26022016 programme msc04 greenland kulturhus

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GREENLAND KULTURHUS

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GREENLAND KULTURHUS

CONTENTS Abstract INTRODUCTION

ANALYSIS

PROGRAM

4

INTRODUCTION Motivation Methodology Existing brief

6 8 10

SOCIAL CONTEXT Greenland Social Environment The community

14 16 18

SITE ANALYSIS Nuuk Site Mapping Climate

20 22 26

PHENOMENOLOGY Materiality Serial Vision Kevin Lynch

30 32 34

THEME STUDY Nordic Light Extreme Environment Vernacular Architecture Local Tradition Cultural Centers Landscaping

36 38 40 42 44 46 48

DESIGN APPROACH Tectonic Architecture Sustainable Design Mood Board Case Study I Case Study II

50 52 54 56 58

PROGRAM Resolution Vision Design Apparatus Room Program Technical Requirements

62 64 66 68 70

Bibliography Annex

76 80 3

ABSTRACT Integrity and Integration

The program outlines the architectural intention behind the presented Master Thesis proposal. The uniqueness of the cultural and environmental Greenlandic scene, frames a stage of great opportunities in terms of tectonic and sustainable design. Not only is it essential to understand the core needs of a marginal civilization affected by climate change, but it is also crucial to make informed decisions in terms of sustainable design, in order to produce a successful architectonic proposal that responds to the needs of a post-colonial modernizing society.

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INTRODUCTION

done

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INTRODUCTION

MOTIVATION Gathering in Greenland

WHY GREENLAND In a world of continuous transition, the greatest quality of men is adaptability. Either because of enforced climate changes, or of geopolitical issues, man has always found a way in which to cope with the given situation.

Depicting on this premise, Greenland as we know it now, has been undergoing considerable transformation in the structure of their day-to-day traditions. Attesting this narrative stands the desire of the indigenous peoples’ of the North to make industrial use of their lands and resources, in order to develop their societies [Sejersen, 2015, p.27]. This new direction sets the scene for architectural development as to accommodate the new industrial growth.

However, a main concern for this marginal part of the world is the lack of resources in terms of building materials and, nonetheless, the harsh arctic climate.

Sustainable building in these conditions is still pristine territory, as not only the climate, but also the resources have different boundaries then in ‘continental‘ countries. Thus, building sustainably in Greenland presents us with a challenge in terms of determining the confinements of our possibilities. This will enforce us to truly understand not only the potential of modern sustainable technologies and principles, but also learn from the vernacular way of building in order to obtain a successful proposal that is suitable for the local environment.

WHY GALLERY AND CULTURE HOUSE Initially relying on the proposal for the competition led

by Greenland National Art Gallery, which supports the opportunity of establishing a National Gallery of Art in Nuuk, we have seen the potential of creating

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INTRODUCTION

a venue that nurtures and promotes local art, as a means of modern social development. The initiative is encouraged by the increased interest for the Indigenous traditions, which has lead to a growth in the number of visitors to Arctic countries such as Greenland and Iceland [Visit Greenland, 2015]. However, a main concern of the Inuit peoples, is that their culture is so unique, and so far from modern standards, that it is hard to fully understand and empathize with their traditions. Therefore, the establishment of a venue that promotes the local culture and values is essential for cross-cultural understanding.

Yet, further research has made us believe that creating a place for the visitors of Nuuk is somehow a nonsustainable solution for the local economy. Given the existing city with a population of approx. 16.000 inhabitants, we felt it essential that, if a venue of such high potential should be erected, then the venue should also give something in return to the local community.

Therefore, the group has felt that it is not only Greenland that needs to inform the world about their traditions, but this relationship should be reciprocal. Further research into the subject will lead to the exact functions that will be hosted in the cultural quarters of the venue, however, society is undergoing constant change, hence adaptability of the spaces will be a main feature.

