ GOALS 2050interaction with as a memory, or display, ofFOR human _01 co-creating city nature in the past. Especially evident at Ny Rosborg is Vejle will create tomorrows resilient city productive partnership across the small hill, createdthrough by layers of trash and soil, rising public and private sectors _02 climateconsumption. resilient city as a landscape of human The evolution Vejle will use water and climate change as cohesion and create the best conditions for of the site has a common narrative globally, where we future generations are now facing a future where the consequences of _03 socially resilient city Vejle willresources increase social and economic cothe cultivation of natural will challenge our hesion and create the best conditions for future generations conventional way of dwelling. _04 smart city

, 17

50 m

Vejle will embrace new technologies and

Settlements

Existing structure with pile foundation

Locals

tion

tion

Water

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Soil

tor

Climate refugees

al

ventory

sing

moving out

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Flooded Vejle, a future scenario

Existing structure with pile foundation in a flooded Vejle

The project sets of in improve a speculated scenario of the co-creation, efficency, outreach and inclusivity year 2050, after a huge cap of the ice on Greenland, has caved in - resulting in an acceleration of sea-level rise globally, affecting Vejle and the river valley both in terms of landscape and climate and an increased number of people relocating to the city as Denmark has been declared as one of the countries in the world best fit to survive climate change. The old fjord of Vejle has returned to its natural state, leaving the city centre underwater, and the landfill of Ny Rosborg above it.

The project intends to create architecture sufficiently responsive to the environment and man, harvesting the collective intelligence for constructive pleasure protection and habitation in return for data.

Linn Johansson & Bodil Eiterstraum 2050 Vejle, Denmark

1:8000

AARHUS SCHOOL OF ARCHITECTURE 192

Linn Johansson & Bodil Eiterstraum 2050 Vejle, Denmark

older, alcoholics”

Journeys of objects

2016

193 AARHUS SCHOOL OF ARCHITECTURE 2017

recycle station 2018 seagull

trash

A

A

2019

transportation

cardboard plastic toys refridgerator heavy metal

300,31 m

kitchen inventory wood

Plans 1:50 // Habitation

Landfill

Speculative section A - A

insulation

m 20 48 g, din Vin

“as the seagulls flies”:

“Hyttebyen”, social housings

social housing

10m

“15 years ago you could drive straigth into these buildings, now you have to drive over this small hill..”

voluntary moving out

40m

, dis tan

ce: 13 40

m

death

rsholm

2004

Pede

2012

2019 m 10 59 g, din Vin

-14 m = solid ground

Collage // process

Landscape

Landscape

Detail 1:20 + perspective dra

AARHUS SCHOOL OF ARCHITECTURE 194

Situationsplan 1:2500

Renselsen

INGENIUM

Renselsen

Renselsen på øen 1:500

Ceremonien

Renselsen

Samlingen

Renselsen

Situationsplan

NÅR BORGERNE GØR FÆLLESSKABET TIL ET SAMFUND INGENIUM er et nyt samfund i 2070 i Middelfart, hvor tre kultursamfundsinstitutioner udgør fundamentet: Samlingen, Ceremonien og Renselsen.

Kystlinjen er naturlig, industrien er en ø af natur, og bygningerne lader mennesket være en del af naturen, når vind, vand og lys glider gennem bygningerne.

Dette spejles i idéen, om at mennesket er en del af naturen. Bygningerne opføres af de lokale materialer ler og træ.

Renselsen

Renselsen Plan 1:200

Varmt bad Varm helt ind i kroppen

Koldt bad Koldt bad i Lillebælt

Tempereret bad Som en balje, der tømmes

Nedstigning

Salt bad Flyde i intetheden Mudder bad Omslutning af kroppen af leret

Skylning Gå igennem et vandfald Damp bad Op og igennem dampen. Lyset leger med dampen Afklædning

Imellem byhusene ligger Samlingen, som er samfundets Borgerting. Imellem lermure tager medlemmerne plads i landskabet ved mødet i Samlingen. Når solen står højest, rejser medlemmerne sig for at stemme for, og udløser tekstiler hængende under taget, så vandet plasker mod jorden. Naturen intensiveres, og mennesket bliver en del af naturens kredsløb. De politiske beslutningsprocesser og afstemninger bliver synlige for borgerne og en begivenhed.

Snit

Renselsen Snitt CC

Snitt AA 1:200 Snittet igjennom jordingsrommet et kontempla

Mikkel Kieldsen & Selma Gulden 2070 Middelfart, Denmark

Snitt AA

Snitt BB

Ceremonien

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195 AARHUS SCHOOL OF ARCHITECTURE

Renselsen Snit 1:200

Samlingen Sekretærernes møderum 1:100 Lave åbninger i lermurene sikrer, at Samlingens medlemmer bliver en del af landskabet, når de tager plads i landskabet.

Et mindre hul i dugen lader regnvandet falde gennem taget ned i tekstilet, som udløses, når der stemmes for. Mennesket bliver en del af naturens kredsløb

Et hulrum i lermuren er sekretærernes møderum.

Lerknolde lader borgerne hvile i landskabet og opfordrer til samtale

Renselsens forløb

Sekretærernes møderum

Snitt BB 1:200

Snitt CC 1:50

Tenning av lyset

Samlingen Opstalt Østergade 1:200

Klokken 12 på sommersolverv treffer sollyset vannspeilet i seremonirommet

Naturen er midt i Middelfart

Havnegyden

Indramning af landskabet

Samlingen

Samlingen Snit syd/nord 1:200 Østergade

Lermure indrammer dele af landskabet, hvor udløsningen af vand larmer mellem murene og gør borgerne opmærksomme på beslutningsprocessen.

Naturen bliver integreret i Middelfart

Havnegade

Vandet svinger i vinden og udløses, når der stemmes for.

Mennesket bliver en del af naturens kredsløb.

Kystlinjen er naturlig

Samlingen i opstalt og snit

Situationsplan for Samlingen 1:500

Udsnit 1:100

Samlingen Plan 1:200

Ceremonien

Snit syd/nord

Toiletter Havnegade Vandet plasker Møderum

Sekretærernes møderum

Bolig til klimaflygtninge Bolig til klimaflygtninge Toiletter Møderum til sekretærer

Møderum

Møderum

Vandet plasker Vandet plasker

Samlingen

Toiletter

Møderum Vandet plasker

Vandet plasker

Toiletter

Vandet plasker

Møderum Toiletter

Hynder

Møderum Møderum

Bolig til klimaflygtninge

Østergade

Vandet plasker

Vandet plasker

Samlingen

AARHUS SCHOOL OF ARCHITECTURE 196

Goplen udspændt fra den personlige boenhed. Fra goplen sanses vandet i direkte kontakt med den menneskelige krop

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197 AARHUS SCHOOL OF ARCHITECTURE

NATURENS NATUR ET GLOBALT NETVÆRK AF LABORATORIER TIL INTERAGEREN MED NATUREN, PÅ NATURENS PRÆMISSER I dag er vi bevidste om klimaforandringerne, men kender ikke omfanget af konsekvenser.

Klodens skala og organismers indbyrdes påvirkninger er uigennemskuelige og gør det umuligt for os at forudsige de klimatiske konsekvenser. Derfor, må mennesket indgå i naturen på naturens præmisser (fra det anthropocene til det non-anthropocene).

Katedralens indre himmelvæv. I dagstimerne leder akrylrørene solens stråler. I natten lyser serveren rummets indre kuppel op.

Klimalaboratoriet som et hængende sfære centralt placeret på Den Ny Lillebæltsbro

I projektet undersøges hvordan vi kan være mere tilstedeværende i det klima vi interagerer med. Hvordan vi kan absorberes og opleve naturen; mærke solens varme og høre vandets brusen. Ambassadører vil agere kommunikatorer for klimaet og udbrede evnen til at indgå i dialog og interagere med omgivelserne.

Ambassadørerne bor i Personlige Bo-enheder påsat KlimaLaboratorier som findes overalt i verden.

I naturen er hvert element unikt, som en del af en art, der eksisterer i en helhed. Elementets ‘indre natur’ er dens måde at eksistere på, dét som forbinder individet med arten. Den indre natur er afhængig af den ydre natur; omgivelsernes måde at eksistere på. Dermed er hvert element unikt, men en del af en art - og hver art sin egen, men en del af en helhed. Projektet fokuserer på mennesket som en del af naturen, afhængig af den ydre natur; luften, vandet; vores livsnødvendige elementer. Det betyder, at vi, som en organisme født af naturen, ikke kan ‘redde’ kloden, men må indgå i symbiose på naturens præmisser.

Konceptuel tegning af Klimalaboratoriet

Cordelia Kert Sønder 2070 Middelfart, Denmark

Livet i en den personlige boenhed; visuelt og fysisk forbundet til naturen

AARHUS SCHOOL OF ARCHITECTURE 198

THE LABORATORY OF EQUALITY

MAPPINGS DEN PRIVATISERTE HAVNEPROMENADEN

m

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50

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SITEPLAN 1:2000

VANNFORHOLD I LILLEBÆLT

THE LABORATORY OF EQUALITY

1 0.25

1.00

2

2.00

3

380 mm

Tidevand

Middelspringtidslavvande

4

Målinger Havbunnssedimenter Land Vandstandsprognose

Sand

Tidevand

Grus og grov sand

600 mm

Till and diamiction Ler

3 Mars 2020

2 Mars 2020

1 Mars 2020

29 Februar 2020

28 Februar 2020

26 Februar 2020

27 Februar 2020

5

Rekreasjon

#6 Tidsstrømme

Rekreasjon

Site DEMOGRAFIKORT

SNIITT AA 1:200 I

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EN UNDERSØGELSE AF VAND SOM RESSOURCE, ELEMENT OG LOKALVÆRDIG I MIDDELFART

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Index a Fugl

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I Skarv II Sølvmåge III Edderfugl IV Dvergtern b Fisk I Sild II Havørred III Ål IV Hornfisk V Fladfisk VI Torsk VII Havørred c Skalddyr I Hummer II Blåmuslinge III Krabbe d Andre I Plankton II Marsvin III Sel

Demografisk kort over havet

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OVERSKRIFT

Snit AA

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BHBKHB lore

Snit AA

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Plan 1. sal.

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Med sin strategiske plassering er klimalaboratoriet et nasjonalt senter for forskning på og formidling av kunnskap om bæredyktige ressurser. Samtidig er laboratoriet et sted for rekreation, opplysning og sansing, ved å fasilitere bading i beltet. Formålet er å gi borgerne i middelfart mulighet til å interagere med vannet, kunskap om naturen og personlig relasjon til deres fysiske omgivelser.

Snit BB B

Snit BB

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Grundplan

Grundplan.

B

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Prosjektet har som formål å skape respekt, innovere og katalysere et radikalt bæredyktig skifte samtidig som det værner om naturen. Med utgangspunkt i artene man finner i overgangen mellom land og vann, alger og blåmuslinger, undersøker klimalaboratoriet hvordan vi med respekt dyrker, forvalter og forbruker lokale ressurser.

Toya Causse & Frida Nordvik 2070 Middelfart, Denmark

Århus 106 km

Havstrøm i knob

199 AARHUS SCHOOL OF ARCHITECTURE

K

ALGEPRODUKTION

POTENSIELLE RESSOURCER

01 Mad 02 Medicin 03 Biobrændstof

PROGRAMATISK SNITT

m 0

04 Gødning

4

05 Foder

1 3

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Blåmuslinger opptager

KVÆLSTOF

Alger binder

CO2

Potentielle ressourcer

Algeproduktion

1 Fremstilling av frø 2 Dyrking 3 Høsting 4 Bearbeidning

59

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AARHUS SCHOOL OF ARCHITECTURE 200

THE AGRICULTURAL CHANGE IN DIRECTION INCREASING INTERACTIONS WITH FOOD PROCESSING

Site

SITUATIONSPLAN 1:500 PAPIRSTØRRELSE : 420*597

JUNI JULI MAJ

AUGUST APRIL

SEPTEMBER

MARTS

OKTOBER

In a speculative future scenario in the year 2070 we wish to replace the existing fields with industrial animal husbandry in Middelfart municipality with a production of legumes, to optimise and make the land area more efficient and thereby rewild field areas.

NOVEMBER JANUAR DECEMBER

Bearbejdning og dyrkelse Blomsten kan spises frisk

Udvokset plante

Bælgene kan spises frisk, de kan koges, de kan tørres, de kan bages

Spire Frugt (hestebønne)

Transport til Middelfart station

Stilken kan komposteres Frø

December

November

Oktober

September

August

Juli

Juni

Maj

April

Marts

Februar

Januar

The transition from animal to vegetable protein is supposed to be manifested in a processing plant on top of the existing Middelfart train-station. The vision of this project is to develop a structural principle that invites the citizens to interact with the processing of food and create an even closer relation to their food.

FEBRUAR

Høst (2020)

Roden kan bruges til at farve eventuelle produkter (hæm, bruges i veganske produkter)

Emil Holm & Aske Hartje 2070 Middelfart, Denmark

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Bønnens process

201 AARHUS SCHOOL OF ARCHITECTURE

LÆNGDESNIT 1:200 PAPIRSTØRRELSE: 420*1000mm

A

A // SOLAR CHIMNEY B // BIOMILER

AKKUMULERET VARME FRA SOLEN OPVARMER LUFTEN INDE I SKORSTENEN. DETTE SKABER EN NATURLIG OPDRIFT AF LUFT IGENNEM SKRUKTUREN.

C // BIOMILE KRAN D // LAGER - BIONEDBRYDLIGT MATERIALE

C

E // MARKED F // TRANSPORTBÅND G // BOLIG

TAGETS HÆLDNING TILGODESER BIOMILERNES BEHOV FOR SOLLYS. SOLENS VARME ER MED TIL AT IGANGSÆTTE KOMPOSTERINGEN I MILERNE OG DERMED SKABE VARME OG ENERGI.

G

H // MULDJORDSSILO

B

I // LAGER - TØRRET BÆLG J // LAGERKRAN K // FORARBEJDNING K

E

BEAN BEER! 2 FOR 10,-

HUSMUS HERO

HVAD ÆRT’ER

F

HØR VORES

BØNNER

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J

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Tværsnit af Klimalaboratoriet

FORARBEJDNINGSANLÆG

BYENS HAVER

4,2 - 16,1 KM

MARKSTATION

DRONEINDLEVERING

AUTOMATISERET LANDBRUG

BÆLGPLANTE MARKER

BYENS FORBINDELSE TIL MARKAREALERNE OG OPLANDET.

HAVEAFFALDET FRA BYENS HAVER BENYTTES SOM RESSOURCE I FORARBEJDNINGSANLÆGGET. NÅR AFFALDET INDLEVERES BRUGES DET I BIOMILERNE DER BÅDE GENERE VARME TIL ANLÆGGET SAMT ELEKTRICITET TIL MASKINERIET.

I OMRÅDET MELLEM FORARBEJDNINGSANLÆGGET LIGGER BYENS OPLAND: SPORTSANLÆG, VILLAKVATERE OG KONTORFÆLLESSKABER.

FRA OPSAMLINGSSTATIONERNE LANGS TOGSPORENE OPSAMLES BÆLGPLANTER FRA DE OMKRINGLIGGENDE MARKER.

I TAKT MED DEN TEKNOLOGISKE UDVIKLING SKER EN TRANSITION FRA KONVENTIONELT LANDBRUG TIL ET AUTOMATISERET LANDBRUG.

DE 150 MARKER I MIDDELFART MED HUSDYRAVL BLIVER OMLAGT TIL BÆLGPLANTEPRODUKTION.

ANLÆGGETS PLACERING MIDT I BYEN TILLADER EN OPMÆRKSOMHED BLANDT BORGERNE.

BÆLGPLANTERNE BLIVER TRANSPORTERET I ET MODULSYSTEM MONTERET PÅ TOPPEN AF TOGVOGNENE OG HELE MODULET AFLÆSSES DEREFTER DIREKTE I TØRRINGSSYSTEMET.

SOM EN FORLÆNGELSE AF DET AUTOMATISEREDE LANDBRUG BENYTTES DRONER TIL AT TRANSPORTERE BÆLGPLANTER TIL MARKSTATIONERNE FRA DE MARKER DER IKKE LANGS TOGBANEN.

EN MANIFESTATION AF OMLÆGNINGEN AF LANDBRUGET, DER INVITERER BORGERNE TIL AT INTERAGERE MED FØDEVARENE OG DERES FORARBEJDNINGSMETODERNE OG DERIGENNEM SKABE ET TÆTTERE FORHOLD TIL DERES MAD.

DE NÆRMESTE MARKAREALER LIGGER 4,2 KM FRA FORARBEJDNINGSANLÆGGET MENS KOMMUNENS FJERNESTE LIGGER 16,1 KM DERFRA.

DENNE OMLÆGNING SKER FOR AT EFFEKTIVISERE LANDBRUGSAREALET OG DERMED KUNNE OPTIMRERE PRODUCERINGEN AF PROTEIN OG GENFORVILDE MARKAREALER.

LANDMÆNDENES ROLLE BLIVER PLANLÆGNINGSOG LOGISTISKE STRATEGIER.

DRONERNES AFHENTNINGER KONTROLLERES AF LANDMÆNDENE PÅ FORARBEJDNINGSANLÆGGET.

A

SKAKTEN DER SKABER FORBINDELSEN MELLEM KÆLDEREN OG TAGET BENYTTES TIL AT HIVE SOLLYS IGENNEM BYGNINGENS ELLERS MØRKE OMRÅDER

TVÆRSNIT 1:200 PAPIRSTØRRELSE: 420*600mm

VARMEFORSKELLEN I SKORSTENEN SKABER NATURLIG OPDRIFT IGENNEM STRUKTUREN. DETTE BENYTTES TIL AT TØRRE BÆLGEN TIL DEN ØNSKEDE FUGTIGHEDSPROCENT

TVÆRSNIT 1:200 PAPIRSTØRRELSE: 420*600mm

A // MULDJORDSSILO

A // SOLAR CHIMNEY

B // OPBEVARING - BIONEDBRYDELIGT AFFALD

B // LAGER KRAN

C // KOMPOSTSKAKT

C

A

B

B

GRUNDPLAN 1:250 PAPIRSTØRRELSE : 420*597

Grundplan

PLAN FØRSTE SAL 1:250 PAPIRSTØRRELSE : 420*597

Plan 1. sal

PLAN ANDEN SAL 1:250 PAPIRSTØRRELSE : 420*597

Plan 2. sal

KONTEKST BILLEDER LANGS HAVNEGADE. FRA SITET TIL DEN GAMLE TRÆBÅDSHAVN.

AARHUS SCHOOL OF ARCHITECTURE 202

SITUATIONSPLAN. PLAN AF NÆROMRÅDET.

