Retopia

Retopia.

Project title: Rebuild Rebild Semester: MSc04 - Architectural Thesis 2021 Group: 22 Main supervisor: Runa T. Hellwig Project period: 01.02.2021 - 27.05.2021 Institution: Aalborg University Department: Architecture, Design & Media Technology Number of copies: 5 Number of pages: Retopia 73, Rebuild 153, Rebuild Rebild 65 Authors: Marie Fredholm Hansen Ronja Elisabeth Bovbjerg Sidse Brinkmann Kristiansen

Reader’s guide.

The following thesis consists of three books together making up one project, Retopia, Rebuild and lastly Rebuild Rebild. The three books each represent a working state during the thesis, but despite their chronological representation, they have been made simultaneously. All books are interrelated and have informed each other throughout their creation.

Retopia is the theoretical backbone of the project.

Here one will find theory regarding relevant architectural and engineering state-of-the-art practices, which all influence the development of the design at hand.

Rebuild is a portrayal of the most important steps during the analysis, sketching and synthesis phases.

It will again be represented as a linear process, but only to let the reader follow a somewhat otherwise complex development.

Rebuild Rebild is a presentation of the final design followed by conclusive remarks and a reflection on the whole project.

The three books can be read in any order that the reader sees fit. They are intentionally divided into three so that the reader can have one book open while searching the corresponding chapters in the other books, which have been influencing this specific section.

The thesis has been developed as the pinnacle of five years studying Architecture and Design at Aalborg University.

01. Finding treasures on a local recycling station.

4

Abstract.

The collection of books, which this book accompanies, represents the master thesis of MSc04, Architecture & Design at Aalborg University.

It is a critical remark regarding the current takemake-waste culture prevailing in both the Danish building industry, as well as in the Danish lifestyle, and concerns a transformation of an old farm located at a site central in the city Rebild, Denmark.

Selective demolition has been proposed by the municipality, which this thesis aims to challenge by introducing the advantages and possibilities of transforming the existing buildings into new functions, maintaining the history and integrity of the site.

The thesis meanwhile proposes to develop new dwellings on the empty plot next to the existing farm, taking offset in the continued demand for housing in the municipality. The design of these new dwellings aims to push the current Danish building culture of larger and larger homes, by proposing that we can get more out of less with better-planned space and more shared facilities, which is introduced in some of the existing buildings on site.

With a tectonic approach to the design, the thesis revolves around lowering the embodied energy in the new buildings, working mainly with biodegradable materials and reusing materials available from the site, sustaining a comfortable indoor climate while also proposing greener alternatives to some of the daily routines of a Dane.

Prologue

5

List of content.

Abstract.

Motivation.

Sustainability.

Approach.

5 9 13 17

Introduction.

18

Sustainable construction.

The continuum of time.

The material joint.

Abandoned farms.

Reuse building structure.

From barn to home.

Reuse.

Life cycle assesment Cradle to Cradle.

Design for disassembly.

DFD principles.

The circular ornament.

21 23 27 29 31 33 35 39 41 43 45 47

Sustainable living.

Home.

How do we consume?

Tiny living.

Live better.

48 51 53 57 61

Methodology.

65

References.

Illustrations.

66 70

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Average area (m) for new-built housing from 1949-2020 220 m Single-family house 210 m

200 m 180 m 160 m 140 m 120 m

Row houses 111 m

100 m

Apartments 90 m

80 m

17

13

20

09

20

05

20

01

20

97

20

93

19

89

19

85

19

81

19

77

19

73

19

69

19

65

19

61

19

57

19

53

19

19

19

49

60 m

02. Average area for new-built housing in Denmark from 1949-2017 (Danmarks Statistik 2021).

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Motivation.

Take - make - waste Currently we see an increasing pressure on the finite natural resources of planet Earth, as all the World’s countries combined use 1,6 times as many resources as the World can regenerate (Open Data Platform 2021). Denmark is one of the countries exceeding its biocapacity the most, using 4,3 times as many resources than what the country can regenerate (Nielsen 2021).

This global overconsumption partly stems from an acceleration of the World’s population, from approximately three billion people in 1950 to a projected nine billion people in 2050 (Guldager Jensen, K. & Sommer, J. 2019), leading to an increased demand for global construction, which over the next 10 years is estimated to increase by 70% (ibid). The construction industry alone consumes about 40% of the energy used in the EU and 35% of the materials used in the world. Looking at Denmark, 40% of all national waste comes from the building industry (ibid).

Architecture defines lifestyle As housing represents a basic need and a continuois increased demand, it is relevant to intervene, why this project aims to reverse the tendency for larger homes, proposing quality over quantity and seeing the home as a point of departure for a more sustainable lifestyle.

Resource potential While decreasing the amount of built squaremeters would affect the overconsumption within the building sector positively, it is still relevant to consider if we can see potential in the abandoned and unutilized, in a time where resources are scarce.

In Denmark, there are about 60 mio m2 of vacant farm buildings (Realdania 2009) that no longer serve their original function. This project seeks to find a way to utilize the resources already captured in these abandoned buildings.

Lifestyle defines architecture Looking at the built environment in Denmark, housing accounts for more than half of the entire value and building stock (Det byggede Danmark 2014, p. 22). Over the last 60 years new built housing has increased in size - especially the single-family house, where the average size of a newbuilt house has gone from 160 m2 in 1960 to 205 m2 in 2020 - an increase of 78% (ill. 2) (Danmarks statistik 2021).

Prologue

9

03. The invasion of single-family houses in Denmark (Adrian n.d.).

10

04. A pile of building waste. The leftovers from traditional demolition (Colourbox n.d.).

Prologue

11

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05. The unstable hierachy of Mother Earth.

Sustainability. ”In fact, humans are considered to be the “dirty species” because they pollute their own habitat with dirty technology, pollution, and land degradation, becoming a danger to themselves and others.” – Kathryn Hilgenkamp (Hilgenkamp 2006) (ill.05).

When the Western industrialization came about in the late 19th century, it gave Westerners superpowers. Suddenly they could live lifes, few had dreamed of. The technologies developed, and the capitalistic world view which emerged, soon influenced the whole world, for better and worse (Industrial Revolution 2021).

The Western World consumed like never before, but only a few understood, that like most other luxuries, the luxury of this new consumerist lifestyle also had a cost. Small organizations around the world started to speak up, such as the Society for the Protection of Birds founded by Emily Williamson in 1889. But only later in 1962 when Rachel Carson published the book Silent Spring, part of this cost became evident to most of the Western World (Carson 1962). It would take another 25 years before the Brundtland report was published, as the first collective human effort to concretize the importance of our relation to the Earth’s ecosystem.

“Sustainable development is development that meets the needs of the present without compromising the ability of future generations to meet their own needs.”

(World Commission on Environment and Development 1987).

Sustainability

Redefining The Brundtland report divides the term sustainability into three pillars: environmental, social, and economical sustainability (ill. 06). It is implied, that these three aspects need to be balanced to reach true sustainability. With this implication of balance, there is an assumption that the three aspects are interchangeable and according to interest one aspect could be weighted higher than the other. It means that the three aspects are equally important. However, one could argue that we do not have a society without the environment, and without society, we do not have an economy, hence, the environment is fundamental for the others to exist (ill. 07).

A usual comment heard when discussing sustainable approaches is “It will cost more” or “Where will we find the money for this?”, usually used as arguments for continuing the current path. These concerns are valid, but also naive. It is by now a collective fact that inaction, keeping status quo, is the most expensive choice we can make. That is, if we can agree that our survival is more valuable than anything else to us. If you still only see life in dollar signs, inaction has been calculated to cost between 150 trillion to 792 trillion dollars by 2100, whereas action could amount to a profit of 126.68616.12 trillion dollars in the same period (Wei et al. 2020).

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Economical

Social

Environmental

Economical

Social

Environmental

From top: 06. Sustainability as the three pillars divided by the Brundtland report.