Therefore, referencing the typology of the guildhall in such an extreme environment presents us with the unique challenge of responding to demanding social and environmental needs, as throughout the year there are moments when indoor venues are the only place where people can gather [Slavid, 2009, p.58].

greenland

baffin bay iceland

canada

atlantic ocean

nuuk

Fig. 2. Greenland

METODOLOGY design process

PROBLEM BASED LEARNING Aalborg University’s method concerning problem based learning stresses upon a hypothetical problem, shaping the project and the appropriation of professional skills of a student. By encouraging the student to develop competences with regards to sourcing lecture readings, and nonetheless giving a constant alteration between practical training and theory, the presented method depicts upon the technique of active learning. Within the right settings, the project task develops from a formulation of the problem, which afterwards is treated by means of different academic methods.

INTEGRATED DESIGN Integrated design implies the interweaving of multiple aspects that are taken into account. Following this consideration, these aspects are incorporated in the final solution. The method is a synthesis between problem-based learning and professional knowledge, from both architectural and engineering fields, with an emphasis on sustainability and tectonic design. Moe [2008, p.6] defines integrated design as a intertwining between a building’s spatial, construction, energy and system logics. This approach depicts upon a looping process of constant optimization through iterations.

PROCESS The process is divided in 5 phases [Hansen, Knudstrup, 2005]: analysis phase, problem phase, draft phase, synthesis phase and presentation phase.

As the presented project is developed from an existing architectural competition in Greenland, the site and a number of main requirements have been taken from the given brief. However, after analyzing the

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INTRODUCTION

proposed location in terms of phenomenology and social considerations, alterations to the initial brief have been made. A first understanding of the selected site is achieved by using the Kevin Lynch method. Following, the obtained observations will be placed in a SWOT [Strong/ Weak/ Opportunities/ Threats] diagram. These methods are used in order to comprehend a valid understanding of the site, beyond the requirements and information given in the competition brief. Conclusions from this analysis, which comprise the problem phase, will be further analysed and mended with consideration towards Nordic design principles and sustainable considerations.

At a paralleled level, considerations towards DGNB criteria will be given not for the achievement of such a certificate, because this would be impossible in the given environment, but in order go through all categories of sustainable design [as the DGNB methos is one of the only certificates that also addresses social sustainability]. Be use of these requirements we will outline a hierarchy of the importance of a number of selected considerations.

The draft phase shall be conducted through a series of working loops so that the set aesthetic, technical, functional and sustainable qualities are met.

The final design is completed during the presentation phase, with presentation of the final design through pictures, diagrams, texts and calculations in order to attest the accuracy of the group‘s proposal. The information about the design shall be included in a booklet, taking the reader through the design process, as well as present him/her with the finalized proposal.

COMPETITION BRIEF ANALYSIS - Kevin Lynch - SWOT - DGNB

PROGRAMME SITE AND CLIMATE - wind study - daylight investigation - shadow study

TECTONIC - architectural expression - structural study - contextual materiality

DRAFT INDOOR CLIMATE - thermal analysis - ventilation study - energy distribution

SYNTHESIS

PRESENTATION

Fig. 3. Methodology

TECTONIC - structural study - light study

SUSTAINABILITY - orientation - energy - daylight - adaptability

EXISTING BRIEF closed competition for greenland national gallery

In August 2010, Greenland’s National Gallery of Art committee, together with Vibeke Petersen and Kommuneqarfik Sermersooq Architects’ Association have drawn up the brief that addressed the establishment of a museum of art focusing on Green­ landic art and Greenlandic artists. The intention has been that of organizing an invited design competition where Nordic architecture practices would propose modern, yet empathetic designs for the realization of such a venue [Greenland’s national gallery of art, 2010].

CONTEXT The Board has had a clear vision for the desired proposal: to work for the establishment of an internationally oriented highly professional institution that communicates the continuous project of documenting and developing the Greenlandic national identity through art and culture.