FØDEVARER PRÆSERVERING FACILITET

SITE

LOKALE FØREVARE SOM RESSOURCE FOR LOKALT SAMSPIL OG BEKÆMPELSE AF MADSPIL Projektet er en lokal fødevarer præserveringsfacilitet med fokus på at spise sundt, bæredygtigt og sæsonbaseret.

Site OPSTALTER. OPSTALTER. EN VISON OM AT SKABE EN EN VISON OM AT SKABE EN ANDERLEDESHED I LOKALANDERLEDESHED LOKALOMRÅDET FOR AT IBELYSE OMRÅDET FOR AT BELYSE NYE FÆLLES UDFORDINGER. NYEMANIFISTERING FÆLLES UDFORDINGER. EN AF EN NY EN MANIFISTERING AF EN NY EPOKE INDENFOR FØDEVARE EPOKE INDENFOR FØDEVARE BEHANDLING, DISTRIBUTION, BEHANDLING, DISTRIBUTION, KONSUMERING OG AFFALD. KONSUMERING OG AFFALD.

Projektet søger mod at skabe en cirkulær økonomi, mindske mængden af madspild og skabe relationer og bånd, borgerne imellem, samt udvikle værktøjer og muligheder for, at brugerne kan etablere et dybere forhold til deres mad, kontekst og hinanden.

1:500 PLAN MIDDELFART // SITE 2 ASKE HARTJE JAKBOSEN

ASKE HARTJE JAKOB SEN UNIT 2/3 E AAR HUS AR KITEKTSKOLE

Fødevarepræserveringsfaciliteten vil belyse vores forbrug af fødevarer og de miljø- og sundhedsmæssige omkostninger dette har.

Med udgangspunkt i Middelfart og dennes vision om at blive en grøn forgangsby, vil projektet forsøge at minimere andelen af madspild fra byens haver. Det skal ske igennem den store andel af producerede fødevarer, der bliver til næring fremfor skrald. I alt løber det samlede madspild fra danske husstande op i cirka 247.000 ton årligt. Heraf udgør frugt og grønt den største andel med 41%. Særligt ønskes byens voksende ældre befolkning at bruges som ressource i udviklingen fra det nuværende transporterede fødevarersystem til et nyt lokalt produceret alternativ. Projektet spekulerer i et nyt og bæredygtigt fremtidsscenarie, hvor nye ideer om mad og næring samt gamle præserveringsmetoder, skal udfoldes i et spekulativt alternativt scenarie for Middelfart.

Facade

PLANER. PLANER. PRÆSERVERINGSFACILITETEN PRÆSERVERINGSFACILITETEN INDEHOLDER OPBEVARING, INDEHOLDER OPBEVARING, KØKKEN, BOLIG OG VÆKSTKØKKEN, BOLIG OG VÆKSTHUSE. HUSE.

VÆKSTHUSE. VÆKSTHUSE. PÅ BYGNINGENS ØVERSTE PÅ BYGNINGENS ØVERSTE ETAGE ER FEM VÆKSTHUSE ETAGE ER FEM VÆKSTHUSE MED FORSKELLIGE AFGRØDMED FORSKELLIGE AFGRØDDER. DISSSE ER FORDELT DER. DISSSE ER FORDELT EFTER MÆNGDEN AF LYS DE EFTER MÆNGDEN AF LYS DE SPECIFIKKE AFGRØDER BESPECIFIKKE AFGRØDER BEHØVER. HØVER.

Planer

LÆNGDESNIT. LÆNGDESNIT. SNIT FRA BAGHAVEN OG TIL SNIT FRA BAGHAVEN OG TIL LILLEBÆLT. LILLEBÆLT. HER SES BYGNINGEN I KONHER SES I KONTEKST TILBYGNINGEN DET OMKRINGLIGTEKST TIL DET OMKRINGLIGGENDE LANDSKAB. GENDE LANDSKAB.

Aske Hartje Jakobsen 2070 Middelfart, Denmark AS K E H A RTJ E JA KOB S E N AS K E HU AN RTJ JAE KOB S E N IT E 2 /3 /3 E KO L E AA R H U SU N AIRTK2I T E KTS AA R H U S A R K I T E KTS KO L E

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203 AARHUS SCHOOL OF ARCHITECTURE

DIAGRAM. OVERSIGT OVER UDDELEGERINGEN AF SÆSONHAVER. KONCEPTET SØGER MOD AT MINDSKE MADSPILD FRA BYENS HUSTANDE SAMT SKABE EN CIRKULÆR ØKONOMI.

DIAGRAM. DE OVERSKYDENDE AFGRØDER FRA INDBYGGERNES SÆSONHAVER INDLEVERES TIL PRÆSERVERINGSFACILITETEN. DETTE FORMODES AT AFFØDE FLERE POSITIVE VIRKNINGER I LOKALOMRÅDET.

Bygningen indkapsles af beholdere der fastholer CO2 fra fermenteringen LACTO-FERMENTERING. RESTPRODUKTET AF LACTO-FERMENTERING ER CO2.

DETTE RESTPRODUKT ØNSKES AT GENBRUGES I BYGNINGEN TIL AT GRO NYE AFGRØDDER I VÆKSTHUSE.

Lacto-fermentering af blommer over 7 dager DIAGRAM. DIAGRAM. KORNKAMRE. OVERSIGT OVER UDDELEGEOVERSIGT OVER UDDELEGEVISIONEN MED PROJEKTET ER RINGEN AF SÆSONHAVER. RINGEN AF SÆSONHAVER. ATTER AT BELYSE MÆNGDEN KONCEPTET MOD AT KONCEPTET SØGERSØGER MOD AT AF VORES FÆLLES FØDEVA-FRA BYMINDSKE MADSPILD MINDSKE MADSPILD FRA BYRER RATIONER. ENS HUSTANDE SAMT SKABE ENS HUSTANDE SAMT SKABE BYGNINGENS BRUD MED DE EN CIRKULÆR ØKONOMI. EN CIRKULÆR ØKONOMI. OMKRINGLIGGENDE BYGNINGSVOLLUMNER OG MATERIALITETER TAGER UDGANGSPUNKT I DEN GAMLE KORNKAMMER TYPOLOGI. PROJEKTET ØNSKER AT BRINGE DETTE URBANE ELEMENT TILBAGE IND I BYEN.

DIAGRAM. DIAGRAM. DE OVERSKYDENDE AFGRØDE OVERSKYDENDE AFGRØDER FRA INDBYGGERNES DER FRA INDBYGGERNES SÆSONHAVER INDLEVERES SÆSONHAVER INDLEVERES TIL PRÆSERVERINGSFACILITETIL PRÆSERVERINGSFACILITETEN. TEN. FORMODES AT AFFØDETTEDETTE FORMODES AT AFFØDE FLERE POSITIVE VIRKNINDE FLERE POSITIVE VIRKNINGER I LOKALOMRÅDET. GER I LOKALOMRÅDET.

PROGRAM COLLAGE. FORSKELLIGE PROGRAMMER BYGNINGEN INDEHOLDER. TRAPPEN HER BELYST SOM PROGRAMATISK FORDELINGSAKSE.

LACTO-FERMENTERING. LACTO-FERMENTERING. RESTPRODUKTET AF LACRESTPRODUKTET AF LACTO-FERMENTERING ER CO2.

TO-FERMENTERING ER CO2.

RESTPRODUKT DETTEDETTE RESTPRODUKT ØN- ØNSKES AT GENBRUGES SKES AT GENBRUGES I BYG- I BYGNINGEN TIL AT GRO NYE AFNINGEN TIL AT GRO NYE AFGRØDDER I VÆKSTHUSE. GRØDDER I VÆKSTHUSE.

KONSTRUKTION. BYGNINGEN ER KONSTRUERET I TRÆ.

Afgrødernes rejse fra have til samfund og deres impakt på fællesskabet

AARHUS SCHOOL OF ARCHITECTURE 204

:100 N1 L PLA 2. SA

LT STA OP 1:100

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:100 N1 L PLA 1. SA

LT STA OP 1:100

:100 N1 L PLA 2. SA

:100 N1 L PLA 1. SA

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ISOL ERING UNDER GRUND STÅL F R A JORD TIL HJEM SNIT 1:20 L IVA CHRISTENSEN

LT STA OP 1:100

Husets kerne er den centralt placerede ovn, der binder jorden og luften LIVA KATRINE OHRHAMMER

SNIT DE :100 1 NG

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1. sal

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2. sal

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205 AARHUS SCHOOL OF ARCHITECTURE

FRA JORD TIL HJEM LIVA KATRINE OHRHAMMER UNIT 2/3E

FRA JORD TIL HJEM LIVA KATRINE OHRHAMMER UNIT 2/3E

FRA JORD TIL HJEM

I LERET LEVES LIVET

Vrid

Komponentmøde

Patina

TEMPERATUR

Site

Der opleves et temperaturskifte i gennem bygningen, fra den varme base til den tynde lette top.

Bygningen ændrer karakter som beskueren nærmer sig; på lang afstand kan den grove, satte og hårde murstensfacade ses med øjet, men først tæt på kan dens varmeledningsevne mærkes. På denne måde aktiveres flere sanser, og disse spiller sammen i oplevelsen af arkitekturen og den stoflige virkning.

Vrid

Komponentmøde

Symetri

Niveau

Forbindelse

Patina

Der opleves en dualitet i sitet: det føles smalt og beskyttet, grundet nabobebyggelsen og terrænstigningen, samtidigt med at det åbner sig op mod nord, hvorfra vinden blæser vind over sitet. Lys og varme kommer ind fra syd, og rammer således sitet i ’ryggen’. Sitet ligger få hundrede meter centrum, dog får man alligevel en oplevelse af i højrere grad at være en del af havne- og kystkulturen end af byen.

KØKKENfra PÅ Middelfarts 1. SAL Symetri

Niveau

Forbindelse

Der opleves en dualitet i sitet: det føles smalt og beskyttet, grundet nabobebyggelsen og terrænstigningen, samtidigt med at det åbner sig op VARMELAG

mod nord, hvorfra vinden blæser vind over sitet. Lys og varme kommer ind fra syd, og rammer således sitet i ’ryggen’. Sitet ligger få hundrede meter fra Middelfarts centrum, dog får man alligevel en oplevelse af i højrere grad at være en del af havne- og kystkulturen end af byen.

FORDELING AF OVERSKUDSVARME Et biprodukt af biobrændingen er store mængder varme, der opstår i kælderetagen. Dette udnyttes, med henblik på formindskning af ressourcespild, til at opvarme boligen. Gennem hulrum i mure og

SITUATIONSPLAN SOLKORT 1:200

Byggeindustrien er en af de største affaldskilder i verden. I Europa udgør affald fra bygge-, nedrivnings- og industriproccesser omkring 30% af den totale mængde af affald. Dertil, er byggeindustrien ansvarlig for en tredjedel af al CO2 udledning i Europa. Som et løsningsforslag arbejder ”Fra Jord til Hjem” med produktion og eksperimenter med en ny bæredygtigt tegl, hvis hovedindhold består af det affald vi producerer i byggeindustrien.

etagedæk ledes varmen ud i huset, og bliver på den måde selvforsynene i brændingsperioder. Dette giver også et liv til bygningen, som nærmest lever og ånder i sync med programmet.

ETAGE FORDAMPNING

Sitet er placeret ud til Havnegade i Middelfarts ældste bydel. Grundarealet er 67 kvm. Mod øst grænser grunden op til et klassisk rødstens-

FRA JORD TIL HJEM

byhus i to etager, mod vest er Sankt Nikolaj sognegård. Mod syd skråner terrænet 3-4 meter op til Algade og byens centrum. Havnegade er en semi-befærdet vej, der adskiller sitet fra Lillebælt, og der er således fri udsyn til Lillebæltbroen mod nord. Her åbner landskabet sig op, og bæltet og himlen er i fokus.

SITUATIONSPLAN SOLKORT 1:200

FOTOCOLLAGE OVERGANGE I BYRUMMET

Fra venstre; temperatur - vandlag - fordeling af overskudsvarme

Sitet er placeret ud til Havnegade i Middelfarts ældste bydel. Grundarealet er 67 kvm. Mod øst grænser grunden op til et klassisk rødstens-

STABLING

Produktionen bygningens kælderFRA J O Rog tektonikkens D T I fundament L H Jligger E iM

byhus i to etager, mod vest er Sankt Nikolaj sognegård. Mod syd skråner terrænet 3-4 meter op til Algade og byens centrum. Havnegade er INDGANGSPARTI I STUEPLAN en semi-befærdet der adskiller sitet fra Lillebælt, der er og således etage: envej, murstenskiln i en tungt foranket base afog mursten beton.fri udsyn til Lillebæltbroen mod nord. Her åbner landskabet sig op, og

FOTOCOLLAGE OVERGANGE I BYRUMMET

Ud fra er denne skyder bygningens omdrejningspunkt sig op: skorstebæltet og himlen i fokus. nen - en varm aktiv kerne. Skorstenen binder erhvervet og privaten sammen, og opløses, ligsom formaliteten, opad. Her kan der refereres

MOTIVATION

PROGRAM

til analyseværket fra fase et, Maison Tzara af Adolf Loos. Bygningen er karakteriseret ved en todeling af facaden; en tung base af natursten og

Byggeindustrien er en af de største affaldskilder verden. let lys pudset gips opad. I Murstene bygges op med kalkmørtel. Dette gøres med henEuropa udgør affald fra bygge-, nedrivningsog industri-

PROGRAM

blik på, at komponenterne skal kunne skilles ad igen og understreger

proccesser omkring 30% afMOTIVATION alt affald. Dertil, er byggeindsu-

derved bygningens program om genanvendelse af bygningsmateriale.

trien ansvarlig for en tredjedel af al CO2 udledning i EuroStablingsprincippet er som i The Monadnock Buidling, Chicago, en Byggeindustrien er en af de største affaldskilder verden. I

pa. I lande som USA og Kina er procentdelen langt massiv større,mur i bunden, som bliver smallere mod topbred tre/fire-stens Europa udgør affald fra bygge-, nedrivnings- og industri-

pen. og brug af beton. blandt andet grundet vækst i urbaniseing

proccesser omkring 30% af alt affald. Dertil, er byggeindsu-

Som et løsningsforslag til dette problem, arbejder ”Fra Jord

trien ansvarlig for en tredjedel af al CO2 udledning i Euro-

til Hjem” med produktion og eksperimentering med en ny

pa. I lande som USA og Kina er procentdelen langt større,

bæredygtigt tegl, hvis hovedindhold består af det affald vi Tran-spæklampe i keramik fragrundet Middelfart. blandt andet vækst i urbaniseingFundet og brug af beton. producerer undersøisk dai byggeindustrien. urskoven er oversvømmet.

Som etsiden løsningsforslag til dette problem, arbejder ”Fra Jord til Hjem” med produktion og eksperimentering med en ny

bæredygtigt tegl, hvis hovedindhold består af det affald vi Tran-spæklampe i keramik fra Middelfart. Fundet esbyrd om fangsten på havpattedyrene er de spæklamper, som rummede den eftertragtede olie. De er undersøisk dai byggeindustrien. urskoven er oversvømmet. ”Modern brickwork isproducerer in a crisis.

Over the pastsiden few decades, we have increasingly failed to utilise most of brick’s g kendes i flere størrelser. Som regel er de udekorerede, bortset fra simple stik- og fingerindtryk i randen. fine characteristics. A brick is still a brick, but the qualities that are given priority today have nothing to do with spor i skålene viser, at de formentlig blev brugt som lamper.41 Fyldt med fedt eller olie og med en væge i its density. Brick has become an irrational building component whose continued use depends on habit rather than nder give lys og inde jægernes boliger.

Undersøgelser lampernes har i øvrigtolie. De er ”Etkunne sidste de vidnesbyrd omvarme fangsten påi havpattedyrene er de spæklamper, af som rummedelergods den eftertragtede on building physics.” ”Modern brickwork is in a crisis. Over the past few decades, we have increasingly failed to utilise most of brick’s aflange af skåle fleremere størrelser.

Som regel er de udekorerede, bortset fra simple stik- og fingerindtryk randen. fremstillet en og heltkendes andeni og varmebestandig lermasse end de spidsbundede kogekar, som ogsåtoday haveinothing fine characteristics. A brick is still a brick, but the qualities that are given priority to do with - Thomas Bo Jensen, The Poetry of Brickwork Tydelige” brandspor i skålene viser, at de formentlig blev brugt som lamper.41 Fyldt med fedt eller olie og med en væge i opladserne.

- Den Store Danske its density. Brick has become an irrational building component whose continued use depends on habit rather than

TÆPPE & BORGERINDDRAGELSE Som en del af programmet i bygningen eksperimenteres der med teg-

en eller begge ender kunne de give lys og varme inde i jægernes boliger. Undersøgelser af lampernes lergods har i øvrigt on building physics.” vist, at de blev fremstillet af en helt anden og mere varmebestandig lermasse end de spidsbundede kogekar, som også - Thomas Bo Jensen, The Poetry of Brickwork var i brug på bopladserne.” - Den Store Danske

lens form og funktion. Den grønne kile mod havet nord for bygningen, fungerer som et dynamisk udstillings- og laberatorieområde. Her står permanente rammer - alla bindingsværk - hvori forbandter og tegltyper testes i vind og vejr. Middelfarts borgere kan tage del i bygningens program, interagere med og stille sig kritisk til produktet.

VISION

Ler bringes op af den lokale undergrund og bliver sammen med lokalt byggeaffald bragt til sitet i Havnegade, hvor det hugges op og blandes. Massen håndstryges og brændes ved saltbrænding i en biogas kiln. Saltbrænding minimerer CO2 udslip samtidig med, at teglene får en glasur-agtig overflade med unik karakter. Efterfølgende fragtes teglene ud til nye byggeprojekter, til restaurering af gamle bygninger og til en udstillingspark på Havnegade. De bliver grundstenene i byens arkitektur.

Et ældgammelt materiale med tilhørende byggetraditioner ud-

Projektets erhverv er en bæredygtig teglproducent, som

fordres, og Steen Eiler Rasmussens bemærkning om at ”detaljer dannes

laver unikke teglprodukter af Middelfarts lerholdige un-

med stoffet” undersøges.

VISION

dergrund og byggeaffald. Middelfarts undergrund består

Projektets erhverv er en bæredygtig teglproducent, som

hovedsagelgt af luvisol, en leret jordtype, og byen har sam-

laver unikke teglprodukter af Middelfarts lerholdige un-

tidig en lang tradition for brændning af blandt andet kera-

dergrund og byggeaffald. Middelfarts undergrund består

mik. Disse unikke egnskarakterer er grundlaget for projek-

hovedsagelgt af luvisol, en leret jordtype, og byen har sam-

tets program. Dertil sætter projektet fokus på brug af lokale tidig en lang tradition for brændning af blandt andet kerabyggematerialer, da dette form egnskarakterer for symbiose med mik.giver Disseen unikke er grundlaget for projek-

”Leret er livet” citeres Thorvaldsen, og i projektet tages denne påstand op på et nyt niveau: ”I leret leves livet”.

stedet og mindsker CO2 ved Dertil transport. tetsudslip program. sætter projektet fokus på brug af lokale byggematerialer, da dette giver en form for symbiose med stedet og mindsker CO2 udslip ved transport.

