Planning the future kindergarten - A Danish model of Sustainability

BA in Architectural Technology and Construction management

PLANNING THE FUTURE KINDERGARTEN A Danish model of sustainability

Author: Mihaela-Adriana Nițu Supervisors: Christian Syversen & Charlotte Lykke Pedersen 21st of September 2018 – Odense, Denmark i

Title page PROJECT Bachelors dissertation TITLE PLANNING THE FUTURE KINDERGARTEN – A Danish model of sustainability INSTITUTION UCL University College Denmark, Odense FIELD OF STUDY Architectural Technology and Construction Management AUTHOR & SEMESTER Mihaela-Adriana Nițu, 7th semester SUPERVISORS Christian Syversen & Charlotte Lykke Pedersen PROJECT PERIOD 01/08/2018 – 21/09/2018 Number of pages (Excluding appendix): 49 Number of pages (Including appendix): 108 Number of words (Excluding appendix): 19,508 Number of characters (Excluding appendix-with spaces): 123,121 Number of characters (Excluding appendix-without spaces): 103,689

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Copyright © September 2018

By Mihaela-Adriana Nițu All rights reserved. No parts of the material protected by this copyright notice may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying, recording or by any information storage and retrieval systems, without explicit written permission from the author. |i

Abstract This thesis describes the outcome of the first part of a bachelor project, based on investigation of the design and planning process of kindergarten projects in Denmark. The main objectives are to investigate, determine and further understand the impact of different choices, on the children and adult’s development, well-being, health, and learning, as well as defining the design parameters and regulations that shall be considered. The answer has been obtained through the analysis of theoretical data, and qualitative data acquired through interviews. The general findings of the research are based on the fact that the sustainability of the buildings should be further supervised and revised to improve the future use and its development.

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Acknowledgement This paper would have not been possible without the support of a few people who I would like to express my gratitude towards.

To my supervisors, Christian Syversen and Charlotte Lykke Pedersen, for their time and support in times of troubles, stress or confusion. They encouraged and inspired me, whenever I needed a little boost, and helped me write an academically correct and relevant bachelor dissertation.

To all the professionals at Vilhelm Lauritzen Architects and TKT Architects, for participating in my interviews, and offering their time, guidance, personal and professional expertise.

I would like to mention all my teachers from UCL University College Denmark, for their professionalism and guidance through the years, which developed me as a future professional and will guide me throughout the whole carrier.

Finally, I would like to thank my colleague and friend Maria Rasmussen, for her unconditional support and understanding. My family and friend for always supporting and believing in me.

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Reader’s guide For a better navigation of the thesis, refer to the Methodology Roadmap (see Appendix 1) and read the following instructions.

Referencing in the text are made using the Harvard citation style, formed by using the author´s last name and the year of publication.

Example: (Naoum, 2013) Naoum, S. (2013) Dissertation Research & Writing for Construction Students. 3rd edition. Oxford: Routledge.

Quotes are marked in the text but using italic black with a text between quotation marks.

Example: “The end goal of conventional sustainable strategies is to be carbon neutral. But you can only have zero carbon emissions when you do not exist. So, is this our biggest goal? Instead of not existing, let us create a big positive footprint”. (Braungart, 2013)

Reference to figures are made by using grey italic text as in the following example: Example: (see figure 1) / (see figure 8 & figure 9)

Research questions and hypothesis are marked in the bold italic black text.

Another important text (vision and key questions) is marked in italic black.

The main body text has been written with Calibri Light size 11 and the headings with Arial Narrow, with a spacing of 1,5.

Keywords: Planning; Design; Building; Kindergarten; Environment; Sustainability; Denmark; Development; Future; Architecture.

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Table of Contents Title page .......................................................................................................................................................... i Abstract ........................................................................................................................................................... ii Acknowledgment ........................................................................................................................................... iii Reader’s guide ............................................................................................................................................... iv Table of Contents ........................................................................................................................................... v List of figures ................................................................................................................................................ vii Introduction..................................................................................................................................................... 1 1.1 Motivation .............................................................................................................................................................. 1 1.2 Problem background ............................................................................................................................................. 2 1.3 Problem formulation .............................................................................................................................................. 3 1.3.1 Objectives and key questions .................................................................................................................................. 3 1.5 Methodology .......................................................................................................................................................... 4 1.4 Approach to Data Collection .................................................................................................................................. 4 1.4.1 Primary Data Collection........................................................................................................................................... 5 1.4.2 Secondary Data Collection ...................................................................................................................................... 5 1.5 Delimitations .......................................................................................................................................................... 6

Theoretical basis ............................................................................................................................................ 7 2.1 Early Childhood Education in Denmark ................................................................................................................. 7 2.2 Design Typologies in Kindergarten Institutions...................................................................................................... 8 2.2.1 Present kindergarten ............................................................................................................................................... 9 2.2.2 Where do we begin? ............................................................................................................................................... 9 2.2.3 Building Regulations.............................................................................................................................................. 10 2.3 Social sustainability ............................................................................................................................................. 12 2.3.1 What is Social Sustainability? ............................................................................................................................... 12 2.3.2 Design with social sustainability ............................................................................................................................ 13

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2.3 Interior environment............................................................................................................................................. 16 2.3.1 Lighting design ...................................................................................................................................................... 16 2.3.2 Colour impact and daylight .................................................................................................................................... 18 2.3.3 Space configuration............................................................................................................................................... 19 2.3.4 Choice of materials................................................................................................................................................ 19 2.4 Sub conclusion .................................................................................................................................................... 20

Empirical data analysis ................................................................................................................................ 21 3.1 Case studies ........................................................................................................................................................ 21 3.1.1 Choice of case studies .......................................................................................................................................... 21 3.1.2 Initial contact ......................................................................................................................................................... 22 3.1.3 Case study procedure ........................................................................................................................................... 26 3.1.4 Sub conclusion ...................................................................................................................................................... 31 3.2 Interviews ............................................................................................................................................................ 32 3.2.1 Interviews data procedure ..................................................................................................................................... 32 3.2.2 Interviews data analysis ........................................................................................................................................ 34 3.3 Dissemination ...................................................................................................................................................... 42

Discussion .................................................................................................................................................... 44 4.1 Pre-design phase ................................................................................................................................................ 44 4.2 Conceptual and schematic design phase ............................................................................................................ 45 4.3 Detailed design phase ......................................................................................................................................... 45 4.4 Tendering and construction phase ...................................................................................................................... 46 4.5 Post-design phase ............................................................................................................................................... 46

Conclusion .................................................................................................................................................... 47 5.1 Future perspectives ............................................................................................................................................. 48 5.2 Assessment ......................................................................................................................................................... 48

Bibliography..................................................................................................................................................... i Appendix ......................................................................................................................................................... v Appendix 1 – Methodology Road-Map ............................................................................................................................. v Appendix 2 – Fieldstudy Itinerary ..................................................................................................................................... vi | vi

Appendix 3 – Kindergartens Cover letter......................................................................................................................... vii Appendix 4 – Study cases ................................................................................................................................................ x Appendix 5 – Interview Cover letter .............................................................................................................................. xxv Appendix 6 – Interview Transcripts ............................................................................................................................... xxx

List of figures Figure 1 Environmental Product Declaration (Courtesy of Dillinger.de) ........................................................................ 12 Figure 2 CE marking (Courtesy of ec.europe.eu) .......................................................................................................... 12 Figure 3 The Triple Bottom Line: People, Planet & Profit (Courtesy of benojo.com) ..................................................... 13 Figure 4 Illustration with the cooperation in a kindergarten project (Courtesy of Branche Fællesskab Arbejdsmiljø).... 14 Figure 5 Skuespilhuset, Copenhagen. Designed by Lundgaard & Tranberg Arkitekter (Courtesy of Belingske.dk) ..... 16 Figure 6 Total number of children institutions registered in 2016 (Courtesy of Odense Municipality) ........................... 22 Figure 7 Børnehuset Marienlund in Odense, visualization by Moe & Brødsgaard (Courtesy of building-supply.dk) ..... 27 Figure 8 Børnehuset Solkerne in Odense (Courtesy of Skjøde A/S) ............................................................................. 28 Figure 9 Building sections showing the different external materials (Courtesy of the Solkerne Børnehuset, Pluskontoret Arkitekter and Odense Municipality)............................................................................................................................... 29 Figure 10 Principal façade picture of Børnehuset Brobækken (Courtesy of TKT Arkitekter) ......................................... 30 Figure 11 Picture with the reused brick façade (Courtesy of gronneindkob.dk) ............................................................ 31 Figure 12 Interview analysis mind-map (Courtesy of the author) .................................................................................. 34

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CHAPTER 1

Introduction 1.1 Motivation With only few months left until graduating as a Constructing Architect, I am taking the time to look back at the last three years of education. Apart from challenging, as in moving to another country and beginning from nothing a new life, these have been the years that left a mark on who I am as a person and will follow me for the rest of my life and future career. In fact, the story starts back when I was studying Architecture as high school studies. Coming from an artistic and more creative environment to a place where everything is concise and more technical, where the focus is on finding the “why?” for everything we are doing, challenged me to wish more from myself and to push my limits all the time. This has not only been rewarding in what I have learned, but in the way, it thought me to look over the artistic part and to question every situation I am facing.

These seven semesters have taken me from small to large buildings, from new to renovated buildings, and different places around the country, where we did not only investigate the construction and the technical part of the story, but we also had the chance to present our own creations. The fifth semester was the time when sustainability occurred for the first time as a subject of study. We had the chance to apply some of the passive principles, social sustainability strategies and spatial designing regarding an early childhood educational Danish institution. Besides the fact that we had to get more familiar to the educational system in Denmark, we also had to experience a sustainable institution built with this kind of principles as a base. Thankfully, we had the chance to see Solkerne Kindergarten, situated only a few minutes from the city centre. Having the chance to see such a place, apart from the impact it had on us, as internationals, where maybe the places we are coming from, such a construction is only a dream, it really made a difference in vision. Starting with that moment, I tried to shape something that could create a similar impact on its users, as Solkerne created on me. I knew that, the short available time will be a limitation and we will never be able to deepen our knowledge of “designing a kindergarten”.

The discussion about this subject started when an article came my way, written by an American mother who moved with her family to Denmark, explaining her culture shock and the differences between the systems: “There is no baby proofing in Denmark. [...] But in Denmark, kids are encouraged to be independent and adventurous” (Podulka, 2015). I remember when reading her article, I felt that I could relate to what she was explaining. In my country, Romania, as in other many European countries, even

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though we are talking about early childhood education, where the buildings should be designed to facilitate the children development and creativity, the same old “school-like” approach has been used. We as humans are very conservative in our nature, especially when it comes to traditions. The idea came in the context that Romania is going through a very rough period, but at the same time, I still have hope in my homeland that one day will follow this tradition.

This thesis aims to create a model for architects, engineers, entrepreneurs and client consultants, who are dealing with buildings designed for educational use, where key factors as sustainability, nature connection and its renewable energies, materials and the building design, where all are combined in one place, with the hope of achieving the building regulations and the needs of the end-users.

1.2 Problem background The current climate challenges have been on the table for a long time now. Specialists from all over the world have been trying to create the most feasible solutions for problems that unsolvable at that time.

A smart building should not necessarily stand only in introducing complicated technologies, but also on how the building is designed in harmony with nature and its surroundings. By using what nature can offer, as in water, wind, biogas, solar energy, and geothermal energy, technology is used to maximize the production and to store the energy, being used whenever is most needed (the overheating from the summer for minimizing the heat demand in the winter). At the same time, the new mindset “cradle-tocradle” which is moving towards a future where the waste product is transformed into a new product with improved quality. This mindset is inspired by nature, the waste not existing and everything is reused.

(Olsen, 2018) The discussion does not stop only at the design of building in harmony with nature, but also on how the design can be improved, where technology is introduced in the process, but not being the main consideration. In his thesis, Martin Nielsen discusses the energy consumption which can be solved around 80% through the design, only if introduced early in the process: “Implementation of technical knowledge early in the building design process can quantify the effect on façade of the energy efficiency and indoor climate of a building and thereby facilitate a qualified design development.” (Vraa Nielsen, 2012) But where should the design process start and what should be the base point in achieving a better building design and improved indoor quality? The genesis of this thesis tries to answer this question. The aim is to analyse the early design stages with the building design seen as a key factor in the human development, creating a design model for others to follow. The design of the building and its shape, the use of natural energies, daylight, air, materials with a low carbon footprint, are all key points of the

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analysed design. As the time span is limited, the focus of this study will be integrated kindergarten institutions, where the requirements for these spaces are increasing once with the educational development. In Denmark, 96,6% of the children between 0-6 years old, are enrolled in municipal day-care centres (EUROSTAT, 2016). From here on, as the number of children is increasing, the quality of the daycare should allow them to develop in a healthy environment, where the imagination and creativity is stimulated, giving them the chance to test their abilities at an early age. The kindergarten design is to facilitate their development and to create an environment, where both the children and the facilitators’ wellbeing and motivation are increased.

1.3 Problem formulation The target audience of this thesis are architects, engineers, entrepreneurs and client consultants, who are dealing with buildings designed for educational use, offering them a design model inspired by selected Danish study cases. In the context that Denmark has been registered as the 3rd best Educational country globally (Study in Denmark, 2016), the author aims to investigate the planning of the building design and interior environment which can support the social sustainability in a Danish kindergarten. This paper is based on the following research question: How can the planning of the building design and interior environment support the social sustainability and future development in a Danish kindergarten?

As this research paper is designed to explain and validate a conceptual model, two main hypotheses have been formed based on the above-mentioned question: I. The kindergarten design has been developing throughout the years, with a notable growth in using a sustainable approach towards the planning process.

II. The way the kindergarten is designed and planned, regarding spatial configuration, lighting design, materials and the connection with nature, have a strong impact on its users and its social sustainability.

1.3.1 Objectives and key questions The goals of this thesis are divided into two main objectives which are providing guidelines throughout the development of this dissertation. To answer these objectives, the author created several key questions for each separate objective. These objectives are presented below, following the key questions immediately after: To analyse and assess the evolution of the kindergarten in Denmark, and how the use of a sustainable approach towards planning can influence its development.

I. What are the design typologies in a Danish kindergarten?

II. What are the regulations regarding a kindergarten building?

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III. How can social sustainability be applied in a kindergarten project?

To investigate and assess the planning process including spatial configuration, lighting design, materials, in a kindergarten project in Denmark.

I. How can these factors be applied in a kindergarten project?

II. How can the professionals face the challenges raised by the application of a sustainable towards the planning process?

1.5 Methodology Qualitative research is ‘subjective’ in nature. It is defined as “emphasizes meanings, experiences (often verbally described), description and so on. The information gathered in qualitative research can be classified into two categories of research, namely exploratory and attitudinal” (Naoum, 2013).

The author has chosen the exploratory research, as “the purpose of this research is intertwined with the need for a clear and precise statement of the recognized problem and when the author has a limited amount of knowledge about the problem.” (Naoum, 2013) The author will digitally send the questions, few days in advance to give enough time for review of the specific problem, and obtain real-time answers, having a smoother organization of the interviews and reach further with the researched problem. The interview questions used ‘open’ and ‘closed-ended’ questioning, to discover as much as possible about the specific issues related to the researched area (Naoum, 2013).

To review the organization of this thesis please refer to the Methodology Roadmap. (see Appendix 1)

1.4 Approach to Data Collection The approach to data collection for organizing the research relies upon the nature of the investigation and the data and information that are required and available (Naoum, 2013). This section presents the approach towards the two data collection methods, namely primary data collection and secondary data collection.

1.4.1 Primary Data Collection The Primary Data Collection referred to as the ‘fieldwork research’ and may not be confused with the definition of field research as ‘the study of people acting in the natural courses of their daily lives’.

Primary data can be collected using quantitative or qualitative research methods in the forms of surveys, interviews, case studies, and action research. In this paper, the author chose to use qualitative research

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methods to collect the primary data, namely the case study and interviews as a technique for collecting the data (Naoum, 2013).

The case studies utilized in this paper are used to support the hypothesis described in the previous chapter, by an analysis of three particular projects, providing an in-depth analysis of some chosen factors.

The case studies are designed as exploratory case studies, which is the theoretical approach to the problem. It implies casualties and tries to show linkage among the objects of the study. In other words, the author collects facts and studies the relationship of one set of facts to another, with the hope of finding a causal relationship between them, and further questions the findings through interview procedure (Naoum, 2013).

The interviews collected in this paper are used to support the hypothesis described in the previous chapter, by an in-depth analysis and justification. A rationale of the interview questions is presented in chapter 3, as well as further explanations and analysis of the authors’ reasons for the questions. The author has chosen to use the interviews as a qualitative technique of collecting the data under the classification of exploratory research in the form of a semi-structured interview, having the base for the questions from the study cases. Interviewees were systematically selected by the author for their professional experience and area of employment. Questions were formulated to encourage the interviewees to think and express their view on the objective topics and key questions. The data was collected in the face-to-face interview through a recording and later translated to transcripts to be approved by the interviewees and further analysed by the author. The analysis together with the case studies analysis will contribute to answer the key questions and fulfil the proposed objectives.

1.4.2 Secondary Data Collection The data collected by the secondary sources also referred to like the desk study approach, is the collection of data from the research of others. Secondary data can be stored in either a statistical or a descriptive format. In construction-related research, the word ‘statistical’ refers to official statistics collected by the state and its agencies, being available in all public libraries and university libraries. While the descriptive format refers to the method where data is analysed and critically appraised of an archival document. This is similar to appraising previous literature and can include diaries, newspapers, observations, journal articles and book sections (Naoum, 2013).

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1.5 Delimitations In the writing process of this thesis, setting clear delimitations represented an essential step in the development of the work. Due to the proposed timeframe, where the aims must remain realistic, and the delimitations clear from the preliminary stages. The delimitations which formed the framework of this thesis are: - This thesis discusses in-depth only a few aspects of the design of kindergartens, where a constructing architect can have an influence; - In the literature search, Denmark of Nordic/ Scandinavian countries was used as filters, but some papers from outside this area were included. if the information was fully relevant for the subject, and not referred to another area, not beneficial for this paper; - The kindergarten's availability, having the new scholar year starting, and many kindergartens being busy with the new set up for the upcoming period; - The reader should expect to gain knowledge and information regarding the evolution of children institutions in Denmark, the general aspects of design for this kind of buildings, based on DK and UE building regulations on educational institutions, the choice of sustainable materials and the major challenges in constructing or designing sustainable buildings.

To conclude all the information regarding the research design and research methodology, all the data used in this research are filtered by the validity and reliability of the case studies, interviews, and articles, including professional and personal experience of the author, education, published year and the country of study. The author had to use all the available information to draw a valid conclusion.

The paper has been written from a constructing architect’s point of view with high emphasis on material choice, planning and design.

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CHAPTER 2

Theoretical basis “Architects who have not yet designed a kindergarten may be asking themselves, what do I know about pedagogical visions? [..] education and architecture enter into a relationship where, if everything goes according to the plan, the two dimensions mesh together in a symbolic formula to create a complex childoriented environment which enables children to learn and the community to prosper� (Dudek, 2008)

2.1 Early Childhood Education in Denmark The need for day-care facilities became problematic when both parents had to work to be able to grow and take care of the family. The first children asylum (1828) funded by the private charity for poor families that could not handle the childcare while working. At that time, the day-care facilities were either in villas or apartments, being equipped only with a school room and a sleeping room. Not until the postwar period of the WWII that an extra effort was put into establishing separate buildings for these institutions (Christiansen, 2017).

After the German pedagogue, Frederick Frøbel decided to create an educational institution for small children and educate teachers in this new field, in 1871 the first kindergarten is established in Copenhagen. Niels and Erna Juel-Hansen have put the bases of a Danish kindergarten, where the emphasis was on the children creating their own experiences and on the value of the childhood itself (Skaaning, 2017).

In 1960, the women officially entered the workforce, and the demand for day-care facilities increased. From 1964, the parliament passed a law on which children and youth welfare, was under the duty of municipalities to have necessary spaces for children in day-care institutions. This represented the start of the institutionalizing the childhood, which is extended until the present date. Simultaneously, several typologies, debates, and educational reforms have been proceeding, which supported the development of the early childhood educational institutions, still developing (Christiansen, 2017).

In order to form a finer image of the situation, the following chapters aim to clarify the different kindergarten typologies, regulations and different ways of improving the building design.

