Design Realisation by Asger Skov Rasmussen

THE KITE MAKERS HOME An exploration of lightness and heaviness by Asger Skov Rasmussen 400981

Table of content Exercise 1

The Anglerfish

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Exercise 2/3

Action in one hour

7 Architectural element in a history 9 Place in one day

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Exercise 4

Performative model

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The kite makers home

The Ă˜gadequarter The wind Heaviness & Lightness The bed The bath Drying the clouth The tower The tower which flirts with wind Concept diagram Conseptual section

The working method

The wokrshop

The library

The kitchen

The bedroom

The drying ceiling

The pochĂŠ Section

Colors

The elevation

Architectural elements from the site

Section detail

Plan detail

Materials

References Stair Ventilation

Construction fazing Fire

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Drawing Machines Strange Attractors Ex. #1 | Fall 2018 | Studio 2A Within the field of strange attractor you are to experiment with a simple kinetic system in a state space and record their interaction over time through tracings on paper.

The anglerfish The angler fish is a deepsea predator. With it’s esca a distance bio-luminescent extension of its body, it is luring its pray closer with a dancing uncanny glow in the pitch black dark.

The drawing machine investigates the precision and abstraction that one movement can create.

Inside the solid oak block sit two servo motors programmed by an arduino. These motors drive a simple rotary motion in the aluminum wheels which guide a rigid wire structure that appears to dance at the top of the oak block. The dance is documented by a precise drawing on the raised metal tray. We see this as the machine’s intended dance. Another pen is loosely attached to a long thin wire, bending, deflecting and twisting in its effort to transfer the movement from the precise motion of the wire structure to the paper. The result is a playful swooping of the pen that draws an image somewhere between order and chaos.

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Gottfried Semper is writing on the elements of architecture, stereotomy and frames.

Stereotomy coming from (Greek: στερεός (stereós) ”solid” and τομή (tomê) ”cut ”).

Frames being a lighter additive element.

The two elements did both consciously and unconsciously effect the way we worked with and saw the materials.

The wooden oakblock was carefully cut and carved, to leav space for the motors, wires and dials. The wire frame was bended and joined with small metal clamps, making an air structure hinting a space.

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Ex. 2/3 A Place, an Element, an Action

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Action in one hour Choose an action for your house design/program that is not necessarily related to the realm of the home. This action will be a big part of the program of your house. Record in the inventory instances and qualities of such action within an hour.

The action of making and flying kites.

The kite is a structure not lighter than air, lifted by the forces of the wind. The kite is a frame and additive often repetitive structure, aiming for the most efficient combination of strength, surface and weight.

When building kites, you build, test, and change the design based on your observations of its performance.

When flying a kite, you have a very direct and playful contact with nature. When flying a kite, you forget the hasty world. It allows your inner child to smile and run freely. It is a precise dance with nature that demands your full attention. In the sky the kite is not just light - it performs lightness, it flirts with the invisible forces of the wind in its defiance of earth’s gravity.

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The action of making and flying kites

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Architectural element through a history Trace a history of an architectural element through drawings, photographs or other, aiming to understand its technological changes, its mechanism and ways of performing in the building.

The Poché I have always been fascinated by the heavy earthbound. In the sky everything is dynamic, floating from one place to another, changing from one state to another. Inside the earth, things and even time slow down to a point of almost standing still. A manmade heavy build structure has the same ability; they protect you from the environment, from danger, by creating a safe space.

I chose the architectural element called poché. When the structure is space and the space is structure. The poché is a secondary space, a servant space, serving a main space a served space, as Louis Kahn describes it. The poché is an element of the yet’s, it’s a wall yet it’s a space, it’s a gap yet it’s not. The poché is a space that penetrates its interior, a tension between inside and outside. The poché is security, a hidden or concealed space, a niche, a passageway, a place that protect you, a place you want to inhabit.

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The Poché

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A place in one day Record your selected site at a gap/opening from the previously assigned Thunøgade block in Aarhus. You will decide how to record it and what elements to focus on.