”Leret er Livet” -> ”I Leret Leves Livet”

”Leret er Livet” -> ”I Leret Leves Livet”

LIVA KATRINE OHRHAMMER

Facade

Ler bringes op fra den lokale undergrund, og bliver sammen med lokalt byggeaffald bargt til sitet, hvor det hugges op og blandes. Massen

Programmatisk diagram

håndstryges og brændes ved salt brænding i en bio-gas kiln. Saltbrænding minimerer CO2 udslip, samtidig med at teglene får en glasur-agtig

Ler bringes op fra den lokale undergrund, og bliver sammen med lokalt byggeaffald bargt til sitet, hvor det hugges op og blandes. Massen

overflade med unik karakter. Efterfølgende fragtes teglene ud til nye byggeprojekter, til restaurering af gamle bygninger og til en udstillings-

håndstryges og brændes ved salt brænding i en bio-gas kiln. Saltbrænding minimerer CO2 udslip, samtidig med at teglene får en glasur-agtig

park på Havnegade. De bliver grundstenene i byens arkitektur. ”Leret er livet” citeres Thordvaldsen, og i projektet tages denne påstand op på KORT OVER DANMARKS JORDARTER

Jordtype: Levisol (leret jordtype) KORT OVER DANMARKS JORDARTER

overflade med unik karakter. Efterfølgende fragtes teglene ud til nye byggeprojekter, til restaurering af gamle bygninger og til en udstillings-

KONVEKS & KONKAV

Jordtype: Levisol (leret jordtype)

et nyt niveau: ”I leret leves livet”.

park på Havnegade. De bliver grundstenene i byens arkitektur. ”Leret er livet” citeres Thordvaldsen, og i projektet tages denne påstand op på

KONVEKS & KONKAV

et nyt niveau: ”I leret leves livet”.

LIVA KATRINE OHRHAMMER

Liva Katrine Ohrhammer Christensen Middelfart, Denmark

AARHUS SCHOOL OF ARCHITECTURE 206

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KALKLAUGET

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TRADITIONEL BYGGESKIK- OG HÅNDVÆRK I SAMSPIL MED NUTIDIG TEKNOLOGI

Site

Collage af byens materialiteter

Middelfarts gamle bymidte er et af varemærkerne for byen. Her ses kalkpudsede facader i et stort udvalg af farver, bindings- og værkshuse samt teglbygninger.

Ge n

Model af kalklauget

es ug br

Kalksten Calsiumcarbonat (CaCO3)

res tør og

Kalksten Calsiumcarbonat (CaCO3)

Bræ n

Brændt Kalk Calciumoxid (CaO)

Læsket kalk calciumhydroxid (Ca(OH)2)

Læ s

Bla nd es

Julie Hunsballe Jensen Middelfart, Denmark

Opstalt nord 1:100

g din

Projektet er inspireret af fortidens håndværkerlaug.

Lauget har fokus på brugen af kalk og er en nyfortolkning af kalklauget. Lauget er tænkt som ét af mange laug rundt om i Danmark med forskellige håndværksmæssige kvalifikationer. Der undersøges brugen af kalk som byggemateriale, hvilket afspejles i bygningen, men også i erhvervet som fungerer som et kalklaug.

Syd- og nordvendt facade Opstalt sydfacade 1:100

ing kn

Projektet handler om at tage ved lære af håndværket og de kvaliteter, der ses i de danske byggetraditioner. Ikke fordi man skal kopiere fortidens byggestil, men så vi kan lade os inspirere af håndværket og oversætte det til en nutidig kontekst. Derudover skal vi benytte nutidens teknologiske muligerheder inden for faget, så det gode håndværk kan effektiviseres og bruges i industrielle sammenhænge.

Kalkprocessen

Kalkprocessen

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207 AARHUS SCHOOL OF ARCHITECTURE

Kalklauget placeret på Havnegade i Middelfart

Tagplan 1:100

3D scanning af byens facader

1. etage 1:100

Tagetage

Stueplan 1:100

1. etage

Stuen

AARHUS SCHOOL OF ARCHITECTURE 208

.Pier 2070

PIER 2070 BROEN SOM FORBINDELSESLED

N

Site Visualisering, Modtagelse .Pier2070

Opstalt 1:1000 .Pier2070

”Over the coming years, large-scale human displacements are expected to intensify [...]

According to the 2006 Stern Review on the Economics of Climate Change, around 200 million people will be permanently displaced as a result of climate change by 2050.”

En sammensmeltning og fortætning af stærke kræfter, der bidrager og påskønner mangfoldigheden. Projektet foreslår en ret linje og vandring mod vandet, og den rå natur som møder brugeren i alt dets enkelthed.

Forandringerne i naturen og de klimatiske ændringer bliver oplevet på tæt hold. Konsekvenserne af de klimatiske ændringer er de klimaflygtninge, vidner til den brutale virkelighed vi møder i år 2070. Der vil ikke kunne blive vendt den anden kind til de tidsmæssige forandringer på kloden. Man behøver blot at vandre ud mod enden af broen for at forstå den virkelighed vi lever i. Mødet med vandet, naturen og verdenen i en.

Daniel Hoang & Christian Buske 2070 Middelfart, Denmark

Modtagelsen

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209 AARHUS SCHOOL OF ARCHITECTURE

Kunstpark .Pier2070

Kunstparken Tværsnit 1:50 .Pier2070

Længdesnit 1:200 .Pier2070

Indgang

Skole, Psykolog

Foodmarked, Boder

Foodmarked, Boder

Foodmarked, Boder

Ankomst for klimaflygtninge

Foodmarked, Boder

Offentlig Spiseareal

Tværsnit fra land til hav

Gople Vandtank Støvregn

Fælleskøkken Foodmarked Biolab Kunstneratelier

Boligenheder Klimaflygtninge .01 Kunstnere .02 Biologer .03

Paneler

Kunstpark

Den centrale goble fungerer som en vandtank

AARHUS SCHOOL OF ARCHITECTURE 210

Section,det

Material, light and textur

Detail section 1:50

Detail section 1:50

Secti

Konceptuelt tværsnit gennem vægelementet Skitse af lysindfald gennem reolstruktur.

Liva Christensen & Charlotte Sandbrekke

Optalt

Liva Christensen & Charlotte Sandbrekke

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Elevation

211 AARHUS SCHOOL OF ARCHITECTURE

MED TIDEN EN MATERIAL UNDERSØGELSE AF TIDENS EFFEKT GENNEM TEKNOLOGI OG HÅNDVÆRK Projektets klimalaboratorie undersøger og eksperimenterer med materialer over tid, og hvordan vi kan knytte fortiden og fremtiden sammen ved hjælp af teknologi og håndværkstradition.

Site 2.

1.

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4.

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3.

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7.

D.

B.

1. Information 2. Auditorium 3. Research 4. Rensing af materialer 5. Aflevering af materialer 6. Cykelopbevaring 7. Vaskerum

1. Fælles køkken 2. Fælles stue 3. Private boliger 4. Private boliger

C.

Stueplan 1:200

2. sal 1:200

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2.

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1. Fælles køkken 2. Fælles stue 3. Private boliger 4. Private boliger

1. Research 2. Udstilling 3. Studierum 4. Have

3. sal 1:200

1. sal 1:200

Liva Christensen & Charlotte Sandbrekke

De levende vægge der ændres over tiden Liva Christensen & Charlotte Sandbrekke

Fascinationen og arbejdet med tid afspejles i laboratoriets boligenheder; her blandes Middelfarts ældre med byens unge, hvor erfaring og fysisk styrke komplimenterer hinanden. Hvordan kan man fremhæve og værdsætte tidens spor/patina? Projektet relaterer sig til konteksten med baggårdstypologien og dens uformelle karakter og rå materialitet. Sitet, i dag en p-plads, vil stå ubrugt i et scenarie hvor, der ikke findes biler i 2070, og alt elektrisk infrastruktur er underjordisk. Robotter vil uundgåeligt tage over for meget af det arbejde som mennesket i dag udfører. Kan man bevare det menneskelige i en verden drevet af teknologi? Er det muligt at leve med kvalitet i fælleskab med robotter? Projektet reflekterer over dette, og mixer en automatiseret industri med det at føle sig hjemme.

Et opbevaringssystem fungerer som overgang, og medierer mellem de to typer beboere. Bygningen levendegøres af et dynamisk stofskifte af genbrugelige byggematerialer - nye såvel som gamle.

Liva Christensen & Charlotte Sandbrekke 2070 Middelfart, Denmark

AARHUS SCHOOL OF ARCHITECTURE 212

GLOBAL & LOKAL DE BEVÆGENDE MATERIALER SOM ARKITEKTONISKE FILTRE

Lysstudier

Model af vægelementet wall element drawing light and temperature

wall element model structure

32

The project in essence is a solution to the increasingly difficult environmental issues related to climate change. We propose a way to include moving materials such as wind, rain and currents in and out of buildings with different functions like dwelling, recreation and work.

The first building addresses the projects habitation and introduces a way to include rain into the building and creating a way to live in unity with the element. The second is a platform designed to create awareness towards the strong ocean currents as well as generate power to the local city of Middelfart.

The third, a garden and badminton court with a wind flow designed to provide the best possible conditions for either. Finally, the fourth building is pointing out towards something more constant; the cosmos.

This building includes elements from the other three as well as looking outwards, reminding us of the small part we play in the entirety of the cosmos.

49

Tegning og model af Kosmos

Vind

Asbjørn Lien & Jens Rudolf 2070 Middelfart, Denmark

51

I. regn, II. havstrømme, III. vind, A. cosmos

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213 AARHUS SCHOOL OF ARCHITECTURE

Regn

Væggen filtrerer luft, vind og mennesker

wall composition filtering light, air, people

30

Havstrømme

Optalt

AARHUS SCHOOL OF ARCHITECTURE 214

Lorem ipsum dolor sit amet, consectetuer

L

Plan

Model af Klima laboratoriets udstrækning i Lillebælt

Nowness, Shirley, Shirley, Shirley

Themes Barrier, Roger Walters London

Future Venice, Rachel Armstrong

Relation mellem land og hav Selection of section, Sea Organ 1:200 adjusted virtual format.

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DEEP DIVE

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SAMEKSISTENS FRA AT LEVE MOD NATUREN, TIL MED NATUREN Klimalaboratoriet SAMEKSISTENS sætter naturen på lige fod med mennesket.

Formålet med projektet er at udfordre måden menneske og natur interagerer med hinanden og dermed give mennesket en større bevidsthed om naturen. Kajkanten giver plads til biodiversitet og adaption. Vandet vil ved fremtidige stormfloder oversvømme dele af landet, der indfanges og muligør badning. Vandet bliver en del af befolkningens bevidsthed. Med udgangspunkt i en traditionel teknik bygges vandorgler i Lillebælt, havets talerør der lader strømmens retning og kraft høres. Orgelet laves af bioconcrete, et materiale af beton og bakterier der lever af calcium i vandet og producerer et kalkstenslignende materiale. Orgelet bliver en levende organisme. Nogle piber vil muligvis gro til i bioconcrete og alger, men orgelet vil være i forandring og skabe en større og større stenrevslignende struktur.

Vandorgel

Andreas Lyngsøe & Maria Kristoffersen 2070 Middelfart, Denmark

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TOWARDS (BACK TO) A TROPISTIC ARCHITECTURE I ØKOLOGISK LÆRE Projektet tager afsæt i opfattelsen af, at vi har mistet kontakten til naturen (det antropocæne) og vores grundlæggende forståelse af os selv som en del af den.

Naturen består af levende organismer, der indbyrdes er forbundet på måder, som vi ved meget lidt om. Det er derfor svært at forudsige hvad klimaforandringerne vil få af konsekvenser. Med dét i mente har processens omdrejningspunkt været at undersøge det ’nonantropocæne’ aspekt, hvor vi må lære, hvordan man ”er” økologisk, (being ecological, Morton 2018).

Læren om hvordan, vi er forbundet med naturen og dens økosystemer, vores indbyrdes forhold og evne til at interagere med ’det andet’ – dvs. andet end mennesket. Projektet er en undersøgelse af, hvordan vi igennem arkitektur kan rette opmærksomheden på de bevægelige materialer: luft, lys og vand, og hvordan vi derigennem kan genskabe relationen til vores omgivelser, så vi kan co-eksisterer bærerdygtigt og i overensstemmelse med dem. Undersøgelsen har fundet sted i spændingsfeltet mellem tre ugers on-siteregistreringer i Middelfart sammenholdt med teorier fra Alexander von Humboldt, Olafur Eliasson, Timorthy Morton, Hans Finck og Hiroshi Sambuichi.

Amalie Lykke Baadsgaard 2070 Middelfart, Denmark

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Vinde og hav forhold i relation til Klimalaboratoriets udformning

Vinde og hav forhold i relation til Klimalaboratoriets udformning

TOWARDS A TROPOISTIC ARCHITECTURE, 6. semester bachelor thesis, Amalie Lykke Baadsgaard, unit e

KONCEPT OG DIAGRAMSNIT I VÆG 1:10 (original skala)

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UNIT 2/3F 2019/2020 (NORDIC) VERNACULAR Can vernacular building practices and traditional ways of building offer some (re)newed insights into sustainability in the current built environment?

of their own common-sense aided by a few inputs on basic building physics and vernacular building practices.

In June 2020, the digital workshop ‘(Nordic) Vernacular Architecture -analysing intrinsic architectural sustainability’ was conducted with 2nd and 3rd-year students of unit 2/3 F.

In a research context, workshop constituted the first step of the PhD-project ‘Architectural Sustainability as a Cultural Practice’ by Stine Dalager Nielsen, articulating and testing a basic framework for reflecting on architectural sustainability to (re)introduce this as an integrated architectural practice in the contemporary design- and construction process.

The workshop involved studying vernacular architecture and traditional building types in Northern Europe, examining the influence of geographical context and local culture on their built form. The outcome was analysed to identify five sustainable aspects resulting from either the physical landscape or local culture. Finally, these sustainable aspects were related to a contemporary architectural project utilising similar sustainable aspects to the ones deriving from the vernacular building practice.

The learning objective was to challenge the notion of sustainability as being a separate and complex engineering discipline. Instead, the students were invited to approach sustainability from a perspective

UNIT 2/3 F STUDENT WORK

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Iceland

Finland

Faroe Islands

Norway

Sweden

Denmark

Scan to learn more about Stine’s project UNIT 2/3 F STUDENT WORK

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© O. Væring

BUILDING NO.141 LOFT HOUSE| 1754 The ‘Lofthus’ is not a living residence, but a single, congregation building for special occasions and meetings within a Norwegian tun or farm-tun (village).

The farm-tun consists of a cluster of buildings organised around a central gathering place which was often used for trading. All buildings stood separately in case of fires since all the buildings were made out of timber and turf. This was particularly important for the loft and cage which often contained the seed for the next year’s crops.

‘The loft’ is a timber construction building type that most likely developed in the early medieval period with its characteristic extended galleries. It was usually the most significant building in the settlement and is often

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considered the symbol of the Norwegian medieval architecture due to its distinctive shape. It contains a small first floor called the cage and a cantilevered second floor called the loft. The first floor was used for storage of grains and seeds, while the second floor was a room for greeting guests and other special occasions.

The façade was often rich in ornaments symbolising wealth and power and could be found in farm clusters in the inland of Norway.

Team Norway

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LOFT

Site Plan & Section LOFT Scale 1:100 Site Plan & Section Scale 1:100

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Site Section Nationality: Norway Topography: Open green area in a steep terrain Nationality: Norway Climate: Inland climate, warm summers & cold winters

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Materials: timber, turf, rocks

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Time period: 1754 Materials: timber, turf, rocks Residents: Farmers

Phuong Uyen Nguyen, Gard Meisingseth Rognes LOFT Topography: Open green area in a steep terrain Mathias Gaardsted Braae, Tina Julianne Marzano, Time period: 1754 Section Scale11:50

Climate: Inland climate, warm summers & cold winters

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Mathias Gaardsted Braae, Tina Julianne Marzano, Phuong Uyen Nguyen, Gard Meisingseth Rognes

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Mathias Gaardsted Mathias Gaardsted Braae, Tina Braae, Julianne Tina Marzano, Julianne Marzano, Phuong Uyen Phuong Nguyen, Uyen Gard Nguyen, Meisingseth Gard Meisingseth Rognes Rognes

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Mathias Gaardsted Braae, Tina Julianne Marzano, Phuong Uyen Nguyen, Gard Meisingseth Rognes

Mathias Gaardsted Braae Tina Julianne Marzano Phuong Uyen Nguyen Gard Meisingseth Rognes

Mathias Gaardsted Braae, Tina Julianne Marzano, Phuong Uyen Nguyen, Gard Meisingseth Rognes

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LOFT FROM ROFSHUS Intrinsic Sustainable Architecture Axonometic of the “tun”

The surrounding forest provides shelter from strong winds

Using the old tradition of local wood as main material

The buildings are divided into units for living and units for animals, storage and workspace.

This makes it easy to heat only the necessary spaces.

There is often two or more generations living in the “tun”. With a second, smaller, living unit for the elderly when the next generation takes over the farm.

The stilts makes it easy to arrange the buildings in the hilly terrain The organization of the buildings makes space for social gatherings and trading in the middle of the “tun”

NORDIC SUSTAINABLE ARCHITECTURE 1 Mathias Gaardsted Braae, Tina Julianne Marzano, Phuong Uyen Nguyen, Gard Meisingseth Rognes

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© Jan M Lillebø

CLUSTERING ENVIRONMENTAL STRATEGIES UNDERSTANDING HOW A SETTLEMENT CAN INCREASE SUSTAINABILITY

© Ketil Jacobsen

There are many sustainable aspects which can be appropriated from the Norwegian vernacular settlements. This includes how the buildings are situated in the landscape and close to resources.

Structures were raised off the ground, which means they are adjustable to different terrains; forest supply not only the building materials but also act as a shelter and protection from cold winds. Many of these principles can be seen in this contemporary example through the use of timber, how they are placed on the land and the arrangement of individual buildings in a community tun pattern. © Jan M Lillebø

Tungestølen Hiking Cabin / Snøhetta Luster Municipality, Norway| 2019 Mathias Gaardsted Braae Tina Julianne Marzano Phuong Uyen Nguyen Gard Meisingseth Rognes

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© Kirsten Dirksen

THE LAYERS OF PASSIVE HEATING RETHINKING THE FAÇADE TO IMPROVE PASSIVE HEATING AND ENVIRONMENTAL CONDITIONS The different layers of the Norweigian ‘Lofthus’ illustrate different principles of how the construction and arrangement of walls as well as thermal zoning can create unique heating and insulting experiences. Air pockets in the buffer spaces between the exterior and interior walls create an alternative way to insulate. This is exemplified in a contemporary Swedish example where they a glass exterior façade forms a greenhouse around a second interior wooden façade to trap warm air and reduce the need for heating and improving the thermal comfort of the spaces which are occupied.