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2.2 Design Typologies in Kindergarten Institutions One prime example, worth mentioning would be Frank Lloyd Wright. His fame in designing and building all types of architectural masterpieces and inspiring subsequently a widespread movement in the 20th century, has as bases, stories from his own childhood. Wright explained how he, and his mother worked together with the Frøbel ‘gifts’, which became the source of profound pleasure and his subconsciously awakening to the primacy of shape, texture, and form.

“The smoothly shaped maple blocks with which to build, the sense of which never afterwards leaves the fingers: form becoming feeling.” (Dudek, 2008) Once with the establishment of the day-care institutions in Denmark, all the drawings used in building these institutions had to be approved by the social ministry. Thomas Having, as the ministry’s architectural consultant and leading administrator, made some initial pattern drawings, inspired by the early works with the central schools. This resulted in kindergartens that had long hallways, separating the rooms for teachers such as meeting rooms and offices, of the rooms for kids, which were placed on the other side. This typology signalled an atmosphere like a clinical, clean, almost hospitalized day-care building (Christiansen, 2017).

Max Segmunfelt, in 1963, would become the one that is revolutionizing the kindergarten design, once his new typology gets accepted. His idea was to improve the classic school rooms, by transforming them in big or slam group rooms, where children were divided into smaller groups and assigned to one of these rooms that had their own group of teachers. Subsequently to women entering the workforce, after 1960 the need for children institutions substantially grew, resulting in many kindergartens growing around the country (Christiansen, 2017).

In the 1970’s, a new typology arose in early education architecture, consisting of big and flexible rooms where the flexibility was embraced, and creating the possibility of putting up a partition or dividing walls. By giving this opportunity, teachers had the chance to change the layout of the rooms to their liking, creating both smaller and bigger spaces for different activities (Christiansen, 2017).

From mid-1990’s, a new approach to the kindergarten's design have been developed, approach which is continuing until today. The focus of this approach was to support the children’s aesthetic learning process, with good natural lighting and finding a way of inspiring children’s senses. Researchers of that time believed that having the children more engaged with the design, using diverse features that could inspire or keep their attention, would benefit both the users of the building, and the quality of the building itself (Christiansen, 2017).

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2.2.1 Present kindergarten In the 1980’s and 1990’s, a debate regarding the square floor area per each child in kindergarten begin. The main concern was regarding the indoor climate and the contamination risk amongst the children. The requirement of minimum space for each child in a kindergarten is still two square meters, as it was 20-30 years ago, as described in the Building Regulations 2015.

As presented by Sarah Christensen in her thesis, psychological research has proven that when there are less than three square meters of free floor area per child, there is a decrease in the number of children in the playroom, a decrease in group play and increase in aggressive behaviour amongst the children (Christiansen, 2017).

As presented by Tezuka Architects, with their Fuji kindergarten built in 2007. The focus of the design in kindergartens have become more and more focused on introducing the educational approach within the building and giving freedom to run around the classrooms and learn by discovering. He also mentions and believes that a future-forward design approach on this matter, would have a major impact on the way children are growing nowadays. Enhancing a wide availability of all kinds of technologies, but where the building design is used to its fullest to boost children learning, play and development (Block, 2017).

From his creation, we learn that with good design, there is no need for heavy and expensive playing equipment, having the building and its architecture the base for each activity. Having the chance to experience the building and having a close connection indoor-outdoor and building-nature, he speaks happily about the impact created by this combination, not only from the kids’ side but also from parents and employees taking care of the children and the building (Block, 2017).

Of course, one might say that this kind of approach can only be applied in one specific place. From experience, each country with their traditions develops their own approaches towards design from the way people want to educate the youngsters. In Denmark, there is a big focus on the integration of nature within the building design, having the building available throughout the entire year and all types of weather, which at times, brings many challenges.

2.2.2 Where do we begin?

This is always the first question to ask whenever someone faces a new challenge. The environmental and climate challenges are not a new thing, but the way we approach it needs to be related to the current situation.

In the building industry, every building use brings own and specific challenges. Besides the specific regulations, there are many influencing factors, which this paper aims to investigate some of them. As to fit

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the project time frame, this paper will look into few crucial areas for the building design, such as space and interior environment planning, lightning design and choice of materials

2.2.3 Building Regulations The Danish Building Regulations (BR) have entered in Denmark around 1970’s, and since then, they have been periodically updated in order to fit and prepare for the new challenges the country is facing.

These regulations, together with other standards such as SBi (Statens Byggeforskningsinstitut), DS (Dansk Standard) and the Local Plans (Lokalplan), but also many others, represented the backbone of the Danish building industry since they have been introduced. In the recent years, the changes represent mainly the introduction on Building Class 2020, which starting from this year in 2018 have become a mandatory requirement for the construction of public buildings and will continue applying for other new construction by the end of 2020 (Boligstyrelsen, 2018).

This chapter presents the requirements for the main design parameters studied in this paper, based on the newest version for these requirements, which officially entered in use in July 2018, as well as other papers which relates to the specific parameter. At the same time, other standards and guides are presented, as it shapes a significant part of the study.

2.2.3.1 Space requirements The BR18, in the sections § 228 - § 231 for Building’s interior design (Bygningens Indretning – Indretning of normalklasserum), presents the regulations for a normal classroom, where is mentioned the following rules: § 229. Living spaces in schools and day-care facilities must have: 1) Minimum 3 square meters of free floor space per child in day nurseries and 2 square meters per child in kindergartens.

2) A volume of minimum 6 cubic meters per person in standard classrooms at schools, etc.

In addition, and in accordance to the quality level of the building, the following are added: • Quality level C (minimum requirements): Free floor area of at least 2 square meters per child in nurseries and 2 square meters per child in kindergartens; • Quality level B: Free floor area of at least 4,5 square meters per child in nurseries and 3,5 square meters per child in kindergartens; • Quality level A: The same as B, supplemented by activity rooms.

2.2.3.2 Daylight requirements As lightning design represents such a big part of the design, there are several sources which offer guidelines when designing. BR, EN standards and Danish Working Environment Authority (Arbejdstilsynet),

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offers guidelines for outdoor artificial lightning and daylight, and requirements for artificial lighting indoors and light sources which mostly apply through EU codes (DCL, 2018).

Finally, BR stipulates the total energy consumption in a building, which includes the effects of the energy consumption of lightning. In addition to these rules, there are requirements for energy labelling, recycling, and others (DCL, 2018).

The current EU standards for illumination does not have the status of legal requirements. However, in BR15 requires that DS/EN 124641 to be used for the types of rooms and spaces. Other standards where the lightning is included, for example, The Indoor climate Standards DS 3033, where classifies the indoor climate quality in homes, schools and different institutions (DCL, 2018).

In relation to the EU where they are emphasizing the least efficient light source types, the following EU regulations apply: - EU Regulations 244 – Eco-design requirements for non-directional light sources; - EU Regulations 245 – Eco-design requirements for fluorescent lamps, high-pressure steam lamps, and ballasts; - The Danish Energy Agency is responsible for compliance with the rules of the two regulations; - Low Voltage Directive – applies to electrical products for both professional and private use. It is the low voltage directive, which requires the use of the CE marking for products and the preparation of a declaration of conformity.

In addition to this, the European Commission demands quality LED light sources and energy saving lamps. These requirements are set in a so-called Quality Charter (DCL, 2018).

2.2.3.3 Window area requirements As part of the energy consumption section, the section § 289 states the following things: “It is a condition for use of U values and linear thermal transmittance that the total area of windows

and doors does not exceed 22 per cent of the heated floor area. U values and linear thermal transmittance may change and the window area etc. may be increased if the heat loss of the pavilion does not increase compared to compliance with the requirements in the table. Windows may be included in the heat loss framework as the actual windows or windows with a U value of 1.5 W/sq. meter K. The actual windows must be used in the calculation of the real conditions.” (Boligstyrelsen, 2018) 2.2.3.4 Materials requirements Regarding materials in the case of a kindergarten project, a special attention is conferred to the interior environment. All the materials have to be chosen in accordance with the National and European standards, where documentation and certifications as EPD and CE are required.

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EPD (Environmental Product Declaration) is a registered document that communicates information about the transparency of the product and about the life-cycle environmental impacts. Having this declaration does not imply that the declared product is environmentally superior to alternatives. All the relevant standards and information are stated in ISO 14025, where they are referred to as “type III environmental declarations”. This declaration is created and registered in the framework of a

Figure 1 Environmental Product Declaration (Courtesy of Dillinger.de)

program, such as the International EPD® System (EPD System, 2018).

CE marking is a certification mark that indicates conformity with health, safety and environmental protection standards for products sold within the European Economic Area (EEA). This mark can also be found on products sold outside EEA, once the products are fabricated within this area (European Comission, 1993).

Overall, The National Institute for Constructions (Statens Byggeforsknings Institut) recommends that the chosen materials are of the Figure 2 CE marking (Courtesy of ec.europe.eu)

highest standards.

2.3 Social sustainability “Creating cities, towns and communities that are economical, environmentally and socially sustainable, and which meet the challenges of population growth will be one of the biggest tasks of this century.”

(Woodcraft et al., 2011)

2.3.1 What is Social Sustainability?

Western Australia Council of Social Services (WACOSS), defines social sustainability as: “Social Sustainability occurs when the formal and informal processes; systems structures: and relationships actively support the capacity of current and future generations to create healthy and liveable communities.

Socially sustainable communities are equitable, diverse, connected and democratic and provide a good quality of life.” (Leanne and Erin, 2002)

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Another definition developed by Social Live, a UKbased social enterprise specializing in place-based innovation, which defines social sustainability as “a process of creating sustainable, successful places that promote wellbeing, by understanding what people need from the places they live and work. Social sustainability combines the design of physical realm with the design of the social world – infrastructure to support social and cultural life, social amenities, systems for citizens engagement and spaces for people and places to evolve.”

(Woodcraft et al., 2011) Figure 3 The Triple Bottom Line: People, Planet & Profit (Courtesy of benojo.com)

2.3.2 Design with social sustainability “You can’t have a totally structured place and then just expect people to fit in...” (Woodcraft et al., 2011) When considering designing for kindergarten education, the story starts before the architectural design itself. It starts with the conceptual background, the so-called ‘life-related’ pedagogical approach to the kindergarten education and its basic form, where the use of space and architectural perspective are combined. This approach is recommending that all the architectural decisions (choice of materials, energy consumption, etc.) should be taken based on ecological compatibility in the interests for the future of our children. ‘Why are so many children’s facilities currently being redesigned, both inside and outside?

Certainly not because they were carefully planned, built a designed in the first place.’ (Dudek, 2008) In his book, Dudek has been working towards finding the principles that should be considered when designing such a building, and with no doubt, they go further than just architecture. He also implies that there is more to design than just applying what we know, also creating a list with six aspects that should be analyzed.

2.3.2.1 Become a child Dudek compared this approach with empathy, where the architect or respectively, constructing architect, can understand better the need for its design and kind of “put himself in their shoes”. This approach is necessary for all other designs, also called as ethnography study, where the researcher is putting himself to experience the life, culture and the needs of his study (Rienecker and Jørgensen, 2018).

In this case, the researcher is simply the architect or the constructing architect, and by experiencing the

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kindergarten, he gets to understand their needs of playing, calm and quiet areas, their behaviour, the size, speed and everything related to the things that can affect or influence the design. (Dudek, 2008) 2.3.2.2 Enrichment through cooperation The architect possesses the ability to design something which is beautiful to look at. But a modern child institution is more than an aesthetically pleasing building, especially when you want to offer the highest quality and educational experience. A kindergarten is more the place where both children and teachers start mastering the art of learning and living. Therefore, the design of these places requires more than a skilled architect, but also the participation of the future users. Teachers, as representing the future users,

Figure 4 Illustration with the cooperation in a kindergarten project (Courtesy of Branche Fællesskab Arbejdsmiljø)

could use their knowledge and experience, and together with the architect’s vision, can put the basis of a successful strategy in designing these institutions. There comes also the pedagogical approach and many other key factors, but with a close cooperation, all these factors can be analysed, solved or at least controlled from the early stages of the design. (Dudek, 2008) “In one case, a large extension to a kindergarten would have meant the destruction of all the established trees in the grounds. Thanks to an excellent working relationship between the head teacher, the site manager, and the architect, the building went ahead, but the trees were saved” (Dudek, 2008) 2.3.2.3 The partial-holistic approach This aspect relates to the fact that sometimes when something is being developed, in our human nature, we tend to overlook certain aspects, ignoring their context. Designing a kindergarten where the spatial needs of each individual child are met, as well as the needs of the entire group can be a big challenge: how each small room related to the group rooms and further to the big common areas, and how the building itself should be related to the ground and its surroundings.

There is no doubt that the building and its surroundings are going to be used as educational areas, so the question must be raised to the people that are going to use it, to be able to improve the design.

Overall, there are many questions that are to be asked prior taking it to the white paper, but the first thing that should be considered is discussing with educational experts and understanding to what extent the profile of the institution should determine the structure and the type of the building (Dudek, 2008).

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2.3.2.4 Guidelines and Standards When dealing with new constructions and its standards, many tend to precisely follow the standards, without properly understanding their meaning. Talking about how standards influence the building use has long been discussed. Each project is special, and it requires proper research which allows the needs to be met. Only by following the minimum requirements, without taking into account the pros and cons of their choice, is in most cases, is driven towards completing a building which is not fully complying with the needs for it. Understanding exactly how each standard should be executed, by studying them in detail, eliminates the risk where one is “assuming that the minimum dimensions are necessarily optimum in all cases” (Dudek, 2008).

2.3.2.5 Versatility and flexibility As in talking about the flexibility, which for a long time now, have represented the biggest issue when designing, the kindergarten itself need to be designed in such a way that besides achieving its natural use (shared areas, quiet areas, toiled, additional rooms, etc.) it should also allow for other activities. A room should not be too specialized but should be used for other purposes too: a washing room can also be used as a room where children are playing with the water. The best example is where the kindergarten is also able, through its design, to function as an elementary school (for children between the ages of 6 and 14), where they need spaces for doing their homework and everything else. In those cases, having additional spaces would be the best solution when designing for flexibility (Dudek, 2008).

2.3.2.6 Interconnection and openness This idea comes from the fact that one should feel separate from another space, but not enclosed completely. The users (as in children, teachers and parents), need to have this division in their minds where they see each space as based on its use. For example, units such as group rooms, playrooms, activity rooms, the access from exterior to interior, or access pathways or hallways to the main building units, have to be clearly separated, so everybody can differentiate its use, but connected to the other parts of the building, so the users feel “disconnected” from other spaces. The best way of doing so is by using glass as separators, interconnecting pathways, and bridges linked to the outside (Dudek, 2008).

2.3 Interior environment One of the goals of the green buildings is to decrease the negative impact on their occupants and create a healthy, comfortable and productive indoor environment (Patnaik, Kumar and Saha, 2018). At the same time, rich environments for children and other users, have an immediate effect on the quality of the children’s learning and development. These institutions sometimes become like homes for some people, the place where they eat, sleep and play with other children. Offering them a safe, secure and happy

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environment should be the priority when designing such institutions, having in mind how all the small design decision can affect their development. (Early Years Matters, 2017) This chapter aims to offer a basic understanding of some key features when designing new buildings, where the architecture is used as the main factor and these aspects are introduced early in the process.

2.3.1 Lighting design The way space is designs and organized, which is also guiding its illuminance, is one of the factors that directly influence the mood and the impression of the viewers. Light is the principal of a place, sketching the character of a space, place and setting. Light is characteristic to its geography, where “dramatic differences between the burning vertical light of equatorial areas, and the melancholic horizontal light of the northern regions”. (Sørensen and Haug, 2011) Figure 5 Skuespilhuset, Copenhagen. Designed by Lundgaard & Tranberg Arkitekter (Courtesy of Belingske.dk)

One of the iconic buildings of Denmark, where the approach to lighting design is to establish a connection between the public areas within the building and the public spaces of the city, is with no doubt, The Danish Royal Playhouse (Skuespilhuset), completed in 2007 and designed by Lundgaard &Tranberg Arkitekter, placed in Copenhagen. Each individual component of the building is focused by a play of light which highlights the individual character. Architecture and lightning are used to maximize the connection of the building with its surroundings, where the main focus was on balancing the daylight and artificial light. The light is carefully and beautifully designed with exquisite lighting levels in the right places, highlighting the atmosphere and space. (Sørensen and Haug, 2011) Architectural lighting design is concerned with the design of lighting systems, including natural light, artificial light, or both, to serve the human needs. (Julian, 1983) The planning process of the lighting design must take into account the following aspects: •

The human activity for which lighting is to be provided;

•

The amount of light required;

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•

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The colour of the light as it may affect the views of particular objects and the environment as a whole;

•

The distribution of light within the space to be lighted, whether indoor or outdoor;

•

The effect of the lighted system itself on the user.

“In the end, architectural lightning always works with the architecture, not against it, to create a cohesive spatial experience.” (Tu, 2017)

2.3.1.1 Daylight If you want to create optimal daylight conditions in a building, you must take into account all the aspects which are contributing or affecting the daylight conditions, such as location, surroundings, façade, interior and indoor climate, so that all together help in creating a thermal, acoustic, visual comfort economically and energetical efficient. (Lysviden, 2018) All the decision was taken early in the process, regarding the area, orientation shape and size will influence throughout the whole design and lifetime of the building. To ensure that the optimal amount of daylight is achieved through design, advanced computer systems that are continuously developing, are coming into play, monitoring the performance of the design and ensuring that the problems are fixed prior the completion of the project. (Lysviden, 2018) After the building program have been decided, the planner has to take specific measure to ensure the accuracy of his design. It is very important to perform a detailed area and climate analysis to collect data regarding the solar radiations and sun path. (Lysviden, 2018) Information regarding the daylight levels are required, so to predict a fairly accurate image of the lighting levels. Artificial lighting is coming into play when the optimal daylight cannot be achieved, and the constructing architect must know when and how often they should be used. (Lysviden, 2018) A building which is visually pleasing with a beautiful aesthetic, but which is not in accordance with the client or users’ needs and requirements will probably not end up being successful. The architect and constructing architect must collect all the requirements and wishes before start planning, and make sure that its design achieves these wishes. (Lysviden, 2018) Light design and daylight design come with many challenges, where many factors need to be considered in order to provide a proper architectural quality and experience. By visiting the building location, the constructing architect has the chance to experience the context of the building and get inspired by the surroundings. (Lysviden, 2018) 2.3.1.2 Daylight impact on preschool students The effects of daylight on the human development have been a highly researched topic for many years. Researchers have discovered, although sometimes this is an aspect that some may ignore, the

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windows and openings in a place, enable people access to daylight and an exterior view. Having the people connected to the exterior environment and to nature sets the mood for both the children and for the teachers. Although there might not be an immediate effect of daylight, its role is acknowledged many years after. (Yacan, 2014) Having a higher natural light in classrooms provides a healthy place for teaching and other activities while enhancing Vitamin D and regulating the circadian rhythm. At the same time, a higher amount of daylight restricts the negative impacts of the electrical lighting and improves the overall perception of the space and architectural experience. (Yacan, 2014) 2.3.1.3 “The Big Picture” of the Daylight Design The early design decisions have a greater impact on the overall performance of the building, both in terms of user satisfaction and sustainability (e.g. energy consumption, choice of materials, HVAC systems, etc.) (Lysviden, 2018) The spaces where the sunlight (direct light from the sun) and the daylight (diffused light from the sky and reflected from the surroundings) are very important parts in the lighting strategy. The early parts of the design process must ensure the correct location of the building in relation to the area and the surroundings, correct orientation, proper distribution of the building materials, space design and size and design of the openings. (Lysviden, 2018)

2.3.2 Colour impact and daylight Colour is another factor that affects us to a high extent. Either that we talk at work, at home or in public places, everything around us has colours. Choosing the right colours is necessary for achieving the desired effect for the design, at the same time, influencing its viewers and their spatial experience.