Thinking of how a kite maker sees his near context, what are his interests?

The kite maker sees the city as places he can fly and can’t fly his kites.

Not looking down, but looking up at his passion; the sky. Thereby flipping the map of the area. The kite maker maps the wind, notes the sites nearby where he can test his kites, notes their distance from his home, their sizes and at which wind direction they perform their best.

I am imagining the kite maker as a person like Pedersen from Pedersen and Findus, an older man that likes to share his passion in his own pace. The site is surrounded by daycare centers and schools, places full of curious kids eager to learn the playful craft of the protagonist

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1200m_13min_88m_47m

1800m_21min_180m_100m

1900m_22min_135m_106m 700m_8min_67m_54m

500m_6min_57m_80m

Revealing the world of the kitemaker 1500m_19min_82m_36m

72m_1min_27m_17m

350m_4min_37m_43m

290m_4min_48m_13m

700m_8min_82,5m_78m

300m_4min_35m_39m

031018_12_29,7o_8m/s

031018_13_86,1o_6m/s

031018_14_105,6o_9m/s

031018_15_105,4o_9m/s

031018_16_95,2o_9m/s

031018_17_94,7o_10m/s

031018_18_94,9o_10m/s

031018_19_95,2o_10m/s

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031018_20_90,1 _10m/s

031018_21_95,5o_9m/s

031018_22_105,9o_11m/s

031018_23_110,7o_9m/s

031018_24_105,8o_9m/s

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041018_02_115,7 _7m/s

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031018_11_133,9o_7m/s

950m_13min_195m_70m

850m_11min_107m_50m

1000m_13min_230m_81m

750m_10min_38m_48m

I Børnenes Jord_072m_1min I Børnehuset Thunfisken_130m_2min I Laursens Realskole_180m_2min I Beboerfor F Sjællandsgadekvarteret_250m_3min I Elise Smiths Skole_300m_4min I Samsøgades Skole_400m_5min I I Gøgler Produktionsskolen_400m_5min I DII Arveprinsesse Carolines Børneasyl_450m_6min I Skattekisten_550m_7min I Midtbyens Dagtilbud_600m_8min I Vuggestuen Storkereden_800m_10min I Vuggestuen Småland_950m_12min I

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Ex. 4 Performative Models The performative model is to be based on your discoveries from your drawing machines. Logic of your drawing machine, were traced over time and recorded in one single drawing. You will in this exercise create a performative model that combines and further explores the temporal characteristics of exercise 1 and 2/3 into a dynamic model.

I have used the model to summarize and explore my ideas from exercise 1 and 2/3 into a physical and dynamic model.

How does the heaviness of the pochĂŠ meet the lightness of the kite?

How does the model express the yet of the pochĂŠ. How does the model focus the investigation of an architecture that passionately flirts with the wind?

The architecture of the yet is an architecture of contradictions and complexity, an architecture that awakes curiosity that wants to be explored.

Is the model standing or is it tilting? Is it light or heavy, thick or thin, closed or open? The pochĂŠs awake the curiosity, creating small and bigger spaces for the imagination to wander through and hide in.

Imagine the protagonist of the future building as completely and fully passionate about wind. Creating small openings in the vast plaster model, holes inspired by my own experience opening doors and windows in big buildings, feeling the amplifications of the wind, a sensation the protagonist would like.

On the top of the model are large metal surfaces hanging almost floating, not light like a feather but like a bird, performing lightness, revealing the slightest blow of the wind. Changing both the light and the sound in the whole building, putting a smile on the protagonist face.

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The Kite maker’s home The assignment is to be based on your discoveries from your drawing machines; exicise 2, a place, an element, an action and the performative model.

In light of the theme ’Strange Attractors’, the project is an urban infill edifice that performs as a house and as public space.