Naturhus / Bengt Warne Stockholm, Sweden | 1974

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© Bengt Warne

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LOFT FROM ROFSHUS Intrinsic Sustainable Architecture Thermal insulation & culture

Air pocket in the buffer space in between the external and the interior wall, contributing to the insulation of the representational guest room.

An intimate guestroom where the body heat from its residents is the main contributor for thermal comfort.

Tiny entrances and a closed-off hall to not let tempered air escape from the interior.

Opening in the façade as an elevated viewpoint to the rest of the cluster tun.

Heated air from the ground floor storage ascends and heats the guest room on the second floor.

Wooden panels carved to serve as a spiritual portal to the inside. The decoration was based on metaphorical reflection where the carvings can create individual association and a relation to the supernatural.

NORDIC SUSTAINABLE ARCHITECTURE 1 Mathias Gaardsted Braae, Tina Julianne Marzano, Phuong Uyen Nguyen, Gard Meisingseth Rognes

Mathias Gaardsted Braae Tina Julianne Marzano Phuong Uyen Nguyen Gard Meisingseth Rognes

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GLAUMBAER FARM Image courtesy of http://www.glaumbaer.is/

TURF HOUSE | 900 The tradition of the Icelandic vernacular architecture dates back to the ninth century with the arrival of the of Norse and British settlers who also brought the timber longhouse typology. Unfortunately, the settlers caused substantial deforestation, due to their limited consideration on natural preservation in their use of timber. This caused the Icelanders to look to alternative methods for building with limited timber resources and a harsh climate to consider. Hence, the Icelandic turf hut developed as a replacement for the longhouse The weather conditions in Iceland played a significant role in which materials the Icelanders used to build their turf huts thereby the typology of the turf hut changed from north to south. In the south and west, the materials used for building was mainly stone, due to a lack of turf - this was because of bad soil, and therefore they had trouble extracting turf – and also to withstand the harsher climate conditions. However, in the north-eastern part of Iceland turf was the

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predominant material as it was easy to come by and offered good insulation against the cold climate. Here, the turf was carefully carved out from the ground in wedges, which could be stacked in a strong interlocking key, creating an elaborate pattern. The turf walls sat on a stone foundation supported by an interior timber construction.

The turf houses would consist of small unheated units such as winter stock and workshops, organised in front of the heated living residence or ‘badstofa’ where gatherings, eating, cooking, sleeping, working and socialising took place

Team Iceland

Site Plan & Section Scale 1:100

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Names Otto,Group Alex, Dilja & Citlali

Time period: 9th century - 19th century

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53 Names Otto,Group Alex, Dilja 2 2& Citlali optional additional cladding of walls and floors

Otto,Group Alex, Dilja & Citlali Names

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NORDIC SUSTAINABLE ARCHITECTURE 2 2 Otto,Group Alex, Dilja & Citlali Names Stacking

as there is no decorative detailing the given details tell more about the function of the respective space and the process of how it was constructed

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NORDIC SUSTAINABLE ARCHITECTURE 6 4 Names Otto,Group Alex, Dilja & Citlali

Otto Arlien-Søborg Citlali Hernandez Alexander Throm Dilja Sigurdardottir

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YOUR HOUSE TYPE Icelandic turf house Intrinsic Sustainable Architecture farmaxonometic house TitleGlaumbær of annotated

THERMAL INSULATION To combat their susceptibility to erosion from rain and wind, turf houses are designed in a manner to keep the heat inside. They are usually built on the side of a hill so that the living part can be completely protected and supported while the front part sticks out. They’ve consisted of a group of smaller houses or rooms that are connected by passages, so that people would not need to leave to move between dwellings and thus preserve the heat inside.

Even the barns and stables would often be organized in the same manner and connected to the rest of the house. Since heating from coal, oil, or wood stoves was not available until the 19th century, all the warmth was provided by the fire in the kitchen. Rooms were often situated a couple of feet below the ground level, which meant below the frost line where the ground could not freeze.

RELATION OF STRUCTURE TO INTERIOR This functional combination allows for a very efficient use of the interior space as well as an economical use of the rare local building material, wood.

FACADE Icelandic turf houses originally very seldom had exposed wooden exterior since it insulated worse than the turf, however under danish influence, it seemed more prestiguous to have a wooden exterior, thus much more kindling was needed to heat up the houses. Usually only servants or ’lower class people’ slept close to the wooden walls because it was warmer by the turf insulated wall.

STRUCTURE/SUSTAINABILITY The timber structure of the house is covered with turf bricks and a roof. The grass from the roof grows over, providing the roof with further stability. These buildings, made with biodegradable materials, are eco-friendly and energy-efficient. Even the lava stones can be recycled and reused.

Usually, a house can last for about 20 years, serving one generation depending on frost, after which it must undergo repairs. But sometimes turf houses can last from 50 to 70 years.

NORDIC SUSTAINABLE ARCHITECTURE 1 Alex,Group Otto, Citlali & Dilja Names

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Turf houses in Iceland are special because of their unique building technique, influenced by the local climate and available materials.

Since the supply of wood was extremely low, most of the timber was imported from abroad. On the other hand, lava stones and turf, the main building materials, were available in large amounts. Turf has proved to be very durable–it is both renewable and widely available. It has been taken from the wetlands in order to be properly compacted.

The initial foundations are made of lava stones, which are covered with a layer of turf that is compacted, followed by alternating layers of stones and turf.

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MIMICKING THE VERNACULAR EXPLORING THE AESTHETIC ADAPTATION OF THE VERNACULAR TYPOLOGY The Icelandic turf house has many sustainable architecture principles developed from the harsh climate and context, which can be seen in contemporary examples. This includes the use of local materials and their thermal properties, the interior layout and materiality and the aesthetic appearance.

While this modern example does not strive to be a sustainable building, the influence from the vernacular can be seen and post-rationalized as sustainable.

Including using concrete as a thermal mass material, increased by soil being placed against the façade; the interior layout around the fire and spatial arrangement into smaller, more easily heated spaces.

Hafsteinshus / Högna Sigurdsardóttir Reykjavík, Iceland | 1968

© Íris Ann

Otto Arlien-Søborg Citlali Hernandez Alexander Throm Dilja Sigurdardottir

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t thr eren l arr their lex i l a l f dif ction ting e com sma s s fun adu in th ith a ning e h w d an l wit tion le op ption e of d lev bina of litt nsum he n s t n m o co ount gy co d as e wa ati ea rel ctur am ener imize sourc se o t r u the opi ting of th ere str rior nal ows fo f s a wa in he ome lso w o e io all o t t c a t e in s fun tion t us s ma rce. S hen ted like ca cts t nnec ues ght thi bina ficien ace a cal s i e f m o ss ayli co ry e ior sp nom l asp ely c the i d e r ith los e of a v inte n eco loca w c . s e n e a r e m i , th l as e ra rial so icult ilatio l iff vent we of th mate d d use lding an i bu d o wo

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THE POSSIBILITIES OF LOCAL MATERIALS ADAPTING LOCAL MATERIALS AND TECHNIQUES TO CONTEMPORARY CONSTRUCTION Icelandic vernacular buildings are an excellent example of sustainable architecture principles such as making use of thermal insulation from local materials, efficient use of materials, building layout which reduce energy consumption while also allowing flexibility of use and reusability of materials.

This contemporary example adapts many of these into a modern building. The thermal properties of the turf structure are translated into how the building is situated lower within the landscape and incorporating a grass roof. Similarities within the spatial layout are visible, with smaller building volumes emerging of a common hallway; as well as the use of materials with timber cladding on the outside and as an interior material, combined concrete structure for thermal mass and due to availability in a contemporary setting.

Hof Residence / Studio Granda Skagafjörður fjord, Iceland | 2007

© Sigurgeir Sigurjónsson

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Otto Arlien-Søborg Citlali Hernandez Alexander Throm Dilja Sigurdardottir

DANISH WINGHOUSE

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Site Plan & Section Scale 1:100

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233 AARHUS SCHOOL OF ARCHITECTURE DANISH WINGHOUSE

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Archival photos of the farm

SØGÅRDEN WINGHOUSE | 1677 Søgården is an example of a Danish wing house, which is a half-timbered construction with a thatched roof. These types of vernacular settlements often comprised three or four rectangular buildings, wings, making up a living residence, stables and winter stock organised around a central courtyard. The wings were narrow and long (roughly 5mx25m). The width of the buildings was restricted by the capacity of the weightbearing timber construction spanning the exterior walls and supporting the heavy roof construction.

Often, the gables of the residential building were oriented east-west to minimise wind load and heat loss and maximise solar gain throughout the year. Consequently, the south-facing facades were used for heat collection by utilising the thermal conductivity of the bricks. The inner courtyard was beneficial for protection against strong westerly and (in winter) cold easterly winds.

The domestic life inside the house was adapted

to the changing seasons. In the summertime, all areas of the house were occupied while in winter, only a few spaces were heated and consequently less inhabited to reduce energy consumption.

Building materials were locally sourced – typically consisting of structural oak timbers, infilled with waddle and daub or ‘unfired’ clay bricks and eventually fired brick and reed thatching on the roof. The halftimbered construction replaced the timber-intensive block- and stave construction during the early medieval period due to an increased difficulty of sourcing timber caused by heavy deforestation. As a result, local clay was used as bricks to infill between the timber structure. The half-timbered construction technique is still visible in most old towns around Denmark.

Team Denmark

Miriam Reistad Cecilie Smidt Stine Jørgensen Morten Hansen

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DANISH WINGHOUSE

Intrinsic Sustainable Architecture Thatched roof axonometry 1:20

Material lifespan: source:

Biodiversity The straw/reeds provide excellent habitat for insects.

However, as the birds pick on the roof to eat the insects, the thatch can get damaged.

Natural heating The overhang of the roof shelters the wall from the high Summer sun, but allows the lower sun to heat up the bricks in the wall in the colder seasons

straw 12-18 years byproduct of agriculture

reeds 30-50 years grow naturally in wetlands

Breathing A thatched roof had a breathable texture, as it absorbs vapor, lowering humidity levels, and releasing it when the air is dryer. However, if the roof stays moist for a longer period of time, this will accellerate the decomposition.

Heat capacity Due to the air cavaties, a thatched roof acts as insulation, slowing the transfer of heat from one site to the other. This helps keeping the inside warm in Winter and cool in Summer.

Overhang The wall is protected from rain, extending its lifespan by slowing the decomposing process.

NORDIC SUSTAINABLE ARCHITECTURE 1 Miriam, Cecilie, Stine & Morten

A CONTEXTUAL APPROACH EXPLORING PASSIVE ENVIRONMENTAL STRATEGIES FROM SITE TO MATERIALS This example of the Danish wing house is unique, as the existing vernacular building has been transformed into student housing, and this is the contemporary case studied. Many of the inherent principles have been maintained or modernized within this project at different levels. For example, keeping the original courtyard settlement pattern has helped with the protection from cold winds by both the buildings and the nearby trees as well as also maintain the existing permeable surfaces to

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absorb rainfall and reduce surface flooding. More contemporary building materials have been used in the transformation, such as an iron roof rather than thatch. These have been utilized in a way which symbolically reflects the original but has less efficient thermal properties but predicted long-term durability.

Studielandsbyen/ Lenschow & Pihlmann Viby, Denmark | 2017

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DANISH WINGHOUSE

Intrinsic Sustainable Architecture Thatched roof axonometry 1:20

Plan by Lenschow & Pihlmann

Photos by Hampus Berndtson Material lifespan: source:

Biodiversity The straw/reeds provide excellent habitat for insects.

However, as the birds pick on the roof to eat the insects, the thatch can get damaged.

Natural heating The overhang of the roof shelters the wall from the high Summer sun, but allows the lower sun to heat up the bricks in the wall in the colder seasons

straw 12-18 years byproduct of agriculture

reeds 30-50 years grow naturally in wetlands

Breathing A thatched roof had a breathable texture, as it absorbs vapor, lowering humidity levels, and releasing it when the air is dryer. However, if the roof stays moist for a longer period of time, this will accellerate the decomposition.

Heat capacity Due to the air cavaties, a thatched roof acts as insulation, slowing the transfer of heat from one site to the other. This helps keeping the inside warm in Winter and cool in Summer.

Overhang The wall is protected from rain, extending its lifespan by slowing the decomposing process.

NORDIC SUSTAINABLE ARCHITECTURE 1 Miriam, Cecilie, Stine & Morten

Plan of Residence 1:100

Miriam Reistad Cecilie Smidt Stine Jørgensen Morten Hansen

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Site Axonometric

KOLTUR FARM HOUSE TURF HOUSE | 1800s The Faroe Island turf house is a vernacular typology which developed from the harsh weather conditions combined with the availability of local materials. The farmstead was a small cluster of buildings comprising a living residence, ‘séthús’, surrounded by utility buildings housing stock, stables and workshops.

Villages or ‘bygder’ were often located on hillsides close to streams and freshwater supplies. Due to the topography of the islands, communities were small and remote, increasing the need for self-sufficiency.

The small farms merged into the terrain, which provided heat and protection from the harsh environment. The ‘roykstova’ [smoke room] is the essential part of the Faroese living residence as it was the only one containing a hearth or fireplace. The dark ‘roykstova’ was later fronted by the unheated ‘glasstova’ [window room] which provided a light and cool living residence in the summer.

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Floor Plan

The cold weather combined with wind and saline air made it impossible for trees to grow on the Faroes.

The dwellings mainly consisted of stones, turf and driftwood. One of the benefits of using driftwood is that it is less receptive to insect infestation and fire compared to other types of wood accessible at that time.

A thick stonewall covered the outside of the interior timber structure. In well-off households the inside was clad in wood; else, the walls were covered by soil. The massive exterior walls were made from stacking stones without any binding material; instead, the natural occurring holes between the stones were filled with turf, which helped with the isolation and storing heat.

Team Faroe Islands

237 AARHUS SCHOOL OF ARCHITECTURE

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Site Plan

Site Section

Elevations

© Holger Rasmussen

Nelly Melberg Rikke Sørensen Pinru Zhu Jiaqi Wang Signe Dalgaard

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TURF HOUSE Intrinsic Sustainable Architecture TURF ROOF CONSTRUCTION

TURF ROOF

There are two layers of turf. The fisrt layer was placed down to protect the bark and act as drain.

The second layer is faced upwards to create a solid surface.

The turf roof creates home for smaller animals and insects and help maintain the biodiversity.

The heavy turf roof also helps to store the heat.

THE GUTTERS

A heavy beam is placed along the eaves to help the turf to stay in place.

Holes are cut into the beam so water can run of the roof.

BIRCH BARK

The bark is very strong, water-resistant and can last for generations.

The bark is only fastened by the weight of the turf.

DRIFTWOOD

The inner construction vof the building is made from driftwood found along the beaches on the Faroe Islands.

CONSTRUCTION

The construction is made so it is possible to change the elements if one on the blanks breaks or get destroyed in any other way. This increase the livespan of the building.

NORDIC SUSTAINABLE ARCHITECTURE

Faroe Islands

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THE LAYERS OF A SUSTAINABLE ROOF EXPLORING THE CONSTRUCTION AND MATERIALS POTENTIALS OF A TRADITION SOD ROOF The sod roof of the Faroe Islands turf house, is one of its fundamental sustainability principles, using layers of natural materials to form a massive and thermal insulating protecting layer which blends into the environment. This contemporary example uses this technique aesthetically but without the robustness of the original methods. For example, the angles of the roof change the properties of the construction as well as the layer of soil being much less than would be seen in a traditional sod roof. This results in a roof construction which requires much more maintenance than that of its predecessor, which was a successful and sustainable construction technique due to the durability of it.

© Nic Lehoux

Town Hall Eysturkommuna / Henning Larsen Nordragota, Faroe Islands | 2018

Nelly Melberg Rikke Sørensen Pinru Zhu Jiaqi Wang Signe Dalgaard

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241 AARHUS SCHOOL OF ARCHITECTURE

Photos courtesy of Friis & Moltke

SITTING IN A LANDSCAPE UNDERSTANDING THE POSITIONING OF A BUILDING WITHIN ITS CONTEXT The wall layers of the Faroe Islands turf house make good use of the potentials of the site as protection from the elements as well as the limited available materials such as using sod and stones as a building material.

Driftwood is used sparingly as structural elements and interior finishing, while rocks, dirt and sod are used to form massive walls which create a thermal barrier to the harsh climate. Through this, the threshold between the building and nature is blurred. This contemporary

example places the structure low in the landscape, making use of the natural topography to protect the building. Combined with staggered grass roofs, this building blends the visual markers between nature and built form both internally and from the outside.

Hotel Fóroyar / Friis & Moltke Tórshavn, Faroe Islands| 1983

Nelly Melberg Rikke Sørensen Pinru Zhu Jiaqi Wang Signe Dalgaard

FINNISH SMOKE HUT FINNISH SMOKE HUT Plan Section FINNISH SMOKE HUT Scale 1:50

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Scale 1:50

Plan Scale 1:50

FINNISH SMOKE HUT SMOKE HUT FINNISH Site Plan & Section Site Plan & Section Scale 1:200 Scale 1:200

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Anne Sofie Ravnsbæk Geertsen Katariina Geertsen Mustasaar Anne Sofie Ravnsbæk

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NORDIC SUSTAINABLE ARCHITECTURE 0DWHULDOV WLPEHU GLUW WXUI VWRQH

Nationality:A Finnish Nationality: Finnish

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SMOKE HUT | 1844 The Finnish smoke hut is a single building within a larger settlement. Due to the wide availability of timber most of the buildings were built out of it. Due to this villages often burnt down every 40-50 years and were rebuilt in different locations where timber was available.

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The main living residence was built in three stages.

The first stage was the smoke hut “tupa” which was a temporary living space till the adjacent “Pirtti” was built for cooking, living and sleeping where the tupe was converted to a sauna space. The two buildings were finally linked by roofing the in-between space – the “porstua”.

The standard type of sauna, which has remained unchanged through centuries, is the rectangular oneroom log hut that houses an open rock stove and a raised platform. The communal sauna was an essential

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building within these villages and a vital factor in farmers’ daily lives as living off the grudging land with a growing season of only 4 months was hard.

In Finland, the sauna was used for all stages of life; heating, birth, socialising and health. Yet, sweat bathing only required heating of small amounts of water – far less than what is required to fill a tub.