(Bergstrom, 2008) A light source is the principal influencing factor in the perception of colours. Light sources emit radiations, which is electromagnetic energy within the 400-700nm (nanometre wavelength range). The composition of the radiation varies between the light sources regarding the intensity of light energy in various parts of the spectrum. This explains why colours get distorted to a greater or lesser extent in certain kinds of lightning. Daylight, with its abundance of energy in the entire spectrum, gives a rich world of colours, which can easily be recognized in the incandescent light. Colours in general, do not look the same as in daylight, but they can be still recognizable. (Bergstrom, 2008)

2.3.3 Space configuration When designing buildings for educational use, the architect and constructing architect can connect architecture with learning. Today’s design should reflect the commitment of the educational reform or the

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pedagogical approach, allowing the connection between learner and teacher, and between individual and society. The designer needs to provide facilities linked with the pedagogical approach and the community, balancing the learning with personal outcomes. (Dudek, 2008) When designing these spaces, there is a big opportunity to straighten both the pedagogical approach and the personal working environment, which architects and constructing architect should value.

Only having the structure for physical activity is not in itself a guaranty for health, well-being and a happy working environment. But planning the interior environment and the spaces which fit the pedagogical practice, is the foundation for a good working environment for the children, teachers and parents. (Per et al., 2015) In general, the spaces in these institutions should be planned so that there are places for all the different activities, which naturally are part of working with children. At the same time, there should be enough flexibility, so it can fit any new pedagogical methods that may be adapted in the future, which can fit other age groups than the ones the spaces have been designed for. (Per et al., 2015) When discussing kindergarten institutions, there are specific rules which are guiding regarding the number of rooms needed when they are in the planning process. There should be at least: group areas, shared areas (common rooms, washing rooms, playrooms and sleeping rooms), kitchens, offices, meeting rooms, children toilets, wardrobes, together with washing rooms for the children that cannot wash themselves – typical for nurseries or kindergarten children, but also the children with other diseases. (Per et al., 2015)

2.3.4 Choice of materials Talking about kindergartens, the focus is especially on the indoor climate, where the output is to offer the children and the users of the building a healthy climate where they can develop their learning activities. The focus is on choosing building materials, fixtures and fittings that give a low contamination to the air in the room as possible. The building materials can produce many different substances, including vapours from organic solvents, which may cause irritations and mucous membranes and other unpleasant symptoms. Both building materials and fixtures can cause other environmental problems, therefore there should always be considered whether the chosen solution causes problems with the indoor climate, acoustics, and cleaning. If the materials have the Indoor Climate marking (IndeklimamĂŚrking - a national mark which gives the documentation that proves that the product does not contain any toxic particles or gases, which can affect the indoor air quality) (Per et al., 2015) The floors are a very important part of the pedagogical methods applied in the institutions, as many of the activities, both the children and the teachers are doing while sitting on the floors. At the same time, the materials used for the floors contribute to a good acoustical environment, which improves the

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overall experience in the institution. There should always be used carpets for the most used areas of the floor. (Per et al., 2015) The floors, walls and ceilings should be isolated against moisture and cold and planned so it helps to improve the acoustic conditions. They should also be designed in a way which is not hard to keep clean or maintained during the time. (Per et al., 2015)

2.4 Sub-conclusion To summarize, the different literature sources, both Danish and international analyses different angles regarding the planning of a kindergarten institution. Kolding Municipality has established a guideline material, explaining the main points and what should be considered when working with these kinds of materials, also accounting for the national and international standards and regulations.

Dudek (2008) managed to establish a connection between the school set up and the kindergarten environment. At the same time, he managed to offer guidelines regarding the approach towards planning and design.

The Danish Centre for Light (2018) gives information regarding the lightning planning, both natural and artificial, while also discussing how the light influences and colours and how these two are interrelated.

Once the theory base has been analysed, the research is continued towards discussing own data and observations gathered during the research process.

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CHAPTER 3

Empirical data analysis This chapter discusses the empirical data, by an in-depth analysis of the case studies and interviews, providing deeper information on how these institutions have been designed. The authors´ intention was that these case studies were able to provide them with data from a specific region in Denmark, which also represents the focus of this study, is the base for the discussions further in the process. To supplement the information acquired from the study cases, the interviews are based on these cases, offering guideline throughout the entire research process.

3.1 Case studies 3.1.1 Choice of case studies Once the research topic has been settled, the search for appropriate study cases started. The study cases had to be linked with the subject and situated within an acceptable distance from the city, to allow possible visits. Luckily, the city of Odense is in a continuous development, not only regarding construction, but also towards education, sports, and diverse cultural events. Towards sustainability, Odense has been created a series of rules for each sector, where the sustainability changes from a wish and a choice, to a need: “Odense Municipality’s environmental policy reflects a fundamental wish for constructions which must be sustainable in every sense. Sustainability should be understood in its widest, most spacious sense, based equally on social, economic and environmental sustainability." (Odense Kommune, 2013) As the number of children that are requiring a place in a day-care institution is increasing, Denmark having 96% of the children 0-6 years old in these centres (EUROSTAT, 2016), the building requirements are growing as well. To the national Building Regulations in use, each municipality creates their own policies where their strategy is integrated within the regulations. As an example, in 2016, Odense establishes “Miljørigtigt byggeri - krav og anbefalinger” (Environmentally friendly construction – requirements and recommendations), where their strategy is explained, as well as the need for ‘doing better’. Odense wishes to invest more in sustainability and to support the ‘green image’ it has acquired within the country. The buildings are to be more sustainable, easier to maintain them in time and a quality aligned with international recognition certificates. (Odense Kommune, 2010)

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About sustainable certification, they are a contribution which ensures that the municipality’s success criteria are met. The criterion made by Odense Municipality is inspired by the Nordic Swan-label, the American LEED and British BREEM, without leading directly to any of these certifications. The municipality wishes that its construction will meet criteria Internationally recognized eco-label schemes (adapted to the Danish conditions), at the same time, the development of the environmental certification development in Denmark will be followed. (Odense Kommune, 2010) In Odense were registered in 2016, 131 kindergartens, which are divided into the following categories: Children

Integrated institutions

Kindergarten institutions

Day-care centres

Nurseries in total

≤ 45

20

21

5

46

46-80

57

13

2

72

≥81

12

0

1

13

Total

89

34

8

131

Figure 6 Total number of children institutions registered in 2016 (Courtesy of Odense Municipality)

From the total number of day-care institutions registered, Odense is hosting two of the first Swanlabelled certified kindergartens in Denmark and the first Passive-house designed and certified kindergarten.

As already explained in the first chapter, under Motivation, I had the chance to see one of the kindergartens before, namely Børnehuset Solkerne, as the Passive-house kindergarten. After reading all the statistics and reports about Odense Municipality’s intentions with the future of the city, I have decided that including these buildings in this study, the collected data will be accurate and specific to a location, which at the same time, brought good examples for sustainability in Denmark, regarding educational institutions and much more.

3.1.2 Initial contact The idea of having an initial contact with the chosen institutions, came out from a discussion with the two supervisors, where at the same time I was advised to try and contact them, prior the time I am intending to have the interviews. The concept behind was to write a letter in Danish, where I am explaining who I am, where I am coming from and what is my project about so that they can understand my ideas and give them time to decide, whether or not they want to participate. Following that, each of the visited kindergartens were to be contacted again, and in case of their acceptance, to organise another meeting.

The follow-up meeting had as focus a better familiarization with the building and organization of some interviews where we were discussing the effect of the building on their activity and how it has been developing in time.

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In the letter I have created, which I entirely translated to Danish, I had to be clear about who I am and what exactly I want, what are my intentions for future use of this information. I had to be convincing and to show my enthusiasm and interest in the subject and prove that my project is feasible and is not meant to hurt anybody. (see Appendix 3 for the Kindergartens Cover letter) On the 8th of August 2018, I took my bike, and on my itinerary, I only had 3 destinations, the three kindergartens that aroused my interest. Giving the fact that that specific day, was maybe one of the hottest in the whole summer, being registered 33° in the shadow, I had to take the train for the last destination, as it was around 9km far from the centre of Odense, and biking in that extreme heat would have probably affected me for the rest of the day. I did not know what time would be appropriate to start my journey, but I knew that it should be around 12:30 when all the children have had their lunch and I might be able to talk to someone. Also, I was not sure of what to expect. The beginning of the new school year is approaching, and a new round of children are starting, so I could imagine that they would also have a busy time in this period. Anyways, I took my chances, my bike and my backpack with my letters, and I started my journey.

3.1.2.1 Børnehuset Marienlund The visit at Marienlund kindergarten was the shortest, arriving at the location around 12:50, and leaving around 13:00.

Once arrived there, I walked a bit around to see if there is any activity on the playground, or if I see people around, as all the doors were closed. Unfortunately, the place was peaceful and there were only some prams around the building. The things observed was the difference in façade, having one type of façade on the main street, giving the impression of a closed, massive and compact building, but opening from the inside, towards the small forest and the playground.

Thereafter, as all the entrance doors were closed, not being able to contact anybody, I had to move forward with my journey, to get in time for the other kindergartens.

3.1.2.2 Børnehuset Solkerne As this place was known to me, considering that we have been visiting it before, while working on another project in school, therefore knowing enough to get around. The building kept its charm, and it was fantastic to experience it on nice weather.

Upon arrival, there were two people entering the building, assuming that there must be some activity in the building. The entrance door was connected to a small hallway, where some cloth hangers and space for shoes were positioned close to the walls. Meanwhile, on the other walls, there was information about the menu with food, internal information, and a presentation of the parent board. At first, I had few minutes of hesitation, but once the people I saw at the start, went out of the building, I was convinced that I had to go and talk to the people inside in person.

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The entrance area leads to the common room, a place which is connected to a big kitchen and small play groups with different toys distributed around the room. Around ten children and three teachers were waiting for me to present myself, so I did not hesitate anymore and start talking. The discussion was short, but they were really nice and helpful, and they seemed to be impressed by my interest and enthusiasm. I was happy to see that even with my ‘broken’ Danish accent they still understood what I said and that my visit left a good impression. Talking to the pedagogical leader, I was told that giving the busy period, they cannot promise anything, since the children are their priority, but they will have a look at my letter. I received the approval for taking some pictures, so I had the chance to go around and take pictures of the shared area and the exterior playground. (see Appendix 3) One thing I noticed about the building is that many spaces are designed with mixed usage, not having a separate space for each activity. Many children were eating in the same classroom as they were having their teaching activities, but they could also have arrangements in the common room. The playground is designed with nature around, all the games having either trees, or wood constructions, or even a wall opening where the children can watch the passing trains. All these activities were designed in a way that they could stimulate the children and make them decide on their own how they will like to differentiate the spaces. The building itself has positioned in a way that it embraces the playground, and by having two different facades, this building is the best example for the balance between the old and new and the respect for its surroundings.

3.1.2.3 Børnehuset Brobækken This kindergarten gave me a positive feeling and a good spatial perception since entered the building. The trip to the kindergarten from the train station, passing a small forest, with a small playground and a lake, just across the building, made this journey to be the favourite one.

The first thing noticed when approaching the building was the big sign on the principal façade, which instantly created an impact. Once entered the building, a small wind protection room which was connected to the main hallway, was filled with information regarding the organization of the kindergarten and its employees, as well the Swan-label certification of the building. The building´s find-way system is something that impressed me, guiding you from the very beginning regarding the organization of the building. Giving that factor, finding the head office was not a big issue. I managed to find the pedagogical leader and we had a short conversation. As approached before, I presented myself and my project and he was more than willing to read my letter and understand more about the project. I received the same feedback regarding the timing, sign that this might create problems in finalizing the process for this thesis as planned.

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3.1.2.4 Own observations The trip really meant a lot to me and for this project, as it gives the chance that before being analysed, the buildings can be experienced and observed. In all three cases, the buildings left a really positive impression and even if the design if not very spectacular and modern, wherein all three cases it may not seem like something beautifully design-wise. Someone with no knowledge of experience with the design would probably pass by without even noticing.

The Marienlund kindergarten seems small from the principal street, but once walking around the building, the U shape starts to be more obvious. The shape of the building on the interior seems to be designed around the playground, giving an impression of openness and connection to inside-outside.

The Solkerne kindergarten has an interesting design, being position in an old area of the city. The façade to the street is built with bricks in the same colours as the buildings around, as the other part of façade, leading to the playground is designed in another way, giving the impression as in the abovementioned case, a good connection of the building and nature.

The Brobækken kindergarten, as the other two mentioned buildings, is presenting as being closed from the street but opened towards the playground and children´s activity. The logo of the building being positioned on the façade created an impact and gives the impression of a strong institutional organization.

Regarding the building spatiality, each case will be analysed in-depth on its own, where the values of each institution and the number of children will also be connected to its use.

3.1.2.5 Final contact On the 30th of August, around 15:00, I have called the main office and had a short conversation with the pedagogical leader of this institution. The way I have been answered, with a really cold, in a way, rude voice, and the fact that I was not even fully listened, left me disappointed. The motives were that they were really busy, having too many assignments and they do not have any more time for other external assignments, which have nothing to do with their activity at the moment. At the same time, I have left with the impression that the person I have talked to, the same person as from the initial contact, believed that I have been visiting all 131 existing kindergartens in Odense. In here, I believe, it was my mistake, not being clear enough on why I have chosen this specific building. Also, after explaining that I have been in contact with the architect that designed the building and that she would much like to hear on how the building develops over time, I have received the same answer.

I understand that the period is definitely not the best for having a long conversation with some representative from these institutions, but as on their website states that ‘for any inquiries regarding visits, please do not hesitate to contact us and program a meeting’, in this case, it cannot be applied.

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Giving the situation, I find myself in the position where I have to move forward with my study, and proceed with the analysis of the data managed to gather.

3.1.3 Case study procedure The cases have been studied on the bases of only four points, points which are related directly to the topic of this paper. The focus points are location, the structure of the building, materials and pedagogical approach.

The information has been mainly procured from the website dedicated to all kindergartens which are part of Odense Municipality, but also from architects and engineers’ side. Some of the information was unavailable, giving that these buildings have been completed within 2008-2012. These study case will be the foundation for the following part of this research, where the interview questions will be formulated on this basis.

For a better understanding of this study, please follow Appendix 4 for more pictures and additional information.

3.1.3.1 Case study no.1: Børnehuset Marienlund Figure 7 Børnehuset Marienlund in Odense, visualization by Moe & Brødsgaard (Courtesy of building-supply.dk)

Marienlund is known for being one of the first Swan-labelled kindergartens in Denmark, where the approach to sustainability and materials is carefully analysed and planned, compared to a traditional kindergarten.

Location The building is located in Skibhuskvarteret, in the Northern part of Odense Municipality, in the earth of Sandhus Forest, giving direct contact with nature. (see Appendix 3 for exact location)

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Structure It has been designed and built between 2010-2012, concomitant with the other kindergartens built with a similar approach, all situated in Odense Municipality, and will be discussed in the following chapters.

The place has officially opened its doors on the 31st of August 2012 (Dalsgaard, 2012). The size of the building is 900m2 and incorporates both kindergarten and nursery. There is a total of around 87 children (32 for nursery and 55 for kindergarten), and 18 adults, as registered in 2017 on the kindergarten’s website. (Odense Kommune, 2018) The main focus for this building was sustainability, environment and the indoor climate, through the use of Swan-labelled materials. It has been designed of Årstiderne Arkitekter, together with Moe & Brødsgaard as an engineer for the project. (Dalsgaard, 2012) The building is divided into smaller groups rooms, according to the needs of the specific groups, which supports the development of all the groups in the way it is needed. Every space in the building is designed and organized as a learning environment, from the bathroom and wardrobe to the external environment, and places such as the playground and the access to nature. The access to the external playground is all year round and is divided into many smaller activities to which supports all children needs and interests. (Odense Kommune, 2018) Choice of materials All the interior materials in the building are having the Swan-labelled and Indoor climate certification, carefully chosen for an improved indoor climate and quality of the building. (Dalsgaard, 2012) The façade of the building is designed in two ways, the façade towards the main street and the façade towards the playground and the forest. Towards the main street (Sandhusvej), the building is cladded with sinus plates made of galvanized steel and towards the playground, the façade wood cladding.

The structure of the building is made out of lightweight concrete elements and the roof construction is wooden I-beam supports. (Dalsgaard, 2012) Pedagogical approach The close collaboration between the parties within the kindergarten and parents is strongly reflected within the organization of the building. As describes in the structure section, all the spaces are divided so that each age group fulfils their needs and interests and supports the play and learning. The approach is carefully thought and planned, where the focus is to develop and create a strong base for the children, improve the learning potential and the connections with others. All these goals are reflected in the way the building is organized, and they claim that this is the base for the organization of this building.

(Odense Kommune, 2018)

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3.1.3.2 Case study no.2: Børnehuset Solkerne Solkerne is the first Passive Haus (low energy class 1) certified nursery in Denmark, also built with Swan-labelled materials.

Location The building is located in a medieval area, close to the old Odense Offentlige Slagtehuse, in the immediate vicinity of Odense Centrum. (see Appendix 3 for exact location) Figure 8 Børnehuset Solkerne in Odense (Courtesy of Skjøde A/S)

Structure The building is designed of Pluskontoret Arkitekter, together with Moe & Brødsgaard as an engineering company, and Metopos By of Landskabsdesign as Landscaping architects. The design and construction of the building have been developing between 2008-2009, and from 2010 it officially started its activity. The total size of the building is 898m2, and a total capacity of 55 children and 15 adults, according to the kindergarten’s brochure. (Pluskontoret Arkitekter, 2012) (see Appendix 3) When designed, the client had three main wishes: - This nursery should be an example for the sustainable architecture; - The building should be designed in harmony with the existing surroundings and its history, at the same time functioning as a visual dynamic improvement for the transformation of the area; - The buildings should have a “sustainable pedagogical architecture” approach (approach where the pedagogy is the focus of the design and organization) as a base of the design, both indoors and outdoors.

(Pluskontoret Arkitekter, 2012) ( Many of the rooms which are less used are to be cool during the day, are placed toward North and East, having the geometry looking compact and closed. At the same time, rooms such as group rooms, playrooms and personal rooms, are placed towards South and West, where the façade is lightweight and more opened. (Pluskontoret Arkitekter, 2012) ( The lighting strategy gives this building uniqueness and by the systems integrated, they offer a good indoor climate and high energy cost reduction in time. (Pluskontoret Arkitekter, 2012) (see more illustrations in Appendix 4)

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In short, the energy approach in Solkerne is by having a compact geometry, with a correct orientation towards the sun, airtight, with a strategical use of solar shadings, ground heating, solar heating and natural ventilation. All these things combined are placing the Solkerne as one of the most energyefficient educational institutions in the country.

Choice of materials All the interior and exterior materials are Swan-labelled certified, so it achieves a high indoor climate quality, so, therefore, reducing the risk of asthma or allergies.

Figure 9 Building sections showing the different external materials (Courtesy of the Solkerne Børnehuset, Pluskontoret Arkitekter and Odense Municipality)

One of the main focuses was to fit the building in its medieval surroundings. The illustration shown above presents the two different facades, which can be visible in a higher resolution in Appendix 4. The façade towards North and East, where geometry looks compact and closed, cladded with dark red brickwork and the architectural impression fit its medieval surroundings. Towards South and West, the façade tells a more modern story, leaving a visually light and open impression, been cladded with lightweight materials and a structure from wood. Here the big façade opening offers the needed opening to the exterior, nature and playground. (Pluskontoret Arkitekter, 2012) Pedagogical approach The design of the kindergarten stays as a base for the pedagogy, where all the parties in the project were closely cooperating in producing a suitable environment for the children. The approach is about supporting the independence of the children, and all the spaces (both indoor and outdoor are designed so it supports children’s senses. (Gr et al., 2011)

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3.1.3.3 Case study no.3: Børnehuset Brobækken

Brobækken is the first built institution in Denmark with Swan-labelled materials, designed for a better indoor climate, with environmentally friendly materials and respect for the surroundings.

Location The building is situated in the South of Odense Municipality, in Højby and at the crossing of two streets with a similar name.

Figure 10 Principal façade picture of Børnehuset Brobækken (Courtesy of TKT Arkitekter)

The building is located in the immediate

vicinity of a small forest, with connects the train station to the kindergarten, is the trip is on foot.

Structure The building measures 750m2, containing four big flexible rooms, which allows for further division, according to the pedagogical vision, but presenting a strong connection between the interior and exterior of the building. There are many rooms for specific activities, as in sports rooms, activity rooms, creativity rooms, etc., all of which are designed with the furniture and colours to stimulate the children the specific feeling they should have when stepping in that room.

In general, the design tris to creates a learning environment for both smaller and bigger groups and giving the children a specific direction of the use in every space.