At a exhibitional level, the National Gallery of Art will be organized into four closely related, mutually illustrative, supplementary departments: • Department of Greenlandic art • Department of more recent and contemporary graphic art in Greenland.

• Department of circumpolar art – art from the Nordkalotten.

• Department of international art.

[Greenland’s national gallery of art, 2010] However, the intention behind the establishment of the gallery is not solitary based on the needs of accommodating works of art. By using the museum’s collections as its point of depart­ure, and as the focus of an active program of presen­tation, the museum will

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INTRODUCTION

promote and reinvigorate inte­ rest in art and artistic expression, by means of special exhibitions and events, having particular relevance to the museum’s terms of reference [Greenland’s national gallery of art, 2010, p.

4]. Hence, the need to provide a number of adaptable gallery and workshop spaces. The brief mentions the desire to exhibit not only famous Greenlandic pieces of art, but also promote local, contemporary artists from the School of Art. Nonetheless, with respect to the findings of further research and decisions related to the building users [the Program], it is essential that we underline the reference made within the existing brief, that highlights the correlations between the visitors of Greenland and Nuuk’s residents: ‘We are seeking proposals of high architectural, techni­cal and functional quality. Our aspiration is for the Gal­lery to be a distinctive focal point for Greenlandic art, and that both residents of and visitors to Greenland will be attracted to and enriched by a visit to the Gallery.’

[Greenland’s national gallery of art, 2010 p.11] Therefore, we have been pushed, at a lower extend, by the brief to consider the dual relationship that our program proposal is based upon.

proposed site

INITIAL SPATIAL CONSIDERATIONS Collections: in total approx.

Special exhibitions: in total approx.

Outreach: in total approx.

Storage facilities: in total approx.

Conservation: in total approx.

Library with photography studio: in total approx.

Café, museum shop, staff facilities: in total approx.

Public entrance, foyer, toilets etc.: in total approx.

Administration: in total approx.

Workshops: in total approx.

Goods reception area: in total approx.

Plant room, utility room etc.: in total approx.

Gross area, approx.

Fig. 4. Given room requirements

600 m2 350 m2 200 m2 400 m2 300 m2 200 m2 200 m2 100 m2 200 m2 150 m2 100 m2 200 m2 3,000 m2

ANALYSIS

SOCIAL CONTEXT

GREENLAND zooming in

Sejersen’s [2015] book on Rethinking Greenland and the Arctic in the Era of Climate Change outlines a profound understanding of Greenlandic traditions and contemporary needs. After a historical legacy of colonialism that linked Greenland to Denmark since 1721 [from being a colony to being endowed as an integrated part of the Danish realm], in 2009 Greenlanders have changed the face of the country’s home rule to self government, offering themselves the recognition as a people with right to independence from Denmark. Greenland is however still depending on Denmark through the block grant of 3.6 billion DKK for areas like such as like education, health, fisheries, and environment. [Sejersen, 2015, p.28] Awareness in terms of the societal and environment changes that Greenland is facing, has led to the desire of diversification and strengthening of the nation’s economy. This has been achieved by facilitating access to mega-industries such as the placement of aluminum smelters in three of the country’s most developed cities.

Seen from the industry’s point of view, Greenland stands out as a most suitable prospective site for a smelter. From a Greenlandic point of view, a smelter offers job and tax revenue potentials for the township and for the country as a whole. The initiative represents an active way of adapting to natural changes, creating opportunities for future generations. This adaptation entails however, a ‘total transformation of society’ [Sejersen, 2015, p.126].

Nonetheless, the environmental change and the desire of furnishing a new society is also addressed by the ambition of turning the melting ice problematic into a water resource.

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SOCIAL CONTEXT

Therefore today, after being deeply entangled in colonial and post-colonial projects, the people of Greenland are on their way into modernity. However, the people have become marginal with respect to their own culture and, along with this, also marginal with respect to their skills and knowledge, understood to be so decisive when it comes to making use of the environment. The triple marginality springs from being borderlined with respect to one’s own culture, to the environment and to modern culture.

