Bog

A TURKISH BATH

IN ISTANBUL 2012214 MICHAEL NYKJÆR ANDERSEN 2012175 JENS BUCH JOHANSEN

A TURKISH BATH

IN ISTANBUL 2012214 MICHAEL NYKJÆR ANDERSEN 2012175 JENS BUCH JOHANSEN The project has been divided into 6 chapters. Taking you through our (1) preliminary studies, (2) the study trip to Istanbul and the site, (3) program and diagrams, (4) spaces and materials, (5) light and transitions, (6) construction, details and the final drawings.

PRELIMINARY STUDIES

PRELIMINARY STUDIES ASSIGNMENT DESCRIPTION You will engage in studies unfolding the particular assignment of producing a Turkish bath - hamam and cafĂŠ in Istanbul. Its up to each group to define these studies, but they include: The particular tradition of the Hamam, its history and architecture. Establishing an insight into and documenting the program of the Hamam and reflecting on its relation to the proposed cafĂŠ.

What are the necessary spaces required, their size and relation etc. As a further exploration of the Hamam, each group must do an in scale section and section model through a Hamam which serve as an investigation into the spatial relations of the bath. Each group will present their studies and findings in the supplied Unit book template through drawings, diagrams, text and images before the study trip.

MINDMAP OF ASSOCIATIONS WITH HAMAM AND ISLAMIC CULTURE.

HABITATION AND CONSTRUCTION IN THE WEST AND IN THE MIDDLE EAST There are many differences between Middle-Eastern and european cities. In Europe, buildings tend to be oriented towards the street and towards squares, with the wealth of rich families and companies being shown in facades. Also the difference in climate means, that we tend to make a clearing in the vegetation to bring

more light down - and likewise to place buildings far apart. In the middle east, buildings tend to be introvert, oriented towards a central courtyard. The facades are in other words on the inside, facing vegetation in the middle - to block out the sun which is much tougher.

THE OASIS IN THE DESERT THE HAMAM IN THE CITY The similarities of the oasis and the hamam are several.

First of all there is of course the issue of water and physically cleaning oneself. However it goes much further than that. They are both clean refuges from respectively the sun and the smog. They allow the user to ‘charge up’ before contuing his/her journey / life.

Thusly the Hamam also must seperate itself from the city. It must set you into a different state of mind, as if on a holiday. To do so, all the senses are activated by the heat, the water, the sounds. We intend to make this refuge a delight for all senses.

SECTION THROUGH TRADITIONAL HAMAM IN ISTANBUL This section shows a traditional Hamam, with domes and light openings. Notice also the large space on the left for heating the bath with coal.

You enter on the right in the cold room, change and then proceed to the hot room where you get washed and massaged.

THE RITUAL, THE SEQUENCE, THE PLURALITY OF EXPERIENCE. The Hamam is very neatly and precisely divided into several stages, which have their function, temperature, amount of time spent, level of intimacy, etc.

It is therefore also natural to assume that each of these stages could be presented as an entirely different experience. With different materials, room height depending on temperature and time spent (as heat rises upwards, hotter rooms would naturally have lower ceilings). In these very hot spaces the mind is emptied and the body is cleansed. This calls for simple sourroundings and lighting. Furthermore, the materials used in the sudorific chambers must be able to withstand the extreme temperatures.

Whereas the spaces where the bather spends most time and is most attentive - not impeded by the heat that is to say - the decorations, lighting, etc. can if wanted be more lavish. These most used spaces are foremost the frigidarium for relaxing and thereafter the lavatorium, where the bather is massaged and washed after sweating in the hot rooms.

On the next page; simple diagrams show how room heights and light could be decided from temperature and time spent in the rooms of the sequence.

Going from light to dark to light and dark again.

Frigidarium

Calidarium

Apodyterium

Tepidaium

25C

40C

Lavatorium

Laconium

50C

60C

(Plunge)

40C

REFERENCES & INSPIRATION

Endeavoring to find examples and references from both the arabic and the western world we looked at patterns, light, spaces, filtration, and more than anything - the atmosphere that is the sum of all these sensoury impressions.