Inwardly, the house will explore notions of privacy, outwardly the building will become a place for the city. Located in the heart of Aarhus, this dual house, for a person and for a city, will be developed through studies that use machines, both new and existing, in order to investigate new forms of tectonics and spatial possibilities The intention of the assignment is to stimulate the discussion of the role of machines in our lives as well as in the life of buildings. In which way the potential of machines can aid the architect’s imagination to design strange, yet attractive spaces?

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The Øgadequarter The site of the kite maker’s home is located in a part of Aarhus called Øgaderne. The quarter is a calm residential area situated in between two major roads Nørre Allé and Nørrebrogade. The neighborhood was a typical working-class neighborhood build around the 1900’s. The building typology varied from bigger 6 story buildings with a width of 20 m, to smaller individual rowhouses in 2 stories with a width of a round 8 m. The buildings are typically divided by firewalls, which sometimes are left very exposed, because of the difference in building heights. The building block closely follows the small streets and hides the smaller free-standing buildings and sheets in their backyards. Today the area is an upper middleclass neighborhood, where many families with small children live. The children can easily walk to and from the many kindergardens and schools in the area, because the traffic mostly consists of pedestrians and cyclists.

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The wind

Air’s density and humidity are affected by it’s temperature. Higher temperatures increase the air volume and ability of containing water. In general, the major wind in Denmark is the stronger western wind. But factors like the local environment also play a major role.

The wind in cities is in general more turbulent and playful than wind in open landscapes. In places near the coast like Aarhus, phenomena like land and Seabreezes occur. They occur because of the difference in the ocean and land capability to store heat. Creating a breeze from land to sea at night time and a breeze from sea to land in the beginning of the day.

This in-depth knowledge of the wind has been important design factors when thinking of a home for a person fully passionate with wind and lightness.

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Heaviness & Lightness The kite is an object heavier than air, contradicting the laws of physics by overcoming the gravity of earth. In the air it reveals the wind’s lightness, with its agile soft motion.

Neither the kite nor the wind itself has the ability to perform this lightness, they need each other.

The text ”Lightness” by Italo Calvino, the book ”Complexity and Contradiction” by Robert Venturi and ”A feeling of History” by Peter Zumthor, helped me to obtain a deeper and more nuanced understanding of what weight is. An understanding that helped me to open up the assignment.

Italo Calvino’s text of lightness consists of many smaller stories, questioning the common understanding of lightness and heaviness as constants. He writes about how Medusa, a monster who turns her enemies in to stone, is transformed into the lightness of the winged horse Pegasus.

“The only hero able to cut off Medusa’s head is Perseus, who flies with winged sandals” “Medusa’s blood gives birth to a winged horse, Pegasus—the heaviness of stone is transformed into its opposite” Calvino sees the phenomenon of weight as a more fluent state. Where lightness can take the properties of heaviness and heaviness can take the properties of lightness.

“After Perseus cuts of madusas head, another problem arises: where to put Medusa’s head. And here Ovid has some lines (IV.740-752) that seem to me extraordinary in showing how much delicacy of spirit a man must have to be a Perseus, killer of monster “So that the rough sand should not harm the snake-haired head (anquiferumque caput dura ne laedat harena), he makes the ground soft with a bed of leaves, and on top of that he strews little branches of plants born under water, and on this he places Medusa’s head, face down.””

The building or the building components is perceived as heavy, light or both depending on how they are treated.

In 2016 I saw Sverre Fehn’s Nordic pavilion for the first time. A building that is constantly shifting between being light and heavy. The roof of the pavilions is constructed of two set of very thin overlapping beam. The roof is heavier when it is seen orthogonal compared to the lowest set of beams, and lighter when standing in the other axes.

Then you walk under the pavilion and look to the sky the roof becomes even lighter, while the bigger beam holding the roof in a contradicting manner seems heavier. If you walk out of the pavilion you notice that the only place where the pavilion is not consisting of straight lines in an orthogonal grid, is when one of the big beams is interrupted in it way by a tree bending the beam, making the beam light and the tree heavy.