NORDIC SUSTAINABLE ARCHITECTURE 2

Anne Sofie Ravnsbæk Geertsen

Katariina Mustasaar

Mathilde Bjerg Pedersen

Sika W Filemonsen

NORDIC SUSTAINABLE ARCHITECTURE 4

Anne Sofie Ravnsbæk Geertsen

Katariina Mustasaar

Mathilde Bjerg Pedersen

Sika W Filemonsen

Centuries of knowledge on log construction along with vast wood reserves enabled Finns to build long-lasting wooden dwellings and be generous with heating. Pine, fir and aspen were the most commonly used types of wood. Pine is one of the most robust and strong coniferous breeds that possess resistance to rotting, high thermal capacity and gas permeability. Its valuable dense structure makes for good construction material.

Team Finland

10 m

FINNISH SMOKE HUT

243 AARHUS SCHOOL OF ARCHITECTURE

Intrinsic Sustainable Architecture Interior and organization

Heating - The seperation of the rooms allows heating to maintain within the smaller space and have variation. Further do the hallway make less heat loss when circulating between the rooms. Stove - a good heating source made of local materials.

Flexibility - Wooden low tech furnitures that can move around for the propor use.

Wood - thermal insulation, non-toxic, ventilation The seperation of the rooms also allows for different uses, so the bathing and kitchen is seperated from work and each other. Can create privacy in smaller spaces, instead of one big room.

Bench Flexible

Open stone hearth Permanent, keeps heat long Bath barrel, cleaning Flexible, seperated

Bench Flexible

Hallway/circulation/keep heating in Spinning/Weaving (women´s area) Flexible Carving (Men’s area) Flexible

Stove - Cooking and sleeping Permanent

Dining Flexible

Sleeping area Flexible

NORDIC SUSTAINABLE ARCHITECTURE 7 Anne Sofie R. Geertsen, Sika W. Filemonsen, Mathilde Bjerg Pedersen, Katariina Mustasaar

© Daren Willden

Anne Sofie Ravnsbæk Geertsen Katariina Mustasaar Mathilde Bjerg Pedersen Sika W. Filemonsen

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THE LAYERS OF A SAUNA CONSTRUCTION

© Marc Goodwin

EXPLORING THE POTENTIAL FINNISH SMOKE HUT OF TRADITIONAL TIMBER Intrinsic Sustainable Architecture The spiritual significance of the sauna CONSTRUCTION The vernacular sauna is an interesting sustainable building typology socially, culturally and in materiality.

These log constructions are moveable and adaptable starting with one small cabin and a second structure being added later. The combined sauna and adjacent living room separated by the “porstua” created a thermal buffer zone which stabilizes heat loss. This contemporary example is heavily influenced by many of these principles including the introduction of a

modern porstua as well as the extensive use of wood as construction and finishing material, influenced from the historical use of local tarred timber to preserve the building structure further makes for good construction material.

Sauna & Guesthouse / Mer Architects Pentala, Finland | 2018

Openings - Longevity of the building - Ventilation - Light source - Steam (spirit) can exit - Getting rid of daily worries

Timber - Thermal insulation - Ventilation - Non-toxic - Good smell - Living material: asking permission before cutting

Tar coating - Preserving - Rich smell - Holy, dark, calming atmosphere - Cleaning is women's job

Water barrel - Heating little water using existing heat - Health - Getting clean both mentally and physically

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Stove - Local material with good thermal properties - Heating with local birch (good smell, found in abundance) - Dividing the space - A warmer place to sleep for the elderly - Fire, water, smoke, earth - spiritual meaning - Sauna as part of cultural identity - Sauna as a place to relax Furniture - Multifunctional space (easily dismantled, moved, replaced) - Dividing the space by age and gender - Place to socialise, heal

245 AARHUS SCHOOL OF ARCHITECTURE

FINNISH SMOKE HUT Intrinsic Sustainable Architecture Construction

The roof - Wooden construction - Locally produced - Covered in birch bark

Tar coating - Preserves and protects the wood

Wood -Built entirely of wood - Healthy material - Locally produced - Spruce or pine - Thermal insulation - Living material - Design for disassembly - The construction evolved with the tools and knowledge - Making the construction more tight and solid - Moveable - Easy to replace damaged pieces - The hut or one room could be disassembled and built another place - Ex. When a woman got married and moved to a new family, she could

Small openings - Less heat loss - Natural ventilation in the hut - Daylight - Connection to the outdoor context

The foundation - Lifted from the ground - On a plinth - movements doesn´t damage the building - Minimal footprint - Moveable

SAUNA AS A SPIRITUAL PLACE

NORDIC SUSTAINABLE ARCHITECTURE

Anne Sofie Ravnsbæk Geertsen

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Katariina Mustasaar

Mathilde Bjerg Pedersen

Sika W Filemonsen

UNDERSTANDING THE CULTURALLY SUSTAINABLE ROLE OF THE SAUNA The sauna building itself is rich in social and cultural sustainability as a multi-functional space. Not only was it used for hygiene purposes with many significant events occurring within the room, but it also served as a spiritual and contemplative space. While the natural timber has structural properties, it also creates an excellent indoor atmosphere both in terms of touch, smell and aesthetics. Additionally, limited openings had functional purposes for ventilation and light but

© Jussi Tiainen

also added to the atmosphere. While this contemporary example is a church, the design of the building is very reminiscent of the sauna. While being sustainable, it also embodies the social and cultural aspects which are core to the sauna culture of Finland.

Kärsämäki Church / OOPEAA Kärsämäki, Finland | 2004 Anne Sofie Ravnsbæk Geertsen Katariina Mustasaar Mathilde Bjerg Pedersen Sika W. Filemonsen

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THE SYDGOTISKA HÖGLOFTSSTUGA Analysis Context and Culture

CONSTRUCTION AND DETAILS How the fireplace in Sweden evolved into the kitchen and central heating.

Initially, the fireplace was the centre of the room. People gathered in a circle around it so that everyone could benefit from its radiant heat at night. In the middle of the roof above there was an opening that served as a smoke outlet.

In the 12th century, the fireplace became more and more a kitchen stove, moving from the centre of the room to near the walls. But although the stove was usually located in the corner of the room, the outlet was still above the middle of the room in the roof. The rising heat and smoke were also used to keep the granary of the side extensions dry.

From the 15th century the first stoves with a chimney were built. In northern and central Sweden these were very similar to the fireplace principle. They were integrated into the walls and initially built of clay. In the front area they had the stove and behind it room for fire and embers, which could smoke directly out of the chimney. The central roof opening was still preserved as a roof window or dormer and thus became an integral part of this type of building.

In the south of Sweden a more sophisticated type of stove was developed (also due to Danish influences).

It was divided into several chambers which were differentiated by their functions. Next to the cooking place there was a deeper dome which served as a baking oven for bread.

Art by Anna Palm

But the biggest change was the separate consideration of heating and cooking. The stove was equipped with an additional side chamber, which could no longer be fired from the living room, but from the corridor. by living Torsslow, This was the predecessor of the tiled stoves. This not only reduced the amount of smokeArt in the space, but also made heating more efficient, which reduced the need for wood.

In the 18th century, the Swedish king called on his citizen to be more economical with firewood. In 1767, the Swedish architect Carl Johann Cronstedt designed a tiled stove that was remarkably efficient because it could store heat excellently and consumed less firewood. Thanks to this invention of the “ground stove”, Sweden had the best heated homes in Europe in the 1930s, when central heating was generally introduced.

Rögstuga

Högloftsstuga

Högloftsstuga with chimney

NORDIC SUSTAINABLE ARCHITECTURE

© Marianne Strandin

SWEDEN Selma Lindhardt Blomberg, Nilagshana Maheswaran, Josef Eglseder

KYRKHULTSSTUGAN LOG HUT | 1800s The ‘’högloftsstuga’’ or southern gothic house, is a historical timber building typology found throughout the southern parts of Sweden. The three-part building combines a centralised, heated living residence with unheated winter stock and stables at either end gable.

An interesting aspect of these buildings is that they were constructed in different stages – the centralised living residence with the hearth or open fireplace being the first.

What often characterises the ‘’högloftsstuga’’ is the protruding chimney and the height differences between the three building sections. These are usually a combination of a ‘’ryggåsstuga’’ (low cottage cabin) with one or two higher attics sections called ‘’häbren’’ which directly connects with the “ryggåsstuga’s” gables. The prominent chimney was introduced into the building type during the 17th century, initially, smoke was drawn out through a ceiling hole. Following the

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introduction of the chimney, the smoke hole was often converted to a window, skylight, for ventilation.

The construction techniques of the houses differ depending on the local, natural conditions and raw materials available at the building construction site.

However, these buildings were mostly constructed using a plank-and-post method, which is a building technique where horizontal timber planks are fit into grooves of a vertical post. The most common materials used to build these buildings were oak and pine wood, which are still plentiful in the woodlands of southern Sweden. The roofing more than often consists of peat or thatch, which also are common materials that are found locally.

Team Sweden

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Selma Lindhardt Blomberg Nilagshana Maheswaran Josef Eglseder

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Intrinsic Sustainable Architecture annotated axonometic

The room heights are adapted to the function.

The heated room is the lowest to have less volume that needs to be heated and this also keeps the heat better.

The peat roof above the living room is more fire resistant than the straw roofs on the extensions.

The separate consideration of cooking and heating led to more energy efficiency.

As a transition to the outside there are corridors on both sides next to the living room, which act as windcatchers.

Wood as a local building material.

Especially in the transition period between summer and winter, due to the warm surface of wood, less heating is necessary to achieve a pleasant indoor climate.

The different construction phases enable a modular construction method.

The foundations prepare the extensions right from the start

NORDIC SUSTAINABLE ARCHITECTURE Scan to learn more

249 AARHUS SCHOOL OF ARCHITECTURE

THE SYDGOTISKA HÖGLOFTSSTUGA Intrinsic Sustainable Architecture annotated axonometic

© Petr Smídek

POSSIBILITIES OF ADAPTABILITY AND FLEXIBILITY

INITIAL CONSTRUCTION

EXAMPLE OF HOW ONE BUILDING COULD EVOLVE AND ADAPT OVER TIME

Simple smoke hut with centralized fireplace. Smoke escapes through hole in roof. This hole is the only window.

RAISED LOFT

A raised loft is added to the initial structure. This enables the storage of supplys, raised far above the damp earth. Also, the smoke can now be led through the granaries, helping with the preservation. The main entrance becomes the door leading into the front house below the loft. This preserves heat when opening the doors.

ADDITIONAL RAISED LOFT

If the inhabitants of the house experienced a period of prosperity, an additional granary might be added.

This was often built later, and thus the building tecniques and materials may di differ from the original structure.

UNDERSTANDING THE POTENTIALS OF AN ADAPTABLE CONSTRUCTION IN SUSTAINABLE ARCHITECTURE This Swedish vernacular typology is an excellent example of how the flexibility and adaptability of early techniques can extend the life of a building.

Buildings were designed and built to transform and adapt over time as farms and families grew – which is an essential aspect of sustainable architecture.

Structural development was made more accessible by the timber construction techniques which are centred around the original zone with the heat source. This contemporary Swiss example illustrates how historic timber construction can be used in a modern manner combined with natural and historic finishes and washes.

Stiva da Morts / Gion Antoni Caminada Vrin, Switzerland | 1996

CHIMNEY

In the 16th and 17th century, new building technologies led to many högloftsstuga having a chimney built in to the structure.

CONTINUOUS DEVELOPMENT

The typology of högloftsstuga can be seen as a snapshot in a continuous development of the building traditions in the area. But what defines the building approach is more the continuous slow and steady addaption and change to the surrounding contexts and opportunities.

Rather than built a new house, the same house is changed and renewed again and again.

Example of how one building could evolve and adapt over time Selma Lindhardt Blomberg NORDIC SUSTAINABLE ARCHITECTURE Nilagshana Maheswaran Josef Eglseder 1 Selma Lindhardt Blomberg, Nilagshana Maheswaran, Josef Eglseder

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STUDIO 3 2019/2020 SHIFTING TERRITORIES FOR AN [UN]STABLE ENVIRONMENT During the academic year 2019/2020 we investigated the role of the architect and the meaning of their actions. We examined the changing significance of practising architecture and different modes of working.

We explored what the different ways of engaging through architecture are. How do the architects position themselves in society?

How can architecture react and contribute to the community? How do time and environmental challenges influence the architect’s actions? How can they redefine their engagement in design and construction processes? Eventually, how does the space in which architecture is imagined influence such processes?

We addressed these questions by exploring architects’ working and living spaces, their institutions and the places where they meet society. Most of the student projects exhibited here are from the Spring – HOME FOR ALL – where they have created a place for architects to share their skills and knowledge in Berlin, a hub for innovative and alternative modes of producing architecture. Some projects from the previous semester in Lønstrup, Denmark, and final thesis projects, with different locations, are also included.

STUDIO 3 STUDENT WORK

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Scan to visit Studio 3 website STUDIO 3 STUDENT WORK

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Project Strategy

Selection of target building

Selection of target building.

HOUSE OF ADDITION

Acknowledgment of existing internal infrastr.

Insertion of first pilot space (Studio). Creation of through-route.

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A STRATEGY TO UNLOCK SOCIAL UTILITY IN OBSOLETE FUNCTIONALIST ARCHITECTURE Acknowledgment of existing internal infrastr.

Selection of target building.

Acknowledgment of existing internal infrastr.

Project Strategy

g.

Acknowledgment of existing internal infrastr.

Insertion of first pilot space (Studio)

Insertion of first pilot space (Studio). Creation of through-route.

The project envisions the slow transformation of the Haus der Statistik located Alexanderplatz by assembling a team of builders with expertise in Electrics, Plumbing, Joinery, Horticulture and Computing that could mentor groups of aspiring Bachelor graduate Architects would form the basis of a new ‘School of Architecture’.

Insertion of first pilot space (Studio). Creation of through-route.

Berlin has always been a nexus of temporal, geographical and cultural events, provides a wide backdrop for our interest in the role of Architects within a changing context and offers a provocation to react.

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The School would occupy the derelict and the curriculum would consist of its renovation. A phased revitalization of the old parts would encompass a series of short-term occupancy that’d kick-start a public utility for the place.

Project Strategy

of pilot spaces. Start of n.

Continued vertical insertion of pilot spaces

Continued vertical insertion of pilot spaces. Start of public interest, participation.

Exploited real-estate capable of influence beyond its The result is a transformation of the entire building and walls. its successful social reintegration. The student would graduate and the School would move on to its next location, with a new cohort of apprentices.

Horizontal expansion of occupancy. Full-scale public utility.

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Continued vertical insertion of pilot spaces. Start of public interest, participation.

Horizontal expansion of occupancy

Horizontal expansion of occupancy. Full-scale public utility.

The idea aims to combine a utilitarian attitude to building reuse, and the establishing of a new architectural interface. One where the Architect works for and with the users directly and redefines their role as an agent of change - as a designer, labourer and Exploited real-estate capable of influence beyond its walls. social entrepreneur.

Hugo Shackleton Berlin, Germany

Horizontal expansion of occupancy. Full-scale public utility.

Building capable of influence beyond its walls

Exploited real-estate capable of influence beyond its walls.

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SITE

visual and sensorial mapping LEGEND

SENSORIAL MAP OF THE SITE

Club Cinema or cultural center Kindergarten Normal lecture space Normal coworking space Parking Public transport Taxi stop

LEGEND Club Cinema or cultural center

LEGEND

Kindergarten Normal lecture space

Club

Normal coworking space

FLUID CULTURE PARK Parking

Cinema or cultural center

Public transport Taxi stop

Kindergarten

Normal lecture space

Normal coworking space Parking

MAPPING MACHINE ON SITE By moving with the mirrors, the Public contrasts, layers andtransport reflections of the site revealed itself. It’s like the mirrors are paintings in the Taxiinstop landscape, while fact they are only showing what’s behind. It’s always surprising. For me, this contrasts are a big quality of the site.

CONCLUSIONS

7. This plot and the big firewall asks for a stage, asks to be used for something.

8. Contrasts, layering & reflections on the site, a huge potential.

A FLEXIBLE SPACE FOR PEOPLE AND NATURE Transition project reducing single-use plastic connected to our food culture.

CONCLUSIONS

Site Location

foundations of the concept

FOUNDATIONS CONCEPT

WHY As you could deduce from all the previous... Because biodiversity needs some help. Because people, especially the powerful cityplanners and businessmen, can’t help if they don’t know about it 3.

Because combinig theory and practise is the best way to learn and the theory is present in this park for sure... 1,3

WHO The architects There are two types of architects in this project, the first one is the person who has to be educated. That’s the powerful cityplanner and businessman in charge of the design for the city. He will have an office in a core of the project and will be shown and educated about how to design for biodiversity and people. In short, he will learn to design for a future, livable and green environment 3.

The second type of architects are the, less influential in the big picture, architects who are part of the core team.

They know a lot of biodiversity, green building techniques and sustainibility.

Because of this project, they will get the chance to transfer this knowledge to the ones in charge. These architects are part of the organisation, they start the initiatives, lectures and debates in the first place, afterwards other people can join. They are also necessary for the maintaining and the know how of the green sturcture and the park 11, 12.

The non-architects They can be everyone, that’s important.

The park and the events are open for everyone who is interested. It’s one of the basics, though some parts of the program may be oriented towards certain age categories or groups 4. The events are also a part of the education of the cityplanner 3.

By setting up every event together with the core team, a combination of theory and practice is possible and that’s the best way to learn 1, 3. You also mix the functions of giver and absorber 8, everyone is both at the same time so you get everyone committed.

“The idea of buildings as static objects is a widespread self-delusion of architects who ignore that their DR LOGBOOK_Bauke Pelicaen buildings are always exposed to changes, e.g. when they are modified by the users or are altered by ageing processes and nature. The willingness to accept those partly uncontrollable influencing factors and to recognize them as aesthetic chances is needed. It is a precondition for an overall ecological and socially sustainable architecture that allows changes and thereby stays adaptable.”

-Ferdinand Ludwig-

WHAT Functions Public park 1, 2, 4, 5, office, lecture space, debate & workshop place for events about sustainibility and biodiversity 1, 2, 3 and cinema for the neighbourhood 4, 5, 7 .

Program Alternative working 6, by including people in the building process, they help constructing the temporary event space 3, 4, and including the people and the building in the process of growing nature 1, 2, 10, 11, 12 . The nature is a part of the building 11.

It’s a playful, child oriented 4, public park with interesting space making elements when there is no program. The program comes and goes and one space has different contrasting, layered functions 8. Because the nature that helps forming the space is changing with the seasons, one space has not only diverse functions, but also diverse faces. The events are based on free gifts, that makes them accessible for everyone 5.

HOW Core Contains all the potential, material and organisation offices for the whole working of the fluid culture park 1, 2, 6, 7, 9, 10, 11,12 . Is permanent and closed by definition, but it should be very clear what’s inside 9.

Movable structure Is temporary and changes with every event, the core contains all the needed tools to make the temporary spaces work. The movable structure is partly made out of greens 1, 10, 11, 12. People that participate in an event, participate in building the temporary structure for it 3, 4.