The concern that the population are peripheral to the modern environment is voiced in the Danish realm : ‘Are Greenlanders competent enough to rule their own affairs and can they administer the economic bonanza from the oil.’

[Sejersen, 2015, p.20] Thus, comprehending ‘the local point of view’ is not an exercise in representing one’s understanding of place or of a diversity of views, but a question of appreciating how place-awareness can be multi-dimensional and can be intertwined in dynamic spatial and temporal scale-making, while simultaneously being deeply embedded in everyday life and prevailing problems.

Throughout this proposal, we aim to address the problem of social adaptability and acceptance of these indigenous peoples, as well as propose a sustainable building strategy driven by an overlap of Greenladinc building traditions and modern technology.

Knud Rasmussen Museum

Sisimiut Museum, Taseralik Cultural Centre

Katuaq Cultural Centre, Greenland Nation Museum Nuuk Kunstmuseum

Fig. 6. Culture Centres and Museum in Greenland

the diagram showcases the total number of cultural venues in Greenland. although specialized literature has attested that these types of spaces are the only places were people can gather during winter periods, there are not many exclusively designed for such purposes. however, school gyms are used for social gatherings instead

SOCIAL ENVIRONMENT modern society and the ‘other‘

Over the last decades cultural exchange has become increasingly easier due to a reduction of travel costs and time, but as well because of the Internet. As a result, remote places such as the Nordic countries have recorded a growth in interest with consideration to international travel [Tourism economics, 2014].

GEOPOLITICAL CONTEXT The concept of indigenous people has undergone intensive lobbying in terms of embracing these cultures as stakeholders in the international context. The people’s ambition of self-determination and concomitantly the rights to continue practicing a specific way of life, as well as the collective rights to determine their own future development, are being pursued in political institutions on different scales [Sejersen, 2015, p.18]. Adequate examples of this phenomena are Greenland or Nunavut in Canada, regions that have managed to detach, taking the form of self-government in Greenland and regional government of Nunavut in Canada.

INUIT Referring again to the indigenous peoples of the Arctic region, the Inuits of Greenland have been severely affected by climate change leading to a geopolitical marginalization not only considering travel distances, but also resources. Inuit families have a modest life, living in small 2-3 room dwellings, shared between 6-7 family members and relying of fishing to provide them with their primary needs [Vagnby, 2009]. Thus, the Inuit lifestyle has been described as simple, in harmony with the natural environment and relying solitary on natural resources. Today however, a decrease in these natural resources is forcing them to adapt and accept modern industries in order to provide for future generations.

16

SOCIAL CONTEXT

CLIMATE CHANGE In an era subjected to continuous climate change, challenges in the form of melting sea ice, receding glaciers, the thawing of permafrost or changes in biodiversity and resource presence, have placed Arctic societies in a tense situation, where difficult societal choices have to be made and expectations have to be reconsidered. Sejersen [2015] argues that the speed of environmental change that challenges indigenous peoples’ capacity for adaptability is linked with the discourse of the speed of cultural and social changes in the wake of modernization. Moreover, indigenous peoples are seen as being unable to adapt quickly enough.

INDUSTRIALIZATION As a result of the shift in natural resources, especially those which concern the fishing industry, unemployment has become an issue. This lack of jobs has forced people to consider emigration, thus resulting in a population shift that can prove devastating to indigenous towns and communities.

For some Inuit groups however, oil and gas development has proven important for their communities and their economy. The uncertainty about the future of the town faced with closing industries and services has made the Greenlandic community welcome the potential establishment of aluminum smelters. Such a decision not only generates job opportunities but also sets in motion a complex process of reinterpreting place [Benediktsson & Suopajärvi, 2007 cited in Sejersen, 2015, p.157]. By adapting to aluminum production, the Greenlanders are simultaneously whirled into the economy that is simultaneously dependent upon and

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fueling globalization. Seen from the industry’s point of view, Greenland stands out as a most suitable prospective site for a smelter. From a Greenlandic point of view, a smelter offers job and tax revenue potentials for a township and for the country as a whole.