The small part of the text I found most eye-opening was.

“This discussion of Cavalcanti has served to clarify (at least to myself) what I mean by “lightness.” Lightness for me goes with precision and determination, not with vagueness and the haphazard. Paul Valéry said: “Il faut être léger comme l’oiseau, et non comme la plume” (One should be light like a bird, and not like a feather).”

Lightness and heaviness are in their preformances. The idea of the complexity of an, at first, simple matter, lead me to Robert Venturi’s book Complexity and Contradiction.

Like Calvino’s understanding of weight as not being an either or, but belonging to the more complex and for me more interesting “both” or yet.

“I prefer ”both-and to ”either-or,” black and white, and sometimes gray, to black or white. Contradictory relationships express tension and Complexity must be constant in architecture. It must correspond in form and function. Complexity of program alone breeds a formalism of false simplicity.”

The richness in Sverre Fehns pavilion is in the “both” or yet, in its ability to change in accordance to where you stand, the weather and maybe even your mood.

Peter Zumpthor Writes in his book A Feeling of history. ”Understanding that the history of a place is also stored in physical things- remnants, even rubble-that help us to understand it in a way that goes beyond scientific texts and didactic explanation. Maybe not beyond, but it is a different mode of understanding, based on emotions rather than intellect.”

Peter is not working with a history belonging to the book, but instead with the term “an emotional reconstruction”. It is again not the fact that is the determination factor but the experience.

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The bed The kite maker laying in his bed in the morning, half a sleep half awake.

Smiling with his eyes closed as the morning breeze gently greets him.

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The bath The high thermal conductivity of water makes the wet naked skin after a bath extra sensitive to the slightest touch of the winds.

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Drying the clothes In the top of the house the clothes gently start moving, slowly revealing the air’s movement through the house.

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The tower He forgets his daily life, when the wind lifts his kite up high. On the roof of Aarhus he is only contemplating on his fragile play with the wind.

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The tower which flirts with wind Renzo Piano describes with warmth and joy in his voice, about how his buildings flirt with different elements of nature. How they in an intimate manner has a relationship with their context, not with its physical context but the context of the natural elements. ” Here, in Rome, is a concert hall (Parco della Musica). Another place for people. This building inside is actually designed by the sound, you can see. It’s flirting with sound” ” On this picture, you have the Menil Collection, used a long time ago.

It’s a museum. On the right is the Harvard Art Museum. Both those two buildings flirt with light. Light is probably one of the most essential materials in architecture. And this is in Amsterdam. This building is flirting with water. And this is my office, on the sea. Well, this is flirting with work.” ” it’s me on my sailing boat. Flirting with breeze.” ” This is the Jean-Marie Tjibaou Center. It’s for the Kanaky ethnic group.

It’s in Nouméa, New Caledonia. This place is for art. Art and nature. And those buildings actually flirt with the wind, with the trade winds.”

The vernacular architecture in Denmark, does not flirt with the wind. It hides from the wind, it gets beaten into the ground by the strong wind.

Traditionally the tower has been the building typology with the strongest connection to the wind. Αέρηδες The Tower of the Winds or the Horologion of Andronikos Kyrrhestes in Athen is considered the world’s first meteorological station, built by Andronicus of Cyrrhus around 50 BC. The 12 meter tall octagon tower has a depiction of the eight wind deities on its frieze. On its top a wind vane shows the direction of the wind.

When people or architecture flirts, a mutual interest occurs, an interaction, a small dance, where information little by little is exchanged. When the kite maker flies his kite, he and the kite are flirting with the wind. The kite maker’s home should have the same wish to interact with the wind, receiving and giving information.

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Concept diagram The thickness of the tower protects the kite maker’s playful light world from the gray outside. Inside the tower is the floating geometrical served spaces informed about the wind through the servant spaces in the pochÊs of the thick outer wall. The arms stretch out detecting, amplifying and directing the wind. Both telling the kite maker about the wind, and the wind about the kite maker.