07. Sustainability as a dependency of systems; the social being depended on the environment and the economical being depeneded on the other two.

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Professor of Economics, Sir Partha Dasgupta, has in an independent review on Economics of Biodiversity stated how economic success is not only relying on Nature but also depends on it. "The solution starts with understanding and accepting a simple truth: our economies are embedded within Nature, not external to it." (Dasgupta, P. 2021, p. 2). The review underlines the importance of including natural capital in order to secure sustainable economic development by "accounting fully for the impact of our interactions with Nature and rebalancing our demand with Nature’s capacity to supply." (ibid).

Either we need to get better at demanding a broader and all covering economic analysis, which does not let the aspect of economical sustainability be confined to the single project in a single moment in time, or we move toward a new understanding of sustainability, as an acceptance of the systems we are dependent on, insisting that nothing that harms our planet earth, or our society, could ever be called sustainable, however 'economically sustainable' it might seem. Using economy as a tool to promote sustainability, but not to define it.

"We have collectively failed to engage with Nature sustainably, to the extent that our demands far exceed its capacity to supply us with the goods and services we all rely on." (Dasgupta, P. 2021 p. 1).

present moment as well as in the future. When understanding all this, we then must act in the manner, which sustains the ecosystem of planet earth, and maximizes utility for human beings.

“We don’t just have to do one thing. We have to do it ALL. That’s why it’s easy – because we don’t have to choose!” (Olesen 2019).

A great step towards sustainability then becomes understanding the relations between actions and their consequences. A way to approach this in the building industry, is through a circular mindset, seeking to understand the interlacing of all things.

Concrete approaches to designing could be doing Life Cycle Analysis (LCA), reusing as much material as possible, limiting the use of non-renewable and scarce resources, promoting renewables and Designing for Disassembly (DFD) for future reuse to be possible.

Having this circular approach, one also realizes that understanding how to inspire the occupants of the built environment to more sustainable behaviour (which would mean consuming and wasting less), will be important since sustainability comes down to how humans interact with the system they are dependent on, that system being the Earth.

Circular mindset In the building industry, this approach yields for us to understand the total consequences of our actions, meaning how the design affects the near surroundings as well as those further away, both in the

Sustainability

15

Problem

Analysis

Sketching

Synthesis

Presentation

08. The five stages of the Integrated Design Process.

It is seen how all stages are interrelated which makes for an iterative process (Knudstrup 2004).

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Approach.

Applying a circular mindset to architecture demands a broad understanding of possible factors affecting all life stages of a design. These factors fall under many different disciplines, why collaboration between these becomes key. It also calls for the generalist who understands much of everything, and sees the bigger picture, but without limiting their knowledge to a single subject of specialization.

What might be the key to a succesful holistic design, is to discover how each field can support the other in designing architecture, that could not have been invented without the interplay between architecture and engineering forming a synthetis together.

In modern society, more requirements call for more complex design solutions. Since the task of understanding every consequence of a decision is of such an immense proportion, we can not expect one discipline to find the solution. With an integrated design approach both fields are introduced in the early stage of the design process which forces the concept development to consider all the necessary aspects of designing sustainable holistic architecture.

This generalist seeks to understand the interrelation of things, and spans their field of view to cover many perspectives at once. It resembles the task of ancient time's master-builders. Responsible for the construction at the time, master-builders such as Vitruvius, sought to master both aesthetics, physics, human nature and many other aspects, combining them into built structures. But since the 18th century, the field of the master-builders has been separated into architecture and engineering The different fields draw on certain methods and (Parasonis 2019). techniques that each can result in very diverse outcomes. The challenging part here, is to be able to Architectural engineering evaluate these diverse outcomes against eachother.

Combining architecture and engineering yet again Outcomes that are not directly comparable. The – two fields that now a day can seem rather oppo- evaluation must therefore be based on design critesive in their tradition – requires an incisive inter- ria that are set up on the basis of relevant analyses disciplinary approach to the process of designing and research, providing a structure and hierarchy holistic architecture. Mastering both disciplines at for decision-making, all following the highly itteronce, requires an understanding of the interplay ative process: the Integrated Design Process (ill. between the fields; how the different aspects and 08) formed by Mary-Ann Knudstrup (Knudstrup parametres affect eachother and even how they can 2004). impair and improve eachother.

Approach

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Introduction.

The aim of the following chapters is to investigate current research and theory within the subjects of Sustainable construction and Sustainable living.

The section Sustainable construction intent to investigate various initiatives and design strategies towards a more sustainable construction industry and through case studies, how these are practically designed and implemented.

The section Sustainable living focuses on the notion and physical frames of a Danish home and acts as the primary source to promote and investigate how to live more sustainable.

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Sustainable construction

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Sustainable construction.

In the Danish building industry it has been a driving ambition to reduce energy use in the built environment. The introduction of more stringent requirements for energy use in new buildings has, as anticipated, resulted in more energy-efficient buildings. So efficient that the general picture shows that buildings living up to the current energy frame have more embodied energy and a higher environmental impact, than the energy used for operation throughout their lifetime (iIll. 09) (Birgisdóttir, H. and Stenholt Madsen, S. 2017).

Reducing the operational energy, even more, is disproportionately expensive and with current energy prices, it is not profitable to create even greater demands for energy efficiency in the Danish building regulations (ibid), why it makes sense to shift focus and pay attention to the embodied energy in buildings to furthermore increase the sustainability of the Danish building sector.

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The embodied energy is determined as “the sum of the energy requirements associated, directly or indirectly, with the delivery of a good or service” (Cleveland and Morris 2009).

It hence becomes interesting to consider utilizing existing building structures and materials, creating a new architectural aspect of the reused, while striving to use resources more efficiently by introducing strategies such as Designing for Disassembly and Cradle to Cradle, establishing a transparent building process, where one has access to and approaches every phase of the building’s lifetime.

Shifting the focus from operational energy towards embodied energy in buildings, changes the approach to architecture. One should appreciate what is already there and sustainability does not become a problem of how much we can save, but a question of how we can recover happiness and appreciation of what we have (Eriksen and Bennetzen 2020).

Energy

kWh/m2 pr. year

30 25 20 15 10 5 0

Single-family house

Office

Embodied

High-rise Operational

CO2 7 k CO2/m2 pr. year

6 5 4 3 2 1 0

Single-family house

Office

Embodied

High-rise Operational

09. Energy and CO2 embodied and during building’s lifetime. Diagram based on diagram in Indlejret energi og kulstofslagring i byggeriet (Det økologiske råd 2019, p. 3)

Sustainable construction

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10. Several layers of distorted wallpaper creating a time capsule wherein a perception of the buildings lifetime is created.

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The continuum of time.

As you read this time has already passed and one thing you can know for a certainty is that it will continue to do so. Embedded in our mind is that with time comes change. The sun rises and sets.

After winter comes a warmer spring and after that an even hotter summer, and back around it goes.

These changes happen in frequencies that are more or less repeated. Time and the change that follows are what characterizes life, as the pre-Socratic philosopher Heraclitus states: “Life is flux”.

When addressing life we must also address death.

It is the term of life - we all have an expiration date. Everything that is created with the forces and resources of the Earth is transient. Humans grow from child to adult and through this process (that we call life) time changes our physiology. It is affected by countless instances such as society and human relations. The same counts for natural building materials such as a brick. It may seem strange to compare a rather “dead” object like a brick to a very alive being like humans. Paradoxically it is yet what ties us together. We fear change and age; “This fear of the traces of wear and age is related to our fear of death.” (Pallasmaa 2012, p.34), but we also honour and appreciate it as for what it resembles; “The patina of wear adds the enriching experience of time to the materials of construction.”

(Ibid) because we mirror ourselves in them.

As Pallasmaa notes, we are emotionally attached to natural materials even how platonic that may sound. A sense of nostalgia is evoked. Revealed.

“The real has its own magic.”