SOLUTION Therefore, considering their vulnerability in the face of climate change, and while dealing with a post-colonian society that strives to shape their own independent future, Sejersen [2015] underlines the importance of adaptability. This becomes a central tool for dealing with the marginality that Greenland is confronted with.

In this sense, the supreme desire of these peoples is for their rights, their concerns and their interests to be respected and, nonetheless, to play an active role in shaping the future, as well as to derive some measure of benefit from any development transpiring on their land.

In essence, Greenlanders are organizing water and society in new ways in order to diversify their economy to support the welfare ambitions of the state. By doing so, they are renegotiating the significance of places and global relations [Sejersen, 2015, p.37].

This initiative frames the opportunity for a cultural interchange between modern principles and Inuit traditions. Therefore, the presented proposal stands as a supporting element of this first step towards an empathetic approach facing the globalization of the North. This is stressed by creating a venue that is designed to facilitate and promote local entrepreneurs, but also offers them the opportunity to learn about the ‘modern world’.

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Fig. 7. Population in Greenland

SOCIAL CONTEXT

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THE COMMUNITY a different society

Greenland is a country of opposites. There is a wild, untainted nature on one hand, and the modern city on the other. There are traditions and modern life, rich and poor, Greenlanders and Danes [Augustesen, 2011].

One can only fully grasp and understand the remoteness of this environment when compared to that of Denmark.

Where Denmark has a population density (people per sq. km) last measured at 132.91 in 2014, Greenlanders benefit from 37.7 square kilometers per person by only having a density of 0.14 people per square kilometer in 2014 [Trading Economics, 2016].

In terms of economy Greenland is highly dependent on the fishing industry; contribution in 2000 was reported as 25% of GNI and 23 to 30% of the economy. The sparsely populated villages along the coast, with about 150 inhabitants in each village, are entirely dependent on marine resources of fishing and hunting.[Arctic Climate Impact Assessment; Arctic Monitoring and Assessment Programme; Program for the Conservation of Arctic Flora and Fauna; International Arctic Science Committee, 2005]. However, only 1,28 of Greenland’s population is part of the fishing industry, while the public administration sector comprehends the majority with a percentage of 36,62 [fig. 8].

A notable fact, relevant for our research, is that the population of Greenland still relies on 20th century communication, while the Internet is something that has not fully been accepted by the society [Madsen, 2000].

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SOCIAL CONTEXT

Employment rate in 2009 in Nuuk

Fishing

Industry

Construction industry

Trade and repair

Public administration

Transport

Other industries

Unemployed

1,28 %

1,81 %

36,62 %

7,39 %

7,87 %

25,18 %

9,98 %

9,87 %

Fig. 8. Industries in Nuuk

Nuuk_da_final.Pdf

Ivittuut Ivittuut

Ivittuut Ivittuut

Ittoqqortoormiit Ittoqqortoormiit

Ittoqqortoormiit Ittoqqortoormiit

Tasiilaq Tasiilaq

Tasiilaq Tasiilaq Paamiut Paamiut

Paamiut Paamiut

Nuuk Nuuk

Nuuk Nuuk

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Fig. 9. Communication in Greenland

Mobil Tusass+GSM

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Nuuk_da_final_pdf Nuuk_da_final_pdf we have used these diagrams as a starting point in our research, as an Nuuk_da_final_pdf

insight into the lifestyle of the local community. these studies reinforce the statement that Greenland is undergoing a process of modernization. a shift in occupation which now is centralization on public administration can be noted. it is also relevant for our research to see that not many have access to the internet, therefore access to information is not as easily made

SITE ANALYSIS

NUUK surroundings

Nuuk is Greenland’s capital city founded by missionary Hans Egede in 1728. The capital has roughly 16.800 citizens and ‘houses 24% of Greenland’s population in monumentally ugly housing projects’ [Cornwallis, G., Swaney, D., 2001]. Most of the buildings referred to are built by Danish architects that did not understand the Greenlandic culture and building traditions. In an interview with an Inuit woman, she tells how the earlier relationship between these two countries, was dominated by the Danish half ‘This is how it’s going to be! This Way!’ [Sejersen, F. 2015][Lonely Planet, 2016].