The image on the left is an example of a lavishly decorated, artificially lit Hamam, where the use of colored light creates a theatrical scene almost out of Aladin. The orange light alluring the bather to come forward and look in.

It’s interesting as colors normally become colder and bluer as you move away - except in the night, where the lights from houses - the definite signs of humans - lights the way to civilisation.

One of the things that comes to mind about this culture, is how life excists within enclaves. Faces are covered in veils and houses are hidden behind walls. So these experiences of light, color, people, sounds, are all stories of the inside, rather than the outside.

ISLAMIC & EUROPEAN PATTERNS Traditions for patterns in the two different cultures.

Similarities? Possibilities for mixing?

GEOMETRIC PATTERNS & BORDERS DAVID WADE (1982)

ARABIC INSTITUT, PARIS JEAN NOUVEL New translation of islamic patterns and light filtration.

Appertures open and close reacting to sunlight.

MORE EXAMPLES OF PATTERNS AND LIGHT British Museum atrium (Foster & Partners), Al Bahar Towers (Aedas), Gatenbein Winery (Gramazio & Kohler).

FOREIGN MINISTRY, RIYADH, HENNING LARSEN ARCHITECTS Mulitple different experiences, perspectives, light Use of materials - complex, reflective floors - other surfaces clean.

LIGHT, COLOR AND PATTERNS CREATING EXTREME FOCUS / ATMOSPHERE. Friday Mosque, Herat Unknown light installation One Lightbulb Art Installation (Anila Q. Aghar)

LIGHT DOMES IN HAMAMS - ARTIFICIAL LIGHT The domes are very characteristic, and used because of their aptness with regards to temperature, ventilation and lighting - but very much also as decoration.

There is much to be said about the light being artificial, natural or mixed. These photos give a sense of the different possible spaces and atmospheres within the context of a dome.

LIGHT DOMES IN HAMAMS - NATURAL LIGHT The light, naturally lit spaces are more welcoming, less heavy and more feminin in their expression. The less bombastic look gives them a more relaxed, less bombastic feel. bombastic feel - and these are the spaces we as scandinavians and protestants are used to.

However the masculine splendour of the heavily decorated domes on the left also have very definitely qualities. They are much more dramatic and cavelike and in that way more intimate - even though the spaces are larger.

THE LARGE, INTIMATE CAVE Heavy use of decoration and hard-defined, filtered, colored and differentiated light. Definition of different spaces within one, intimacy, masculinity, sense of occasion, atmosphere, romantic?

THE LIGHT, SEMI-INTIMITE SPACE No decorations and ornaments beyond the nessecary.

Diffuse light, dissolution of space, warmness, safety, femininity, cleanliness.

FOCUS REGISTRATIONS TOOLS

IN EXISTING HAMAMS (& OTHER BUILDINGS)

AT POSSIBLE SITES

Transitions and borders.

How is the transition from public to ‘ritual’ space.

How are the seperations and transitions within (genders, spaces, heat, etc.)

Physical size Measurements of sites with laser Photos with people as reference

Senses Light conditions in the different stages materials in the different stages size and temperature of different stages Patterns, level of decor in stages Tactility of floors and plinths temperature smells sound (acoustics, water features, music?)

Relation and context Sections / facades of streets drawing in hand / with photos walking down the street What kind of buildings and houses are in the area?

What kinds of businesses?

Are there other Hamams in the area?

- How are they? should ours be different?

Colors, smells, food, materials.

Atmosphere Ways of filtering light and creating atmosphere Use of heavy / light materials Use of artificial / natural light

site

baker

kebab

café

companyl aundry

ISTANBUL & THE SITE

A CITY OF CONTRASTS Rich and poor, east and west, different empires and religions through history. The disputes and opposing sides in Istanbul are as clear as the division of the city itself by the bosphorus strait. The many layers, smells, sounds, tastes and visions that make up this city make

it extremely vibrant and always, always full to the brim with cars, people and noise. The few sanctuaries from noise are almost all religious - save the hamam. Which makes it very interesting apart from what it is in its own right.