Conceptual section This initial section shows a tall slender building, stretching its arm outwards and inwards through its two facades. Allowing the kite maker to blur the traditional physical boundary between inside and outside.

A tower where the balance of the equilibrium is constantly put slightly out of balance by the wind. A place where lightness and heaviness are ever changing. Inside the floors are like clouds, both a thing in itself and part of a whole, revealing and hiding the verticality of the tower, but never questing the verticality. From this initial section, the gable walls were closed firewalls towards the neighboring houses of the infill site.

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The Roof

The Drying Ceiling

The Bedroom

The Library

The Workshop

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The working method The building was developed through hand drawings. A method allowing me to get inside the building into the details. By jumping in scale, from diagrammatic icons, to precise scale drawings. The precise A2 drawing was constantly used to explore different ideas in an intuitive way through notes and drawings in different scales.

The plan drawing was developed from the ground up, like the actual building eventually would be. For each new plan, new ideas emerged and old despaired. �pencil in the the architect’s hand is a bridge between the imagining mind and the image that appears on the sheet of paper�. from Juhani Pallasmaa The Thinking Hand

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The Workshop Ground floor The meeting point between the kite maker and the public.

Sometimes he comes running home with an idea and immediately starts building.

The workshop is a place where he can showcase and share his passion.

The traces of the wind, his materials and tools are the catalyst for his work.

The kite maker enjoys the fabric showcasing and its lightness.

When building kites, he is connecting; nature, theory and craft.

At the entrance a giant concrete slab is placed upon in situ concrete.

The imprecision of the in situ concrete makes the slab tip when people enters the workshop.

The giant pivot door allows him to build giant kites on his foldable working desk or on the floor.

A free-standing stone is the last contact with the ground, leading him into the heavy pochĂŠ, before arriving at the light metal stair leading upwards.

Fabric

Private entrance

Storage

Hanging Tools First Step

Working Desk

Pivot Door

First Step

Thunøgade 2

Thunøgade 4

Rocking Stone

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The Library 1st floor In the library he both reads the wind and about the wind.

He likes to be surrounded by his old and ongoing projects.

The giant louvers are slightly tilted, making them settle at a specific position, until wind stirs the harmony, moving them out of balance.

Light reflects into the tower highlighting the movement, they squeak ever so slightly.

He likes to sit close to the louvers, reading and looking into the street.

The library is the intermedia between his workshop and his living space.

When he opens his foldable bookshelf, a scent of the many books greets him, he smiles.

On the balcony he enjoys the fresh air while looking into the small gardens in the blocks inner.

Foldable Bookcase

Balcony

Working Desk

92 o Vertical Connection

Reading Chair Sliding Door

Moving Louvers

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The Kitchen 2nd floor A place for relaxing and social gatherings.

A place where smells are importaint for the kitemaker.

In the larder, the scent of his food is treasured, through a small hole the scent seeps into the kitchen.

He likes to cook and look into the backyard.

Over the stove is a movable vent conected to an external disk. The disk creating suction by the natural pressure of the wind moving over its surfaces.

Vent

+ Larder

Kitchen

Dinning table

Sliding Door

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The Bedroom 3rd floor The hanging bed moves gently after he goes to bed, together they find an inner peace.

Before falling asleep he looks up through the double high space, through the moving louver, in the roof, up into the night sky.

He is floating in his dreams.

When waking up, he appreciates to stay in bed and feeling a morning breeze on his face while his body is still covered by his warm duvet.

The kite maker likes to stand in the wind after a shower, letting the wind dry his body.

When he opens his wardrobe, the pressure created by the wardrobe doors makes his shirts move like the fabric in his kites in his workshop. He enjoys the lightness the shirts have in that movement.

Wardrobe

Toilet

Curtain

Bath

Balcony

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The Drying Ceiling 4th floor While the clothe is tumbling around in the washing machine, he sits reading a book looking over Aarhus through the small window.