(Zumthor 2018, p.17)

Sustainable construction

Like the disclosure of several layers of wallpaper on an interior wall (ill.11). Each wallpaper with their unique expression represents their own time.

Together they indicate the notion that life is flux, creating an architectural meaning. One that is obtained by an archaic response and reaction from our senses (Pallasmaa 2012, p.64).

Mon Oncle In the movie, Mon Oncle (1958) by Jacques Tati the natural, uneven and partly distorted is tributed.

Nostalgia is honoured. As a contrast to the 1960’s Paris. As an antithesis to the automatisation and sterilization of the modern society.

The main character is Monsieur Hulot, a dreamy and forgetful soul wandering around Paris. He is a simple man living in a complex collage-ish Parisian townhouse. In one scene the house is projected upright as an elevation, and while Monsieur Hulot walks from the front door to his home at the attic, one has time to appreciate this characteristic house (ill.11). Visually it is a collision of colours. A composition of architectural solos in various shapes and functions. Presenting themselves as a closed window next to a fully open one, as a string of newly washed clothes ornamenting the door frames, as five independent chimneys rising through the curvy landscape of the roof, and as the zigzag line carved into the façade revealing a staircase. It is a constructed symbiosis of uncensored diversity. Portraited as a real-life collage. With all its mismatch and irregularity.

In very contrast to the Villa Arpel (ill. 12), the house of Monsieur Hulot’s sister and her husband.

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11. Top: The house of Monsieur Hulot.

12. Bottom: Hulot and the Villa Arpel. ©Jacques Tati

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Located in a new suburb of Paris. A house acting as a representation of the élite rather than a functional home for a family. Filled with superficial aesthetics and electrical gadgets making the inhabitants empty. As the two round windows of the house. Darkened. No one or nothing to see. Or the front yard. Graphic composition of dead objects. Static. Only dynamic when told to be. Everything is in control, and everything which cannot be controlled is left out. Hidden. Shielded by a metal gate, electrical, of course.

The interior of the house is like a showroom, containing an exhibition of furnitures that looks more like modern sculptures than something to sit on.

As animated visualization. The inhabitants of Villa Arpel has indeed given up their heart for haute couture. Their personality in exchange for straight lines. To maintain a social position, they have sold their individuality and their character (Mon Oncle, 1958).

Sustainable construction

While being very critical to the modern architecture of postwar France and how it affects its inhabitants, Jacques Tati does not seem to despite these consumers living in the Villa Arpel. He just think they are ridiculous. Why waste one’s life on obsessing over the latest trends. On dead objects.

When one can find joy and happiness in human connection.

With both comic and quixotic sense, Mon Oncle is an appreciation of the worn, the things touched by time and used by the people, which creates a built world of flaws, zigzags, and irregularity but with great character. But it is also a celebration of the people who inhabit it, and how they are living their imperfect lives within it.

“Les lignes géométriques ne rendent pas les gens aimables.”; geometrical lines do not produce likeable people.

- Jacques Tati

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“Architecture is an art because it is interested not only in the original need of shelter but also in putting together spaces and materials in a meaningful manner. This occurs through formal and actual joints. The joint, that is the fertile detail, is the place where both the construction and the construing of architecture take place.”

(Frascari 1981, p.11)

13. The cube of the sacello at the Castelvecchio (Smith n.d.)

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The material joints.

The materials tell their own story, but so does the architectural gesture which joints them. The detail.

It is a yet aesthetic, but also functional manner to create a whole in something very partially existing as a building. It consists of thousands of single building parts, in various dimensions and expressions. The role of the detail is “simply” to join these. When mentioned in an architectural context the detail is a joint, a material joint (Frascari 1981).

The unique mosaic pattern at the walls of the cube is of quadratic and L-shaped tiles in marble and stone from other historic works in the region of Veneto. Both the tile’s diverse materiality and the non-repeating pattern which combines them to a whole creates this tactility that appeals to all senses. Through this sensory exploration of the cube, one translates its architectural expression as co-existing with the gothic vault.

Joining present with past A detail could appear as a wooden base moulding, mediating the transition from floor to wall or as a hollow gap between two wooden planks. It can additionally act as a connector of time, linking past with the present. Especially one architect practised this almost incarnation of details: “Frampton notes, ‘A t once critical and celebratory Scarpa saw such cryptic, micro-tectonic inscriptions as somehow capable of transcending the ruinations of time.” (McCarter 2013, p. 77). Carlo Scarpa, an Italian Architect, designs details that are physical and alive in the sense, that their body and tactility co-create references to the past and why they tell a story. To further understand how Carlo Scarpa created these details, one must analyze one of his works.

Altering architecture As humans, materials communicate their age and their story of origin, why a certain realness is manifested in them, if allowed. The capability of being real, presenting oneself honestly, can somehow in an architectural context seem magical. By altering architecture - restoring or conserving both building materials or a building itself, one can retain the architectural value and meaning that lies within the already existing, whether it is in the materials themselves or the joining hereof.

Castelvecchio At one of the old entries at Castelvecchio (old castle), Scarpa has designed three walls. They are ornamented with a unique mosaic pattern. Together they represent a quadratic cube which is squeezed through the old gothic vault (ill. 13). At this historical place, the new (the cube of the sacello) encounter the old (gothic vault). Despite their different mode of expression, they seem as a whole.

Detailing or joining can be used as a tool in the process of altering a building. It can perform as a physical tie between a new and an old building part. If mastered correctly the result is a whole. A complete tail. When working with existing buildings, inspiration can be found in Carlo Scarpa’s approach to designing for and with these buildings, as well as in the stories and atmosphere of them.

Sustainable construction

This meaning is very subtle, and far from quantitative, why detailed analysis of what is, should be made to base decisions upon, conserning the future of already existing architecture.

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14. An old abandoned farm building.

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Abandoned farms.

In Denmark, there are about 60 mio m2 vacant farm buildings, which at this moment are left to be dilapidated (Realdania 2009).

Development or settlement Farm buildings are both a physical material resource and an important part of the Danish cultural landscape. They are treasures. Physical parts from the past containing an architectural and cultural value. A (re)source that gives insight into how we once lived our lives. But it can seem to be an immense task to revive a bunch of outdated buildings where both a thick layer of dust and several crawls have made their arrangements (ill. 14).

In both 2014 and 2015, 200 mio dkk were put into a pool for necessitous cities to use for demolishing old buildings. This money was to cover 60% of the demolition expenses, what is left is 40%, which is the municipality’s own responsibility to cover, why some choose not to prioritize it (Baltzer 2020).

“Genanvend gården” Recycle the farm According to Realdania it would be a cultural loss not to keep these historic traces of our past. A communication initiative from Realdania is made to inspire and motivate farm owners to reuse and rethink instead of refuse and forget. The aim is to create new value for both the individual owner and the local society through the abandoned farm buildings. Over two publications Kend din gård and Kom i gang med at genanvende din gård, Realdania presents guidelines and creative proposals for managing old farm houses and stables. It is a strategy based on a digital toolbox that arguments for recycling as the best approach for conservation (Realdania 2016a; Realdania 2016b).

Sustainable construction

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15. A stranded living room with a wall seat ornamenting parts of the wall with nuances of green.

A heavy ceramic lamp is hanging from the ceiling. Small curvy curtains are decorating the top of the window. Every little detail referring to another time. One that has passed a long time ago.

Reusing building structure.

Besides being cultural treasures, the abandoned farms are also resource potentials, storing both energy and labour in their structures and materials.

It has been concluded in a new report made by Rambøll, analyzing 16 buildings of different types, where each building is evaluated according to various renovation scenarios, that it is always less CO2-emitting and less cost-intensive to renovate rather than building new. This is in terms of both embedded CO2 and operational energy use, seen over a lifetime of 50 years (Rambøll 2020).