Duft af Hubba-Bubba, mand der råber, bil der dytter, barn der græder, hund der løber.

Neonlys, döner, durum, beef, chicken?

Carpet sir? Change here for Maramaray, Sneboldmord, minareter, murbrokker, Historik og hustler-shit. Fortovslort, og sultanfort.

Grin og gråd og kaffegrums og frituremums.

Uendelig, evindelig, stopfyldt, dybfølt, asfalt, røkvalt, baggård, glasskår.

Havluft. Ingen fornuft.

Vidunderlig og underlig.

Istanbul af Jens Buch Johansen

MOSQUES AND ISLAMIC ART

THE LIGHT, SEMI-INTIMITE SPACE Many traditional Hamams are now closed or the space reappropriated as stores.

THE SITE

SITE 1 ‘ THE FRONT’ The site consists of three buildings with roads and paths in different levels on all sides, as well as a neighboring building on one. At the ‘front’ of the site (Southern facade), it orients itself towards a small square and several smaller and larger roads. which means that when on the site the viewer is granted

great perspectives in all different directions. The neighboring buildings include a small mosque, a café and several toy stores. The buildings currently on the site contain several workshops. A few scattered trees are also present in the area.

SITE 1 ‘THE BACK’ The ‘back’ of the site (northern facade) consists of a 600 year-old ruin made of iregular bricks and several stairs leading down to a back alley leading again to the main street. Directly behind and even inside the ‘plinth’ of the ruin are several metal workshops, which probably also explains the fire escape stairs that creates a nice

contrast to the ruin. When seen from the lowest point, the old building towers high above the street, creating a very dramatic effect of ‘frogs eye view. It’s also interesting to see how different rooms jut out from the wall where more space has been needed or a certain orientation was nessecary.

SKETCHES AND DIAGRAMS FROM LOG BOOK

SKETCHES AND DIAGRAMS FROM LOG BOOK

REGISTRATION DIAGRAMS

PARKED AND DRIVING CARS

CONNECTIONS FROM SITE

MOVEMENT OF PEDESTRIANTS

VIEWS FROM SITE

BUSINESSES IN THE AREA

TREES AND GREEN AREAS

HEIGHTS AND STAIRS AROUND THE SITE

LEVEL OF NOISE AND AMOUNT OF PEOPLE AROUND THE SITE

ALTERATIONS During the course of our project, we gradually straightened out and simplified the footprint of our building, ending with a perfect rectangle and adding to the square in front of the building, making it much more attractive - as well as a stairs on the fourth and final side of the building. Making it fully freestanding.

PROGRAM & DIAGRAMS

DEVELOPING OUR PROJECT This chapter will take you through the various stages of our process, by means of diagrams, models and drawings. It will show you how, we have gradually worked to get purer expression of our simplest ideas.

FLOW-CHART OF CONNECTIONS This was the flow-chart we initially made to figure out which rooms our hamam ought to have and what the connections between the ought to be.

FROM PUBLIC TO PRIVATE Our most basic idea was that of the Hamam being a ritual, where you move from the secular, public world outside, through various stages of privacy, ending at the most intimate place - when you are almost naked and being massaged by another naked person.

Street

reception & cafĂŠ

cold room

hot room

intimate (the rock)

private

semi-private

semi-public

public

EARLY DIAGRAMS These diagrams show our most basic ideas of how either a gender seperated or a single bath could be placed on our site - making room for a courtyard, which was important to us, as a place to put our public function, but also as a reference to Islamic architecutre.

On the right is the idea of having the bath inside a

core in the center of a large courtyard, taking the idea of moving into the core very literally - we would come back to this idea later on.

Garden

privat have bagerst 1 bad

Hus i have 1 bade

Bath

Restaurant

privat have bagerst 2 bade

Huse i have 2 bade

PUBLIC->COMMERCIAL-> SEMI PRIVATE GARDEN-> PRIVATE

GETTING INTO DETAILS We then took the diagrams from the pages before and tried to make as many different ideas as possible from them. Trying to make free standing objects, trying to make a solid mass, trying to look at how an interesting flow could be found. We chose to combine the two last ones for our first idea, which we showed at the first pinup.