The playground is large and spacious, containing a sandbox, swing area, bike path, etc. At the same time, there is a large campfire, where during all seasons, children and teachers are organizing activities outside, such as cooking and many more.

Choice of materials All the building materials, both indoor and outdoor are Swanlabelled, where the focus was on creating a healthy indoor climate and supporting the environment.

As the first Swan-labelled children institution in Denmark, it came with many challenges regarding

Figure 11 Picture with the reused brick façade (Courtesy of gronneindkob.dk)

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organization and documentation. The building presents its façade through the reuse of old bricks, which have been cleaned and sorted, prior to its use. This technology saves 1ton of Co2, for every 2000 bricks used, where Brobækken saved 15ton of Co2 with this technology. At the same time, besides the historical look, the reused bricks contribute to the good indoor quality of the building, which is planned to work with all the other materials and form the needed results regarding quality. (Gr et al., 2011) Pedagogical approach All the activities developed during the day are considered as part of the pedagogical activity, including all the actions while children are playing, eating, changing clothes, etc. The kindergarten’s main focuses are children’s personal development, languages, body and movement, nature, culture and values, integration. They are trying to have these points integrated into all the activities they develop, with the hope to strengthen children independency, learning and development. All the spaces are designed to support this approach and are also trying to bring the children together in one space, but with the help of some design features as (light, colours, furniture, etc.) to guide the activity in the room and for how long it should be used.

3.1.4 Sub-conclusion As the three chosen case studies were built between 2008-2012, many difficulties have occurred in the process of gathering the necessary data to be able to answer the research questions. One of the biggest difficulties was the reliability of the information regarding the case studies, information which was to be clear and concrete. After discussing with other specialists in the field, the conclusion was that given the fact that these projects were publicly funded, many of the details were unknown to the wide public.

There was far not enough information available to make up and give proper data to be further analysed and discussed, for the questions to be answered. Giving this fact, the information missing from these study cases were the foundation for the next part of this empirical data section, namely the interviews part of the study, where the questions were formulated in a way that was clarifying many of the things that were left unclear after analysing these cases. This part has outlined and offered a good example of using this approach when many of the possibilities existing today, were not available, not still succeeding and creating buildings which are followed by many others in present.

3.2 Interviews As previously presented in the first chapter of this thesis, the interviewees as a qualitative technique of collecting the data under the classification of the exploratory research were organized as a semi-structured interview, with a strong connection to the study cases. The interviewees were

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systematically selected by the author for their professional experience, connection with the paper’s topic and are of employment. All three interviewees were employed in the architectural sector at the time when the interviews were carried out, and they were operating as architects or constructing architects, with specializations as DGNB consulting, sustainable design and Lighting design. One of the interviewees had a special connection with one of the study cases, namely Brobækken kindergarten, which at the time when the building was in the construction process, handled the project and took care of the communication with all parties involved in the process.

The communication with all three interviewees has been carefully organized from the beginning, as the contact has been initiated either face to face or by the phone, and all the follow-ups have been conducted through email. Upon approval of organizing these interviews, a cover letter with the questionnaire was sent to each interviewee, one week in advance. The cover letter consisted of an introduction of the author’s background, the topic of the dissertation and the type and an estimated time length of the interview (see Appendix 7). Giving the brief time span allowed for this thesis and people availability, there has not been organized a pilot study for these interviews. The pilot study would have given a better time estimate and would test the questions format, length, clarity and style. Despite the duration of the interviews, they were conducted in a good manner and both the author and the interviewees were left with a good experience in the end.

3.2.1 Interviews data procedure The method used in analysing the interviews data is a combination of both deductive and inductive methods, their deductive approach involves using a predetermined framework for data analysis, and inductive involves analysing the data with little or no predetermined theory, structure or framework (Burnard et al., 2008). The main reason for addressing the analysis of the qualitative data in this manner is to create a proper illustration of the analysis, as some of the questions were related to the interviewee’s experience, the author not been able to determine a possible answer prior. Moreover, as the objectives for each interview were different, all the interview questions have a common foundation, but also a nuance related to the specific area of study.

To make the analysis process easier, the interview questionnaire has been divided into four categories. The interviews consist of around 20 questions, and the full transcripts are available in Appendix 8.

The interview transcripts have been kept as original as possible to the conversation, as Gibson advises with his guide, “[…] is very important that during transcription and translation, not to ‘clean up’ the grammar […] we want our transcripts to give the best reflection possible of how the conversation actually happened”

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(Gibson, 2017). Due to the difference in length of each interview, they will be analysed separately, and the information will be mirrored in the dissemination section.

The interviews, as explained in the previous chapters, were carried out as a journey towards discovering elements associated to the research question, hypothesis and objectives, settled at the beginning of this thesis, and focusing on answering them as clearly and as efficiently as possible. For an easier navigation of the analysis, a mind map has been created to facilitate the process understanding (see Figure 12). The graphic displays a summary of the structure and process of organizing and creating these interviews, and their relation to the research question, which will be analysed in-depth in the following chapter. The interviewees are referred to by their professional titles, being presented as following: Interviewee A – Project leader for Brobækken Børnehuset and Architect MAA. The interviewee had a prominent position in the development one of the studied projects, and the discussed ideas and opinions have significantly has given a better perspective regarding the development of the building process and the utilization of different approaches regarding materials, building design and process organization.

Interviewee B – Architect MAA and DGNB Consultant. Having experienced larger sized buildings within almost all usage categories, this interview has been given significant information regarding social sustainability, DGNB and project organization, giving the chance to mirror and reflect all the information gathered. The interviewee has been part of the same project team as the author, working with an office building, but where the approach towards sustainability inspired the author towards deciding to have a discussion regarding this development.

Interviewee C – Constructing Architect and Lighting Designer. As previously graduating the same education, giving the passion, the professional experience and the wish to help in the development of this project, contributed significantly to the formation of a strong image towards lighting design planning and how the matter is handled in real life situations.

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Figure 12 Interview analysis mind-map (Courtesy of the author)

3.2.2 Interviews data analysis The following subchapters represent the analysis of the transcripts from the author’s interviews with the selected interviewees from the Danish construction industry. The analysis is based on the research papers’ first two objectives, which are as following: •

To analyse and assess the evolution of the kindergarten in Denmark, and how the use of a sustainable approach towards planning can influence its development.

•

To investigate and assess the planning process including spatial configuration, lighting design, materials, and colours, in a kindergarten project in Denmark.

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Interview: Project leader for Brobækken Børnehuset and Architect MAA The first interview which will be analysed in this section is the interview with the Project leader from Brobækken Børnehuset, one of the study cases part of this research data (see Appendix 6 for interview transcripts). The interviewee joined the project before the Authority project, being in charge of the coordination of the project and the communication with all the other stakeholders involved. As the project was publicly funded, the communication with the client was close, having them participating in most of the project meetings, but also having separate meetings only between the architect team and the client. Besides the client, there has been an effective communication between the architect, users, local kindergartens leader and the director of the future kindergarten. Having a wider range of wishes for the project, there has been a special team involved in the project, taking care of the lighting strategy, both indoors and outdoors. The architect had to keep close communication and to make sure that all the desired areas are integrated into the project.

Regarding the client influence on the project, he had a major influence for the entire process, having special wishes for the spatial configuration, lighting, materials, finishes and indoor environment, but also many areas of interest where the pedagogical approach had to be reflected with the building design.

Through this building, they wanted to achieve a place which is not like all the other regular ones, where people have the freedom to move around and the flexibility, space where children can engage in their activities. Features as distinct colours of material finishes have been used to divide each space and create a specific feeling for each section, according to the pedagogical needs.

The pedagogical approach being integrated early in the process dictating the entire design was used for the first time on Fyn area. They wanted to create an open space for everybody, where people see each other and instead of only being part of a small group, it makes them part of a bigger group, also eliminating the age barrier. Compared to other cases where there have been designed specific rooms for only a specific action, divided into age groups, the interviewees describe this approach as giving the needed flexibility for the future where things can easily be changed in case something new appears in their approach.

Regarding the organization of the project, as the project was not big (measuring only 750m2), the design team was formed of 2-3 people at the peak of the project. Overall, the interviewee supports that having a smaller project team, there was a big job behind everything to support the communication and coordination for all the parties, especially with all the departments from the engineers and other parties with a considerable influence on the final design.

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When discussing the challenges of the project, the interviewee explained that one of the biggest challenges was the time difference between the project time plan and the time plan for approval of the project and materials, by the office in charge of the Swan-label certification. The certification office had six months for approval, where they were focusing on the use of materials and finding the right products.

Constructing such a building for the first time was also challenging regarding the documentation of these products, where the entrepreneur had the responsibility to provide all the technical data of the products.

About the savings in terms of cost, time and waste, the interviewee strongly supported that even with this sustainable approach, many things made the project be maybe more expensive than normal.

Having to certificate many of these products and all the special needs, also from the producers’ side could probably make the project being more expensive. Also, regarding the availability of these sustainable materials, whereby the time the project was developing, there was a lot of resistance to sustainability, where today, sustainability is a normal thing in every project, if not a requirement. Many of the products today are already Swan-labelled certified, which would make it easier for such a building now. As a concrete example, there is the EPD (Environmental Product Declarations), a certification for all the products, required for the DGNB certification, which is increasingly used nowadays.

The choice of materials was strongly influenced by the fact that the project was a publicly funded building and the procurement route. The products could not be specified, but only explained and given specifications, so that once there are several options, they could choose the best-suited materials. When there were several options with similar performance, the final decision would be made in accordance with the cost.

When discussing the effects of using these kinds of materials, the interviewees clearly supported the fact that when dealing with kindergartens, the materials should be carefully researched and chosen, giving the fact that they have a big impact on the children and employee’s health. She explained that in her experience of working with this project and discussing with people that were using it, people that were having health problems before had no more problems once moved into this building. The air and the smell were different, and the overall feeling and impression were improved. She also mentioned that many of the products should not necessarily be 100% non-toxic, but to at least try to make a better impact than the negative, and to follow the natural flow, as the things are quickly escalating, and many technologies are becoming more innovative.

After completing this project, the interviewee discussed that the interested was substantially increased, not only within smaller architectural firms but also in the way that the municipality wants things to be built around. Many of the factors are not only in how we build things but also in the way we live our

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daily lives, regarding waste management, how we do groceries and all the small decisions we make every day. As a future certified architect on sustainability within a local certification agreement, the interviewee agrees that there is not that all the buildings should be necessarily certified to be sustainable, but in their nature, they should have sustainable principles applied to it. She supported that the knowledge gained through diverse courses should be permanently used and should normally be part of the company’s tradition.

As the contact with the kindergarten has not being maintained in time, there could not be discovered if the building is used as designed or how it is behaving over time. But besides that, the interviewee explained that when designing there has been a major focus on other areas too, not only the choice of materials. Additionally, there have been around 40 extra requirements that had to be achieved to get this certification.

When asked if she would do the same kindergarten again, the interviewee answered “yes� with no hesitation. As well as grading with 10 (the highest) for the importance of sustainability in a kindergarten project.

Interview: Architect MAA and DGNB Consultant The second interview that will be analysed in this section is the interview with a DGNB consultant and architect, which is currently working with a DGNB certified office building in Copenhagen, Denmark (see Appendix 6 Interview Transcripts). The interviewee joined the project in October 2017, while the project just started Scheme Design phase, being in charge of the DGNB certification from the architect side, and other architect responsibilities within the project. The project measures 65000m2 in total, from which 15000m2 are two basements, under the ground. The project is to be a landmark for the Southern part of Copenhagen regarding sustainable constructions, and it has been funded by a private client, a Norwegian company, having a Danish representative which is permanently involved in the process.

The cooperation with the client, from interviewees point of view, has been in very good terms, the client being also an experienced architect. Dealing with an experienced architect, in his vision, represented a really important point, as the client could give concrete directions and express his wishes more efficiently. Additionally, the client had a big influence on the design process, while giving directions and ideas, but leaving space for other designs. The interviewee agrees that this was the point that might help or dominated in the future the risk of disappointments, once the project has been completed.

Regarding the cooperation with other parties on the project, from his side, it has been an effective communication. Giving that the project is developed from a project office, with the engineers, architects

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and entrepreneurs are working together, where most of the cooperation was happening. Regarding other stakeholders from the exterior, municipality or other surroundings institutions, they have been permanently informed and many external activities were developed to facilitate the project development.

When discussing the building design, as the building had a big focus on achieving social sustainability through the building design, the approach was carefully coordinated with all the parties involved in the project. One of the main requirements from the client was to create an open space in the ground floor, not only for the people working there but for other external users. The entire ground floor has been designed as a city, where the main hallways were designed as main streets and each individual section named after important buildings in a city, such as Culture house (Kulturhuset), The factory (Fabrikken), the town hall (RĂĽdhuset). This approach was named City within a city (By I Byen).

As the project faced many challenges in time, firstly starting the project in 2016, when the project started again in 2017, many changes have been made to the design to be able to achieve a higher result for the DGNB certification. The interviewee agrees that many of these changes have created several challenges for the project and that there is a continued fight to try to optimize to the fullest, each point for the certification and to improve the design. The DGNB criteria are divided within the architect, engineers, entrepreneur and client, where the client will take over some of the responsibilities that the architect was dealing with in the design process when the project will begin the construction phase.

When talking about working in a project office, the interviewee mentioned that it was definitely a good approach, but also has its downfalls. He commented that at times, this approach towards solving problems can be very informal, where people are coming and discussing some issues and taking decisions, where some of the team members may be not informed properly of the development, creating communication problems and misunderstandings if not handled in an efficient manner. Another factor which the interviewee categorized as a challenge for the project, was the budget, which also mentioned that is one of the challenges that many projects are dealing with, especially is the client wishes are growing in the process and things have to be changed to meet his requirements.

Regarding the use of materials, the interviewee explained that all the materials had to have the EPD and as a requirement from the client, they should also have the CE stamp. All the interior materials had to be carefully chosen and to have the Danish Indoor Climate Mark, with a fewer Co2 emission, to be able to achieve the social criteria of the certification, which is a particularly important criterion for the final count. Another important focus has been for example the bicycle area, where there were other specific requirements in this regard, and throughout the design process, they have tried to optimize the spaces for the bicycles.

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When talking about the after-completion effects of the project, as the project is in the first phases of the construction, the interviewee confessed that he does not believe that the building will be used as open as it has been designed, but only the experience will decide for the future. Regarding the daylight, indoor climate and space configuration contributing to the social aspects and their importance for this building, the interviewee discussed that they have been a big part for this certification, but at the same time, they must be considered anyhow for a better quality of the building. As many of the decisions regarding window size and materials were prior made, it created few difficulties in some areas.

For the final question regarding the importance of social sustainability in a building, the interviewee answered 8 or 9, where he argued that even though these aspects may be important for us as designers, they might not be as important for the client, or the other parties in the project, but still scoring high.

Interview: Constructing Architect and Lighting Designer The third interview analysed in this section in an interview with a constructing architect and lighting designer, mainly discussing lighting design matters from a constructing architect perspective (see Appendix 6 interview transcripts). The interviewee has been involved with lighting design for 3,5 years, where she worked with both natural and artificial lighting, but mostly artificial light in the last instance. At the moment, she is developing a lighting projection in Malmo, Sweden, and had developed another one in the past, in the Copenhagen area. She was also working on several projects in the companies she has worked with before, and has many personal projects, but only on a conceptual basis. Currently, she is activating as both constructing architects with lighting designer responsibilities, working with a research and educational centre for children within medicine.

When asked about the daylight benefits, the interviewee agreed that the energy costs can be a high selling point when discussing with a client, but there are also factors such as visual comfort and psychology which has a significant impact. Ensuring that the building allows enough natural light to circulate, giving the daylight conditions available in Denmark, where for a better strategy, the lighting design can be supplemented with extra artificial lights. With the development of technology, there are many devices available which are imitating the light and the sun and helps to minimize these possible deficits.

Regarding the reservation regarding a careful attention to the lighting design and strategy, integrated early in the process, the interviewee explains from experience that she believed that this reservation is a major point when designing residential or mixed-use buildings, both private and public, and

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that many would not give up. But once interacting with experts in the field and start experiencing on her own, she discovered that in Denmark and Scandinavian countries in general, are open to creating a good lighting experience. She explains that the regulations are too strong and of course, they are related to the choice of materials, but the regulations are dictating from the start many points in the design. The way that materials reflect and affect the light projection in a room may differ, and she strongly supports that many of the European codes can be at times too strict giving the conditions in some countries. European codes, as designed for a general view over whole Europe, can produce difficulties in a country like Denmark, where the lighting conditions are different compared to Spain for example, or any other Southern country.

When discussing different building usage, the interviewee explains that when the design process starts, they all have a common point, where many other considerations are later introduced and further developed. Regarding residential buildings, some of the requirements may not be so tight, giving that people have the option to change in time or improve their appliances around the house. Regarding public buildings, offices, schools or other categories, it may affect in a long run if areas such sun shading and other choices as materials, windows, colours, are not carefully analysed and chosen from the start. She explains that once dealing with public buildings, Danish architects are passionate about playing with light, both natural and artificial, and trying to get as much as possible done with the little which is available, for creating the best atmosphere for its users. Points out a very crucial aspect of the study, as the poor light can alter the whole experience and “magic� of the room, if not planned properly from the beginning.

When asked about the influence of the daylight on the human performance and development, interviewee B responds that it has 100% influence. She describes daylight as the factor regulating our circadian rhythm and well-being daily. The lack of Vitamin D and exposure to the sun is gradually affecting our day by day activity. She also mentions that we are lucky that in Denmark there are low chances of experience poor daylight strategy buildings, but the situation differs considerably from place to place.

There are places where people are working in conditions with no access to natural light, or external view, where they must spend 8 hours every day in a closed area, and she explained that the experience she had, even for a short while, it was unpleasant.

When planning the daylight, besides the sun path and the position of the building which are the first things to consider, once moving forward in the process, the focus moved to the windows distribution, sizing and choice of materials. The windows are a crucial factor when discussing energy costs, and once carefully planned it helps the building and the user benefit throughout the whole lifetime of the building.

Another important aspect is represented by the materials and the choice of colours and finishes, as the

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light and colours are influencing each other, pointing that the wrong choices create a bad lighting experience and visual discomfort.

As the daylight is one of the factors considered from the preliminary stages in the project, the interviewee explains that daylight visualizations can be close to 100% realistic, being the only efficient way, permanently improved, where the lighting strategy can be tested, eliminating future additional costs due to wrong planning. When looking for inspiration in other buildings, the focus should be redirected towards understanding how the building has performed over time, and how all the things work together, as well as proper research regarding lifespan, and how the specific part interacts or affect other parts.

Regarding the daylighting documentation, the interviewee explains that initially documentation for energy calculations, daylight calculations and simulations, are established, where later, detailed analysis of the materials are to be made, with focus on windows, finishes and so on, in order to determine the effect or their interaction with other parts. Areas as sustainability, energy class, lifetime expectancy, replacement, maintenance, are normally properly documented, as part of the sustainable strategy for the entire project.

When asking regarding the importance of the materials and colours, the interviewee replied that there is a well-established science which deals and explains the effect colours have on our mood, behaviour of experience of the space. How colours help people experience the surroundings, and how colours are the cultural connectors, are all factors that contribute to our space experience. For example, yellow is a powerful colour, which in excess leads to anxiety, and that they should only be used in the spaces where people need to be more alert, or spaces as kitchens, where it increases the appetite. Colour is a topic highly debatable, where people from different areas can bring other meanings for the colours, where the impact is different than the one perceived in a building. The way colours interact with materials should be of high interest for many designers, as it is a very important factor in how a person perceives the room.

For the final question, regarding the importance of daylight strategy in a kindergarten/school project, the interviewee answered 10 (the highest) with no hesitation. The example pointed out is that, hundreds of years ago, when humans could mainly benefit from the natural light, people were happy with what they had and were regulating their daily cycles by them. Today, with all the technology around us, we tend to disturb our daily cycle and overuse these technologies, not taking the account the parts that can affect our lives and development negatively. Taking care of the temperature of the light and playing with the colours to emphasize one specific feeling for each space, are features which are addressed correctly, it can improve not only our development and long-term health but our rhythm, learning and experience.

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3.3 Dissemination Once each individual interview is analysed, the information collected must be further reflected on the issues regarding kindergarten planning. From the three interviews, there have been generated information regarding the collaboration within the project and the impact of the client, the impact of sustainability in the industry, or materials and other choices on the project, like the way the design is approached and related to this specific usage.