None of the scenarios showed that new-built would be the best case, but showed that the most extensive renovation scenario was the most environmental advantageous in most of the cases (Ibid.). This argues why we need to see the potential in renovating existing buildings before we consider building new. However, an evaluation of the usability of the buildings is required according to current functions and layout of the buildings, to decide whether further use can be made of these, to be able to justify a renovation.

When mentioning renovation, it is relevant to note, that there are different approaches to modify existing buildings - renovation being one, tranformation another. In this report, renovation will be the case of upgrading a building to current standards, without changing the existing function, whereas transformation will imply a change of function.

Sustainable construction

Transformation When it comes to abandoned farms, these are buildings that have served their original function and are no longer needed, why it becomes interesting to consider if new functions can be introduced and hereby preserve the existing structure.

Hence, it will be important to understand the current structure and building envelope, as well as the stories these existing buildings tell (ill. 15).

In 2011 Building Culture Denmark published a guide to increase the focus on the general architectural cultural level, in line with the ideals of the Bedre byggeskik (Better Building Practice) movement from 1915 Denmark. In this publications thorough analysis of the existing building stock, built following the Better Building Practice in Denmark between 1850 and 1950, is presented, along with many examples of both well made, and less well made renovations hereof (Brüel, J. 2011).

“The greenest building is the one that already exists.”

(Carl Elefante, former president of the American Institute of Architecture)

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Building owners: Aviaja Frost and Esben Frost, Architect: BO FROST

From top: 16. The barn before transformation (Helene Høyer Mikkelsen n.d.)

17. The barn transformed into a home (Carsten Ingemann n.d.)

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From barn to home.

One of the earlier mentioned farm buildings left for dilapidation was the one seen on ill. 16. A barn from the 70’s close to the city of Aarhus. But the future of this particular barn was not to be torn down. The architect couple Aviaja and Esben Frost saw the potential and value even though it appeared empty and abandoned. They transformed the old barn into being their home, proving that an old building, even though it is not cultural heritage, still has preservable value because it tells a story of what it once was (Fra stald til bolig, 2021).

What was before an unheated building is now optimized to today’s standards as it lives up to energy label A2020. The building envelope has been improved, solar cells have been added on the roof and rain water is collected for water supply. Sustainable choices have been made in the interior as well, where the kitchen, floors and doors are collected from different places and remounted here (ibid).

From outside the architectural quality of the house does not quite justice itself, but when stepping inside, the character of being a barn appears. A character that is expressed in the preserved wooden structure, giving the impression of how the space was once divided in stalls for animals (ill. 17). It now makes perfectly sense for dividing the layout of a family home. From the front door the 16 m long former central feeding passage between the stalls is indicated by the flooring and allows a flow between all the rooms. The wooden structure and ceiling is not further treated - it still appears with the notches and nails it has received through its lifetime, making no secret of the wear it has been caused (ibid).

Sustainable construction

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Waste prevention

Reuse

Recycle

Recover

Disposal

18. Waste Hierarchy based on (Circle House Lab 2020, p.13)

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Reuse.

If there in the end is no functional argument for keeping a building in its original form, another option is selective demolition in order to reuse the materials for new buildings. Even though the original building would not exist anymore, reusing the old materials in a new building could still give cultural and historic references, especially if it is built in the same context.

Seeing the potential in utilizing the resources already available in existing buildings, is also an opportunity to reduce waste and the use of virgin materials in new buildings. Promoting selective demolition in the building sector with a focus on reuse of the materials, is crucial to improve the utilization of potential resources that otherwise would be treated as waste. It also seems to become a more common procedure in the building sector, being one of the 15 goals for the governments circular economy strategy published in 2018 (Ellemann-Jensen and Jarlov 2018).

When a building is demolished, the Waste Hierarchy is a guideline for how to handle the ‘waste’ (ill. 18). Highest priority in the hierarchy is design interventions that focus on how to prevent waste (e.g. Designing For Dissasembly explained in a later chapter). Next in the Waste Hierarchy is Reuse, where building components or systems are reused with their original purpose, hereby maintaining their original value. If that is not an option, the next priority is Recycling, which is when building components are going through processing before

Sustainable construction

reuse, or if only parts of the components are reused. Recover is when the material are utilized for energy production. Disposal is lowest in the Waste Hierarchy and should only happen if the material is in some way toxic and therefore cannot be placed higher in the hierarchy (Circle House Lab 2020).

From January 2021, a new Danish regulation is valid, demanding that building owners producing more than 1 ton of waste, take more responsibility for the treatment and disposal of this waste (Miljøministeriet 2020). Before demolishing a building, a screening of environmental hazards now has to be made for building projects producing more than 1 ton of waste. When such a screening of the building is carried out, a documentation of materials which has reuse potential could be made as well. This could result in an overview of the reuse potential of the available materials providing a base for further design or resale.

Reuse of materials should in general be easier and less risky to implement in projects to provide incentive for stakeholders in the building industry.

This could be forced through legislation and taxes, or is it possible to promote reuse and recycling by changing people’s perception, so they attribute reused materials more value than virgin materials and appreciate the inherent value of their stories as well as the environmental benefits that the materials represent?

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A declaration of love to reuse.

Examples of how to reuse otherwise waste materials as facade cladding. From left:

20. Raw metal sheets horizontally mounted (Nielsen, 2017).

21. Raw scrap metal sheets folded and weaved (Ibid).

22. Spiral ventilation ducts in metal flat-rolled and mounted using a slate cladding system (Ibid).

23. Pantiles in vertical bonds like shingles (Ibid).

24. A segment of the facade from the Ningbo Historic Musuem by Wang shu where the chinese Wan Pan-technique is combined with old clay tiles.

(Charkroff, n.d.)

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In a report, Nordic Built Component Reuse, written by Vandkunsten, several waste materials are analyzed and recycled into “new” facade elements (Vandkunsten 2016). While promoting reuse instead of the new, Vandkunsten also presents solutions that are designed to be disassembled.

Vandkunsten’s advice is to ”let it be, and see the beauty”. We must take a step back from our buildings and stop the constraining sanitation of them to achieve something white, new, and clear-cut.

There is great beauty in old materials. Through patina and wear, they tell a story. A story which we can both see and feel. Character and personality are displayed in them, why we should build with them (ill. 20-24) (Eriksen & Bennetzen, 2020).

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Building assesment information

Construction stage

End of life stage

A1

A2

A3

A4

A5

B1

B2

B3

B4

B5

C1

C2

C3

C4

Transport

Manufacturing

Transport

Construction Installation

Transport

Manufacturing

Repair

Replacement

Renovation

Deconstruction

Transport

Recycling/Re-use

Disposal

User stage

Raw materials

Product stage

B6 Operational energy use B7 Operational water use

Cradle to Cradle Cradle to Grave

25. All phases of an LCA

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Module D Benefits & loads beyond the system boundaries

Building life cycle information

Life cycle assessment.

“LCA studies the environmental aspects and potential impacts throughout a product’s life (i.e. cradleto-grave) from raw material acquisition through production, use and disposal. The general categories of environmental impacts needing consideration include resource use, human health, and ecological consequences.” (Klöpffer and Grahl 2014).

Life Cycle Assessment (LCA) is a method based on a quantification of resource usage and environmental impact, which allows the process of comparing solutions. The advantage of the LCA is the circular mindset, which is manifested in the method. All phases of a building in a defined lifetime is taken into account, instead of only one. The base of LCA is the stages which furthermore are subdivided into phases. Production stage, starting the life cycle, including phases; A1 Extraction of raw material, A2 Transportation to manufacturer, A3 Manufacturing of the raw material. Ending with the End of life stage, involving the deconstruction of the building into smaller parts and whether these are then either disposed or recycled (Kanafani et al. 2019). Remaining stages are to be seen in the diagram on ill. 25.

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The environmental data which is used throughout the assessment can be found in several sources. Either at the company selling the product, at a fully accessible database as Ökobaudat or in an environmental report. Often the data of building materials (or components) are gathered in a document called an Environmental Product Declaration (later refered to as an EDP). In these, nine indicators are listed which each corresponds to an environmental problem. The most used indicator is the GWP Global Warming Impact.