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cold room (men) 67 m2

hot room private garden (men) 40m2

hot room

changing rooms

pool cold room

ep tio 10 n (u .5 m2 nise x)

green/blue transition

private garden (women) 45m2

café inner garden

rec

cold room

reception

Public area / garden 100.8 m2

café

reception & café Cold Room (women) 70.5 m2

public café area

public semi-area

n Gree ition trans

hot room

hot rooms

n gree ition trans

transition

om hot ro e nc entra room cold

cold room

service

transition space. outdoor green

room cold ging chan ion

recept

s room

café cold room

s g room

courtyard / green

gin chan

ula perg r lie espa reception underground

reception semi-green

café

cafe

disk

THE SITE, RELATIONS This early site plan shows how we wanted to focus on the square in front of the building and the two axis crossing it - as well as on moving our building away from the existing structure to the east.

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OGS M FR FRO ULDING B ESS N D E IN ASSIV IVE BEH T IN M RETA PERSPEC VIEW

RELATION TO NEIGHBORING BUILDING. LIGHT TO WINDOWS

KEEP VI

EW FRO

M STAIR

S FREE

RELATION TO THE SQUARE BUILDING HEIGHT LOWER AT STREET HIGHER AT BACK

ALLOW NEW VIEW PAST BUILDING FROM THE SOUTHERN HILL ROAD.

FIRST PROGRAM - 1ST PIN-UP At the first pin-up, we basically had the idea of a large central core standing on the plateau of the site, which the visitor would pass through several times on his/her way through the bath - it would stand out as a central element from both the hamam and the restaurant. This central core was very narrow and contained only toilets and service.

the least important functions, and the added idea of the plateau further muddied the picture.

The most important functions were spread around it, and attached as smaller plateaus.

The critique at this point was that our idea was too messy - the most central object - the core - contained

What is the core of the hamam - put that in the core what is the relation to the plateau?

There was too much going on, and going forward we wanted to simplify our idea.

OU TS IDE

/ FE E CA ANC TR

EN FE CA DEN R GA

T HO M O RO

G SIN ES DR OOM R

LD CO OM RO

GA RD EN

Rumbeskrivelse Koldt rum reception / Servering omklædningsrum nedkøling/afslapning Transition garden Toilet Reolplads