When the washer is done, he folds a table down near the clothing line and starts hanging up his clothes.

The clothes flutter in the wind, as it is extended, on the clothing line, out through the window, out into the open.

When the clothes is dry, he retracts the clothing line, and guides it towards his wardrobe on the floor below.

The wind is softly howling from the windows.

A stair leads to the roof, from which he flies his kite.

Wardrobe Louvers in the roof

Stair to the roof

Double high space

Double high space

Extendable Clothing lines

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The Poché Louis Kahn was known for his interest in Scottish Castles, by which he elaborated the distinction between ‘served’ and ‘servant spaces’, “with great central living halls and auxiliary spaces nestled into thick outside walls”.

Kahn: Yes. Within which you can put something or put a passage. Actually, this idea comes from a real reverence I have for Poché.

Klotz: Poché Kahn: Poché. Do you know what a poché is? I must show you poché. I wish you heard of it, because that was really very well put because it is true. Let’s look at any one of these books. The is Choisy. I said, to repeat, that the idea in the Trenton Bath House is the hollow column. Or, not the column really because it is the source of support. It is, to say, the source from which the space was made. That’s to say the support of the space itself. And this support in the space, instead of being a column, was actually a hollow column in the way of four walls, part of which would be taken away, but it was four walls. And this stems from buildings of old which had tremendous areas of poché. This is poché.

It’s the areas which… they are the supports. They are the walls.

Klotz: The Buttersessing of..

Kahn: … The structure, and it is signified almost in all architecture documents as the part which has no light. Where the light is not. Where the poché is, the light is not. And that’s why I say the structure is the giver of the light. The structure gives the light because it’s where the structure is and the light is not. If I make a black wall like this, there is no light.

Klotz: So the poché is more than a wall.

Kahn: Oh yes, it’s a column or a wall. It’s structure. It’s a indication of structure In the plans and sections the poché is seen as the indication of structure, as servant spaces, as the inhabitable walls towards the backyard and the street. The poché is the translator or the inhabitor of the elements translating the wind from outside into the square served space which is repeated throughout the building.

It is revealed, in the plans and sections, that the thick walls of the poché is constructed of light thin walls, while the thin gable walls are actually the heavy structural walls.

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Colors When thinking of kites, you think of colors, often bright strong colors. In the Ă˜gade quarter colors are also present. The facades are painted in bright colors, or have a beautiful exposed brick facade, with more elaborate details near the street.

The elevation The upper part of the facade pushes itself into the street, like the many bay windows seen in the area.

The outer facade is made of ridge roof tiles. Near the street and in the deep windowsill, the tile change into a more refined and tactile glazed tile.

The facade is a light yet heavy tile surface. Letting the wind touch it and be guided in the facades concave recess on the wind way upwards.

When there is no wind the facade appears in the distance as a heavy mass part of a thick brick tower. Only when you pass under it on your way into the kite makers workshop is it thinness revealed. The properties of the facade change in windy weather, then all the ridge roof tiles will shiver in their metal brackets. Over the street hangs the giant louvers, revealing the wind and awakening the curiosity of the people passing by.

The louvers are according to vejloven placed more than 2,8 m over the pedestrians path below.

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Architectural elements from the site The majority of the buildings in øgaderne are placed in the peripheral building blocks, with an open street and courtyard facade, and closed fire gable walls. The closed and minimal detailed gable walls are seen as left overs, never intended to be shown, but rather to be hidden by a future neighbor.

This openness and heaviness in the facade and the construction principal is translated into the architecture of the kite maker’s home.

In the large bay window people are meeting the street, pushing the interior out and dragging in the sun.

Most of the building has a more refined and tactile ground floor, inviting people in, and dividing the public and private program of the buildings. This more detailed part of the facade is reinterpreted into the glazed tiles in the window sills and the facade in street level.