It can be a complex task to evaluate a product within all nine indicators, why in some certifications schemes, the indicators are reduced to one number, to limit the complexity and in other cases, some indicators are weighted higher than others (Ibid). How one approaches the LCA and hereby the several indicators is depended on the problem one wants to find the solution to.

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Biological Materials

Mining / Material Manufacturing

Technical Materials

Parts Manufacturer

Farming / Collection Biochemical Feedstock

Product Manufacturer Recycle Cascades

Biogas

Anaerobic Digestion / Composting

Service Provider

Remanufacture / Refurbish Reuse / Redistribute Maintenance

Consumer

Extraction of Biochemical Feedstock Energy Recovery

Leakage To be minimized

Landfill

26. Diagram showing both the biological and technical material cycles. It is the goal, to keep materials within the clossest loops possible.

(Guldager Jensen, K. & Sommer, J. 2019, p. 179).

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Cradle to Cradle.

Cradle to Cradle is a design strategy founded in the 90's as a reaction to Cradle to Grave or Take, Make, Waste. It is a circular approach that revolves around the integrated systems of the Earth. Everything is nutrition for something new and growth is achieved by producing only renewables. Production does not leave any waste or pollution. Trash is indeed a treasure ( Jørgensen et al. 2013).

These studies prove some of the theories behind biophilia, together with many other studies regarding nature in the build environment improving our health (Kellert, S. and Wilson, E. 1993). Along with the inhibit capacity for natural materials to store CO2 from the atmosphere, this is what promotes the usage of natural materials in the build environment.

Cradle to Cradle is defined by two cycles; the biological cycle and the technical cycle. The biological cycle involves biodegradable materials that can be decomposed without harming nature and the technical cycle implies materials that by their end-oflife stage can be disassembled and reused without any loss of quality (ibid).

But even if the materials chosen are natural, there are still differences in the sustainability of these e.g. some wood harvesting is damaging to the surrounding nature. When choosing FSC certificated wood, one ensures that this is not the case, and that the wood is not harvested quicker than what the forest can reproduce. (FSC Danmark n.d.)

Biological cycle In the biological cycle, natural materials are found, which can be returned to the Earth without harm (ill. 26). When returning the materials to the Earth, the CO2 and nutrition within them will be stored here, instead of in the atmosphere. They are now available for other organisms. Since these natural materials need to be returned, it becomes important to secure that they are not polluted with toxic coating or gluing.

Technical cycle It is the goal for all non-biodegradable materials to take part in the technical cycle, where each material after its lifetime, can be dismantled and reused in new generations of technical materials. This without loosing its original value.

Using natural materials is beneficial for the indoor climate, since they are proved to be improving the air quality, through their moisture regulating properties (Ark 2015, p. 4). It has also been proven, that we thrive when surrounded by natural materials, especially studies regarding wood have in later years started appearing. One study stated that: “multiple physiological, psychological and environmental benef its have been identif ied for wooden interiors” (ibid.), such as earlier mentioned, as well as improvements “to a person’s emotional state and level of self-expression and reduction of blood pressure, heart rate and stress levels.” (ibid.)

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The stages of the technical cycle follow the waste hierachy (ill. 18), making maintenance the first and most preferable step, and recycling the last and least prefered option, aiming not to result in any disposal ( Jørgensen et al. 2013).

It is important to consider, how all materials, both those taking part in the biological and technical cycle, are sorted from eachother at the end of the building’s lifetime, why Designing For Disassembling becomes important (see following page).

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27. Principle sketch of a danish half frame timber house .

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Design for disassembly.

In order to make circular mindset possible within the building industry in Denmark, the industry needs to start constructing in a manner which promotes circularity. This means using fewer and cleaner materials, and connecting them so it becomes easy to disassemble them again.

“Design for disassembly’ is a holistic design approach where the intention is to make any given product easy to disassemble into all its individual components” (Guldager Jensen, K. & Sommer, J. 2019, p.34).

In the book Building a Circular Future, 5 Principles - to consider when designing for disassembly and subcatagories are presented. (Guldager Jensen, K. & Sommer, J. 2019 , pp. 39-40). Namely; things to consider regarding materials, service of life, standards, connections as well as deconstruction (ill.

28). These five strategies will be presented more in depth on the following spread.

When designing, one should aim to make the connections of materials as logical and transparent as possible, so future workers who disassemble the building easily can understand the principles behind. Both to optimize the future workflow, but most importantly to keep the material intact, so it can act as a building component in a new design.

It is not a new science; "..many vernacular and "primitive" structures were designed and built in symbiotic relationship with their surroundings where repair, mobility and change were needed." (Guy and Ciarimboli 2005). One such example could be the traditional Danish half-timber constructions, which was a highly modular structural system (ill.

27) (Vadstrup, 2012).

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1.

2.

3.

4.

5.

28. The five principles of Designing For Disassembly.

Based on ill. from Building a circular future (Guldager Jensen, K. & Sommer, J. 2019, pp. 39-40)

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DFD principles.

1. Materials It is important to choose materials with properties that ensure their reusability. Here one needs to consider the quality, health and purity of materials, to ensure a long lifespan and easy processing.

2. Service life Regards designing the building having the whole lifetime of the building in mind. Designing the elements in layers, and with the mindset of a building as a temporary composition of materials. Lastly striving to design something flexible, that allows for future alterations.

3. Standards Third principle describes the importance of designing simple buildings which can fit into ‘larger context’ systems. It means using standarized elements, prefabrication and creating components, when other compositions of materials becomes complex.

4. Connections Choose reversible connections that can tolerate and promote repeated assembly and disassembly.

In this case one should avoid binders or only use dissolvables. Other factors could be using mechanical joints and making these accessible.

5. Deconstruction Creating a plan deconstruction, presenting the strategy behind and making sure that the deconstruction will not pose problems to nearby buildings, nature or people, also ensuring that the structure remains stable during deconstruction.

(Guldager Jensen, K. & Sommer, J. 2019, pp. 39-40)

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29. Hald Ege Kirke, designed by Inge & Johannes Exner. (Pedersen n.d.)

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The circular ornament.

When designing for disassembly, the connections of materials and components should be logical and transparent for future disassembly to run smoothly.

This will result in many connections being visible during the building's operation time. Following a tectonic approach, the link between the structure and the meaning of an architectural expression demands that these connections are used to tell the story of circularity.

Adolf Loos declared the death of the ornament in his essay Ornament and crime in 1908, as a response to the, at that time prevailing, Art Nouveau style: The evolution of culture comes to the same thing as the removal of ornament from functional objects.

(Loos 2019, p. 188). This statement paved the way for the following modern movement, claiming to stripe architecture for everything unnecessary, especially the ornaments.

Ornament is described in the dictionary, as an object that is beautiful rather than useful (Ornament n.d.). But what if we reinvent the word, keeping the beauty in it, but replacing the usefulness, with a necessity. Introducing ornamentations in architecture as integrated parts constructing the whole.

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With this new notion of an ornament, it can be used to convey the underlying principles of a structure. When designing for disassembly, the underlying principles could become the story of how the different parts correlate to shape a whole. As seen in Hald Ege church designed by the architects Inge & Johannes Exner, where the floor is made of large pieces of wood laid in sand, and the wooden wall panels are attached to the underlying concrete wall, without perforation, but by visible screws creating ornamentation along the upper part of the wall (ill.30).

To convey these underlying principles, an understanding and knowledge about the physical properties and limitations of different materials as well as connections become key. It calls for a tectonic approach to design, making architecture a universe of forces rather than a f inite world of forms (Schwarzer 1993).

Another statement in Adolf Loos essay, is to let the form of an object last for as long, that is, let it be bearable to us, for as long as the object lasts (Loos 2019, p.