Varme rum

m2

Rumbeskrivelse Service Kontor Linned

182 9 56 77 31 6 3

Keddelrum

Vask Keddel Brændsel

Rengøring central trappe Toiletter

42 12 8 6 6 22 8 14

Trappe Skifterum Varmt rum varmt rum 2 varmt rum 3 Vaskeplads Ophold

m2

Cafe

spiseareal

Cafe Køkken Depot Toilet

140 84 80 4 21 23 6 6

ude inde

DRESSINGROOM

386

EMPLOYEE BATHROOM

OFFICE SPACE EMPLOYEE STAIRCASE

DRESSINGROOM DRESSINGROOM

COLD ROOM BATHROOM

DRESSINGROOM STAIRCASE

ADMINISTRATION

Totalt bruttoareal

COLD ROOM

RECEPTION & SERVICEDESK

22 23 3 3 13 4 9 2 8 4

INSTALL COLD ROOM BATHROOM

CAFÉ BATHROOM HOTROOM STAIRCASE

HOT ROOM

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WC

OFFICE SPACE

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CENTRAL STAIRS

ENTRANCE & CAFÉ

CHANGING ROOMS

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STORAGE

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1

WC

STAIRS

RECEPTION & SERVICE DISK LAUNDRY C. ROOM STAIRS

CHANGING ROOMS

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ENTRANCE

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0

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HOT ROOM STAIRS WC

COLD ROOM

STREET LEVEL

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CAFÉ GARDEN

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CENTRAL STAIRS

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KITCHEN

CAFÉ STAIRS

CHANGING CABINS

TRANSITION GARDEN

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ENTRANCE

HOT ROOMS

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LIGHT FOR HOT ROOMS

BOILER ROOM

ESCAPE ROUTE AND

HOT ROOM STAIRS

A

SECTION AA

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SECTION BB

2

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SOUTH-EASTERN FACADE

CORE TOP 1/1 FLOO

OFFICE FLOOR 1/2 FLOO

CAFÉ GARDEN 1/2 FLOO R

RECEPTION AND COLD ROOM 1/2 FLOO

R R

CAFÉ KITCHEN, HOT ROOMS & STREET LEVEL

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WATER COOLS GREEN AREAS AND BUILDING LIGHT REFLECTS WATER INDOORS

TREES FILTER LIGHT INTO SKYLIGHT IN THE HOT ROOMS

HOT ROOMS HEAT THE CAFÉ GARDEN IN THE WINTER PANORAMIC VIEW POINT

WATER COOLS GREEN AREAS AND BUILDING LIGHT REFLECTS WATER INDOORS

TREES FILTER LIGHT INTO SKYLIGHT IN THE HOT ROOMS

HOT ROOMS HEAT THE CAFÉ GARDEN IN THE WINTER PANORAMIC VIEW POINT

STAIRS AND LEVELS Following the first pin up, we took a step back, and looked at what we initially found interesting about the site - the many levels around it and the many flows of people the entailed. we worked on different ways to conecting these levels inside our site as a way to create levels.

This became the first step in the idea that would become our final basic idea, we developed on. This is seen on the right.

The cold room as the core penetrating the roof and the hot rooms at the back. The cafe underneath at the level of the back stairs.

In mosques and Hamams however - the function is visible from the outside, but the once inside - the transitions are quite delicate as well. Below are images from mosques that show the courtyard with the pillars outside, then the inner pillars and lower space that come before you get to the very centre of the space where the dome above is revealed.

THE BASIC CONCEPT

AXIS, SYMMETRIES, RYTHM These two diagrams whow how we worked from an early point with rythms and symmetries in our hamam to contrast the complex, asymmetrical world outside.

SYMMETRY, RYTHM, PATTERNS

PROGRAM - MID-CRIT On the left side are the basic diagrams that show the idea of the cube protruding through the roof and the coutryard in frond, the ones on the right show how we adapted this to the site.

DIVISION OF THE SITE

SUBTRACT HOLES FROM THE MASS (THE PLINTH)

THE CORE ‘FLOATS’ IN THE CENTRE, INTERACTING WITH ALL LEVELS AND THE EXTERIOR.

LEVEL 2

1

3

2

RITUAL ALONG AXIS FLOW SPLITS AT EACH NEW STEP

LEVEL 1

PASSAGE THROUGH ON AXIS FLOW SPLITS AT RESTAURANT

LEVEL 0

HOT ROOM LAYOUT This shows how we worked with the hot room to create spcae for four people getting a massage at the same time.

COLD ROOM LAYOUT This shows some of the first layouts of the cube - the main problem being how people would be moving up to the upper floors.

1ST MODEL - WHAT WE LEARNED After making our first model - exactly following the edges of the site, we started the long process of simplifying and claryfying the project - as seen on the right this started of by straightening out the upper floor to make the hot room an important room, rather than just filling in the left over space.

ALIGNMENT FACADE MOVEMENT AXIS PREVIOUS HOT ROOM SIZE

CANTERLEVER MAKES REGULAR SPACES POSSIBLE - SIMPLIFIES COURTYARD SPACE AND OPENS IT UP TO THE SKY.

2ND AND 3RD MODEL Notice how the building becomes more and more simple - in line with the ideas of symmetry, axis and rythm.

FINAL DIAGRAMS Final diagrams showing our concept.

cold room

hot rooms reception + changing

toilets personel

restaurant

1

3

2

SPACES & MATERIALS

ARRIVING AT THE HAMAM

FACADES AT MID-CRIT Pure geometric shapes, without materiality, shown at our mid-critique.

Facade 1:100

Facade 1:100

Facade 1:100

MATERIAL TESTS Following the mid-crit, we went on to work with relating to the neighboring structure, and with materiality on the facades.

THE 4TH STAIRCASE We decided to go in a new direction, and split the volume of the building into smaller blocks in different materials, with the upper floor cantilevering over the lower one. This also allowed us to create a stair on the 4th side with a new entrance to the restaurant.