From the interview with the project leader of BrobĂŚkken kindergarten learn that when the building was designed, 8 years ago, as this building was the first kindergarten designed with this kind of approach, many of the explanatory documentation was not even translated into languages which were easily accessible for a wider amount of people, the head office responsible for approving the building being situated in Sweden. In time, besides that the approach became more accessible, having the documentation translated in several languages, many of the manufacturers started paying a bigger attention towards their production process and improving their product quality and documentation. In present, sustainability is not a choice anymore, and it became a requirement for many new built, but also extending for the refurbishment project as well.

Regarding kindergarten design, the social sustainability can be translated in a building where the flexibility is facilitating the future development, where the design is opened, and it improves the collaboration of its users and the quality and space perception. The choice of materials, finishes, colours and lighting strategy, connected to the pedagogical approach which in most cases, is the base of the design, has a direct impact on the way the activity is further developed, but also effects on health, productivity and overall experience. The way this pedagogical approach is integrated into the design has a strong connection on how the collaboration is developed throughout the development of the project.

Involving the client, future users and direct responsibility of the institutions in the conceptual stages, as well as entrepreneurs, engineers and other stakeholders throughout the whole design and construction process, facilitates the overall development of the project and maximizes the outcomes. The earliest people are involved in the process, the more savings and improvements, as well as increased quality, experience and long-term benefits are supported.

According to the usage category of the building, if for public or private use, many of the planning aspects are affected, as well as how the building is to be used once completed. From the collected data, where different examples have been analysed, the fact that sustainability may be used for several reasons becomes more obvious. In many of the public buildings, there is an increased reason on creating a healthy indoor climate and a suitable place for development, especially when designing for children, but where in

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some private cases, the reason for choosing sustainability varies. The way the building is used will always be decided from experience, highlighting the importance of designing for flexibility.

Furthermore, regarding the building use, adapting the regulations to its use should be the highest priority in the conceptual phases, and how these aspects should be planned to support the entire process and the quality of the building. There is a high tendency for misunderstanding some of the aspects of these regulations, but a proper research and interpretation should be the first things to investigate. Although there are many instances where the minimum requirements are not enough to achieve high quality, all these choices should be carefully considered and discussed to perfectly reflect the specific context and expectations.

Given the circumstances, having to integrate sustainability within the projects should not only be considered for a specific certification. Sustainability should be something that every project should have integrated, the foundation for every decision, helping and shaping the future architecture. When designing for children, the focus should be on creating a balanced environment, improve health, stimulate the learning, development and life experience. All decisions in such a context should be taken based on these fundamental considerations, and through the power accredited to the architect and constructing architect, to try am much as possible, to provide the best design quality. Sustainability, in many cases, brings several challenges, and at times, it may seem like a solution which creates more troubles than savings. These savings are mainly acknowledged in energy costs, but also in the quality of the buildings, for example, the quality of the indoor air. These aspects connected to the construction, material choice, lighting planning and other aspects, may appear as an unimportant consideration for an inexperienced user, but its effects are felt in time.

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CHAPTER 4

Discussion As presented earlier in this paper, the intention of this thesis was to explain and validate a conceptual model, investigating the following research question: How can the planning of the building design and interior environment support the social sustainability and future development in a Danish kindergarten?

Further, in the process, the research question has been divided into two objectives, which have been the base and guiding throughout the entire research process. The researched objectives are as follows: I. To analyse and assess the evolution of the kindergarten in Denmark, and how the use of a sustainable approach towards the planning process can influence its development.

II. To investigate and assess the planning process including the spatial configuration, lighting design, materials, in a kindergarten project in Denmark.

As this paper’s initial intention was to understand a conceptual model regarding the kindergarten design, the discussion of this final chapter goes towards establishing some recommendations to follow when dealing with this kind of institutions, and in some cases, even for other building usages.

Understanding what is important to take into consideration in the initial phases, but sometimes needs to be carried out throughout the entire design and construction phases, and even further after the final handover.

4.1 Pre-design phase A proper design starts early in the process, from the moment when all the responsibilities are to be divided between the participants on the project. Understanding the needs that the building has to achieve through its design and how they can be implemented to its fullest is of significant importance. In this matter, the first action that should be considered is dividing the responsibilities equally within the design team, including the architect, engineer and constructing architect, as well as external advisors. Working with the external advisors, which are able to bring their professional expertise and help to create the project aspirations at their best. Additionally, the education in Denmark in different areas as sustainability, lighting design, as well as conference and other workshops, is becoming more of a requirement, and as

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future professionals, each constructing architect or architect should be able to apply some of the basic knowledge.

Another critical point that should be considered early, when the project planning starts is the collaboration with other stakeholders which can influence or bring substantial knowledge to the project. As discussed in the interviews, in most cases, the client brings significant changes to the project. At the same time, when dealing with children institutions, for a better planning, there is a good idea of including the users within the design process, so end results are as wished and aspired. Furthermore, ongoing communication with the local authorities would benefit from the project, where the specialized help is offered in understanding and implement the regulations in the specific context.

4.2 Conceptual and schematic design phase In the first initial phases, the cooperation of the constructing architects, architects, external advisors and possible users of the building, is crucial for the entire process. It is here that the design parameters are decided, and later alterations of the design are at times the main reasons for challenges regarding budget, design, and overall geometry of the building. Failing to clearly plan the building from its early start, as desired, is one of the things that affect the entire efficiency and experience of the building.

Analysis and studies are to be clear regarding the geography, plot and surrounding conditions, spatial needs, as well as necessary simulations for daylight and impact with the materials. At the same time, materials and colours are generated, once the studies of daylight are completed and tested the impact with the interior finishes. The lighting strategy should be undertaken by the specialists, avoiding later complication regarding the room height and the interfering with other technical installations.

4.3 Detailed design phase This phase is important as the final decisions regarding geometry, choice of lighting design, materials, finishes are made. As every project is different, due to its location, surroundings and vision itself, a specialist in the matter are deeply analyse and find the most feasible way of combining all these factors into one building.

In this phase, the final decisions regarding the material recommendations are made. It is very important to have a clear idea of the specifications for each material performance, in accordance with the desired standards. Having detailed studies for the spatial configuration, lighting design and materials impact can be a factor that can speed up the design and communication with the client. These factors are showing and emphasizing how certain areas interact or affect each other, and how it may behave in certain conditions. Another crucial factor that shall be considered is regarding documentation, which besides the

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simulations, there should be provided documentation regarding the sustainability of the materials of products. Documentation may include information regarding certain toxic particles, interaction with other materials, and most importantly, operation and maintenance. Failing to provide this information is the main factor which can slow down the process, directly affecting the overall time planning of the project.

4.4 Tendering and construction phase Based on the provided specifications, this phase is decisive as the final decisions regarding materials and other design parameters are decided. The entrepreneur is to provide the necessary technical data for each material, and all the materials are chosen to fit the sustainable nature. This is also the phase where, different systems aimed to provide energy efficiency and long-term saving, are integrated. It is very important to offer the necessary information, so that the contractors and the team which proceeds with the construction part, are not overlooking some aspects which were of interest during the design process and would affect the future development of the building.

4.5 Post-design phase The design of the building should not stop once the final construction has been completed. When there is a new approach to the design, especially when we talk about sustainability, there should be followup tests of the design and how the overall construction is behaving. There can occur situations where the initial thoughts behind the design are not behaving exactly as it has initially expected to be. Therefore, is crucial that the failing aspects are discovered and worked towards improving the quality of the building, and quality of the future designs. Users satisfactory tests should be carried out, and as provided once with the documentation, the necessary follow-ups shall be organized for a better understanding of the development of the energy consumption and long-term costs.

Many systems need operation and maintenance, so as mentioned above, providing the necessary documentation in this regard, helps both the users and the specialists in offering a proper conservation.

Professionals feedback is as important as users and working together towards creating an approach that benefits both sides, should be the main goal once the building is occupied. Having as a structure for this research paper, the case studies and interviews, as well as the theoretical basis, have ultimately confirmed to be the last step in accomplishing the goals of this paper. Collecting information from the relevant cases, with a similar approach, as well as discussing with different professionals from the industry, have helped drawing the conclusions which in other cases, may be hard to accomplish.

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CHAPTER 5

Conclusion This paper was initiated from a passion for sustainability and a desire to understand how the building industry can be adapted to it. As sustainability is a wide subject, heavily studied in the recent years, the part that most interests and inspires me is the connection to nature. Is not only in what we think it is and see it everywhere we go. It is in the small steps we take every day, the food we eat, the way we buy things and how we decide to manage our waste in the end. It is in everybody’s power to do these small steps, and to fulfil our part in supporting our development and the future generations.

For answering the research question and validate the hypothesis, they have been divided into three main parts, based on qualitative research, with a theoretical basis, case studies and interviews to supplement the findings and generate a result. Having the chance to see and experience the three study cases was one of the most significant factors in the development of this paper, which unfortunately did not end as intended. Due to the time limitations from both sides, a more extensive analysis has not been possible, but it managed to draw a slightly concrete image of the discussed problem. As in itself, only the study cases research does not qualify for generating a complete answer for the problem, the research has been supplemented with semi-structured interviews, discussing with architects and constructing architects, with specializations in sustainable design, DGNB and lighting design. As a result of these investigations, the framework and future perspectives have been set. This paper has proved that with a close collaboration between all the involved parties in the project, with a strong base of the design carefully considering the overall building design and interior environment aspects, are supporting both the social sustainability and the development, thus answering the research question and validating the hypothesis.

The approaches towards this study also formed the framework for understanding how to create and work with educational architecture, where the focus is primarily directed towards supporting the human development and well-being, as well as understanding the community needs. This approach should not necessarily be applied only when working with kindergarten buildings but should be of interest to other areas, such as offices and residential. Of course, there are many other things to be considered, but the base of the design will always remain the same.

From a personal perspective, what this thesis managed to bring forward is the base for something which I hope to remain of interest in the future. We are too worried and stressed about our lives that we forget how important our surrounding building design is, and what impact is generally having on the people

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using it. We forget that with little, there can be so much generated and only by starting from the principles of reuse and recycle, we have already taken care of at least two next generations. The building industry is enormous and as humans, we have them everywhere around us. That is why the interest in having our buildings in harmony with nature and community should become the pillar of the design. Sustainability slowly becomes a requirement in all the new constructions in Denmark. Once considered from early in the process, with a close collaboration with all the parties involved, supports the development of the children, health and overall well-being for its users. It has been proven that the sustainable knowledge should be applied in all the cases, not only where a certification is to be generated.

5.1 Future perspectives This paper research has shown that there is a growing interest in having a sustainable approach towards the design process and at the same time, it raises many challenges. Therefore, the author considers preparing the project documentation for a kindergarten building during the next phase – the bachelor project. After the extensive research of the sustainable movement in Denmark and how it can be applied on a kindergarten project, the author would like to follow the examples from the study cases, and to apply all the design factors studied, in order to practically test its applicability. There will be a high focus on the how to fulfil the regulations for providing the highest results, having as main guidelines Building Regulations 2015 and the requirements for Swan-label buildings (version 3.5). There will be a high focus on the choice of materials and designing the energy efficiency, but also on the geometry of the building and how all the factors interfere with and affect each other. The building will have a special focus on the integration of different systems for improving the energy use, water management systems and choice of materials. The location of the building will further be analysed and decided according to the market need for a kindergarten institution.

5.2 Assessment Assessing the past months of research, I am grateful and confident in choosing this topic and having the chance to work further with it. Working with a topic that sparked an interest in me, and gradually became a passion in the course of this education, was one of the best choices I could make. This paper has been one of the hardest things I have to work within all my years of education. Finding a topic that completely interests you and keeps you motivated throughout the whole writing process, can be at times more complicated than one thinks. I love what I am doing, and I loved architecture since I was a child.

Regardless, I had this inner problem to stay focused on my subject, related more to a constructing architect field than the artistic one. Also, during my internship and throughout the entire writing process of this

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paper, I have been struggling to not fall into the trap and understanding the limitations of this education. I sincerely cherish it and everything I have done within Architectural Technology and Construction Management education, also as my whole Danish adventure, will guide and follow me at every step for the rest of my life. This paper has meant more than just a simple bachelor dissertation. It helped me clarify and understand what exactly I want to do in the future and what causes I want to fight for, or how I want to contribute to our human development and leave a mark in the world. It may seem big and far away, but this is a confirmation for myself that one day, I will get there, and I just have to continue fighting and following my dreams.

Through theory data and empirical data, I managed to bring together different knowledge from many areas, which are going to be the foundation for my further bachelor project. Moreover, I managed to use my language skills, both Danish and English, to a higher extent that I would normally do. At the same time, I manage to generate own opinion and observation based on the studied topic, things that would not be possible if I would not have attended this education in the past 3 years and continued my professional placement at Vilhelm Lauritzen Architects.

To conclude, I am confident that these months have taught me the importance of good planning when dealing with an academic writing, and today I can happily say that my personal goals and expectations regarding writing are achieved. This paper is something that I will use as a basis for my future development and hopefully helping me achieving my aspiration. I hope that one day I will be able to bring a higher contribution on this matter, in Denmark and in my homeland, Romania, and beginning today, I am dedicating more time and commitment in this area of research.

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Appendix Appendix 1 – Methodology Roadmap

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Appendix 2 – Fieldstudy Itinerary

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Appendix 3 – Kindergartens Cover letter English version Dear personal from XXX, My name is Mihaela Adriana Nitu – or Adriana, as many calls me. I am 21 years old and I am originally from a small town in the South of Romania. Three years ago, I have embraced my dreams and ’went out of the comfort zone’, moving to Denmark and starting my studies in September 2015. While I was a student, I was working part-time, volunteering and going to language school. Learning Danish, was-is-and will be, one of my biggest challenges. Going to language school helped me, but what truly helped was my dedication and being surrounded by many Danish people, as well as working in a drawing office for the past 8 months. My language skills are improving every day and I feel that I am on my way with every step I take.

Why I am writing this?

I am writing this letter because I am in my 7th semester as a Bygningskønstruktør, working on my final project at the moment. I am really inspired by the kind of architecture which intends to help people, where the needs and aspirations are fulfilled and the whole building is just in a beautiful harmony with nature, people and development. For me, Denmark is one of the places where all I am wishing for from the humanity is happening, and if not, is about to happen. Throughout this project, I am intending to put one more brick in the name of society. Denmark for me is the proof that we can all do better, and that we must do better!

The future is our children. And to be honest, it scared me, as a young professional, not to try to leave something good behind me and to create a better path for them. What is happening in the world right now, with the people, nature and environment is more than sad, and I consider that my generation is to start a movement which contributes for a better world or a better place in future.

My ambition with this project is to study buildings which are good for the environment, built from sustainable materials, and are contributing to the well-being of people. I am very inspired by the way your kindergarten is designed, and from what I have read so far, it is amazing to see that the building supports the whole educational experience, both indoors and outdoors. I am happy to see that this kind of environment is supporting the children development, and creates a healthy place for children, teachers and parents.

I would be more than happy to have a chat on how this innovative approach to the kindergarten´s design, can support and help the children´s development, and give an overall good feeling of working for everybody involved in this institution. I am interested in hearing from somebody that had the chance to work in both kind of kindergartens, the traditional Danish kindergarten and the new environmental-friendly kindergarten, on how it felt to have a fresh start in a building like this, how the children are influenced by it and how the pedagogical approach is integrated in the design. I wish for a constructive discussion, and I am assuring you from the start that all the information received are only going to be used for educational purposes, only being submitted to UCL Erhvervsakademi og Professionshøjskole, the institution where I am

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a student. I will try my best in Danish, but please bear with me if something goes wrong and I have to change to English.

I am intending to visit you again in week 35, as my paper needs to be delivered in the middle of September.

I will leave my contact information for your disposal, and please, for any questions, do not hesitate to contact me.

We can only do it together! So, help me by promoting this approach, and our children will have a better future!

Best regards,

Danish version Kære medarbejdere i XXX, Jeg hedder Mihaela Adriana Nitu – eller Adriana, som mange andre kalder mig. Jeg er 21 år gamle and jeg kommer fra en lille by i Syd Rumænien. For tre år siden, flyttede jeg fra mine vante omgivelse, for at følge mine drømme, flytter til Danmark og starter min uddannelse i september 2015. Mens da jeg var studerende, havde jeg et deltid job, frivilligt arbejde og gik på sprogskole. Læse dansk, var-er-og-vil være, en af min største udfordringer. Sprogskolen var en rigtig stor hjælp, men hvad var virkelig hjælpsom var min dedikation og være omgivet af mange danske folk omkring mig, men også mit arbejde i en tegnestue for de sidste 8 måneder. Mine sprogfærdigheder forbedres hverdag og jeg synes at jeg er på vej med hver skridt jeg tager.

Hvorfor skriver jeg dette?

Jeg skriver dette fordi jeg studere på 7. semester som en Bygningskonstruktør, og arbejder på mit speciale projekt. Jeg er rigtig inspireret af den slags arkitektur hvilken har til hensigt at hjælpe mennesker, hvor behov og ønsker er opfyldt og hele bygning er i en smuk harmoni med naturen, mennesker og udvikling.

For mig, Danmark er en af stederne hvor jeg ønsker alle fra menneskelighed det bedste, og hvis ikke, så bliver det det bedste. Igennem hele projektet, jeg har jeg til hensigt at sætte en mere brik i samfundets navn. Danmark er beviset for, at vi alle kan gøre det bedre, og at vi skal alle gøre det bedre!

Fremtiden er vores børn. Og for at være ærlig, det skræmte mig, som en ung professionel, ikke at forsøge at forlade noget godt bag mig og at skabe en bedre vej for dem. Hvad der sker i verden lige nu, med mennesker, naturen og miljø er mere end trist, og jeg anser det for min generation er at starte en bevægelse som bidrager til en bedre verden og et bedre sted i fremtiden.

Min ambition med dette projekt er at studere bygninger som er godt til miljø, bygget af bæredygtig materialer, og bidrager til trivsel for mennesker. Jeg er rigtig inspireret med den måde jeres børnehave er designet på, og fra hvad jeg har læst hidtil, det er fantastisk at bygningen støtter hele uddannelsesoplevelsen, og skaber et sundt sted for børn, voksne og forældre.

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Jeg ville være mere end glad for at have en snak om, hvordan denne innovative tilgang til børnehavens design, kan støtte og hjælpe børns udvikling, og giver en samlet god følelse af at arbejde for alle involverede i denne institution. Jeg er interesseret i at høre fra nogen der har haft chancen at arbejder i begge slags børnehaver, den traditionelle danske børnehave og det ny miljøvenlige børnehave, om hvordan det føltes at have en ny start i en bygning som denne. Hvordan børn er påvirket af det og hvordan den pædagogiske tilgang er integreret i designet. Jeg ønsker en konstruktiv diskussion, med jer. Jeg forsikrer jer fra starten at alle informationen modtaget vil kun bliver brugt til uddannelsesmæssige formål, og forelagt til UCL Erhvervsakademi og Professionshøjskole, skolen jeg er studerende på. Jeg vil prøve mit bedste på dansk, men bær venlig over med mig, hvis noget går galt og jeg skal skifte til engelsk.

Jeg har til hensigt at besøge jer igen i uge 35, da mit specielle skal afleveres i midten af september. Jeg vil give mine kontaktoplysninger til din rådighed, og vær venlig ikke at tøve med eventuelle spørgsmål.

Håber på et fremtidigt samarbejde! Så, hjælpe mig med at fremme denne tilgang, og vores børn vil få en bedre fremtid!

Med venlig hilsen, Mihaela Adriana Nitu Bygningskønstruktør studerende +45 50 12 32 84 Miha0463@edu.eal.dk Odense C

UCL Erhvervsakademi og Professionshøjskole Seebladsgade 1, 5000

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Appendix 4 – Study cases Marienlund Kindergarten Courtesy of the author for the following pictures

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Information as translated from municipality’s website regarding kindergartens within Odense Kommune, Available at: https://www.odense.dk/dagtilbud/b%C3%B8rneinstitutioner/sct,-d-,-hans/marienlund (Courtesy of Odense Kommune)

Marienlund Kindergarten is a Swan-labelled kindergarten with big light rooms. The kindergarten is formed of a common room with kitchen, 5 big group rooms and a big activity room.

All the group rooms are divided into smaller learning environments as organized by what the children groups needs are so that the learning environment supports all children development, play and learning.