197). This becomes inevitably when the ornament is the backbone of the objects when the detailed connections become the ornament.

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Sustainable living.

The home is the physical frame of our lifes and when looking into the consumption of an average Dane, it is clear that the home is also platform for our individual (over)consumption. According to the green think tank CONCITO, the annual CO2-footprint pr. Dane is 17 tons. A number that has to be reduced to 2 or 3 tons in 2050 according to scientists (Videnscentret Bolius 2021). If this aim has to be achieved, the individual potential for change is attached to the life in our homes, since the largest individual consumption is coming from building materials, furniture, electronics, clothes etc. –­ all the stuff that we fill our homes with (Ibid). After this comes the consumption of food and drinks followed by energy use. Having this in mind while seeing a tendency of building larger and larger housing, we are not heading in the right direction.

In the survey Danskerne i det byggede miljø 2020, it is concluded that the larger the house, the more significance people attribute their quality of life to this factor (Realdania and Videncentret Bolius, 2020). We tend to associate material goods with ‘the good life’ even though the material goods we consume are far more than the basic need (Videnscentret Bolius 2021). In the modern society the home has become a scene for displaying our wealth (Bo Jensen 2006).

In the following chapter the notion of home will be defined and the consumption in the home will be adressed further. Followed by an introduction to the concept of tiny living as a respond to overconsumption. Ending with a case study of an exhibition presenting ideas, visions and thoughts of how living a more sustainable life can influence future settlement.

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30. A 11 m2 home, framing functions such as bedroom, living room and kitchen

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Home.

Home in its definition is partly coincident with dwelling, as they both define a place where we live either alone or with others. It defines a physical place wherein we keep our personal belongings.

Where a dwelling can be temporary, a home is more continuous and non-physical. It is a feeling.

Our home belongs to the private sphere in which we can shield ourselves from the rest of the world (Harder 2020) why designing a person’s home might be one of the most challenging tasks an architect can face: “They can be as simple as a glass of water, or as complex as an eight-course meal.” (Dickinson 2018) (ill. 32). To lead, one must listen.

Defining the user and its needs is essential when designing a home. In reality, architects can only design a dwelling, a home cannot be built since it is not physical. It is created by the ones who inhabit the space. One can only hope to make such physical frames wherein both hopes and dreams can be manifested.

Home sweet home Especially Danes contribute much importance to their homes. In the survey by Realdania called, Danskerne I det byggede miljø 2020, the only factor which scores higher than having “space and garden”, in regards to having a positive impact on Danes quality of life, is the notion of the home as the “frame around the good life” (Realdania and Videnscentret Bolius 2020). To minimize those physical frames that we adore, one needs to analyse the state of our current houses and which role they play in our daily lives.

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In general.

444 kWh electricity is used on lightning and 89 kWh on electric heating (heat pump is not included).

(Gregersen and Patursson 2020)

The kitchen.

755 kWh of electricity is used on refrigerators and freezers and 488 kWh on cooking. 7 m3 water is used on dishwashing and cleaning.

Only 3 m3 water is used for drinking and food.

(Gregersen and Patursson 2020)

The car.

In average used by 1.7 people and produces 55 gram CO2 per passenger kilometer.

(Europa-parlamentet 2019).

The bathroom.

888 kWh of electricity is used on washing. 66 m3 water on shower, bath and washing. 41 m3 on toilet flushing. 18 m3 on washing of clothes (Gregersen and Patursson 2020).

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The living room.

932 kWh electricity is used on entertainment such as PlayStation, computer and listening to music and 666 kWh on just watching TV. (Gregersen and Patursson 2020)

How do we consume?

Every year a family of four people consumes 140 m3 water (Gregersen and Patursson 2020) and produce 142 m3 wastewater (Danmarks statistik 2016). They consume 4400 kWh of electricity (Gregersen and Patursson, 2020) and leave a total footprint of 1,2 ton CO2 for heating up their household with district heating. Furthermore, they produce 603 kg waste (Affald i tal 2019).

31. A section of a single-family house.

Waste.

One household produces annually 603 kg waste, which is divided into: 215 kg food waste, 135 kg residual waste, 120 kg paper, 51 kg plastic, 46 kg glass, 20 kg metal and 16 kg cardboard.

(Affald i tal 2019).

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Water Most of the water that we consume is used on cleaning and rinsing either ourselves or our stuff and we only drink 2% (or less) of the water (Gregersen and Patursson 2020). When the water has been used for its purposes it becomes wastewater.

Through drains the wastewater is lead to a wastewater treatment plant where it is cleansed over several rounds and afterwards it goes back to either the soil, lakes, streams, or the ocean (Spildevand n.d.; Rensning n.d.). It is an extensive process to clean wastewater and it costs both money and energy. Cecilia Lalander, a researcher in environmental engineering at the Swedish University of Agricultural Sciences in Uppsala, suggests that we move away from water-based sanitation systems. ”I think that you should really make people understand how stupid it is to poop into clean water...” (Rogers 2019). Instead, she proposes compost toilets that utilize aerobic decomposers (organisms) and oxygen to break down faeces (ibid). A compost toilet “transforms” human faeces into compost, which over time (1-2 years) can be used as fertilizer for non-eatable plants. The pee is separated and can through a separate pipe system be guided outside and used as fertilizer for plants such as willow (Schultz and Illeris 2011, p. 32). Toilet flush form 30% of the water consumption in a household, why a compost toilet can bring down the total consumption of water by almost a third.

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32. A ‘living’ filtration plant integrated in the garden (Beplantet filteranlæg n.d.)

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For some household activities such as the washing of clothes and toilet flushing, it is not a necessity to use water of drinking-water quality. Reclaimed water (water that does not comply with the rules of drinking water quality) can be utilized instead (Rent drikkevand 2015).

Another solution is to harvest rainwater from roofs. The amount of rainwater that one harvest is depended on the area of the roof: 1mm rain gives 1l water pr m2 roof (Regnmængde på mit tag n.d. ).

It is crucial to remember that some roof materials are not suitable for rainwater harvesting (Regnvand n.d.).

It is possible to locally cleanse wastewater through a ‘living’ filtration plant and thereby minimize the amount of wastewater sent to the wastewater treatment plants. A ‘living’ filtration plant is approximately 5x5 m and is a low-technology solution for wastewater treatment that utilizes plants like reeds and iris to break down polluting substances in the wastewater and leases the cleansed wastewater directly to the soil through a drain (ill. 32). It is both a decorative, economic and sustainable solution for locally treating wastewater (Beplantet f ilteranlæg n.d.).

Electricity More than a third of the total consumption of electricity in a household is used on dishwashers, washing machines, dryers, refrigerators and freezers. By investing in machines that have a high energy class as A+++, one can save both money and energy. If possible, a dryer should be totally avoided since it eats up great amounts of energy and clothes can be dried outside and/or in a drying room (Gadeberg 2020). Replacing white goods such as a refrigerator that are always on, with passive and low-technology solutions such as a non-electrical refrigerator, can save a lot of energy. A non-electrical refrigerator utilizes the low temperatures of the soil to cool down food and beverages (Schultz and Illeris 2011, p.31). Another solution is to share

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white goods with others e.g. by offering a common laundry space as the co-housing concept Urbania, which also can function as social space (Urbania 2017, p.35).

Heat Where both the consumption of water and electricity in a household is depended on the number of habitants, the consumption of heat highly depends on the area of the house (Gram-Hanssen 2005). Several technologies are used in Denmark to generate heat for both the household and the industry, why specific numbers to how much heat a Danish household is consuming are either not available or hard to find. Overall, the Danish heat supply is divided into individual and collective.

Where individual heat supply is oil-fired burners and heat pumps, collective heat supply is mostly district heating (Energistyrelsen n.d.).

District heating is based on hot water, why it is not decisive how the water is heated, making it easier to replace with “greener” alternatives. The fossil fuels that currently fuels some kettles and planted heat, can be replaced with more sustainable alternatives such as renewables. Today, district heating is 55% based on renewables. Indicating that the heat source is becoming more sustainable, and the fossil fuels has partly been replaced (Sørensen 2014).