The situation has changed now and the Intuits are getting noticed, while a better relationship has been established. Although the common housing projects in Nuuk are not monumental, the city offers possibilities in terms of leisure experiences such as gourmet restaurants and modern shopping facilities.

The relation and approximation of cultural venues throughout Nuuk is relevant to establish, as the thesis proposal shall have a similar function. Therefore a processional route throughout the city should be highlighted. Centrally placed is Katuaq Cultural Center that houses theatrical plays, concerts and art exhibitions.

Moreover, Nuuk Art Museum and Greenland’s National museum are for art enthusiastic visitors. [Greenland, 2016]

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SITE ANALYSIS

Nuuk Stadium

Cathedral of Greenland

Nuuk Kunstmuseum

Nuuk Stadium

Cathedral of Greenland

Nuuk Kunstmuseum

Katuaq Cultural Center Katuaq Cultural Centre Greenland National Museum

Greenland National Museum

National Library of Greenland

National Library of Greenland

The Bank of Greenland Banck of Greenland

Hans Egede Church

Hans Egede Church

Queen Ingrids Hospital Queen Ingrid Hospital University of Nuuk

University of Nuuk

Prison of Nuuk

Nuuk Prison

SITE mapping interconnectivity

In Greenland, the problematic of marginalization is amplified by the fact that there are no roads connecting the towns and regions. Therefore, traveling is only possible from one place to another by using expensive and unstable means of transportation – namely, by air and by ship [Sejersen, 2015, p.35].

The opposite placed studies showcase how the given site integrates with it’s surroundings. An important factor for our study was how the location was perceived in terms of public and private sectors of the city. Nonetheless, this means looking at the functional typology of the surrounding buildings, and at the access to the site, both from the pedestrian as well as vehicle perspective.

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SITE ANALYSIS

1 roof typology 2 building heights

4 level curves

3 built environment

5 pedestrian paths

6 infrastructure

SITE ANALYSIS site topography

The sloping of the site towards the water [south-west] presents a great opportunity not only for natural daylight considerations, but also for the perspective of creating a landmark for the inhabitants of Nuuk, as the site can be experienced from a variety of different vistas.

Nonetheless, the location encompasses part of the waterfront, making it possible to work with water both in terms of design, as well as a natural resource.

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SITE ANALYSIS

Fig. 11. Latitudinal Section

Fig. 12. Longitudinal section

SITE ANALYSIS

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On the other hand it can be rough stormy weather occasionally be totally windless and at other times there are wild storms that can occur when the cold air has accumulated over the ice cap of Greenland and the high pressure is blowing out towards the coast. In Nuuk the wind will mainly come from the south in the summer season while it predominantly blows from North/North N East in the winter.

(Europas-Lande.dk, 2016)

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SUN The average hours of sunshine in Nuuk is 1253 hours, which is more than most would expect in comparison to the average 1495 hours in Denmark. (DMI, 2016) (MitRejseVejr.dk, 2016) While the days are short during the winter, with only four sunshine hours in December, the summers are long with up to 21 hours of daylight.

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DAYLIGHT STUDY The diagrams have been achieved by using the REVIT plug-in for shadow study. The study has been done for the 21st of every second month starting February. The date of the 21st has been chosen because of the coincidence with solstice day.

Following this study we can observe that the difference between summer and winter months in terms of daylight is something that needs to be considered. Alongside the low angle of the light in the North, winter months are experiencing a shortage of natural illumination in the outdoor environment, compared to the inner continental population of world [Garnert, J. cited in Sørensen and Haug p.6].