This project explores the tension between the human and natural aspects in an architectural design. To obtain a good balance between these two, it is necessary to think about it, not as the usual fight between humans who want to structure and nature that wants to overgrow, but to make sure there is a symbiosis, where both benefit from the other. With this way of thinking, both can flourish and adapt together with and next to each other.

WHEN This project will approach the building and the park not as a static object, but as a growing, ‘living’ whole, changed by people who are adjusting spaces and changed by nature when it grows and flourishes. It is the intention to allow these changes, to embrace them and to adapt the constuction and its functions to the different needs.

3

1

2

Biodiversity has to be helped, we need to construct spaces where it can flourish. We need to inform people about it. I want to combine both.

Plot was a ‘Green’ space with high relevance for urban climate. All the green is gone, they forgot their own advice.

I want to reinstate the space.

5 People want the places along the river to be public, accessible and open for everyone.

6 It’s a living neighboorghood with many jobs and job opportunities that can use some green recreation with a different working.

Main user schould be cityplanner/businessman, who can be educated about good planning for biodiversity and people. That’s how I will combine theory & practise.

4

6

Around the plot lives an open community with many children.

7

8

This plot and the big firewall asks for a stage, asks to be used for something.

Contrasts, layering & reflections on the site, a huge potential.

9

10

11

12

The concept of transparancy while not being transparant.

It’s creating an interesting clarity.

The tension between nature and people, the fight for the power. How to find a balance between these two, how to let them work together?

Nature can help constructing the space and obtaining an acoustically enjoyable, clean and well balanced climate. I want to activate it’s role.

All nature on site is gone, time to implement new. Options enough to make an evergreen park full of insects and animals.

DESIGN PROPOSAL

process_defining the temporary structure

12

DR LOGBOOK_Bauke Pelicaen

Bauke Pelicaen Berlin, Germany Flexibility was the key term here.

Flexibility for the curtains to move, for the structure to be replaced by plants and for the possible space configurations. That’s why this structure is made out of scaffolding elements that enable total freedom of configurations, angles, and corners. They support the curtain rails and the sheltering sail at the same time and make the design complete. The weight of the scaffolding structure and the different configurations have had quite soeme try outs.

DR LOGBOOK_Bauke Pelicaen

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255 AARHUS SCHOOL OF ARCHITECTURE

DESIGN PROPOSAL

final proposal_ axonometric drawing showing the evolution of the park

A partly tiled ground surface defines the concept of giving plants possibilities to overgrow

CONCEPT

approach and detailing_when longterm

30 years

15 years

5 years

DR LOGBOOK_Bauke Pelicaen

2 years

PARK ALWAYS GROWS FURTHER

HOW 4 years

6 years

8 years

add..

add..

6 years

8 years

10 years

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CONCEPT

approach and detailing_when longterm

add..

add..

WHO

add..

4 years

8 years

add..

add..

6 years

8 years

4 years

10 years

add..

WHO

10 years

Organising events, enjoying the park, making adjustments to the structure and the spaces, revitalising biodiversity and replacing sick trees, coming from further away to learn.

6 years

8 years

10 years

DESIGNPROPOSAL PROPOSAL DESIGN

FLOURISHING PARK

6 years

Building, finalising the park

CONSTRUCTION SITE

4 years

add..

finalproposal_ proposal_plans plansscale scale 1:100 1:100 final

add..

4 years

WHAT

WHAT

PARK ALWAYS GROWS FURTHER

HOW

Building, finalising the park

DR LOGBOOK_Bauke Pelicaen

16

6 years

8 years

10 years

FLOURISHING PARK

CONSTRUCTION SITE

4 years

DR LOGBOOK_Bauke Pelicaen

10 years

Organising events, enjoying the park, making adjustments to the structure and the spaces, revitalising biodiversity and replacing sick trees, coming from further away to learn.

16

DRLOGBOOK_Bauke LOGBOOK_BaukePelicaen Pelicaen DR

23 23

AARHUS SCHOOL OF ARCHITECTURE 256

Kar

Cafe Moskau Event venue Capacity: 1600

The project site is located in the green road barrier of Lichtenberger Strasse, which places it in the center of three different Berlin quarter: Mitte, Friedrichshain and Kreuzberg.

Lichtenberger Strasse is placed in between the Berlin Mitte and Friedrichshain-Kreuzberg. With a length of one kilometer it stretches from Volkspark Friedrichshain, across the historical Karl-Max-Allee and unto the Michaelbruecke that connects Friedrichs hain with Kreuzberg. After the World War II ended, the boundary between the US and Soviet occupation sector ran between Friedrichshain in the east and Kreuzberg in the west.

The two boroughs remained separated during the Berlin wall and was eventually merged into the second borough of Berlin in 2001. The cultural differences between the two areas remain and the merger between the distinct quarters is celebrated by an annual anarchic vegetable fight on the Oberbaum bruecke.

x-A ll

ee

Migration Hub Network Social institution

20-30.000

Stra

usbe

rger

Cars pr. day

Vesuvio Restaurant

Platz

Plegestutzpunkte Nursing agency

Korneli Unger Architecture Office

Lotos Cafe Meditation and events

Sportsfield

Site

Inhabitants

Plansche Singerstrasse Netto Supermarket

2420

Mervan Bistro

Open Knowledge Foundation Employees: 33

Kinderhauses Children’s house GutsMuths-Grundschule Primary school Students: 370 Teachers: 51

Playground

Mosaik-Berlin Operations center Employees: 250

Football court

Max-Planck Highschool Students: 840 Teachers: 70

2530

Inhabitants

Sportsfield

Maxpflanzen Community garden

Sportsfield

Ubeeqo Shared cars Hub

Playground

hte nb erg er

Athletic and sports club

e

A PLACE LIKE US

Housing Cooperative Solidarity

Haarschneider Cosmetic salon

Str ass

Beate Uwe Nightclub

Central Gallery Art

2360

Institute for Climate Protection, Energy and Mobility

Inhabitants

1220

Inhabitants

Police station Administration

A Mano Restaurant

Bodyroom Fitness center

Inhabitants

l-M ar

Coco Berlin Dance studio

630

The site: Lichtenberger Strasse

Lic

Kintergardens City Institution

15-20.000 Cars pr. day

10-11

Ho

lzm

U-Bahn Station Jannowitzbrucke

A PLACE FOR COMMONING

Aral Gas station

Kita Leonardo Kindergarten

Fitness ground Playground

ark

tstr as

Inhabitants

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3220

Context

20-30.000 Cars pr. day Fl’air studios Arts and fitness

7NXT Health Healtch club

0.94 km2 14.200 (2019) sand and clay 6.0-3.0 m2/inhabitant medium-high (2019) high-very high (2019)

2

European Theater Instituition

Usually, the processes of nature are thought of as a linear development, where the plant grows, matures, grows old and dies. Nature develops in a very diverse way, influenced by many different elements. The different phases do not have a fixed order but are mixed and lived through in random patterns. Similarly, the building develops diversely as the different layers and materials have various life cycles. The facade of reclaimed burned wooden planks will eventually be replaced with fallen trees from the sight and highlight the difference between the new and old. The building will constantly change through different seasons in relation to the surroundings and the nature of the park.

Nick Cole Berlin, Germany

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Cosy Wasch Car wash

Inhabitants

Museum Timber market Market space Urban Sports Club Fitness and sports

Holzmarkt 25 Cultural space

Total Gas station

Vattenfall Charging Station

Open Air Cinema

Show and Order Event agency

Kraftwerk Berlin Rental space

Vattenfall Gemainshaftsgarden City and community garden Walk-in-pavilion Dan Graham

Kindergarten Alegria Children’s House

Moxy Berlin Ostbahnhof Hotel

Pflegewerk Nursing home Berlin Wasserbestriebe Water supply company Duve Berlin Art gallery

Tresor Nightclub

Playground

The project aims to go beyond its confines and act as a deliberate strategic approach rather than a specific design proposal. The project proposes a transformation of an infrastructural traffic area into a new typology of social infrastructure. The programme consists of the following built and grown environmental interventions:

Julius Pintsch Brache Abandoned building

Kater Blau Nightclub

Heizkraftwerk Mitte Gas and steam power plant Supply: 600.000 hh

2

The project site is located in the green road barrier of Lichtenberger Strasse, which places it in the centre of three different Berlin quarter: Mitte, Friedrichshain and Kreuzberg.

Studio Eyecandy

Games Academy Educational institution Die Johanniter Health Training Center

Friedrichshain-Kreuzberg

It manifests itself through a series of built and grown 20.34 km Area: 289.762 (2019) Population: intervention in which the main building, stretching 14.246 people/km Density: 25,6 pct. (2016) Foreigners: pct. (2019) Unemployment: along a typical Berlin boulevard, represents 8,1the spine 37,8 years (2016) Average age: of the project.

Football court

OMA’s Cafe

620

Area: Inhabitants: Soil texture: Availability of green spaces: Air Pollution: Noise Pollution:

C-Base Cultural institution

id22: Institute for Creative Sustainability Inhabitants

Mapped area:

BVG Headquarter Berlin public transport

Josetti Hofe Office space 13.000 m 2 Listed building

Radialsystem Cultural center

1180

‘A place like us’ is a project about the most basic forms of commoning. Sharing common dinners together and enjoying a walk though green space.

Basketball Court

Hotel ibis Berlin Ostbahnhof DAZ Architecture Center Die Berliner Eisfabrik Historic landmark

Emobil Charging station The Fizz Student housing

European Bible Training Center Skulpturenpark Art garden

257 AARHUS SCHOOL OF ARCHITECTURE

Roof Plan Site plan

Ground Floor Plan

First Floor Plan

Section

Evolution Over Time Axonometric

AARHUS SCHOOL OF ARCHITECTURE 258

Ground Plan

Long Section

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259 AARHUS SCHOOL OF ARCHITECTURE

PLATFORM FOR KNOWLEDGE & INTERACTION A LIBRARY AND MARKET FOR THE LOCAL COMMUNITY The intent of this project is to create a stronger sense of belonging to a smaller local community.

A library will play an active role, where neighbours can meet over the area’s common history. Food, through a market hall, will also play an important role in giving the local community its own DNA. The area of the project is Mitte. This quarter is the most central in Berlin and encompasses the city’s historical core. The project will give the chosen site a public platform, with a focus on the development of knowledge and community. A library will play an active where neighbours can meet over the area’s common history. It will also be a place where locals can come to study, or simply spend their leisure time. Food will also play an important role, giving this local community its own DNA. The market will serve as the local’s new place to go shopping for fresh groceries.

The architect’s role will be to highlight the history of the area as well as to show the meeting between the program of a library and a market and how these two programs will merge to become a local culturalhistorical hub.

Library Market Service

Odin Olesen Berlin, Germany

AARHUS SCHOOL OF ARCHITECTURE 260

Exterior View

7

Restaurant and Bar

Project Overview

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Malt Storage and Kitchen dir

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ua

po

nic

Gr

ee

Processing Hops and Milling Malt

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se

Mashing, Lautering and Boiling

Primary Fermentation

Kegging and Shipping

Broodstock Basin 24 m3

Fish Growth Basins 4 x 64 m3 = 256 m3 Max fish count: 42.666 fishes of 500 g Daily Fish produce = 355 kg

Spent Grain Tank 62 m3

Fish Food Tank 62 m3

9

Axonometric Section

Multistorey aquaponic greenhouse Double skin facade facing south Ground floor lowered into the ground The building blocks train noise

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11

261 AARHUS SCHOOL OF ARCHITECTURE

Speculative Future Site Plan

AQUAPONIC BREWERY TAKING BACK CONTROL OF FOOD PRODUCTION

Production Method

N

100 m 8

The proposal focuses on how architects can be involved in and take back control of food production within cities.

Tilapia

This can be done by engaging with the urban farming community to make a statement and contribute ac change of values around sustainability and food production.

Ideal temperatu

Growth rate: 50

Diet: Omnivore Hydroponics is growing plants without soil, but in a closed water system. Nutrients for the plants are supplied through fertilizer added in the watering process.

The site is located in Pintsch Brache, with approximately 20,000 m2 of relatively large open and unused space within central and former East Berlin.

The proposal includes multistoried greenhouse housing an aquaponic system connected to a tower housing a vertical brewery. The form of the linear multistory greenhouse was chosen because of its ability to over time occupy more of the large site.

A south-facing double-skin façade will help control the indoor climate. Lowering the ground floor into the ground will moderate the temperature of the greenhouse. Water can be collected on the roof of the neighbouring “living factory”.

Aquaponics builds on hydroponics, but is based on a symbioisis between fishes and plants. Nutritions for the plants are provided through the by-product of the fishes. In return the plants filter the water that is returned to the fishes.

VS

Hans Steinebach Nielsen Berlin, Germany

Tilapia has a fas conversion rate they will die if t 10 °C. Tilapia can man are easy to bre

9

Research

Fishes to grow in Aquaponics

Arctic Char

Trout

Multiple fish species can be grown in an aquaponic system. Here is a comparison of 4 relevant species.9

I like to eat spent grain!* Don’t judge!

Catfish

Tilapia

Ideal temperature range: 0 - 20 °C

Ideal temperature range: 7-18 °C

Ideal temperature range: 24- 30 °C

Growth rate: 500 g in 8-12 months

Growth rate: 1000 g in 14-16 months

Growth rate: 500 g in 18 months

Diet: Carnivore

Diet: Carnivore

Diet: Mostly omnivore

Diet: Omnivore

Arctic Char is good for cold climates.

Trout grows slowly and is mainly good in cold climates.

Catfish are adaptable and can survive in harsh environments.

Maximum stocking density ratio = 3:1 3 liters of water to 1 kg fish.11

Ideal temperature range: 28- 30 °C Growth rate: 500 g in 6-8 months

Tilapia has a fast growth rate and excellent food conversion rates. They are extremely hardy, but they will die if the water temperature drops below 10 °C. Tilapia can manage high stocking densities. Tilapia are easy to breed.12

Research of spent grain to feed Tilapia

% Weight increase

A mechanically joint post and beam system of glulam will make up the load-bearing structure of the multistory greenhouse and the brewery tower. Without any metal fittings for the joints, the material thickness of the knots is enhanced to provide strength. The wooden elements are pre-fabricated and the joinery is CNC-milled. The structure is easy to disassemble and could be taken down and rebuild elsewhere.

Maximum stock 3 liters of water

*Spent grain is a by-product from brewing Beer Brewing Vertically beer. linked to aquaponic hops and tilapia Research by “Plant Chicago” shows that Tilapia can maintain a decent growth rate when growth partially substiting their diet of commercial fish feed with spent grain.10

The diagram on the right shows the correlation between growth in weight by per2. average Millingfish Malt centageThe during a one month into test period and grain is grinded percentage of spent comersmaller parts.grain Thissubstituting preciel fishpares feed inthe themalt diet.for mash-

ing.

Evaluation

25%

Tilapia are excellent fish for aquaponics and they thrive in greenhouse temperatures.

Their omnivore diet enables them to eat spent grain and still maintain a good growth rate.

20% 15% 10% 5%

Percentage of spent grain

1. Storing Malt Different kinds of malts are stored in multiple containers. Malt is grain that has been soaked, germinated and dried.

0%

33%

66%

100%

9

Aquaponic Brewery

3. Mashing The milled malt is soaked into heated water. During this process the enzymes of the malt are activated, starches are converted into fermentable sugars and sugars are extracted into the liquid.

5. Wort Boiling The wort is boiled and hops are added. The wort is cooled down after the boiling process.

4. Lautering The liquid is seperated from the grain.

The liquid is now called wort.

6. Fermentation Yeast is added to the wort. The yeast converts sugar into alcohol and alters the taste during the fermentation process.

Example of aquaponic grown hops

Aquaponics Hops and Tilapia Nutritions for the plants are provided through the by product of the fishes. In return the plants filter the water that is returned to the fishes.

Spent Grain The spent grain is a by product from the brewing process and has potential as fish feed.

7. Packaging The finished beer is transferred into bottles, kegs or other containers.

Production Methods

4

AARHUS SCHOOL OF ARCHITECTURE 262

1:5000

HAUS DER STATISTIK ALEXANDERPLATZ HAUS DES LEHRERS

KAR

SITE

LM

ARX

BERLIN CONGRESS CENTER

ALL

EE

KINO INTERNATIONAL RESIDENTIAL AREA MOSKAU BAR

QUERFELDEIN the wall

BERLIN MITTE alexanderplatz

EAST BERLIN WEST BERLIN

A MEETING PLACE FOR SUSTAINABLE KNOWLEDGESHARING 200 m

the wall

BERLIN MITTE alexanderplatz

EAST BERLIN WEST BERLIN

When reflecting upon the role of the architect, it’s hard not to consider one’s own stance.

GROUND FLOOR 1:200

I chose the sustainability course because I’m fairly sure that I want to work with architecture, but 100% sure that I want to work with sustainability.

ALEXA

200 m

This attitude has unconsciously followed me through the reasoning behind this project; it is not about the role of the architect, but rather the entity in which the architect plays one role out of many.

Architects can survey, connect and solute, but we cannot immerse into everything. The field of architecture and sustainability is simply too extensive.

200 people

Ground Floor Plan 20

On the other hand, architects have the skill set to create the space in which the collaboration and overview are created; the meeting between experts, creatives, decision-makers and the civic society. And this is how I believe we create trust and durable solutions that are needed for sustainable development.

ALEXA

1ST FLOOR 1:200

Therefore, I’ve been designing a meeting place between all different layers of the city with a focus on the sharing of knowledge.

Emma Rishøj Holm Berlin, Germany First Floor Plan 21

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263 AARHUS SCHOOL OF ARCHITECTURE THE AUDITORIUM

THE MEETING

THE OFFICE

THE EXHIBITION

THE WORKS

THE SAUNA

THE LIBRAR

THE FIREPLACE

DESIGN STRATEGIES BASED ON POTENTIALS DESIGN STRATEGIES BASED ON POTENTIALS

THE AUDITORIUM

THE AUDITORIUM THETHE MEETING AUDITORIUM

THE MEETING

THE THE SAUNA MEETING

THE SAUNA

MYPPOORITNATNST E N T R Y P O I N T S I M P O R T A N T E N TI R

POTENTIAL

THE AUDITORIUM THE OFFICE

THE OFFICE THE EXHIBITION

EXHIBITION THE EXHIBITION THE THE FIREPLACE

STAGES OF KNOWLEDGE-SHARING

THE OFFICE

THE OFFICETHE EXHIBITION THE OFFICE

The office rather calm to allow for concentration, but alsoTHE gathers and use each other BARcolleagues to inspire THE BAR THE in the work hours. In an open office the hierarchy is very flat but this can be varied depending on the amount of spaces and placement of different positions amongst the employees.

Hereby the office can be a place of both contemplation, exchanging, sharing and receiving.