Waste Household waste accounts for 28% of the total production of waste in Denmark. A household produces annually 603 kg of waste (Affald i tal 2019). Waste can be sorted according to type and then reused, why it is important to integrate space for sorting waste, both inside the household and outside, locally integrating a recycling centre with bins for all waste types. Approximately 50% of household waste is reused and 40% is incinerated (Affaldets rejse n.d.). Namely, food waste is reused for such purpose as producing biogas (Sådan behandler vi dit madaffald, n.d.)

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Smaller homes means less space for stuff.

Require less resources to build.

Tend to be more energy efficient.

Takes less time to clean and maintain (more time for other activities).

Reminds us of the most important elements of a home: community, security and freedom.

33. Why building tiny houses.

Ill. based on text from the book The Tiny House Movement (Harris 2018, pp. 1-2)

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Tiny living.

Apart from feeding ourselves and having a roof over our head, our wealth consists of our ability to evolve in society, our feeling of having a common goal, a meaning with life, and our capability to dream. We are getting used to achieving these goals and dreams through material goods, and have lost our concentration concerning the wealth and freedom, we were seeking at first; the non-material (Bierlich 2021).

Tiny living is a type of dwelling that rethinks this wealth and freedom that we connect with material goods. Focusing on humans being citizens not consumers (Harris 2018 p. XV ).

“In consumer-based societies, we are socialized to see ourselves as consumers, often f irst and foremost. The belief is that it is good for people to spend a lot of money on consumer goods and services because it is believed to be benef icial for both the individual and the economy.” (Ibid, p. 4).

A tiny house “We are what we live in. When we plan our buildings, we are also planning what kind of society we want to create…’We make the buildings’ they also ‘make us’.” (Ibid, p. 18) This introductive statement underlines the great societal and environmental effects the concept of living small is stated to have. But in return it demands something. A shift. A radical shift to a different lifestyle. One where one’s centre of existence is experiences and relations, not consumption and material goods (Ibid, p. Xiii). This done by an optimization of the house as we know it.

Ryan Mitchell, tiny house author, blogger, and resident, describes tiny house within these principles: focus on effective use of spaces, quality instead of quantity (prioritization of good design), a tiny house serves as a vehicle to a lifestyle that the resident wishes to pursue (architecture defines lifestyle) (Ibid, p. 15).

The book The tiny house movement is used as a starting point, a source, to understand how an architectural creation as a house can change one’s way of living, making it more meaningful and sustainable. The analysis focuses on the psychological benefits of living small to support the vision on consuming less and choosing quality over quantity while also indicating how this “living tiny” works in reality and possible benefits (ill. 33).

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Yojigen Poketto is an apartment of 33 m2 in Madrid by Elii of two levels differentiating with 90 cm allowing both different atmospheres to be arranged and to integrate extra functions as storage under the bed whilst optimising every cubic metre of the house (Santibañez 2017).

34. Main area with kitchen and bedroom in the back (Imagen Subliminal n.d)

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Effective use of space There is no specific size that defines a tiny house although there are some indications. Some argue that it must be less than 74 m2 and others state it must be between 6 m2 and 37 m2. Since living tiny is about effective use of space we should not pay attention to the specific dimensions, but more onto how the space is utilized (Harris 2018, p. 15).

Thinking in cubic meters instead of square meters (ill. 34-35).

“Tiny houses are generally built so that a space is used to its fullest potential, with multiple purposes being planned for each square foot of space. For instance, seating often has storage below, or a table may fold from a coffee table to a dining table to accommodate different needs at different times.” (ibid).

Sharing is caring In the 70’s, co-housing had a strong ideological focus on changing the structures of society. Today it is different. Living in a community is more based on a practical idea of sharing (and caring).

Although both a concept of social and practical community co-exists in the co-housing anno 2021 (Fremtidens bofællesskaber 2016, p. 12), this section will focus on the practical tasks that are performed within co-housing and how these are shaped as functions, while acknowledging the social benefits of co-housing.

Living tiny or living with ‘just enough’ is depended on the concept of sharing is caring and community (Harris 2018, p. 16). When downsizing one will have to prioritize space and the stuff that is placed there. It is all about the notion of smart square meters – live closer and share more (Urbania 2017 p. 33).

A modern single-family house has often functions (additionally to kitchen, bedrooms, living room and bathroom) such as guestrooms, extra toilet, office, playroom, workspace, walk-in-closet, utility room etc. (Bo Jensen 2006, pp. 21-28). When living tiny these are non-essential spaces that can be shared with others if even needed.

Architecture defines lifestyle A tiny house is not just about the size, it is deeply related to the kind of lifestyle the house physically frames and helps to facilitate, why inviting the user to engage with the house is very important. It is an attempt to move away from the current binary of home and outside world to re-establish a lifestyle upon us instead of me and experiences rather than material goods.

“By nature and design, with moats of lawn and free-standing walls, houses insulate people from broader social ties.” (Harris 2018, p. 8)

35. Plan with perspective and section (out of scale) (Elii n.d.)

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36. From top, the green house and reused metal sheets as exterior cladding in contrast to the light wooden structure of the greenhouse (Hjortshøj n.d.)

Live better.

Bo bedre med Vandkunsten (Live better with Vandkunsten) is an exhibition. An indoor presentation of ideas, visions and thoughts of how our future could look like, in terms of living.

A retopia The exhibition presents a bright future. One with both joy and harmony. It is an indication. An example of the choice we have, to live differently. To live smaller, share more, reuse instead of throw out and thereby live better (Eriksen and Bennetzen 2020). Keeping this in mind, one should take the exhibition as a utopia. Just as Asbjørn Staunstrup Lund, architect at Vandkunsten, has illustrated it in a playful sketch (ill. 38).

Through various elements, spaces and visual effects the exhibition presents six themes. One theme is directly linked to how we nowadays live.

Vandkunsten suggests approximately 14 square meters per person projected in a “mini house” of 37 square meters for 2-4 people. The house contains several rooms with compact, multi-purpose and simple interior solutions (ill. 37). The entrance of the house is covered with a structural and wooden overhang. Illustrating the next theme: the transition from outside to in. The overhang marks a shift and an “edge zone”. It is the patio. Followed by the patio is an old industrial steel staircase (ill.

36). It cuts through the overhang and ends at a rooftop. From here you are intended to experience herbs, digital treetops and birds chirping from the

Sustainable living

surround sound speakers. From up here, you can see the greenhouse (ill. 36). The third theme of the exhibition. It presents an allegory of how to integrate greenery in co-housing. The greenhouse is made of reused windows and polycarbonate as roofing. It acts as a centre for the backyard with workshops and the common house. Which are the two next themes of the exhibition focusing on the principles of co-housing. The last theme of the exhibition mediates the founder of the exhibition, Vandkunsten, as an architectural office with great history and ideals (Birket-Smith 2020).

This exhibition touches upon many different subjects of absolute sustainable settlement, such as tiny houses, shared facilities and reuse of materials. It is intented as an inspiration and encouraging contribution to the current architectural scene.

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37. From top, the interior space of the kitchen in the “mini house” and exterior with the industrial staircase and the patio (Hjortshøj n.d.)

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38. Bo bedre med Vandkunsten. Illustration by Asbjørn Sstaunstrup Lund, Architect at Vandkunsten

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What do we have?

Environmental screening

An environmental screening is conducted to assess the reuse potential of existing buildings and the fractions and materials they consist of. It is hereby clarif ied if any materials or coatings are posing health risks and therefore make reuse diff icult or impossible.

Ressource mapping An evaluation of materials according to amount, size, condition and appearance.

Assessment of embodied energy to emphasize the environmental gain of making use of existing buildings in their current form instead of demolishing.