So, the thinking is that all the hallways, bathrooms and wardrobe are part of the learning environment.

The kindergarten is formed of a big playground which can be used and explored by children and adults, every day – all year round. The playground is divided into many smaller learning environments, as to achieve every children groups needs and interest. There is space for development in the climbing area, contemplation and running between trees and bushes, group and running games, senses simulation in the hammocks and swings, group games on the grass and much more.

At the same time, they use Skibhus forest, Sct. Hans SFO’s playground, Tækwondo club’s spaces, and visit other kindergartens in the surroundings. For the smaller children, they have cargo bikes and strollers, so they can also have the change to benefit from the local environment.

- In the day-care, there are 32 children aged 0 - 2.10 years. Here are 6 teachers, 2 assistants and 1 student.

- In the kindergarten, there are 55 children aged 2.10 to 6 years. Here are 6 teachers and 3 assistants.

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Solkernen Kindergarten (Courtesy of Primus Architects and Solkerne Kindergarten)

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The following images are courtesy of the author

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BrobĂŚkken Kindergarten (Courtesy of TKT Architects)

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Appendix 5 – Interview Cover letter

Interview: Project leader for Brobækken Børnehuset and Architect MAA Background My name is Mihaela Adriana Nitu, and I am studying Architectural Technology and Construction Management at Erhvervsakademiet Lillebælt. As I have told you yesterday, I am writing my 7th semester Bachelor thesis, and as one of your projects (Brobækken Børnehuset) raised my interest, it would be of a major help if I can ask you some questions, giving the position you had in designing this building.

My focus for the project is to study “How can the planning of the building design and interior environment support the social sustainability in a Danish kindergarten?”.

Objectives The objectives of this interview are to gain a perspective on the development of the building process and utilization of different approaches in regard to materials, building design and process.

Interview Structure: Interview format: Semi-Structured Estimated Duration: 10-15 minutes Interviewer Information: Name: Mihaela Adriana Nitu Occupation: Constructing Architect student Interview questions Background information 1.

How long have you been at this architectural firm?

2.

When did you join the project and in what project phase?

3.

What was your position within the project?

Open discussion Project information 4.

What is the project type and sector?

5.

What is the physical size of the project?

6.

Who funded this idea of building a sustainable kindergarten? Is it private or public funds?

7.

How was the cooperation with the client?

8.

How much did the client influence the design process and the building design?

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Project planning and organization 9.

Speaking about the planning part, what kind of approach, in terms of organization and design, was used when planning this project?

10.

Were you working in a project office or in the head office?

11.

How many people were working at the peak of the project?

12.

Did you have any difficulties during the design process? What were they?

13.

Speaking about the sustainability of the project, were there any savings – cost, time, waste – compared to a normal construction?

14.

I know that the materials were a big focus on the project, where are the materials mainly procured from?

15.

But what was the approach towards the choice of materials?

16.

What effect did it have on sustainability and building process?

After project completion 17.

After completing the project, do you see that the interest in using similar approach has increased?

18.

Do you think that the building is used in the present to the fullest as it was designed?

19.

Besides the swan labelled materials, do you think that key features as daylight, indoor climate and space design had a contribution in the success of this particular project?

20.

If you would be given the chance to design another institution, would you build a similar again?

21.

Finally, on a scale from 1 to 10 (1 being the least, 10 being the very best), how important do you think the design in a kindergarten/school project is?

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Interview: Architect MAA and DGNB Consultant Background My name is Mihaela Adriana Nitu, and I am studying Architectural Technology and Construction Management at Erhvervsakademiet Lillebælt and as we already discussed, I am writing my 7th semester Bachelor thesis at the moment.

My focus for the project is to study “How can the planning of the building design and interior environment support the social sustainability in a Danish kindergarten?”. Giving this topic, my thesis is divided into different sections which will be further explained at our meeting. At the same time, our discussion will contribute in one of these sections, namely the social sustainability, where DGNB certification of the building we are working on has an interesting approach towards design and the way it is organized.

Objectives The objectives of this interview are to gain a perspective on the social sustainability of a sustainable building project and the planning strategy for achieving the desired results regarding the building sustainability.

Interview Structure: Interview format: Semi-Structured Estimated Duration: 15-20 minutes Interviewer Information: Name: Mihaela Adriana Nitu Occupation: Constructing Architect student Interview questions Background information 1.

How long have you been at this architectural firm?

2.

When did you join the project and what project phase?

3.

What is your position within the project?

Open discussion Project information 4.

What is the project type and sector?

5.

What is the physical size of the project?

6.

Who funded this idea of building a sustainable office building? Is it private or public funds?

7.

How was the cooperation with the client?

8.

How much did the client influence the design process and the building design?

9.

Regarding the social part of the certification. How were the stakeholders involved in the design process?

10.

What was the approach towards the building design? | xxvi

Open discussion Project planning and organization 11.

Speaking about the planning part, what kind of approach in terms of organization of the DGNB part, was used when planning this project?

12.

The project based in a project office. Do you think that this aspect had a major influence on the design process and organization?

13.

Did you have any difficulties during the design process? What were they?

14.

I know that the materials were a big focus on the project, where are the materials mainly procured from?

15.

Besides the materials, what else focusses were on this particular project?

Open discussion After project completion 16.

After completing the project, do you think that the building will be used as designed?

17.

Do you think that the key features of daylight, indoor climate and space design have a big contribution to the social aspect?

18.

Finally, on a scale from 1 to 10 (1 being the least, 10 being the very best), how important do you think the social sustainability is in a kindergarten/school project?

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Interview: Constructing Architect and Lighting Designer Background My name is Mihaela Adriana Nitu, and I am studying Architectural Technology and Construction Management at Erhvervsakademiet Lillebælt and as we already discussed, I am writing my 7th semester Bachelor thesis at the moment.

My focus for the project is to study “How can the planning of the building design and interior environment support the social sustainability in a Danish kindergarten?”. Giving this topic, my thesis is divided into different sections which will be further explained at our meeting. At the same time, our discussion will contribute to one of these sections, namely the interior environment, where the lighting design plays a big and important part of it.

Objectives The focus of this interview is the lighting design, where I hope to gain a perspective on different approaches towards lighting planning and hear a specialist opinion on the matter.

I hope for a constructive and interactive discussion between the two of us, where we both get inspired and leave with something positive at the end.

Interview Structure: Interview format: Semi-Structured Estimated Duration: 15-20 minutes Interviewer Information: Name: Mihaela Adriana Nitu Occupation: Constructing Architect student Interview questions Background information 1.

How long have you been working with lighting design?

2.

Do you have any projects developed which you would like to share?

3.

What is your current position within the company?

4.

What project are you working on at the moment?

Open discussion

General information 5.

Giving that people have a natural attraction and need for daylight, and a good daylight minimizes the energy cost and improves the visual comfort, what else do you think are the benefits of good daylight?

6.

Generally, when talking about residential projects, the people tend to be reserved in investing a bit more for a long-time efficiency. Do you consider that when dealing with public buildings, this ‘reservation’ is the same? Why? | xxviii

7.

Do you think that the daylighting strategy and the way we plan it, should differ in terms of building use?

8.

When should the daylight be integrated into the project to have it executed at its best?

9.

Talking about public architecture in general, to your knowledge, do you think that having a proper daylighting would have a big influence on the human performance and development? Why?

Open discussion Project planning and organization 10.

When talking about daylight planning, what do you think that should be considered besides the position and sun path?

11.

Having availability to a wide range of daylight visualizer programs, how efficient do you think the design with only these simulations can be?

12.

What more should it be done for a proper design? (f. ex. experiments, studies of similar use buildings, etc.)

13.

About the documentation, how much should the daylight and the lighting design be documented?

14.

To your knowledge, how important do you think the colours and the materials are, in a public building? Why?

Open discussion After planning 15.

Finally, on a scale from 1 to 10 (1 being the least, 10 being the very best), how important do you think the daylighting strategy is in a kindergarten/school project?

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Appendix 6 – Interview Transcripts Interviewer: Student – Mihaela Adriana Nițu Interviewee: Project leader for Brobækken Børnehuset and Architect MAA Interview Setting: Setting at the TKT Arkitekter office in Odense. The interview was conducted on the 29th of August, at 11:00 AM. Affiliation with interviewee: The interviewee has been part of one of the studied cases of this project, relevant for the development of this paper.

(Warm-up discussion) Interviewee: Were they satisfied with the building?

Interviewer: They were so happy, I must admit. I do not know if you also designed that but, when I got there it was this small partition at the entrance and then it all the information with the people and so on.

And I was like ‘ok, I know I have to talk to that person’, then I just entered and just here was a find-way system and then it was the head office to the left. I looked left and I was happy to see how easy it was to guide myself around. But I really like the fact that it was a long corridor and then you have here the wardrobe with all the stuff and then you could hear the children somewhere on the other side. But then I went there, and I talked to the responsible and they were super happy to hear my project. At first, I wanted to do something a bit different and to talk to them as well, to see the difference between a normal kindergarten and something more sustainable. Then I changed a bit my problem statement and I said, ‘I don't think it has a point wasting their time’ because it is also that they start the new school year and they have to do some paperwork for Odense Kommune. I remember that when I talked to my supervisor, he recommended me to discuss with you about it.

I also heard that at some point the municipality had an idea of having a triangle of sustainable kindergartens that they wanted to try, Swan-labelled and Passive House, but unfortunately, I did not manage to find the specific information.

Interviewee: We have another one going on a little bit later, which also has Swan-labelled materials.

Interviewer: There is one in Marienlund also, that is Swan-labelled. And then there is one which is Passive House, but they used this kind of materials too but is not certified. I am inspired by this because what I want to do, is that in the country I am coming from, Romania, and they do not really use this approach. And kindergartens are still just a room you sleep, you have a room for classes and then that is it. And I want to prove to them that you can do better, to use this paper more to discuss with myself and prove that we can do better. And it is not just some countries.

Interviewee: They have, I know that we are jumping a little bit, but then they actually had an experience also by the light. All the artificial light, they were really specific about where they put the light. If they had a required space or room, or corner, they had a special light and they say that children lower their voice, because the light was not as bright. So, it has an influence on the children too. When you are thinking about the light and the colours also.

Interviewer: Yesterday actually I had a talk with a lighting designer. She's actually also a Constructing Architect, and she just graduated the masters. And she told me that psychological light has a big influence.

Interviewee: BIG influence. You can actually design an imaginary space with the light.

Interviewer: Yes, exactly. Just light coming from different sources.

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Interviewee: Just like a combination between darker, lighter and middle light.

Interviewer: Next year, I would like to go for a master in Spatial Design and Society, and study more about these factors.

Interviewee: It is an interesting area, I think. Because it has a big influence on the behaviour.

Interviewer: To be honest, I wish to work with people more, to do something for people and help them, understand their needs and to give them flexibility. I also think that flexibility is a big problem as well because that is why we have a problem with buildings not being refurbished because they cannot find a way. In the 5th semester we had a refurbishment project down at the Harbor in Odense, and we looked at the local plan and so on, and they just do not want residential buildings there. And we only had two to build a restaurant, offices or apartments, but they wanted to build offices in that industrial area. Why build something that nobody is going to use it. And I think in Denmark, they build so many offices right now, that we do not have as many people to use these offices.

Interviewee: (laughs) Yes, and they are just going to stand for nothing over time.

Interviewer: Yes. And then the building we worked on, was an old Pakhus, really nice building and location.

(Start of Interview) Interviewee: Just to mention, it has been 8 years since I have worked on this project.

Interviewer: I completely understand, and that is also why I considered this structure appropriate for this project since it gives some time for refreshment.

Interviewee: Yes, definitely.

Interviewer: So, how long have you been working with this architectural company?

Interviewee: 15 years actually.

Interviewer: WOW, that is a long time.

Interviewee: Yes. (laughs) Interviewer: so, I presume you did a lot of projects.

Interviewee: Yes, I have.

Interviewer: But about this specific project we are talking about, when did join the project and what was the phase you joined the project?

Interviewee: I joined the project just before the authorities’ project. We usually do that in this office, that we have two designers or people that make the sketches, the outline of the project. They are not doing anything else than that, and then we are other people that are taking over to do the projecting. So, I was joining this project just before delivery.

Interviewer: But when you joined, what was your position?

Interviewee: I am the project leader, the coordinator, also for the engineers and for the whole team.

Interviewer: That is nice, but challenging, of course.

Interviewee: Yes, it is.

Interviewer: But going a bit deeper into the project, what is the project type and the sector?

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Interviewee: Yes, as we already discussed, it is a kindergarten and it goes into the public sector.

Interviewer: What is the size of the building?

Interviewee: I am not sure if I remember that, but I can look it up.

Interviewer: About the funding of the project. Was it public or private funds that supported the construction?

Interviewee: This is public funding. Is Odense Kommune, who was the client.

(Another person speaking with the interviewee in Danish) Interviewee: Yes, so the size of the building, just to answer the previous question, is 750m2.

Interviewer: Super. About the client, how was the cooperation with the client?

Interviewee: Very close, actually. They participated in almost all the meetings. But we actively worked with also the users of the building, the leader of the area for all the kindergartens and a leader of this kindergarten. The lighting system or the artificial lighting, they were doing themselves or have another company to set the lights, because they wanted to have it very specific and the artificial light. And also, the colours. Colours are Feng Shui.

Interviewer: Ok, so they also used some cultural ideas in the design.

Interviewee: Yes, because they wanted very specific colours. And I think they succeeded with that, very much.

Interviewer: As I already said, what I have managed to see, I really liked it.

Interviewee: We also incorporated this into our design. So, we were talking to the lighting firm and the people that did the artificial project also, so it was coordinated.

Interviewer: Ok, you basically answered the next question too, on how much the client influenced the design process and the building design.

Interviewee: Yes, very much. Through all the cooperation for the lighting design and strategy, colours and choice the materials and finishes. The interior, the spatial configuration. They have some wishes and then there was a specific design for their pedagogy.

Interviewer: Oh, Yes. For the pedagogical approach and the way, they want to distribute their classes and want to teach.

Interviewee: Yes. They had a room for a theatre, making theatre. They had a room for something else. Also, for physical activity rooms (motorisk). And so on. So, they do not have these normal simple rooms, red, green, blue, etc. Basic colours. They had something else. So, they could be moving easily around.

Interviewer: Ok. So, they know what each room stands. And I also think that the first idea that pops out in my mind is that if you have this room with red, for example, you will not want to stay there for too long, because red, even though is a passionate colour, it also enhances aggression and creates an agitation feeling. So, the kids would feel like it is time to go back to “work�.

Interviewee: Yes, definitely. So, the physical surroundings have much to do with the pedagogical approach and development. So, all about design.

Interviewer: It is like going hand in hand. Ok but now we are going talk a bit about the planning to see exactly what happened there.

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Interviewer: What kind of approach in terms of organization and design was used when planning this building? We talked a bit about the spatial configuration, classrooms and everything.

Interviewee: This was specific for this kindergarten. Because I have been also doing another one, where they have a different planning organization. But they wanted specific this one because they had this pedagogical approach and view on things, and it had to be designed like that. Of course, they can change it if they wanted to, afterwards.

Interviewer: Ok. So, it was from the start designed to have this kind of approach and flexibility for the future use.

Interviewee: That, but also for example, when the children are coming in the morning, they are coming to a big space instead of three smaller. They had made one for everybody, instead of dividing them into groups.

Interviewer: And that is also eliminating the age barrier, I think. And make them work closer together.

Interviewee: Yes, and they are seeing everyone. Not only seeing this group of people.

Interviewer: I am also studying another case, where they have different spaces for everything, so the opposite of this approach. And they have like one room, where they have this small bathroom with the washing and everything. So, it is like they are all on their own and they have a big shared area, and of course, they do most of the stuff in there, in that specific area. It also depends on the approach they want to have in the pedagogy.

Interviewee: It does, yes. But is this balance that you are making very specific rooms and then they cannot be changed afterwards. Now you do both actually. You have to have some flexible rooms if this is not working out, and they want to change it in the future.

Interviewer: when you worked on this project, you worked I suppose in the office, not in a project office?

Interviewee: No. It was here. We were not together with the engineers.

Interviewee: How many people, if you remember, were working at the peak of the project?

Interviewer: At this office, I think we were only three. More or less only two, depending on the amount of work. But three of the most.

Interviewer: That really interesting to hear. But of course, is not a really big project, if other stakeholders, as the client is always involved, and the lighting designers were also involved, that's definitely a plus.

Interviewee: Yeah, but there it is, obviously it requires more organization. I was very busy coordinating everything with everyone. Coordinating all the people involved. We could not take every idea, and we had to convince them, that ‘this is not going because there is not enough money’, or something like that. So, we had to coordinate, especially with the engineers, with the electricity and things like that.

Interviewer: Did you have any difficulties during the design process?

Interviewee: Yes, we did. We always have, but especially this one, I do not remember exactly. We have a lot of the difficulties with the sustainable aspect because it was huge. The thing - having to do a project like this, for the first time - because this office who was going to control and to approve the materials and to approve that we are using the right things, had on a completely another time schedule. And we had a onetime schedule, and then they had a half a year for approval, and you do not have that in a normal building.

And that was probably the biggest barrier. Because they usually have a product, and they got all the information about this particular product, and then they used the half year to approve the project or the product. But this product was a building and it was the first building. So yes, it was very difficult actually.

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And we spent a lot of time finding the right products. Because with the products, you need have also the entrepreneur to provide the technical data.

Interviewer: Yes, and to approve and everybody needs to come together and decide whether to use this particular product or not.

Interviewee: Yes, exactly. And that was really heavy.

Interviewer: So, a lot of documentation as well.

Interviewee: Oh Yes, documentation was HUGE for this project.

Interviewer: Okay. But speaking about sustainability, in your opinion, do you think that there were many savings in terms of cost, time or waste, compared to a normal construction?

Interviewee: Cost, time and waste.

Interviewer: During the planning and maybe.

Interviewee: I do not know actually because it is another approach to things. You have to think otherwise.

And there were not many savings. No, not really. I do not think so. But you gain a lot of things because there was no smell when the project was finished. You get into the building and it was a nice, clean air. But I do not think you can say there were these kinds of savings. Maybe it was a bit more expensive actually. I think so.

Interviewer: Maybe cost-effective overall? Efficiency and.

Interviewee: I do not know actually. I cannot exactly tell. Because I was also only within this period in the project. It seems that because the firms that are producing these products are using a lot of money to get this approval. So, I think that becomes more expensive. Where you need to certificate everything. To get all the documentation and things like that.

Interviewer: Yes. I think it makes sense, Yes. Interviewee: But now, there is a little story to this, because of the painting, for example. There was only one firm who had a painting which was approved, at that time, and now. Everyone. Everyone has this Swan-label certification. Because the demand increases.

Interviewer: I will also have a question later regarding the future impact.

Interviewee: Yes, precisely. That is very visible.

Interviewer: Exactly, since back then it was not so.

Interviewee: No, it was not normal.

Interviewer: ‘what is that environmentally friendly materials? Why?’ Interviewee: Yes. Like ‘we don’t have that, or we can’t do that’. And there was a lot of resistance to it. But now, everybody has a green-environmental though about, or a friendly approach to the environment.

Interviewer: I also hear that in my project, when they talk with some producers, they ask about the environmental impact and the sustainability of the material. And the impact they have on DGNB, for example. And they also get answers like ‘yes, I think we are sustainable, but we do not have the documentation or certification for it’. But then how are they going to document the sustainability, of they do not have something to prove.

Interviewee: But they get it. The EDPs. Do know that certification? | xxxiv

Interviewer: EDP? Interviewee: There are increased products that are getting this certification. Because you can find all the data, if they have an EDP on their product, everything is registered in their database and you can easily find them. But it also cost a lot of money to get this. But when you are doing this DGNB certification, they use this EPD. Interviewer: Alright, that is super good to know.

Interviewee: Yes. So that is also a big part of it. A big development in this area of sustainability.

Interviewer: Yes. I think that this is on the right way.

Interviewee: Exactly. Now is very much in detail.

Interviewer: To talk about the materials. Where were the materials mainly procured? Was it from whole Denmark or locally or?

Interviewee: No. We cannot actually decide what kind of material we want. We can only say that we have the function and we cannot say that specific window.

Interviewer: Oh, Yes, depending on the procurement. Right?