MATERIALS BUILDING BLOCKS The basic idea being that each floor has its own materiality, and is perceived as a ‘block’ the stairwell in the back is the only vertical block, and it has a different material - the bricks from the old ruins on the site.

THE 4TH STAIRCASE The different materials used in our hamam, starting from the outside on the left and moving towards the inside on the right, with more refined and soft materials.

THE RECEPTION After we came up with the idea of the floating cube - the first room we had a good idea of how we wanted to look was the reception. Where the visitor would get a clear view of the cube behind the changing rooms, which

are lowered. Thusly, when walking into the hamam, you walk down onto a different floor - enhancing the experience of being in a different situation.

THE CHANGING ROOMS The changing rooms started out as quite a large space, with a view of the cube in the distance - during the course of our project however - we moved away from the idea of the relaxing booth - the function of which

was moved into the cold room itself - and madade smaller changing booths and lockers instead. Allowing more people to bathe, while at the same time retaining larger primary spaces.

THE COLD ROOM Arguably the most important space of the Hamam.

Inside the monumental cube, we initially had the idea of a cube with two layers of glass, with vegetation in between, filtering the light.

THE FINAL COLD ROOM After the mid-crit, we decided to go in a different direction with the cube - the vegetation idea was deemed interesting, but also not very realistic. Instead, we enhanced the idea of the frames carrying the cube.

Adding wooden frames and blinds, to block and diffuse the light coming in. The stairs are suspended in steel wire, enhancing the verticality of the room.

THE HOT ROOM In the hot room, we worked with light moving across the northern wall, telling time. The room is kept quite dark all day. People sit along the edges of the room and get massaged in the centre of the room on a plinth in the traditional way.

THE HOT ROOM From the beginning, the courtyard played a very important part in our project - as it generally does in islamic culture. In the beginning we pictured it as a much larger, greener space, but it transformed

later into a smaller courtyard, that flows in under the building and the floating cube. With a small fountain adding a calming white noise.

BELOW THE CUBE The courtyard space continues in under the cube, which becomes the ceiling - natural light comes down around it through a half meter gap. Thusly the cube becomes the centre of both the Hamam and the restaurant.

LIGHT & TRANSITIONS

THE STARTING POINT First off - we wanted to take a look at how lights are used in traditional Hamams and other Islamic architecture.

This photo shows how a diffuse, translucent piece of plastic in front of a perforated sheet create an interesting effect of light bouncing back and forth.

FILTERING LIGHT (TRADITIONAL) The filtered light presents itself as dots of light on the wall. The light then bounces from there into the room.

When there is no direct light - there is very little light entering.

OPENINGS (MODERNISM) Through the openings, direct light also moves across the walls. However more indirect, diffuse light comes through - and it’s the construction rather than a filter, which decides how much light comes in.

LOW HANGING LIGHTS DEFINE SPACE An interesting feature of many pieces of Islamic architecture, namely the mosques, is the use of the lighting suspended from the roof - to define a space beneath them. Rather than hanging them at a height

to distribute light most effectively and give maximum views, they define the space below as more intimate, and lead the viewers attention to the domes, which windows they often seem to mirror in shape and rythm.

SMOOTH TRANSITIONS In islamic architecture there is a rich traditon of smooth transitions between inside and outside and between rooms - which is also helped by their climate. A prime example of this is Al Hambra (below) This was picked

up by modernists such as Mies Van der Rohe in his Barcelona pavilion - but rather than collonades he just used freestanding walls to define spaces flowing together.

VEGETATION FILTERS LIGHT

FLOATING GREEN CUBE We wanted light to pass down the sides of the suspended cube, and for it to be filtered inside.

LIGHT FLOWS ALONG THE CUBE First charcoal drawing of the space beneath the cube.

On the right -early models used to figure out how large the slit around the cube should be - and how far it should be suspended below the ceiling.

THE GREEN CUBE Light diffused through vegetation

THE FINAL CUBE Light diffused through construction

THE HOT ROOM The most obvious place we started to use light to tell time is in the hot room, where light moves across the northern wall as the day passes.