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Section detail Of the bedroom facade

1 T profile 210 mm X 70 mm spanning from the structural gable walls carrying the concave floor 2 30 mm curves tiles spanning 1000 mm 3 Concrete floor 4 2 x 15 mm drywall covered with a 9 mm glazed tile 5 Rhs profile 210 mm X 127 mm spanning from the structural gable walls carrying the pochĂŠ 6 202 mm floor isolation 7 Cabinet of varying depth in 21 mm birch plywood 8 15 mm drywall 9 127 + 100 mm pur isolation, membrane 10 3 mm galvanized zinc 11 15 mm ridge roofing tile 12 Rhs profile 100 x 100 on which the facade is mounted 13 20 hard isolation 14 Termo window with hidden frame

Plan section Of the bedroom facade

15 150 mm + 100 mm concrete In situ concrete wall 150 Pur isolation.

The gable wall is the structural walls of the building carrying the floors, stairs, pochĂŠ and facade 16 H profile 127 mm X 108 mm.

17 Metal bracket 130 mm X 5 mm holding the tiles. Wire the tiles are resting on.

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Materials The floors and gable walls are made in a light concrete with a slight texture.

The pochĂŠs or servant spaces are mostly consisting of cabinet made in birch veneer. The pochĂŠ is serving the main space of the individual floors.

The Stair is made in corten. The stringers of the stair, is made of 10 mm thick curves corten steal, resting on the floors and at a specific point on to the gable wall.

The steps are made of a continues piece of perforated corten steal, mounted to the stringers, creating a rigid construction.

On the street facade at the ground floor and in the window sills are red glazed tiles creating a tactile surface, that colors the daylight reflecting on its surface.

The facade is mainly constructed of ridge roofing tiles with its concave side outwards. Thereby taking the building element traditionally most exposed to the wind and celebrating their relationship.

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References The windows and the cloudy feeling of the roofs of Utzon summerhouses on Mallorca, has been a major inspiration. The lightness, the concrete roof and tiles achieve is remarkable.

Understanding Louis Kahns fascination and use of the architectural element porcé in Trenton Bath House, has been a difficult and interesting challenge.

The verticality of the stair at Jaja architects’ Rubjerg Knude lighthouse was a big inspiration.

The cloud or fabric-like feeling of the tile facade on Bagsværd church by Utzon, was one of my first refences after learning about Gottfried Semper’s four elements.

Seeing a Renzo Piano documentary about the brick tower of L’IRCAM. The way the heaviness of the tower was questioned by the loosely placed bricks, plays with the same themes as my facade.

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Ventilation The vertical program is organized according to public/private relationship, the program’s internal relationship, and the heat, moistness and direction of the air, which played a major role in this specific the program.

When thinking of a workshop my grandfather’s workshop came to mind.

A dry cool room where the material didn’t deteriorate and physical work would be a pleasure.

As the air gets warmer, it moves upwards and its capability to keep water expands, fitting the program of a drying ceiling.

The program on the individual floors is also organized according to land and Seabreeze. For instance, the bath is placed to the east from which the sea breeze arrives in the morning, drying the kite maker after his morning shower.

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Construction fazing

1 Study the feasibility of a building permeate.

2 Buying the plot.

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3 Demolish the 70 m2 existing garage.

4 Build a 28,5 m2 foundation.

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3 Cast the 176 m2 in situ walls.

Mount the 57 m Rhs profile and the 110 m T profile.

4 Insert the Stair into the construction.

5 Cast the 55 m2 concrete floor.

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6 Mount the 210 m H profile.

7 Mount the 120 m2 facade tiles.

8 Mount the 61 m2 cobber surfaces,.

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9 VVS. 10 Electricity.

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Fire The building is designed according to the �Eksempelsamling om brandsikring af byggeri�

There is always is two different ways to escape from each room.

The fire escape into the backyard is placed below 10.8 meters and closer than 40 meters to the nearest street, making them accessible with a ladder. The fire escape on the street side is placed below 22 meters making them accessible with a firetruck.

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