Interviewee: Yes. You cannot do that. Because when it is a public project. You just have to say that it has to be a window and it is going to be like this.

Interviewer: But that makes sense actually because you need to give them space.

Interviewee: Yes, for private clients you can do that.

Interviewer: Yes, so they can approve if they want to use this product. Now it makes sense.

Interviewee: and if there are five products which are Swan-labelled, for an example. The floor, then they have to choose the cheapest one.

Interviewer: Yeah, because basically, it gives the same specification as the expensive one.

Interviewee: So, there was not really any locals or anything. No specifics. We cannot really tell that in this kind of project.

Interviewer: Plus, the problem with not having so many options was also another point in choosing some materials and others.

Interviewer: But what effect do you think that the choice of this material and this approach, had on the building process, and on the sustainability of it? Because everybody says that this is the first kindergarten, the first sustainable kindergarten in Denmark. So, everybody sees it as ‘the example’.

Interviewee: it was, as we discussed, more difficult. I think that the. I cannot remember the name of the office that was going to approve all the material and how is called. But their process had to be different there in the future if they want to have some Swan-labelled buildings. I do not know if they have changed it, because you can't really use it within your time schedule for the building.

Interviewer: No, things are popping out.

Interviewee: No, exactly. It makes a really big barrier there. But that was not the question, was it?

Interviewer: The effect of these materials. What impact it had?

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Interviewee: It was very much, I think. In the environmental part. Because you have a floor, the children are playing on the floor, there are influenced by all the toxic particles, all the particles from the materials. I think it is very important in kindergarten. Because they are so small, the children. And the influence of the health is very big. And there was also a story about the employees, she (the leader of the kindergartens at that time), always have headaches and when she was working in this kindergarten, that disappeared. It really was really remarkable.

Interviewer: My supervisor also told me that before they moved to this kindergarten, there were people taking medicine for asthma and then when they moved, after 3 weeks they stop taking the medicine. They did not need them anymore.

Interviewee: Exactly. So, it has a significant impact. I think.

Interviewer: So, it definitely is important for the social sustainability and on the sustainability itself, towards nature and everything around.

Interviewee: Yes, for sure. Because you have is a closed life cycle. Also, when you have to tear the building down, it has a significant impact on the environmental part if they can reuse it. And also, if there are no toxic particles in the materials, then they are not polluting. And maybe not all the materials can be produced without pollution. But still, why don’t they even try it?

Interviewer: Yes, Exactly. Maybe not to make it 100%, but at least to try it. How to make a less or smaller impact. We were talking about Cradle to cradle, as well. They say they do not want to have completely positive, but they want to make it less negative, to bring more positive than negative. And I think that is how we should do things in general. Not only in construction, but in everything we do. When we go shopping, instead of buying one potato with a lot of plastic around, we can just take two kilograms of potatoes, in one plastic bag.

Interviewee: Yes, Exactly. That is something you need to have it in your mind. In all, we do in the daytime.

Interviewer: Exactly. But now I'm going to have a few questions about the aftereffects, just after the project.

Basically now, in the present. After completing the project, do you see any interest in using this kind of approach?

Interviewee: Yes, of course. You do not really need the mark; I do not need that. But the approach to materials, and things like that. We do it actually. I just finished one more. I can actually show you.

(Bringing a document) Interviewee: This is another institution. We have made this project in Svendborg and I have been doing this (showing the document), and they are going evaluate on it.

Interviewer: So, it is like a competition?

Interviewee: Not. But we need to have here on Fyn. Do you know Miljø Forum Fyn? Interviewer: Yes, I have been to one day conference about it, last year. And I want to go this year as well.

Interviewee: Yes. So, I have just delivered this documentation here, so they are going to decide if I am going to have a diploma.

Interviewer: Wow, that is so nice! Congratulations! I am super inspired by these things.

Interviewee: So, this is documentation. And we do it divided into goals and intentions. Indoor climate, energy, materials, working environment. So, we do it actually, in our projects.

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Interviewer: So, it is something that goes on and on, doesn’t stop when the project ends.

Interviewee: Yes. Interviewer: This is super amazing. For me, this creates such a significant impact. And in 5th semester, we had to design a kindergarten, but not having so much time, that is also why I wanted to go deeper now, with this project. To see what is the impact and why we should look more into these things? Especially when we talk about children. Of course, maybe in the future, I wish to research more on how this approach applies to other building typologies. Offices, for example, because if we spend 8 hours of our everyday lives, you need to have a healthy environment for working. As you also pointed, you do not need a certification, DGNB or whatever. But it is important to use what you have done learned in your courses.

Interviewee: Yes, to use your knowledge. And we do it actually. And also, here, within the materials, all the entrepreneurs had to deliver all the materials to be approved by us, before they used it. So, I hope to get a diploma. (Laughs) But we did this, I can show you. In our tender material, we specify the regulations the entrepreneurs should fulfil and what he should be careful with. So, we had a group of people, the client and one from Miljø Forum Fyn, me, and an engineer and also the entrepreneur. We are working together to do this.

Interviewer: I have also seen that Odense Kommune has made some regulations about the environmental projecting.

Interviewee: Yes, they do. So, it is raining, I think, increasingly all over the place.

Interviewer: Again, Congratulations on this achievement.

Interviewee: Thank you. I can feel a development also with the entrepreneurs that they are much more into the environmental aspect and the sustainability.

Interviewer: Bæredygtighed.

Interviewee: Yes. They are. They are not resistant anymore. You want to do it today, compared than 8 years ago. It really is a development in that area.

Interviewer: I know you said that you did not have much contact with them, after completing the building.

But do you think that it is used as it was designed?

Interviewee: I do not really know actually. Because I have not been there to talk to them. So, this question I cannot really tell because I have not been there. But you have.

Interviewer: Yes, but of course I have not seen much. What I saw is that they do, they do to the fullest.

Interviewee: But I know that there is not the same leader, so maybe there came up with the changes.

Interviewer: One thing I can say, it was really clean. And that thing was like everywhere, even in the corners and everything else was just, everything in place.

Interviewee: ok. That is nice to hear. I have to go there!

Interviewer: Definitely! I think it would be such a shame. Especially if is such a masterpiece.

Interviewee: (laughs) Yes, fine.

Interviewer: We already discussed some of these aspects, but just to recap. Besides the Swan-labelled materials, do you think that these key features of daylight, and the approach to the indoor climate, and ideas regarding space design, and so, had a contribution to the success of this particular project?

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Interviewee: Yes, because also the daylight, for example, if it had not been at a demand it would not have been there. So, it has a significant impact on the design also. I think we had to have 42 or 44 points to fulfil.

Interviewer: but do you have any idea where to find these regulations? I am curious. Is it Arbejdstilsynet?

Interviewee: No. It was coming from this swan-label certification office. So, I have it, somewhere. I can give it to you.

Interviewer: It would be super nice and helpful if I can see it.

Interviewee: It was in Swedish, I think. Because they have not translated it, at that time. But I think it was in Swedish, and we had some difficulties, also with that, because it was not in Danish and it had to be sent out to translation and everything. It was not the best thing to send out to all the craftsmen.

Interviewer: Okay. That is good to know. Yes. Interviewee: there were lots of things that we had to fulfil to get this mark. That was one of it was that we had an alight factor, and we had to fulfil.

Interviewer: I know that in the BR, we also have these.

Interviewee: But This was more than that.

Interviewer: I know that is a big demand now, in 2018, but I suppose you used 2008, Right?

Interviewee: Yes. Interviewer: and then, of course, these extra from the certification.

Interviewee: Yes, precisely.

Interviewer: Yes, it makes sense, definitely.

Interviewer: If you would be given to designing a similar institution again, would you do it the same?

Interviewee: Yes, Definitely.

Interviewer: (laughs) Nice to hear.

Interviewer: As a final question, on a scale from 1 to 10 (where 1 is the least and 10 is the very best), how important do you think that the sustainability in a kindergarten/school building is?

Interviewee: Definitely 10. I am very certain about that.

Interviewer. Yeah. Thank you so much for your time! (Registration stops) Interviewee: I hope you can use this information.

Interviewer: It was more than what I expected, definitely!

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Interviewer: Student – Mihaela Adriana Nițu Interviewee: Architect MAA & DGNB Consultant, VLA Interview Setting: Setting at the KLP Project in Ørestad, Copenhagen. The interview was conducted on 3rd of September, at 13:00 PM. Affiliation with interviewee: Together with the interviewee, we have been part of the same design team on the project I have been working as an intern and as a student assistant.

(Warm-up discussion) Interviewer: I just wanted to make a quick review of the interview. My idea was to have a semi-structured interview, having these questions as guidelines, but if something comes up or changes, we can have the flexibility to change it.

(Background questions) Interviewer: How long have you been working with this architectural firm?

Interviewee: I started in October 2017. So soon it will be one year.

Interviewer: And you have started this project?

Interviewee: Yes, I worked here since the beginning. In a project office.

Interviewer: Yes (laughs).

Interviewer: What phase was the project in when you joined?

Interviewee: It was in Projektforslag (Scheme Design). They have started the Dispositionforslag (Outline Proposal) in August, and I have joined at the beginning of October.

Interviewer: What was your position within the project when you entered?

Interviewee: Architect and DGNB Consultant for the architect.

Interviewer: What is the project type and sector?

Interviewee: It is an office building in Ørestad, Copenhagen. Yeah, mainly for offices. The ground floor is a bit of mixed use, with some facilities for the office spaces upstairs, but also with some commercial spaces.

Interviewer: What is the physical size of the building?

Interviewee: It is 50000m2, plus two level of basements. It adds up to a total of around 65000m2.

Interviewer: Who funded this idea of having a sustainable office building? Is it private or public funds?

Interviewee: It is private. And this idea of having the building DGNB was also from the client.

Interviewer: But how was the cooperation with the client?

Interviewee: It has been good, at least from my perspective. He is also an architect, so he is quite good at giving directions and he knows what he wants. There have been some changes of opinion sometimes, but that is also part of the process. But in general, I think it has been ok.

Interviewer: Especially if he is an experienced client.

Interviewee: Yes, exactly.

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Interviewer: How much did the client influence the design process and the building design?

Interviewee: Quite a bit, I would say. Especially on the ground floor. That is also the part where I have been working the most with. He had also some ideas on how the ground floor should work. And following his directions, we would have to implement it in the project. Of course, we had the freedom to design, but he was very good at knowing what he wanted.

Interviewer: That’s always good. The process is just simplified, and you know exactly what to do for him.

Interviewee: Yes. And then he cannot be disappointed because we have been following his directions.

Interviewer: How were the stakeholders of this project, involved in the process? (focus on the people from the exterior) Interviewee: Generally, it has been ok. I mean, from my side, the most interaction we have had with the engineers, entrepreneurs and the people inside of the project. Kommune for example, I know that this department By&Havn, they are quite happy about this project, and having this certificate. Actually, they have mentioned one of these days, that is a new requirement for new buildings in this area, that they need to have this certificate. I am not quite sure if it only applies here, or to other areas too. But if it is not implemented yet, I think it will be a requirement for the new buildings.

Interviewer: How was the approach towards the design? You have mentioned something about the Ground floor.

Interviewee: One of the things that the client wanted, was a very open space. So, it will work, not only for the people working there, which use the floors upstairs, which they have some facilities as Auditorium, meeting rooms, cafeteria and all these stuff but also for people from outside to use that, as kind of interior street to move across. That is why this main common area is called Stroget because is kind of a promenade.

And then the concept we have worked with was this City within a City (By I Byen). Which means that you are walking on these streets, and then you have buildings around. And then, these buildings, they have been called Culture house (Kulturhuset), The factory (Fabrikken), the town hall (RĂĽdhuset). So, they kind of have some reference to the use that they have inside to the buildings that you could find in the city, for example.

Interviewer: In terms of organization, regarding DGNB, how was it planned?

Interviewee: The project started in 2016, actually. And then they have made an Outline Proposal in August 2016. And then the project stopped. There was an idea about certificating the building back then. When it started again last year in August, then it was an Auditor and some DGNB consultants which started to be part of the project. So, I think from that moment, many of the big decisions have been already taken. And many of them already have a big influence on the project, which is not so good, but that is how it was. So, after that, what we have done, we were trying to optimize the criteria that we could get some points for, knowing that there were some that we could not do anything about them, as it was too late. But trying to optimize the places where we could improve something.

Interviewer: But these criteria are divided between the architect, engineers and entrepreneur, right?

Interviewee: Yes, and the client as well. Because there are some parts of the building which is going to be taken care of in the next phase, where us, as architects, will not be involved, at least in theory. And then it will have to be the client which takes these responsibilities further. Of course, we are going to give our information to the next people, which will be taking care of those small things.

Interviewer: You have mentioned that the project is developed from a project office. How do you think that this aspect influenced the development of the process?

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Interviewee: I think there are both, pros and cons. I think the communication is more fluid, for example, in a project office. But sometimes, it can also be very informal. Some of the big decisions are taken in a meeting, which is fine, but there are also some which are taken on the spot, ad-hoc. Talking to someone in front of the computer and then, that can affect the way how other team members are informed about the decision taken, or how long does it take until you get to know what has happened or what has changed. So, yeah. But otherwise, I think it is good.

Interviewer: Did you have any difficulties during the design process? What were they?

Interviewee: There are difficulties in every project, and I cannot say that it has been especially bad in this one. Maybe one of the difficulties we have faced, as in every project, is always the budget. Trying to fit all the needs and all the requirements in a budget that not always is a big as you would need and hope, for such a building. So yes, that has been kind of the complicated part, because all the decisions made, they had to go through X firm (entrepreneur company hired for the project), as they are in charge of the budget and of making sure that we do not go above it. Which is fine, but its something we have to fight for, every day. But it is fine!

Interviewer: And I know that the materials were a big focus of this project, as part of DGNB. But where were they procured from? Was it from Denmark or somewhere outside the country?

Interviewee: Generally, they are mostly from Denmark, of course, or surrounding areas. Things like the stone, for example, used for nature from the ground floor, it comes from the South of Europe. But anyway, all the products, as these stones, for example, they need to have this CE stamp. Part of the DGNB, but also a requirement for the client. And is mostly to make sure that is not the kind of stone where people have been exploited to extract it or something like that.

Interviewer: I know that other materials, need to have this EPD, right?

Interviewee: Yeah. They all need to have, especially the interior materials. They need to have this Indeklima Mærkning, which means that there are no emissions of Co2 because that is one of the criteria in the social part of this certificate. Which is a knock-out criterion, which means that when they do the measurements when the building has been delivered, if the building has a bigger amount of Co2 emissions, passing the certain limit they require, then you cannot get your building certified? At all. So that is a pretty tough criterion.

Interviewer: Besides these, the materials, what focuses were else in this project?

Interviewee: I think, in such a project, there is not a specific focus. You need to take everything into account and try to pull from everywhere. And also, you have to be aware that in a certificate like this when you pull from one part, then another goes down. So, it is a circle you need to be careful with. I think, for example, this ´forhold til cyklister´ (the Danish for ´in rapport with cyclists´), or everything related to cyclists. That has been kind of a focus. We are also trying to optimize and get as many parking spots as possible and facilities for cyclists because it is a criterion which has a lot of weight. But again, I think all of them are important.

Interviewer: Alright. So basically, they need to be balanced, you say?

Interviewee: Yes. Interviewer: When the project is done, do you think that the project will be used as designed?

Interviewee: It is a good question. To be honest, about the upper floors, I am sure that is an office building, they will be used as designed and as working space. The ground floor, I do not know how open it will end up being. I mean, it is designed as very open and public, and that is how it should be, and it could work fine.

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But then, it is only the experience that will tell the client if it is working fine or it should be some control and allow people in only through the shops, and also in which times of the year, of the day, when it will be open and when it will be closed. I think it should be fine, but I do not exactly know.

Interviewer: Do you think that key features of daylight or lightning design in general, indoor climate and space, have been big contributors to the social part of this certification?

Interviewee: Yes. Again, there were some which were there since the beginning. It was given, for example, the amount of daylight, as the windows were already having the size established and the factor and everything. So, there was not much to do about it. Things like indoor climate, with the choice of materials, that is very important and is good, not only for DGNB but for everything, quality, people using, is healthier.

In general, they will have a big contribution.

Interviewer: Finally, on a scale from 1 to 10 (where 1 is the least and 10 is the best), how important do you think that the social sustainability is in the building?

Interviewee: I think it is probably an 8 or is quite high. Especially for architects, is the highest, of course.

There are many others which have to do more with the engineers, and technical stuff. But all the social part is more related to how the humans make use of the space in the building. And that is very important, for architects. So yes, I think is pretty high. I would say 8 or 9.

Interviewer: Thank you so much!

Interviewee: Sure. You are welcome!

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Interviewer: Student – Mihaela Adriana Nițu Interviewee: Constructing Architect and Lightning Designer, Vilhelm Lauritzen Arkitekter Interview Setting: Setting at the interviewee residence, in Copenhagen. The interview was conducted on the 28th of August, at 18:00 PM. Affiliation with interviewee: The interviewee has been studying the same education, some years back.

Through the years we have connected, where discussed and shared different ideas.

(Start of Interview) Interviewer: I just wanted to make a quick review of all of the interview. My main idea is to have a semistructured interview, so in case something appears we can easily discuss it and the questions that we already have, to use them as a guideline. To guide us in our discussion.

Interviewer: But, I would like to start with some background questions to see exactly where we are at. And my first question would be ‘how long have you been working with Lighting Design?

Interviewee: Well, we look at lightning design from two points of view, we have daylight design and then artificial Lighting Design. So, in total, I would say about 3, 3 and a half years, but mostly with the artificial Lighting Design, I have worked.

Interviewer: Do you have any projects developed which you would like to share?

Interviewee: But mostly I've been very passionate and interested in doing a projection. So far, I managed to accomplish one during the Copenhagen Light Festival, its outdoor projections for entertainment purposes, so not permanent ones. And right now, I'm working on a similar project for another light festival in Malmo, Sweden. Apart from that, of course, projects that have not been realized, but on a conceptual basis, as a lightning design student. Indoor and outdoor, but mainly focus on outdoor that's what I have played with the most played with the most.

Interviewee: I know that you started a new job now, actually your first job after graduating. What is your current position within the company?

Interviewee: Well I have a bachelor in constructing architecture, so primarily I am a Constructing Architect and then I also have some lightning design responsibilities, but on a conceptual basis, in terms of indoor artificial lighting, how it could work, as of now. But, of course, I've only started a week and a half ago, so it will develop probably into more than that, and hopefully some daylight simulations. I would really like to do that.

Interviewer: What project are you working at the moment?

Interviewee: I'm working on a project called LIFE and it's for the Novo Nordisk Foundation, located in Lyngby, Denmark. It’s a research and educational centre with labs for little kids to experiment with science, and at the same time, they will carry some basic scientific research and experiments in the building, in connection with what Novo Nordisk is doing. Possibly, yeah, I think of something related to medicine.

Interviewer: Wow, yeah. It sounds exciting and challenging.

Interviewee: Yes, it is. And is very interesting because is not extremely big, so it's a good project to start a new job. Because you get around it so much easier. Much faster, in the beginning, to learn everything.

Interviewer: Ok, but going a little bit into detail now, but still general. We know that people generally that people have a natural attraction and need for daylight, and a good daylight minimizes the energy cost and improves the visual comfort, what else do you think are the benefits of good daylight?

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Interviewee: I think you outlined the major benefits very well in this question, and this is everything that people think about, in the beginning, and especially the energy cost, that’s something that really sells daylight analysis and daylight planning for the client. But I think, besides that, of course, the visual comfort, but also the psychological need for good daylight. We live in a country where we experience a lot of, actually, little daylight hours during the majority of the year. So then one of them the biggest issues that psychologists have to deal with in this country is called SAD. Is like seasonal affective disorder, caused by a lack of exposure to the sun and vitamin D, what makes us depressed. So, ensuring that our buildings can get as much daylight as they can, through means of proper design, is very important. But also, of course, because of the climate we live in. We will always support daylight with very good artificial Lighting Design planning.

Because we are living in the era of technology and we have so many systems of artificial light does the simulates the circadian rhythm of the sun, so we can start in the morning with the warm tone of the artificial light to get you into the mood and it mimics the sunrise, and then as you progress through the day the light becomes cooler, so then you become more alert and you become focused. And then, as the day progressing to sunset, it changes accordingly and probably it was a very cultural thing. Because we light a lot of candles in the country in winter and this very warm light. And that makes you be relaxed. It's also why everyone says, ‘don't use your smartphone before going to bed’, because the smartphone light is cool light and that one suppresses melatonin.