THE BAR CAFE

THE WORKSHOP THE SAUNA

THE FIREPLACE THE LIBRARY THE FIREPLACE THE LIBRARY

THE WORKSHOP

THE BAR

THE FLEXIBLE STREET SCAPE

THE BAR

THE BAR

THE BAR

THE CAFETHE BAR

THE LIBRARY

THE LIBRARY THE FIREPLACE THE FIREPLACE THE LIBRARY THE EXHIBITION THE FIREPLACETHE LIBRARY

THE EXHIBITION THE FIREPLACE THE OFFICE THE EXHIBITION

THE LIBRARY

It is very hard to define the shape of an exhibiThe hearth is probably the most basic form of tion-space, but it isTHE important for itCAFE to beFAIR spacious knowledge sharing; the gathering around THE a radiating THE THE EXPO/TRADE FAIR THE CAFE EXPO/TRADE THE EXPO/TRADE AMPHITHEATER THEFAIR AMPHITHEATER THE AMPHITHEATER to allow for different configurations over time. The heat source sharing stories and experiences. The knowledge that is shares through an exhibition might space might not have the knowledge in focus, but on be read on boards or seen through videos, but can the other hand it gives us some good conditions to also come from the wondering discussion that arises understand each other as humans on very informal from the questions being asked by pieces. terms. The hearth is mostly lit at night and the space At an exhibition you can therefore both receive, is created by the light, the heat and the surrounding exchange and contemplate over the knowledge that nature. Even though the space is wide open it beis shared. comes very intimate due to the scope of the flames.

THE CAFE THE CAFE

The bar is a place to meet friends, colleagues or strangers. It is an intimate space at the same time as being almost public. There’s a big variety of bar-types but common for most is, the atmosphere is very relaxed and it is okay to be rather noisy, because the noise actually is creating the intimate space. In a bar you can sit by the bar, around a table, stand in the corner or whatever you like. The bar is a break from work, but can facilitate some great discussions and knowledge exchanging at the same.

PANELS OUT

The flexible translucent panels are used when intimacy is needed for work purposes or contemplation. They are inspired by the sauna, where you can peek in to see if you want to join or not. The panels can be moved around the whole groundfloor to create any type of zone you need.

THE CAFE

THE CAFE THE CAFE FAIR THETHE BAREXPO/TRADE

FAIR THE EXPO/TRADE FAIRTHE EXPO/TRADE THE CAFE THE EXPO/TRADE THE FAIR AMPHITHEATER THE AMPHITHEATER THE AMPHITHEATER

THE AUDITORIUM THE MEETING THE EXPO/TRADE THE EXPO/TRADE FAIR THE EXPO/TRADE FAIR FAIR THE AMPHITHEATER THE AMPHITHEATER THE AMPHITHEATER

The book is the physically manifested shape of knowledge and the library is the place of sharing it.

The public library is open for everyone to contemplate and search for knowledge, but can also just be used as a place to meet. Subject-specific libraries are often connected to universities or offices but less often used by the public.

In the space of a library you can float around in a calm and very non-hierarchical way alone or with companions. The flow is mostly determined by the bookshelves and what your searching for.

The panels are slided to the side when not needed. When the panels are tucked away the building has a regular open street-shape and can be used for larger events such as exhibitions or larger gatherings.

THE SAUNA

THE WORKSHOP

THE

The workshop has a wide variety of shapes and forms, but what is common about this format of knowledge-sharing is, that often an action is involved.

Either you meet to exchange knowledge and do this action together or you have a more knowledgeable person to set the frames. By putting the action in focus a different learning method is being used and a wider range of people might see themselves participating.

Often the atmosphere is very informal and takes shape after the action/the work that is being done.

This goes for the spacial qualities as well; the room needs to be modified according to the action that is taking place hence very flexible.

12

CLOSED FOR HEAT

When the amphistage is at use in

the colder months or at night the roof THE OFFICE

THE EXHIBITION

windows and translucent panels on the walls are closed.

When it’s dark outside the panels will diffuse the light from the inside hinting that something is happening, fx. a lecture at an evening course.

THE CAFE

THE AUDITORIUM THE OFFICE

19

PHOTOVOLTAIC SOLAR CELLS TO GENERATE ELECTRICITY AND SHADE

LOW DOOR AND WINDOW OPENINGS TO DRAW IN COLD AIR IN SUMMER

ONLY NATURALLY VENTILATED ”BUFFER-SPACE” (ALSO COLLECTING PASSIVE HEAT FOR THE AMPHI-SPACE)

AIR-FLOW ACROSS BUILDING THROUGH MAIN OPENINGS IN S/W AND N/E ENDS NEW CONSTRUCTION ALIGNED WITH UNDERGROUND BUILDING BY REINFORSING EXISTING WALLS

THE OFFICE

STAGES OF KNOWLEDGE-SHARING

OPERABLE ROOF WINDOWS TO TURN AMPHI-SPACE INTO A SUNTERRACE IN SUMMER

SPACE FOR BUILDING SYSTEMS UNDERNEATH AMPHIS-TEPS MIXED VENTILATED SPACE TO USE ALL YEAR AROUND

THE AUDITORIUM THE MEETING THE AUDITORIUM THE MEETING THE AUDITORIUM THE SAUNA THE MEETING THE OFFICE

THE OFFICE THE EXHIBITION

25

THE OFFICETHE EXHIBITION THE OFFICE

The office rather calm to allow for concentration, but alsoTHE gathers and use each other BARcolleagues to inspire THE BAR THE in the work hours. In an open office the hierarchy is very flat but this can be varied depending on the amount of spaces and placement of different positions amongst the employees.

Hereby the office can be a place of both contemplation, exchanging, sharing and receiving.

TH

THE SAUNA

THE WORKSHOP THE SAUNA

The meeting is a planned form of knowledgeexchanging. In the meeting room the attendees are most often sitting around a table. Hereby the knowledge is shared across the table and in the same eyeheight. Meetings often take place in enclosed spaces especially if confident subjects are considered, and this makes the meeting room rather excluding.

On the other hand you can often find meetings that are only separated from the surroundings due to sound or visual connections.

EXHIBITION THE EXHIBITION THE THE FIREPLACE

THE AUDITORIUM THE AUDITORIUM THE AUDITORIUM THE MEETING THE MEETINGTHE MEETING

AUTOMATIC OPERATING ROOF WINDOWS TO LET OUT HEAT

SOLAR POWER USED TO HEAT AMPHI-SPACE IN WINTER

THE EXPO/TRADE FAIR THE AMPHITHEATER THE AUDITORIUM THETHE MEETING AUDITORIUM THE MEETING THE THE SAUNA MEETING

The main purpose of the auditorium is to share (expert-) knowledge to many at a time. The space directs every user’s attention in the same direction and allows many people participate on rather equal terms.

On the other hand the format is quite formal and arrayed hence hierarchical; expert to receiver.

The auditorium is rarely used for other purposes, unless the furniture is removable.

OPEN FOR SUN

CONSTRUCTION AXONOMETRIC

THE LIBRARY

THE FIREPLACE

THE AUDITORIUM

In the daytime and the warmer months the roof and the walls on 1st floor can be close to completely open. This makes a great connection to the ouside weather making it a sunterrace.

The urban sunterrace is a meeting point and a place to hang out away from the big surrounding streets and can be used both at day or night.

SCENARIO AXO 1:100

1:100

THE AMPHITHEATER

The amphitheatre in the conventional sense has a double function being used as a place to share knowledge or show performances to many at a time as well as being a public terrace when not in use. Being a theatre the space directs every user’s attention in the same direction and allows many people participate on rather equal terms.

As a sun-terrace it can be used by few or many. You can create your own spaces by the way you inhabit the stairs and it becomes very informal.

Often the outdoor amphitheatre is used as a meeting point.

The trade fair or exposition is set up to search for, exchange, discover, and demonstrate new knowledge.

AMPHI/SUNTERRACE It is THE very structured, rather formal and focuses on a specific subject. The expo can be only for professionals as well as open to the public.

The expo often takes place in a grand space or even in a larger area, but is also divided into smaller sections, pavilions or stalls. At an expo you float around the exhibition almost like a living library.

THE BAR

P A N E L S T U C K E D A W AY

THE AMPHITH

THE WORKSHOP

THE LIBRARY THE LIBRARY THE OFFICETHE OFFICE THE OFFICE THE EXHIBITION THE EXHIBITION THE EXHIBITION THE FIREPLACE THE FIREPLACE THE FIREPLACETHE LIBRARY I T UF ARTOIM O NASL ESXEAENND FE RR OP M A R R I V A L S I T U A TAI RO RNISV ASLE ES N L A AT ZL E X A N D E R P L A T Z S H E L T E R B E H I NSDH EG LRTEEERN EB RE YH I N D G R E E N E R Y THE BAR

THE EXPO/TRADE FAIR

The café is an intimate space at the same time as being almost public. It can be indoor, outdoor, large or small, but on a café the petite furniture creates a smaller intimate space in itself. Cafés are used in the daytime and therefore suitable for meetings.

The atmosphere is very informal and relaxed and your are able to take a break or an informal meeting whenever you want. Other than gathering people the café also has the purpose of serving drinks and food which can take some of the pressure off a conversation.

THE WORKSHOP THE WORKSHOP THE WORKSHOP

THE AUDITORIUM THE AUDITORIUM THE AUDITORIUM THE MEETING THE MEETINGTHE MEETING THE SAUNATHE SAUNA THE SAUNA SUN N E W C O N N E C T I NO EN W S CONNECTIONS

SUN

THE CAFE

THE WORKSHOP

The sauna might not even be seen as a room of knowledge-sharing. It is a place of both contemplating alone and social meetings depending on place and culture. In the sauna there is no differentiation in social classes/hierarchy because there is simply no uniform to state it with. Due to the very informal and equal frames, the sauna allows for completely unplanned talks and knowledge-sharing between strangers.

The seating directs the users towards the heater and each other. The space itself is very enclosed due to privacy and heat-loss, but more or less anyone can tap in and out of the space as they please.

THE WORKSHOP THE SAUNA THE MEETING THE SAUNA

THE AUDITORIUM THE MEETING THE AUDITORIUM THE MEETING THE AUDITORIUM THE SAUNA THE MEETING THE OFFICE

THE BAR THE WORKSHOP

THE WORKSHOP THE SAUNA

The meeting is a planned form of knowledgeexchanging. In the meeting room the attendees are most often sitting around a table. Hereby the knowledge is shared across the table and in the same eyeheight. Meetings often take place in enclosed spaces especially if confident subjects are considered, and this makes the meeting room rather excluding.

On the other hand you can often find meetings that are only separated from the surroundings due to P O T E N T I A L S H O R T C U T S / K R Y DorSvisual F E L Tconnections.

ER S H O R T C U T S / K R Y D S F E L T E R sound

The main purpose of the auditorium is to share (expert-) knowledge to many at a time. The space directs every user’s attention in the same direction and allows many people participate on rather equal terms.

On the other hand the format is quite formal and arrayed hence hierarchical; expert to receiver.

The auditorium is rarely used for other purposes, unless the furniture is removable.

THE BAR CAFE

THE SAUNATHE SAUNA THE SAUNA

THE EXHIBITION THE FIREPLACE THE OFFICE THE EXHIBITION

THE WO

The sauna might not even b knowledge-sharing. It is a pl ing alone and social meeting and culture. In the sauna the in social classes/hierarchy b no uniform to state it with. D and equal frames, the sauna unplanned talks and knowle strangers.

The seating directs the user each other. The space itself privacy and heat-loss, but m tap in and out of the space a

THE WORKSHOP THE SAUNA THE MEETING THE SAUNA

THE WO

THE FIREPLACE THE LIB THE FIREPLACE THE LIBRARY

THE WORKSHOP THE WORKSHOP THE WORKSHOP

THE LIBRARY THE FIREPLACE THE FIREPLACE THE LIB THE EXHIBITION

It is very hard to define the shape of an exhibiThe hearth is probably the m tion-space, but it isTHE important for itCAFE to beFAIR spacious knowledge sharing; the gath THE THE EXPO/TRADE FAIR THE CAFE EXPO/TRADE THE EXPO/TRADE THEFAIR AMPHITHEATER THE AMPH to allow for different configurations over time. The heat source sharing stories a knowledge that is shares through an exhibition might space might not have the kn be read on boards or seen through videos, but can the other hand it gives us so also come from the wondering discussion that arises understand each other as hu from the questions being asked by pieces. terms. The hearth is mostly At an exhibition you can therefore both receive, is created by the light, the he exchange and contemplate over the knowledge that nature. Even though the spa is shared. comes very intimate due to t

THE LIBRARY THE LIBRARY THE OFFICETHE OFFICE THE OFFICE THE EXHIBITION THE EXHIBITION THE EXHIBITION THE FIREPLACE THE FIREPLACE THE FIREPLACETHE LIBRARY THE BAR

THE BAR

THE BAR

THE BAR

THE BAR

THE CAFETHE BAR

THE CAFE THE CAFE

The bar is a place to meet friends, colleagues or strangers. It is an intimate space at the same time as being almost public. There’s a big variety of bar-types but common for most is, the atmosphere is very relaxed and it is okay to be rather noisy, because the noise actually is creating the intimate space. In a bar you can sit by the bar, around a table, stand in the corner or whatever you like. The bar is a break from work, but can facilitate some great discussions and knowledge exchanging at the same.

THE CAFE

THE CAFE THE CAFE FAIR THETHE BAREXPO/TRADE

FAIR THE EXPO/TRADE FAIRTHE EXPO/TRADE THE CAFE T THE AMPHITHEATER THE AMPH

THE AUDITORIUM THE MEETING THE EXPO/TRADE THE EXPO/TRADE FAIR THE EXPO/TRADE FAIR FAIR THE AMPHITHEATER THE AMPHITHEATER THE AMPHITHEATER

The amphitheatre in the con double function being used a to share knowledge or show at a time as well as being a in use. Being a theatre the s attention in the same directio people participate on rather As a sun-terrace it can be us can create your own spaces the stairs and it becomes ve Often the outdoor amphithea point.

The trade fair or exposition is set up to search for, exchange, discover, and demonstrate new knowledge.

It is very structured, rather formal and focuses on a specific subject. The expo can be only for professionals as well as open to the public.

The expo often takes place in a grand space or even in a larger area, but is also divided into smaller sections, pavilions or stalls. At an expo you float around the exhibition almost like a living library.

Construction Axonometric THE OFFICE

THE EXHIBITION

THE BAR

THE CAFE

T

AARHUS SCHOOL OF ARCHITECTURE 264

YOLDIA SOCIETY AN ARCHITECTURAL RHAPSODY Yoldia Society is an everchanging cluster of small constructions housing a community experimenting with clay constructions in temporary conditions.

Besides discovering new construction methods, the context forces the community of architects and designers to reflect on the passing of time resulting in the decay and death of their creations. The size will vary from year to year depending on the erosion of the coast and activity in the society.

Storyboard

Throughout the history of architecture, clay has been used as solid binding material. In early architecture and undeveloped countries, clay can be seen in mudbricks, rammed earth or unburnt clay. In the western world, it is mostly used in bricks. Yoldia clay is grey and will turn yellow upon burning (e.g. if turned into bricks). Yoldia Society will challenge the uses and transformation methods of clay to avoid a hard burning. This avoidance will secure its future flexibility and usability.

Kristian Knorr Jensen Lønstrup, Denmark

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The Beginning of End Timestamp 2 Conceptual Section

265 AARHUS SCHOOL OF ARCHITECTURE

÷200m

÷100m

+100m

9°46’22”E Dune 1999

N

The Green Pass

+200m Dun e

Dune 2008

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Northen Jutland 1:200,000

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dd Projecte

20 19

Siteplan 1:1000

Kattegat

d Projected

81.5m

North

+100m

05 45°

+50m 0m ÷50m

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67.5°

07

08 90°

18

09 17

Skagen

West

10 16

11

South t as -E

Hirtshals

No rth

1200 hours

Skagerak

0 207 ge ed ed Project

So ut

t es -W

e oj Pr

North

on site

t es -W

20 6 0 Project ed edge

Edge 1999

So ut h

st Ea h-

+100m

Wind

ct 30 20 ed edge Pro jec ted edge 2040 Proje cted ed ge 2050

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08 Edge 20

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No rth

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t es -W

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22.5°

22

0

Access road

Mylund

Rubjerg Knude

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t as -E

21

N

20 5

60 20 ne 70 du 20 t ed ne jec du Pro t ed jec Pro

Sec tion

Sun

on site

40

e dun cted Proje

AA

+200m

0 une 203

0 une 2

+100m

The Green Pass

800 hours

400 hours

East

West

0 hours <19m/s 19-38m/s

54m

>38m/s

Frederikshavn

So ut h

st Ea h-

Lønstrup

Site

INITIAL SITE

Hjørring

So ut

t es -W

57°26’40”N

South

Temp.

r embe Dec

Section BB

57°26’40”N

Janua ry

Fe br

r be em

n) itatio cip re (P 12° C (50mm)

Pathway Sæby

arch M

Octo ber

Løkken

ry ua

No v

on site

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6° C (25mm)

25 km

April

er temb Sep

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Night temp.

Brønderslev

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t us

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y

lA ug

50 km June

Full Metabolism plan

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÷100m

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Hou

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Denmark 1:5,000,000

Aalborg 100 km

Limfjorden

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12,00 12,00

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a Se a s as m nd La

ldi Yo

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Yold

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ia S

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tion

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Vegetation

City

Yoldia Clay

Clay Mine

Brickworks

÷300m

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9°46’22”E

+200m

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Clay Representing Time

Advancing the Society

Conceptual drawing

Timestamp 1 Isometric

2030

y is

used

2027

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2026

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in con

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n by

the

peo

ple

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The constructions define a community

deposited

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by the wind

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A community for experimenting with clay constructions in temporary conditions

etho

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Timeline

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1970

2020

Two architects arrive at the site and builds a wall and small plaza of existing Bricks from the lighthouse ruins.

2021

Upon return the architects construct a pathway and a pavilion of Super Adobe and wood.

1960

2022

To cover the working area additional walls of Rammed Earth and roof erected over the plaza.

2023

1950

To expand a test resilience a composite Brick/Unburnt clay wall is constructed along with a brick plaza.

2024

The first enclosed hut of Cement Stabilised Earth Blocks and mycelium insulation is built, and the society is formalised.

2025

To expand knowledge on wood/clay constructions an Adobe drying shed for wood and a workstation added.

2026

A large wall of Rammed Earth is constructed to test various openings made of wood.

2027

To accommodate more people and increase comfort a small structure of Earth Blocks is built.

2028

A Cement Stabilised Rammed Earth house is constructed up against the openings test to increase indoor working space.