Assessment of the environmental saving compared to the production and transportation of new corresponding materials to emphasize the environmental gain of reusing the materials instead of using new virgin materials.

Material catalogue

Screening of preservation value Evaluation of preservation value of the buildings through analysis of integrity according to architectonic, aesthetic and historical values. Examinating whether the buildings play an important role in the context or for the local community - do the buildings tell a story that is worth to be kept and carried on?

Evaluation of usability/adaptability and durability with regard to the possibility of transforming the space into new functionalities.

A clear overview of resuable materials from the buildings providing a base for further design.

What do we need?

Development of needed functions and specif ications related to the specif ic project at hand and its intention.

How do we combine it?

Sketching, analysis and synthesis considering following questions: How to utilize the ressources captured in the buildings?

(If kept) how to preserve the character and the story of what it once was?

(If selectively demolished) how can materials be reused in a way that roots their origin in our conciousness?

How to establish a link between new and old?

39. Procedure for evaluating available resourses and their potential for reuse.

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Methodology.

Following is a describtion of used methods and Calculations and simulations chosen boundary conditions.

The simulation tool BSim will be used to simulate on indoor climate in order to optimize the design Ressource potential assesment by keeping input data stable while changing single To assess what ressources are available in existing parametres. structures and evaluate their potential for reuse.

The procedure is described on the adjacent page.

The boundaries for thermal comfort during summer months is determined using a formula that Life Cycle Assesment exponentially weighs the running mean of the daiLCA parameters influencing the environmen- ly mean external temperature as described in DS/ tal impact will be adressed in comparative analy- EN 15251 Acceptable indoor temperatures for design sis providing a basis for decision making. LCA is of buildings without mechanical cooling systems (DS/ furthermore used to investigate the environmental EN 15251 2007, p. 27). To define the upper limit benefit of reusing materials and to assess the em- for the indoor operative temperature the following bodied CO2 in existing buildings. Available data equation is used: Θ = 0,33 Θrm +18,8 +4 (Ibid, i max from Environmental Product Declarations and a p. 28). report from Statens Byggeforskningsinstitut (Ernst Andersen et al. 2019) is used, which estimates the The thermal comfort should also live up to: possible environmental impacts for reused materi- Room temperatur >27°C max. 100 hours pr. year als compared to conventional virgin materials. The Room temperatur >28°C max. 25 hours pr. year report limits its scope to only focus on the Global (BR18, 2020) Warming Impact (kg CO₂ eq.). The report does not include the lifetime of the reused materials in Rhino 6 and the plugin Ladybug are used to calthe analysis (due to lack of documentation) and is culate the daylight factor in the buildings, which is intended as a first step towards including reused chosen to live up to DGNB’s criteria for daylight materials in LCA assessments, but not presenting in dwellings where 50% of the area should have a the data as anything but the current best estima- DF ≥ 2% (Green Building Council Denmark 2016, tions on the limited data given. p. 253).

DFD Involves study of joints and connections with a tectonic and aesthetic approach to enable easier reuse of building components in the future.

The calculation tool Be18 is used to document whether the energy use of the design lives up to 30,0 kWh/m2 pr. year (added 1000 kWh pr. year pr. heated floor area) (Bygningsreglementet 2020)

Sketching and visualization Boundary conditions which are not described here To develope ideas and evaluate or compare their should otherwise fulf ill mandatory requirements. expression. Involves sketching in combination with 3D-modeling and physical models.

Methodology

65

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Illustations.

01. Own photo.

02. Danmarks Statistik, 2021, BYGV06: Gennemsnitligt samlet areal i nyopførte boliger (historisk oversigt) efter anvendelse. Available at: <https://www. statistikbanken.dk/statbank5a/SelectVarVal/Define. asp?MainTable=BYGV06&PLanguage=0&PXSId=0&wsid=cftree> (Accessed: 24 February 2021).

03. Adrian, J., viewed 04 Marts 2021, available at: <https://politiken.dk/oekonomi/bolig/art6717319/ For%C3%A5ret-b%C3%B8d-p%C3%A5-stigendeboligpriser-i-hele-landet>

13. Smith, P., viewed 01 Marts 2021, available at: https://www.o2landscapes.com/essays/museo-di-castelvecchio/ 14. Own photo.

15. Own photo.

16. Helene Høyer Mikkelsen, viewed 19 Marts 2021, available at: https://www.bykultur.dk/ wp-content/uploads/2018/03/Plakat-BOFROST-architects.pdf

04. Colourbox, viewed 04 Marts 2021, available at: 17. Carsten Ingemann, viewed 19 Marts 2021, avail<https://dakofa.dk/element/haandtering-af-byg- able at: http://www.dagensbyggeri.dk/annoncege-og-anlaegsaffald-3/> blokering 05. Own illustration.

06. Own illustration.

07. Own illustration.

08. Knudstrup, Mary-Ann. 2004. Integrated Design Process in Problem-Based Learning. Published in: The Aalborg PBL Model: Progress, Diversity and Challenges.

09. Own ill. based on graph from Det økologiske råd, 2019. Indlejret energi og kulstofslagring i byggeriet. Hvordan reducerer vi bygningernes klimaaftryk?. [online] Available at: <https://rgo.dk/wp-content/uploads/Publikationer/NOTAT_Byggeriets_ CO2_GODK.pdf> [Accessed 23 May 2021], p. 3.

10. Own photo

18. Own illustration based on illustration on p. 13, Circle House Lab. 2020. Green Paper 02. [ebook] Circle House Lab, p. 10. Available at: <or/> [Accessed 26 February 2021].

20-23. Nielsen, S., 2017. Rebeauty. Nordic Built Component Reuse. [online] København K: Knudtzon Graphic, Vallensbæk. Available at: <https://vandkunsten.com/content//2019/03/NBCR-20170201-sml. pdf> [Accessed 15 March 2021].

24. Charkroff, E., viewed 27 February 2021, available at: <https://speculativecities.wordpress.com/2018/02/10/challenging-obsession-with-scale_-the-ningbo-museum/> 25. Own illustration

26. Guldager Jensen, K. & Sommer, J. 2019. Building a Circular Future, 3rd edition, Arkitektens Forlag, Co11. and 12. Pictures from the movie by Jacques Tati, penhagen.

Mon Oncle, 1958.

72

27. Arkitekt Leif Hansen, viewed 13 Marts 2021, 36-37. Rasmus Hjortshøj, viewed 22 Marts 2021, available at: <https://www.realdaniabyogbygklubben. available at: <https://utzoncenter.dk/da/udstilling/ dk/media/2204/hoejga-rden-pa-sejeroe-indhold- udstilling-bo-bedre-med-vandkunsten-8971> 2200401-slut.pdf> 38. Asbjørn Staunstrup Lund, Architect at Vandkun28. Own illustration based on illustration from Gul- sten, available at: <https://migogaalborg.dk/skattedager Jensen, K. & Sommer, J. 2019. Building a Cir- jagt-og-den-vildeste-kridttegning-utzon-center-lacular Future, 3rd edition, Arkitektens Forlag, Copen- ver-hyggelig-byfest-for-hele-familien/> hagen.

29. Pedersen, P., viewed 19 Marts 2021, available at <https://www.trendsmap.com/twitter/ tweet/1368575036420931587> 30. Own photo 31. Own illustration 32. Beplantet filteranlæg, n.d. Holbæk Kommune [Online] Available at: <https://holbaek.dk/borger/ teknik-og-miljoe/vand/spildevand/spildevand-i-detaabne-land/forskellige-spildevandsloesninger/beplantet-filteranlaeg/> 33. Own illustration, based on text from Harris, T., 2018. The tiny house movement. Lanham: Lexington Books.

34. Imagen Subliminal, viewed 17 Marts 2021, available at: <https://www.archdaily.com/884577/097star-yojigen-poketto-elii> 35. Elii, viewed 17 Marts 2021, available at: <https://www.archdaily.com/884577/097-star-yojigen-poketto-elii>

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