Melatonin is a natural hormone that we start secreting when we have to go to bed and we start feeling sleepy. And if you disrupt that cycle with staying on your phone then you don't feel sleepy anymore. you mess up your sleep habits. So, I think the psychological part of good daylight and good artificial eyes are very very important points to address and to sell when we talk about how can affect our, social sustainability, social life in the building and so on. In short.

Interviewer: (laughs) Yeah, but also generally, when we talk about the residential project. People tend to have this reservation ‘I don't want to use that’, they don't want to do that. And prevents the improved longtime efficiency. But do you consider that dealing with the public buildings, this reservation is the same?

Why? Interviewee: Actually, when I was when I first wrote my bachelors thesis, I wrote it on ‘daylight planning and how to implement the daylight planning in residential places in Denmark’, and I was very convinced of the fact that, even with public buildings, private investors in mixed-use buildings, people would be very stubborn and oppose, the idea of good daylight and invest. But actually, by talking to other experts, I was proven wrong. And it's because we have a lot of very tight regulation here in Denmark. That really, even if you don't want it, you're being forced into adapting to a certain type of windows that reduce energy and, whatever, like shading systems and so on. So that you don't overheat and that you keep the heating in the winter. But there are reservations everywhere. The cheaper you can do, the better. But I think, as you also pointed out, in the previous question, you have energy costs, and it's really a major selling point for every client. If you can cut cost in the long run, if you think about it though the total cost of ownership of the building, you cut the energy cost because you invest in the beginning, a lot more in proper materials, proper window, a good daylight, and artificial light planning. And, of course, all the rest is important. So, the reservations in this country are not that often or if they are, they don’t really have a way around it, because of the regulations.

Interviewer: Yes, way too strict to go further.

Interviewee: And also, in terms of artificial lighting, where there is also some Danish regulations, in BR15.

But there are also the European codes that dictate how many LUX, that’s the measurement unit of light, are required for the different types of places. There are no real regulations in terms of residential places with artificial light because everyone is free to do whatever. And everyone prefers a different type or more, that the light can give to the room. But in terms of the daylight considerations, there are strict regulations.

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Interviewer: Yes, I have also heard that for kindergartens, there should be a gigantic amount of LUX per children or something.

Interviewee: I think you mean, it’s like an average per children, but also per square meter. And it really depends, because if you sit at the table, for example, for the university you need to have a uniform average of 300 LUX. If I'm not mistaken. Which is a certain situation can be a lot. And if you have a very poorly, a highly reflective the countertop then it's very annoying. So, I would say that some of the European codes are very strict and unrealistic in terms of this average LUX. Sometimes you don't need that much. 300 Lexus it’s a lot of light, but luckily, we have a lot of ways to control the light, right now. It's not just on and off switch, you can dim it, to make it a bit more flexible for the users. And flexibility, I think, is very important, not only for artificial light but also for the daylight. You need to be able to control the shading system. Is very important, because first, of course, you have some regulations, but then you also have the people working and living inside. And they have to feel comfortable in this case.

Interviewer: Do you think that the daylighting strategy and the way we plan it, should differ in terms of the building use?

Interviewee: It differs, especially you see a lot of differences between residential places, where you introduce basic stuff, of course, very good windows, double, ideally triply glazed. But it's not so tight. You don't always have to think about a shading system, for example. But then, in office buildings and mixed-use buildings, I think it's mostly the same type of approach to daylight strategy. In the beginning, you have to start with that in mind, and then you have to apply the same principle, throughout.

Interviewer: Exactly. But about planning and you just mentioned that you start in the beginning.

Int: Yes, I have noticed that you have a question about it, a bit later. But I think that daylight strategy starts from the very first moment you draw your initial sketches, your initial concept. Because a lot of the architecture of a place is guided by how to build in his position on the plot if it's facing southwest. Or depending on how you put it, you start placing your rooms accordingly. Maybe you want you to want to place a terrace towards South, to enjoy Sun throughout the day. But you don't want to place it towards North. That is a little bit counterproductive because I want to be on a terrace because it's sunny and you can enjoy the weather. So, you're not going to place it North. When you do a residential project, if you can do something else on the northern Facade, it's ideal. Because, for example, in the building that we are right now, it's single units’ apartments, most of the times as Studios, and it was a bit of a poor planning. I think they couldn't really get around this, but a lot of the of the apartments that only have one glazed facade is facing North.

And those people don't really enjoy the weather, they don't enjoy the benefits that, in the wintertime, in the west in the West, East, and South, you get a bit of heat from outside. However, they might enjoy it when it's very hard in the summer (laughs). But definitely, daylight first thing: sun path, the position of the building... And then, it's a given when you start talking about the budget. If you have to start implementing all this expensive window, shading systems, and so on. So, you would be pretty reckless not to start with that. And then, since your project is focused on Denmark region, I have to say, from experience that, the Danish architects really have a love for the for the light, for the daylight, for sunlight actually. Because there's not a lot of it here, to play with.

So, you have to do the most, to capture the sun. If you look at the metro stations, they have those tubes, that have some reflective glass, like mirrors inside, in order to capture the daylight and reflect it inside. So, it's very much engraved into the Danish Culture. And in the way they study KADK, Architecture, light is a very active part. What you do is important in this regard. We had this, like in the Lighting Design Masters, I think we started with the idea that light form giver. Because it supports the architecture and shapes the architecture around it.

Interviewer: Yes, and the spaces.

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Interviewee: Yes. And if you have a beautiful room, but poor lighting in that room, you are going to lose the entire magic of this space. Because of the poor lighting, you get the poor shadows, and you don’t get to experience properly. So, lighting design is important, and I'm glad it's becoming more and more popular and is becoming actually a profession. A well-established profession in the Scandinavia.

Interviewer: Yes, that is definitely a very good point. But touching up a little bit on public architecture.

Interviewer: To your knowledge, do think that having proper daylight will have a big influence on the performance and the development of the people using the building?

Interviewee: Well, I have to say 100% yes. First, we are lucky enough, in this country, that we don't get to experience building with poor daylight strategy. All the officers that we are working on, are mandated by some regulations that you have to put everyone with good access to daylight. So, you are not allowed to put the working stations in a place that has no access to daylight, at all. Because it's not ideally, it’s completely prohibited to do that. Imagine working in complete the artificial light, throughout the day. No matter how good it is you're not going to feel as pumped and energized, as when you work in a room with daylight. And we especially noticed that we are very energized in the spring, and throughout the year, and once we get to this type of weather. By the way, it's a very cloudy outside and it's been there for two days.

You start getting more depleted of energy, once you wake up in the morning and you leave work. And it's also because sun provides vitamin D, which without vitamin D, you're not very energized. So, you always have to supplement.

And by the way, at the moment, there are some artificial lights, that you can plug in and it can imitate the sun. And you can sit for 30 minutes every day and look at it, and then you just close your eyes and sit in front of that lamb to get the necessary vitamin D. And that is used to treat this seasonal affective disorder.

People that get very depressed or they developed different disorders, you know, lack vitamins or whatever.

But yeah, of course, it is a big influence on human performance and development, because your body has to follow its natural rhythm, the circadian rhythm. And without daylight, daylight is the one that activates it, the one that regulates it. So definitely. We can see that in ourselves.

Interviewer: Definitely, yes!

Interviewee: and as I said, I started by saying that we are very lucky in this country, and it's because that when I visited China and there were people working 8 hours every day in the core of the building in an exprinting area, without any windows. And I felt so bad for them. Not only because it was very crowded because maybe you can live with that. But because there was no daylight and I cannot imagine sitting in a place and working, a tedious job, without having some natural lighting and some views to look at. That is also a contributing factor to our human well-being. The connection to nature, to the sky, to the sun. We are very biophilic. (Both laugh) So, we love nature.

Interviewer: That’s really beautiful to say.

Interviewer: But going a bit into the daylight planning. What do you think that should be considered, besides the position and sun path?

Interviewee: Well. Position and sun path are the first things you consider. And you don’t really go behind that in the very beginning. But then when you move along, of course, we are talking about the building component, windows. You need a certain degree of openings in the windows, of course, depending on the use of the building, depending on the facade. You're not going to put as many windows on the Northern facade because you don't want to cool your building very much in the winter. You going to put more windows in the East and West, and towards the south. And then with that in mind, you'll have a shading system in the summer, so that didn't overheat your building. That also helps with the cutting down costs.

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But then, very important indoors are the materials. Because the materials, they have to be, for example, if you're going to put a black carpet on the floor, is going to absorb a lot of the light. So, you are not going to have the same sort of experience and the same amount of daylight in the room. Even though you're sitting quite close the window. Because a lot gets absorbed. So, you need some materials that boom the lights around the room. But of course, not highly reflective, because it is not visually comfortable when you get the glare. So, materials definitely. Shading system, proper windows and of course, to supplement the daylight planning with the proper artificial lighting.

Interviewer: So, basically artificial lighting is also part of it.

Interviewee: Artificial light is part of lighting design. And when we talk about lighting design, it is also talking about sunlight. Just the daylight planning in a building. So artificial lighting this is very important because it can supplement. If it's a sunny day, you tend to need some extra light to help you focus, you have to read and maybe create a good contrast between what's going on outside and inside. So yeah.

Interviewer: Yes, definitely.

Interviewee: and to add to that, I remember now. One of my teachers from the master with an experimental with LED strip lights. It was a daylight enhancement method. So, you have a little window when you get a certain amount of light coming inside. And then you supplement the daylight by putting LED strip lights around the window. And then because of that and the daylight coming, I can share with you some pictures, you get a lot of light coming and the impression, when you look at the windows there is light in a glow around. I can send you a link maybe it's useful in your combination of talking about the daylight and about artificial light. I think you can use this light to supplement the daylight.

Interviewer: Yeah, definitely. I would be more than happy to see.

Interviewer: But about the next question, we have touched on it already.

Interviewee: Yes, about the integration of daylight. It’s as early as initiation, definitely. And I doubt that there was a lot of architecture work without considering that.

Interviewer: Yes. Interviewee: in their initial geometry and sketches.

Interviewer: But now, going a bit into the daylight visualizations programs. We have and there are, a lot of daylight visualizer programs available, but how efficient do you think that the design with only these simulations can be?

Int: Well, I have to say, fortunately, in this day and age, very accurate. Because our computers are able to use, to simulate the conditions of the sun according to location. But not only that. They are able to simulate the exact properties of the material that we use. So, once you use to simulate that and you put it together, you see very close to 100% realistic simulations of how the light bounces and how it how it spreads in the room, and the amount of LUX and so on.

So, I would say, it's the best way to do it. Because it's very expensive to do a 1 to 1 scale. To actually experience it and feel it yourself. And simulations are the best thing, and very good right now. Especially when you start looking at the software like Grasshopper, and the plugins like a Ladybug, where you can do a lot of realistic simulation. It's like parametric modelling. But then also, for artificial light, there is a very simple program called Deluxe, and it's sponsored by a lot of artificial light manufacturers. And they have huge databases of actual products with full specification. That you can put in your project and then simulate how the artificial light is going to work with other materials. You can calculate the amount of LUX, also in combination with the sun. So very accurate. We are quite lucky. I don’t know how they did it 30 years ago.

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Interviewer: (laughs) But what else can be done or should be done for proper design (for example experiments, maybe or studies of a similar buildings use and so on)?

Interviewee: I think that the more we can learn from similar buildings, the better. So always look for inspiration of how others did it. And not only the inspiration of how it looks, at how it performed over time. I think that’s the most important part because something can look architecturally nice, but not perform performing very well in 5 to 10 years from now. But also, I think, with the number of products available on the market, you can actually go to manufacturers, and most of the time, they have mock-ups and you can go there and experience or see the types of products that they sell. Shading systems, windows, how they perform with the artificial lighting, the same. So, you first, of course, do simulations, not necessarily starting with them, you can look at materials, products and so on. Do your simulations again, and always find inspiration of how they are building behaved over time. So not just as design inspiration, but lifespan. Like behaviour. You understand.

Interviewer: Yes, about maintenance and operation during the life of the product, of the building.

Interviewer: But also, about documentation, since it’s a big focus on that when designing a building. How much should the daylight be documented, in daylight and Lighting Design, in a project?

Interviewee: When it comes to daylight, about simulations, in a lot of the projects that I worked with, in the beginning, stages, you create your geometry and then you do a lot of energy calculations and daylight calculations and simulations, to see the actual product. The beauty with all these programs is that you can set it to tell you how it should look, at the day with the most sun during the year and the day with the least sun. Then you can analyze which part of your building doesn't get enough sun how can we improve that, is there a way to do it? That is not very expensive because, of course, there are some very crazy ideas Out there that you could do, but there are very expensive. So, you have this type of documentation in the beginning, the energy calculation, sun path calculation, daylight planning and so on. Then, of course, all the materials and building components that have to do with the daylight, window, finishes and so, are generally properly documented. That is part of their specification anyway, but in terms of Lighting Design, that is an interesting question.

When talking about artificial lighting, in particular. Because working as a construction architect, we don't really take the responsibility for lighting design, I mean we draw how we would like it to look, but then the engineer is the one that takes the responsibility for it. And I know that they have to do a proper documentation when it comes to it. What type of product, if it's sustainable, the grade that it has, the life expectancy of the product, replacement, maintenance, etc. So, they do that, it’s not usually in architecture company that. You do that you do it in an engineering company, like Electrical Engineers, they would do it. I think it's very important, it has to be documented. And my answer in the paper was to the same degree as the rest. It’s very, or as important as all the other things in a building, to document. Especially since we know it's quite costly, like proper daylight planning, Lighting Design, and so. It's costly so that has to be done.

Interviewer: Yes. And it is also costly in the long run.

Interviewee: Yes, Exactly. The long run. That’s why is very important to look at the life expectancy and the maintenance of the products. We are very lucky today with artificial lighting. We have any LEDs that last forever, as compared to 15 years ago, when the light bulbs and tubes had to be replaced quite often. They weren't very energy efficient. And with LEDs today, we can do some crazy stuff, with a very minimal very minimal effects on the architecture and very easy to mask it, very easy to create whatever crazy idea you have in mind.

Interviewer: Yes. But once the planning is done, let’s say. To your knowledge, how important do you think that the colours and the materials are, in public buildings and why? | xlviii

Interviewee: Well. Not only in public buildings, it in any sector. There is a very well-established science called ‘the psychology of colour’, what is the effect of colours on our mood, in our behaviour, in our experience of the space.

It’s the same with light because light helps you experience your surroundings. Colours do the same. Certain colours have a cultural connector to it. So red is considered sacred for the Royal in China. And then in Europe, red is the colour of passion and pathos and so on. But in terms of planning it into the building, I think colours are extremely important. For example, yellow is a colour that, in excess, it leads to anxiety. It’s a very powerful colour. Red is the same. This doesn't mean that we shouldn’t use them. We should use them in the spaces where we want people to be alert and we should use them in moderation when you talk about yellow. Yellow is also a very good colour for the kitchen apparently because it increases appetite. For some reason.

You will, of course, find some contradictory information about colour. Because in a way, is a very subjective thing, but if are to take a sample of a lot of people, we would find that a lot of us associate red with passion, yellow with the state of being very active. Then you have blue which is the colour of the sky and is very calming and it's ideal for places where you have to relax in disconnect, as opposed to leave to paint when you paint a room in complete red or yellow. You're going to be a bit anxious, even subconsciously anxious if you don't notice it. Or restless. While if you sleep in a blue room or you relax in a blue room, or a white room, or neutrally coloured room, it helps you come down. The same with green. Green is a very creative colour. Is most associated with nature. Probably that's why I like it so much. And I think that everyone, in a way, likes green. We are used to it.

Interviewer: It’s everywhere.

Interviewee: Green and blue are everywhere around us. So, colours, yes. Very important. You would be a bad designer, not to think about colours in your rooms, according to the room scope. And the materials, of course, as well. You can have very poor materials, that reflect light poorly, and then you create visual discomfort in a room. So, I think that would be one of the first things, how the material interacts with the light and how it helps with the lights to shape the room. So, stick away from glossier stuff. Yeah, of course, a glossy facade. It's quite interesting some architects do it with the glossy black, but that really absorbs all the light in the room. And its kind of reminds me of the bathroom that we have at work, which is glossy black.

(Both laugh) Interviewee: Floor, ceiling, walls. And I feel like I am in a bad, horror movie.

Interviewer: Yes, so true. You feel like going in and out just right away.

Interviewee: And it’s also complemented by extremely bad lightning in that bathroom, that sits on top of you. And then your face is filled with shadows. Very hard shadows. While lightning in a bathroom should be from the front so that you get a uniform light on your face. And then you see yourself in a good light, so to speak.

Interviewer: That's funny because you expect more from an architectural office.

Interviewee: Yes. I don't know why they did that, but I think it’s...

Interviewer: Terrible.

Interviewee: Extremely terrible. But I think is also hard to properly light up black. When you go to the museum and you have black statues. Always the light on them is not ideal. Because black just absorbs, eats the entire light. So, materials Yes, important. Not only from a visual comfort perspective, of course, from an

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energy perspective and so on. But strictly about lighting design and in daylight, I am thinking about the reflecting power of the material. And the colours in combination with the light in the psychology of it and so on.

Interviewer: Yes, I understand.

Interviewee: So Yes, again, very important. We can get into a very huge discussion regarding light.

Interviewer: Definitely. But just as a final question, on a scale from 1 to 10 (where 1 is the least and 10 is the very best) how important do you think that daylight strategy is, in a kindergarten/school project?

Interviewee: But I think you can directly ask me how important the daylighting strategy is, generally, and I would still say a 10. It’s very important. And is very important because of the relationship that we as humans, have with daylight. And the fact that it's only been what 300, not 200 years since we invented artificial light. And before that, we only had a few hours governed by daylight. We worked during the daylight hours, and after that, we gathered around the fire in we went to sleep. Now we prolong our days because we have artificial light and we can control it. But about 200 years ago, we couldn't do it. So, we have a very special relationship with 99.9999% for human development. We lived only in daylight. So, it's very important because of that. It affects every aspect of our life. And kindergarten, school, have kids. So, they especially when you have kids, it's about keeping their circadian rhythm as natural as possible.

You wake up, you are alert, you calm down. Start secreting melatonin, you go to sleep. And then you repeat the cycle every day. To try not to break that rhythm. We break it nowadays because of smartphones and artificial light (laughs). But to keep it as much as possible and not only from the comfort in our relationship to daylight but also from the energy part. So, 10. Definitely. Even if I would’ve not been a lighting designer, maybe then I wouldn't say something else. And that is because we tend to overlook how important it actually, is how much our lives are governed around daylight. I know that and reflect on it, but I also read a lot about it. But before I studied lighting design, maybe I didn’t really realize or care about it. It now I do.

Because I know is super important. For me, at least, it is. It changes my mood and my energy levels.

Interviewer: In order to know about these things, you need to be more patient and attentive.

Interviewee: But still, instead of closing everything with cold light, before going to bed, I don’t really practice what I preach. But at least we have all those apps that can regulate the amount of blue light in our smartphones and turn it down and bring it to a warmer Kelvin. Kelvin is the way you measure the colour of the light. So, you have like 1000 Kelvin is the equivalent to the type of light emitted by a candle. So very warm, orange-amber light and then 10000 is the light on a Blue Sky on a sunny day. So very cool light. Danish people, I have to say, are not bad at it. Because they have this hygge tradition, where they light a lot of candles to make it cosy and make it warm before you go to bed there's subconsciously related to our human development throughout millions of years, we have been on this planet. So, I definitely adapted to the culture, very well, because I barely open the artificial light on the track. I don’t find them, necessary, but my boyfriend somehow does, because like loads of light. I don’t, I can go with only one small lamp or light, and that’s all.

Interviewer: Nice!

Interviewee: I hope I was of some help to you!

Interviewer: Yes! thank you so much for everything!

Interviewee: It was a really nice conversation and really good questions! I think they are really to the point, really nicely structured, that you started from generally, you get into the details and then you go to what happens after. So, I think, it was a really good development.

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PLANNING THE FUTURE KINDERGARTEN A Danish model of sustainability © Mihaela Adriana Nițu, September 2018 – Odense, Denmark BA in Architectural Technology and Construction Management 51 UCL University College Denmark