2029

A foundation of mainly wood and Brick is constructed in preparation of the first 3D printed clay structure. A Cob wall is built to shield a storage space from wind.

ar

r ye

s2

s pe

2030

er

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m

A large industrial 3D printer creates a robotics workshop of a Cob like clay substance.

m

n

e

Th

ea

clai

oc

Adobe

Super Adobe

Cob

Section CC Timestamp 1

Studio Studio

Compressed Earth Blocks

Compressed Stabilised Earth Blocks

Rammed Earth

Cement Stabilised Rammed Earth

Fired Clay

Unfired Brick

AARHUS SCHOOL OF ARCHITECTURE 266

Plan Timestamp 1

Detail 1 1:20

Timber Unfired Clay Clay Mortar Reused Bricks

De

Living Space Tent

Tent

Plaza

Studio

Section CC Wood Storage

Plaza

Tent

Tent

Tent

Tent

Pavillion

Detail 1

54m

51.5m

267 AARHUS SCHOOL OF ARCHITECTURE

Towards the road

N

Loading Zone

Towards the forrest

Workshop Storage

etail 3

Robotics Workshop

Tent

Tent

Tent

Plaza

Tent Wood Workshop

Tent

Tent

Studio Section CC

Detail 2

Detail 2

Detail 3

1:20

1:20

Glass Timber Rammed Earth

Linseed Oil Plywood Mycelium Cement Stabilised Rammed Earth

53.5m Towards the path

Lime Finish 3D printed Cob Sand

AARHUS SCHOOL OF ARCHITECTURE 268

LANDMARK AN EVOLVING PIECE OF COASTAL INFRASTRUCTURE In an age of climatic instability and growing social unrest, this project deliberates the role of narrative and authorship in relation to wider events.

n

Scaffold

Exploded Iso 1:250

A shifting landscape across planes large and small prompts discussion of the re-imagined and the novel.

The project is a piece of infrastructure, a column supporting a clifftop viewing platform that evolves into a cliff-side heritage museum, then a coastal design research facility and finally an offshore drone port.

Trellis

Allotments

Algae Shutter

Greenhouse

Tall Room

Chapel

Landscape

As the fringe of land ventures inland, so to the fading Vendsyssel cliffside reveals new parts of a buried column, the emergence of new space to be inhabited with floors. The needle-like foundation offers itself up as a platform for design experimentation and as a visual landmark, both as a prompt for reflection and a means with which to interact with the place. Vertical programming allows for an intimacy with the cliff that grows spatially and flexes functionally over time.

Pivot Head

Ring Shutter

Compost WC

Archive

History Hub

Stair

Gangway

Study

Interactive Room

While the design emphasizes the processional state of the present, its future remains uncertain. The building’s ‘turbine-like’ steel structure prepares it for a future at sea, as a marker of time passed..

Hugo Shackleton Lønstrup, Denmark n

Exploded Iso 1:250 Allotments

Algae Shutter Greenhouse

Tall Room

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L

C

269 AARHUS SCHOOL OF ARCHITECTURE

Rubjerg Knud Fyr

Behaviour on Threshold

T

T

Marup Kirke

T

A

T

A

T

A

T

1. Tumbling Summer Houses T

Lønstrup

T

T

A

T

A

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B B B 2. Relocated Lighthouse

2034

Features of Threshold

2027 A

T

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A

T

A A A

C C

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C 4. Higher Ground

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Site Plan B B 1:500 B Rubjerg Knud 5. Lower Ground A

T

100m

w

n

3. Re-emerging Cemetary

A

T

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A Woven Edge T 1:1000 Hand Drawing Clay & Sand Rubjerg Knud

Site Plan 1:15000 Lønstrup Western Jutland Denmark

C C

B

C

B B

n

6. Unchartered Territory 100m

Erosion Rate: 2M pa

Toronto CN Tower 553m

T

A

T

Berlin Fernseh Tower 368m Adaptation to Threshold

T

A

T

A

T

T

B

8. Prompting New Awareness

7. Generating New Space T

A T

A

Z Direction Growth

T

?

C

35m

B

T

B

Conglo Space

Wind Turbine 70m

A

C Seattle Needle 184m

B

Tall Space

Petal Structure

Water Membrane OBS Board Insulation Outdoor Space

OBS Board Ceiling Joists

Material Structure

Fragmented Narrative

A

T

Cork

T

Shingle Cladding Chitosan

Human Bone

A

T

T Fungus (mycel-)

Tall Space 2 T

A

T Human Skin

B Stud Wall Structure Insulation

Adapted Form

Algae

A

T

Steel

T

C

A

T

B

Timber

Roof Truss

A

T

Top Pivot Ring

T

B Keratin

Support Column

T

Pectin (emuls-)

A Interior Space

C

A

T

Clay

T

1. Functional B Circular Axis

Timber Floor Beams Bottom Pivot Ring

B

Floor Truss Insulation OBS Board Shell Batons

Carpel Meso Carp Epicarp

A

T

Water Membrane

C B

2. Hierarchy of Elements

3. Hemispherical Program

Section 1:75 Phase 1 Year 2 Plan 1:75 Phase 2 Year 6 Garden Chapel Visitor Centre

Site

Fyr

Kirke

Section 1:75 Phase 701 Year 30 Garden Chapel Sust. Research Material Science Studio Dorms Theatre Canoe Hire

Section 1:75 Phase 29 Year 6 Garden Chapel Visitor Centre

n

Pivot Head

Trellis

Ring Shutter

Scaffold

Stair

Landscape

Compost WC

Archive Gangway

Allotments

Study

Greenhouse

Interactive Room

History Hub

Tall Room

Algae Shutter

Chapel

Exploded Iso 1:250

n

B B B

T

Section 1:75 Phase 937 Year 58 Garden C02 Capture Wind Harvest Solar Store Ocean FIeld Lab Desalination Plant Dispatch Port Fish

AARHUS SCHOOL OF ARCHITECTURE 270

N 1:200 Plan and shadow plan.

Plan and Shadow Plan

Site Plan

Protecting edge.

1:200 sections

Plan and Shadow Plan Gutter.

Wodden floor.

Joists.

Insulation.

Beam.

Visible concrete slap, 200 mm. Carrying bricks in niches.

Outer layer of stones, protection of reused bricks.

Porotherm insulated.

200 mm.

Beam, following wall.

Stone foundation.

Path of sand.

Joists. Distance 500 mm.

Draining small stones.

1:500

Insulation, shells or hemp.

Wooden beam. 150 mm.

Distance 500 mm.

Floor heating in kitchen.

Clay surface.

30 mm.

N

Plates. 50 mm.

1:100 Plan Office, Garden and meetingroom.

Section detail 1:20

Thoughts on Japanese construction. Foundation, lifted from earth on stones.

Wooden joinery, possible to disassemble. Parts that will be removed first, while the wall can be as open building.

Shelter behind bricks.

A Path and a Memory in & of the landscape and its change.

Path On the wall.

Inspiration from Closters. The wall as massiv with functions connected to it.

Enclosed Garden, moving into the glass corridor.

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271 AARHUS SCHOOL OF ARCHITECTURE

SHELTER BEHIND BRICKS A PATH AND A MEMORY IN & OF THE LANDSCAPE AND ITS CHANGE Working with the topic of instability, ephemerality and impermanence in the fall of 2019 the design assignment finds place in Lønstrup, a small village on the west coast of Jutland.

With constantly changing conditions we were to design a dedicated site for architects. A retreat for them where they live, work and deal with future challenges and changing environments.

Hallway

Our physical conditions change, and scientific predictions tell us that the general climate emergency, is the most current future. As our global society goes on producing, selling and building, the aim is to point to materials that we do not have to reinvent but to recapture in their basic qualities. Earth materials, as clay, bricks and minerals, can be implemented in our present building culture as well as make us capable of trans¬forming and maintain old buildings, in a more logical way than seen in the last 60 years. This does not exclude new technologies or methods, but allow us to look back and get inspired, for moving forward.

Marlene Hindsted Lønstrup, Denmark

Sleep

_In a material relevant context

AARHUS SCHOOL OF ARCHITECTURE 272

Through mappings, two possible sites came up - Hultug Quarry and Boesdal Quarry.

After site visits and studies of current use, the choice fell on Boesdal for following reasons: • Deselection of Hultug quarry as it is a Natura 2000 area and has a more natural and geological focus.

• Today’s use is for recreational and cultural purposes • Boesdal quarry is easily accessible • The landscape values and traces from the chalk • Traces of the former industry as part of the narrative, which witnessed the forces that have sculptured the landscape Wind:

N

10 330

61

30

_Site_Boesdal_Denmark

N

300

62

60

61

16

W

E

4 120

240

150

210

13

S

12 Percent >11.0 m/s

5.0 - 11.0 m/s

0.2 - 5.0 m/s

ry

ber em

rua

Dec

25

Feb

January

Temp. Rain:

1 11

20

rch Ma

15

Nov em ber

10

5

0

-5

2

April

october 25 mm

E

y

75 mm

100 mm

July

ust

e Jun

Aug

125 mm

Temperature: Maximum

8

Sun:

Minimum

Rain:

Average rainfall

N

330

10

30

3

Ma

50 mm

r be tem

5

W

0 mm

14 Sep

Copenhagen

17

15

20 30 40

300

50

60

60 70 80 90

W

Boesdal

E

120

240

72

S

9 Season: Summer

19

150

210

71

Spring_Autumn

Winter

18

Index: 10: 11: 12: 13: 14: 15: 16: 17: 18: 19:

UNESCO path The Pyramid The old chalk barn The old chalk kiln Fossils along the beach View_The ”Surface” View_Arrival Viewpoint_Sea & Quarry Costline_1945 Scenario_Sea level rises 2 m

Oldest part of the quarry Farmland Microclimatic advantages Primary building site

S

S

N

1:1000

0

30 m

60 m The sun's angle of radiation during the seasons Summer_Noon Spring_Autumn_Noon Winter_Noon

Afgang_M. Engelhardt Sjögreen

UNESCO wall Access to beach Lower terrain Parking Primary wind Movement: Sun - Summer (20.06) Sunrise: 04:23 am Movement: Sun - Summer (20.06) Sunset: 22:23 pm Movement: Sun - Winter (20.12) Sunrise: 09:00 am Movement: Sun - Winter (20.12) Sunset: 15:37 pm Cost protectionline Stevns Klint walking trail

Afgang_M. Engelhardt Sjögreen

1: 2: 3: 4: 5: 6.1: 6.2: 7.1: 7.2: 8: 9:

limestonewall

makers space antiquity

N

330

30

storage

solgangen 300

public toilet

60

technique W

storage

wc

staff

E

tickets + kiosk wardrobe

middle ages

120

240

210

150

busts

S

Percent

>11.0 m/s

5.0 - 11.0 m/s

himmelrummet

0.2 - 5.0 m/s

renaissance

330

10

30

N

20 30 40

300

60

50 60 70 80 90

W

E

120

240

210

150

S

Spring_Autumn

_

Summer

S

Winter

N

N

0

The sun's angle of radiation during the seasons Summer_Noon

Afgang_M. Engelhardt Sjögreen

Season:

Spring_Autumn_Noon

3m

6m

Winter_Noon

_

_

Ground Floor Plan

3m

6m

Afgang_M. Engelhardt Sjögreen

0

3m

6m

6m

Afgang_M. Engelhardt Sjögreen

Afgang_M. Engelhardt Sjögreen

0

3m

Afgang_M. Engelhardt Sjögreen

0

Arrival

Scan to learn more

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273 AARHUS SCHOOL OF ARCHITECTURE

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To uri Eagl

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School s

Scientists

Spring Summer

Fall

on collecti

Winter

Locals

AN OPENING

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Stevns Klint is covered by the municipality's "Tourism Policy Report" 24 from 2015, which is based on the fact that tourism development is sustainable. In the statement, sustainable tourism is defined by the following three parameters: Nature's Sustainability: The activities must not affect the cliff. Socio-cultural sustainability: The local people and its general needs to be taken into general welfare.�

A relocation and reopening of The Royal Cast Collection.

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Since the reopening of The Royal Cast Collection in 1995, there have been ongoing cut downs in the artistic and cultural field in Denmark. In spite of that, it is through art that society in many ways has become what we know today. Today the cast collection is closed to the public due to savings.

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Residents

Afgang_M. Engelhardt Sjögreen

Day visitors Longer stay visitors New residents proposal

With this project, The Royal Cast Collection will be relocated and reopened for the public in a former limestone quarry in close relation to their geological origins. It is a historical and rough landscape, which represent the turbulent and complicated history of the cast collection.

Here they will function as the main resident together with nature. Through Art, humans have been able to explore and express themselves. Art is the physical form of philosophical thought.

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Early afternoon_summer senario

Afgang_M. Engelhardt Sjögreen

Lime whitewashing of floor through use

Afgang_M. Engelhardt Sjögreen

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THE ROYAL CAST COLLECTION

The Royal Cast Collection is one of the largest cast collections in the world. The aim of the collection was to let everyone have access to fine art without having to travel far away to explore it. It was meant to educate the people and reflect the art of its historical development. In Art academies cast collections changed the discussing of who the artist was, and instead discusses the form of the sculpture – thereby liberating the art and this becomes the starting point for the modern view of art. The Royal Cast Collection is therefore not only a piece of cultural heritage but also important art history.

Marie Engelhardt Sjögreen Boesdal, Denmark

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Visual of Revierkaia 2055

Meadow Greenhouse

Forest Biome

Ocean View Platform

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CONSTRUCTED ECOLOGY Site Location Oslo Docks

UTILISING REDUNDANT INFRASTRUCTURE SPACE FOR URBAN ECOSYSTEM SERVICES Constructed Ecology is a scenario unfolding on a central dock in Oslo exploring the possibility of using redundant parking spaces for habitat for biotopes with a specific benefit to the city and its inhabitants. These benefits are known as urban ecosystem services.

Revierkaia 2020

The scenario initiates as a parking structure which will be built within the next 5 years. Over the next 30 years, the structure then changes function from parking to urban habitat. This is made possible due to the autonomous vehicles of the future which will not need the same parking capacity as Oslo currently offers.

Besides initial parking spaces, the programme incorporates biotopes that especially focuses on a selection of urban challenges. The biotopes work in parallel with our existing solutions, but rather than polluting and using energy the services they provide cascade into positive effects such as creating circularity, resilience, health benefits, CO2 reductions and habitat.

Revierkaia 2025

Revierkaia 2055

An example of these urban ecosystem services is using sparrows to collect cigarette buds rather than using cleaning personal or cleaning trucks. The cigarette buds contain nicotine which the sparrows use a pathogen remover in their nest – thus improving the survival rate of their offspring while they are cleaning the city. If we collected this waste fraction, we could furthermore explore how to reuse it as a low-cost insulating material creating a circular loop in our urban resource management. The sparrows are part of the mountain biome – one of four biomes which the project is divided into. The scenario includes a Meadow Biome, a Marine Biome, a Mountain Biome and a Forest Biome

Kristian Knorr Jensen Oslo, Norway

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BALANCE OF OUR PLASTIC CULTURE A MARKET FOR SUSTAINABLE GROWTH Transition project reducing single-use plastic connected to our food culture.

Site Axo Tagensvej 90, Copenhagen

The United Nations has declared disposable plastics the biggest environmental challenge in the world and 15 nations already abandoned plastic bags. It’s not only the plastic of a plastic bag that is our problem, but most objects in our everyday life are also wrapped in plastic.

Production

Food Market

Production

Market

Living Room

Laboratory

The Danish government’s recycling strategy involves sorting the waste in more fractions, bringing more containers into our households and building new systems to process and recycle the plastic later. – But is there a better alternative?

“Balance of Our Plastic Culture” is a transition project reducing single-use plastic connected to our food culture. It focuses on avoiding single-use plastic coming into our households in the first place. With a market, a kitchen and a laboratory, the project aim to execute a local, circular connection between production, consumption and waste.

This sustainable approach should inspire people to change a global problem locally.

Majken Lynge Gribskjold Copenhagen, Denmark

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Tra n s i t i o n Pro gra m Living room

Bioteket

Production

Greenhouse

Consumption Communal Kitchen

Waste

Laboratory

Market

Local Farms

Elevation

Ground Floor

Section BB

First Floor

Section CC

Second Floor

Section DD

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© Niels Rysz Olsen

© Cordelia Kert Sønder

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© Kevin Kuriakose

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BIBLIOGRAPHY Institut for X (2019). Available at: https://institutforx.dk/ (Accessed: 15 December 2020).

Mossin, N. (2018) An Architecture Guide to the UN Sustainable Development Goals: Authors and Editorial Committee: Natalie Mossin (chief Editor) [und 5 Weitere]. KADK. Ryu, S. J. (2019) ‘Urban Seascaping’ as a catalyst for urban transformation - Aarhus School of Architecture, Aarch. Available at: https://aarch.dk/en/urbanseascaping-as-a-catalyst-for-urban-transformation/ (Accessed: 14 December 2020).

Schubert, -Ing Gerhard (2016) ARI, Architecture Research Incubator TUM Department of Architecture Technical University of Munich. Available at: https:// www.ar.tum.de/en/ari/ari-test/about/ (Accessed: 10 December 2020).

United Nations (2015) 17 Goals, UN Sustainable Development Goals. Available at: https://sdgs.un.org/ goals (Accessed: 13 December 2020).

Woolman, M. (2002) Digital Information Graphics.

Watson-Guptill Publications.

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The project team would like to congratulate and thank the faculty and the students of Teaching Programme 3 for the excellent work that has contributed to this publication and research project. It is important to not understate the amount of time and energy that everyone has dedicated to research, teaching and learning about sustainability within TP3 /Lab 3. Without their support, this would not be possible.

Project Team

TP3/LAB3 MEMBERS ALICIA LAZZARONI

NIKOLA GJORGJIEVSKI

Teaching Assistant Professor

Research Assistant

ANTONIO BERNACCHI

RICELLI LAPLACE RESENDE

Teaching Assistant Professor

PhD Fellow

ELIZABETH DONOVAN

SAREH SAEIDI DERAKHSHI

Assistant Professor, MSc, PhD

Assistant Professor, M.Arch, PhD

HEIDI MERRILD

STINE DALAGER NIELSEN

Teaching Associate Professor, Architect MEGA

PhD Fellow

HELLE BLOM

STINE DINES LEBECH SCHMIDT

Teaching Assistant, Cand. arch.

Research Assistant, Cand. arch

JULIANA FELKNER

THOMAS R. HILBERTH

PhD, MArch, MSc Spatial Planning/Built Env, BA Eng, BA Env. Sc.

Associate Professor, Cand. arch, Dipl.Arch ETH, PhD

KASPER MØRKHOLT

Teaching Associate Professor, Cand. arch

Temporary Lecturer, Cand. arch.

KEVIN KURIAKOSE

TROELS RUGBJERG URSZULA KOZMINSKA Assistant Professor, Eng. Arch., PhD

Research Assistant, M. Arch.

NAIME ESRA AKIN Teaching Associate Professor, BArch, M. Arch, PhD

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BArch. (1st Class), BSc Architecture, PhD

AARH US

NEIL BURFORD

S HU

Assistant Professor, M. Arch, PhD

SKOLEN A KT AR TE

OL OF ARC HO HI SC

NACHO RUIZ ALLEN

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