Therefore, with consideration to our proposal, artificial lighting is something that must be integrated in the design in an efficient way, in order to work with both the sustainable and the tectonic architectural intentions.

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SITE ANALYSIS

16:00

18:00

21st of april

21st of june

21st of august

21st of october

21st of december

PHENOMENOLOGY

MATERIALITY colors, materials, textures

In order to set the scene for a successfully integrated proposal, there is a need for analyzing the existing loci of the site. Therefore, the images placed opposite the text illustrate an atmospheric study of the light, the volumetric identities typical of Nuuk, as well as the materiality both in terms of natural scape and of man made intervention.

The materiality of the site is derived from the rawness of the existing landscape. Human intervention has in addition brought to the site concrete foundations and timber cladding of colorful shades.

As a general observation, a tendency towards two atmospheric extremes can be sensed: Gernert’s warm redness given by the midsummer sun, competing by Nordic blue winter light described by Fjeld [Sørensen and Haug, 2011].

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PHENOMENOLOGY

the above placed photographs are selected based on three themes: light, composition and materiality. as a general observation we can outline the existence of a duality between the simplicity of the natural scape, characterized by shades of brown and gray, and that of the man made described as colorful

SERIAL VISION subjective perspectives

Depicting on Gordon Cullen’s theories about urban landscape [1961] a serial vision experiment has been conducted. However, instead of showcasing photographs of the 2 approaches to the site, the group has decided to hand sketch the views in order to deeply engage and understand the given site, accentuating features that we find more expressive.

The method of the serial vision has been used in order to frame the site and comprehend the different scales that the design needs to address. A further study will highlight the strongest characteristic in the narrative of each view. These considerations will afterwards be introduced in the outline phase as design frames.

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PHENOMENOLOGY

the sloping of the site towards the water [south-west] presents a great opportunity not only for daylight considerations, but also for the opportunity of creating a landmark for the inhabitants of Nuuk

kevin lynch perception of the site

When dwelling upon the perception of space, there are several theories describing how people understand their surroundings. The most important aspect is that people are indeed capable of perceiving physical objects around them, they can speak about these objects, they can describe them, and they can eventually draw a map of such surroundings.

Paths Edges Districts Nodes Landmarks

The image placed opposite is an analysis based on Kevin Lynch́s [1960] theory on human perception of urban space. His studies prove the existence of 5 repetitive categories through which people describe an urban space. These are known as Paths, Edges, Districts, Nodes, and Landmarks.

This phenomenological study has shown that the given site of the competition [outlined in the diagram in pink] is indeed freestanding, surrounded by edges that reinforce the boundary with the existing residential areas placed nearby. This is important for the phenomenological study, as it is essential to understand how locals perceive the site, weather it is considered as part of a larger district or if it is an individual area, which can be rendered according to our architectural desires without creating a threatening impact in the collective memory of the neighboring locals.

Moreover, although the area is predominantly residential, as the only public building placed within visual boundaries is the National Museum, it still acts as a recognizable site due to the landmark housing blocks placed to the Est of the given site.

Fig. 20. Kevin Lynch diagram

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PHENOMENOLOGY

- good potential for landmark in terms

of location - ideal atmospherically environment

that enhances the sensorial

experience of a museum - no shading from surrounding buildings - no existing architectural limits on site

STRENGTHS OPPORTUNITIES - sloping towards south presents

potential in terms of daylight use - relation to the waterfront - the site is placed in a remote area

hence the possibility for

revitalizing a place in the

existing urban fabric exists - easily visible - economic openness facilitating the

opportunity for start up businesses - growing interest for Greenland

- placement in residential therefore

threatening the remoteness

of the neighbors - geology of the site is not ideal in

terms of extensive construction - indoor climate for gallery spaces

are not in accordance with

the existing climatic conditions WEAKNESSES THREATS - exposed to extreme climate conditions - presence of an alternative culture

center in Nuuk - lack of understanding for Inuit traditions - no existing regulations in terms of

sustainable building in Greenland

SWOT DIAGRAM

this exercise helped us understand the potential of the given site within the physical and social context of Nuuk. an opportunity that we will further stress is the potential of creating a local landmark