DETAILS & CONSTRUCTION

STATIC DIAGRAMS Static diagrams (load bearing and stabilizing walls) + Isometric drawing of cube construction.

STATIC DIAGRMS

THE CUBE

D4 (book)

D2

D3

D1

D1 - CUBE GLASS CEILING - 1:2 The glass is mounted upon the load bearing frame, through joints mounted in the corners of the grid and then penetrating each sheet.

Instead of a flat glass ceiling, the ceiling of the cold room is in shaped like a pyramid (5o) within the outer

frame, which retains the cubic geometry. This is done to allow water to run off.

It is made this way, to make dismantling possible from below.

D2 - GLASS - CUBE TO ROOF - 1:5 Glass panes are mounted on a window frame on the roof side of the connection. tilted in an angle of 5o allowing it to be self cleansing.

On the cube side of the connection, the glass is held

in place by a prefabricated steel frame, cut in lengths insitu. The frame is glued onto the vetrical glass panes of the cube, sealing it tight. Allowing water to run from the cube, onto the roof and into the draining pipes.

D3 - ROTATING BRILLE-SOLEIL - 1:10 The blinds on the facade turn towards the sun, to block out direct sun light, creating a diffuse light and keeping the temperature down. It also has the effect of the space dynamically changing during the coarse of the day (and year).

Behind the first wooden frame towards the facades of the cube, a wench is mounted together with a small

electrical motor connected to a light sensor in each of the compartments.

The wench pulls a wire connected to the blinds, turning them towards the sun. The first and second blind are connected by a push-rod - allowing us to hide the contraption within the construction.

Serviced from above where a panel can be opened.

D4 - HOT ROOM ROOF WINDOWS 1:5 To keep the water from running onto the street, the walls, as well as the windows on the roof are slanted 5o towards the middle of the roof - from where it’s drained.

The windows are mounted so the frame is hidden from view.

Just below the windows are remote controlled ventilation shafts, so the staff can control the temperature and humidity of the room On the opposite side is a small space, with room for artificial lighting, keeping it hidden and creating a similar lighting effect at night.

D7 (book)

D5 (book) D6 (book)

D5D6 - CURTAIN WALL CONNECTION 1:5 To keep the curtain wall flush with the facade, the glass is mounted in a steel frame, cast into the concrete wall above.

The bottom of the windows are mounted in a dismountable steel frame, allowing them to be exchanged from within in the case of damage. The

same system contiues in the stage/plinth.

The glass is stabilized by intersecting glass mullions allowing for near-invisible connections - creating a seamless glass facade - and one open space courtyard (reference: Apple Store New York)

D7 - CUBE TO LOAD BEARING WALLS 1:5 Same construction as D2, besides the cast gutters on top of the load bearing walls. which then leads the water onto the roofs.

FINAL DRAWINGS 4 plans, 4 sections, 4 facades and a site plan

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level 1 D5 (book) D6 (book)

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3400 2900

7100

7100

level 3

5000

level 3

level 3

5000

level 2

3400

level 1

2900

Cube floor

5000 level 2

3400 level 1

level 0

level 0

SECTION DD 1:100

SECTION CC 1:100

C

G

A

H

B

C

A

C

D

fire escape

0

0 level 0

level 1

Cube floor

1700

0

level 2

A

E

B

A

C

D

E

11

10 4900

9

D

D

8

8

D

D

8

8

H 7

7

7

7

B

6

6

B

B

6

4

B

5

4

4

5

2300

4

5

2300

5

6

2200

2200

11600

5

7

2100

2100

6

B

8

2400

2400

1700

D

4

3

2

3300

1 9300

9300 2400

A

B

C

D

A

E

C

B

2800

1800

1900

2800

2800

1800

1900

2800

G

C

D

E

C

A

A

LEVEL 4 1:100

LEVEL 3 1:100

5m

N

current site boundary canterleved room

SECTION EE 1:100

MICHAEL NYKJÆR ANDERSEN 2012214 & JENS BUCH JOHANSEN 2012175