PHENOMENOLOGY

35

THEMATIC STUDY

NORDIC nordic principles

DEVELOPMENT OF NORDIC ARCHITECTURE Around World War I, Neoclassicism made its appearance everywhere in the Nordic countries. This has been the first time in history that architecture in the Nordic realm was noticed to have a certain style. Nordic Classicism became a branch of Neoclassicism that Swedish architect Gunnar Asplund alongside Finnish Alvar Alto had a major influence on. This elegant and homogeneous architecture has been both admired but also criticized by historians naming it repetitive, and having abstract principles with purely cultural saturation [Lund, 2008 p.17][Quantrill, 1995 p.29].

Around 1920 Classicism was gradually replaced by Functionalism. Here, the restrictive aesthetic standards were replaced with the ‘form follows function’ principle and the worship of technology. In Sweden this movement was named Funkis [a Swedish term for functionalism] [Melvin, ...][Lund, 2008 p.17].Functionalism triumphed in Scandinavia and got recognized at the Stockholm exhibition in 1930. Gunnar Asplund’s work was one of the reasons behind this success. His work had affiliations to the local Funkis, but had still kept some of the elegance seen in the Classicism of the1920’s.

“Functionalism became light and sophisticated”[Lund s.21 l.1]. The war had likewise an influence, as it became more likely to use local materials and local principles [Lund, 2008 p.20].

In the 1950s Nordic architecture became famous wolrd wide. Now, Scandinavian countries were seen as a unity, having leading architects such as Arne Jacobsen, Alvar Alto and Jørgen Utzon. The humanity of this architecture can also be seen as a result of the local state of welfare. Lund [2008, p.21] points this

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out by stating ‘Our political and cultural history makes it natural for us to see connection between form and content, between ideology and society.’

NEW NORDIC One of the questions Kjeldsen is asking in New Nordic, is whether one can still talk about what has been called the ‘Nordic way’. Globalization has had a major influence on the architecture build today. Now, architects can find their inspiration across the world via fast traveling and the Internet, while innovative solutions are quick old news. Architect and writer Nils-Ole Lund [2008] is aware of the changes and describes them as happening ‘so quickly that a building cannot be erected without the thinking behind being obsolete when the doors are opened’.

But has globalization blurred out the national and cultural differences and thereby the identity of a specific place? The past ten-twenty years nested a revival in the scene of Nordic architecture. It has been recognized around the world, for its way of reinventing itself in a modern yet traditional way. The New Nordic design has a sense of quality, that arises from careful reflection and consideration towards raw materials, sustainability, light and the surrounding context [Louisiana, 2012 p.10-11].

It seems that some of the most essential aspects in the reinvention of Nordic architecture are the interest towards openness, honesty and the human scale.

Architecture must invite people to explore. Kurt Foster [Louisiana, 2012, p.22] states that by creating a sense of public ownership, the boundaries are kept distant and a sense of invitation is achieved. Architecture has to invite all without cultural or economic distinction.

Allen [cited in Louisiana, 2012 p.42] believes that the place no longer depends on geography and materiality, but rather is conceived by human normative behavior.

She argues that a place is the result of our culture and defines culture as the way we interact with each other in everyday life. Furthermore, it has become essential to design a building according to the specific needs and wishes of the user. Therefore, only architecture that considers human scale and interaction is successful architecture [Jan Gehl].

NORDIC LIGHT Most of our visual perception of space is obtained through light or the absence of light, as it is the shadows that gived the ability to understand depth and threedimensional shapes [Puerta, 1989]. However, light in the Nordic realm is unique in the sense that only a fraction of the worlds population experience similar conditions [Garnert, J. cited in Sørensen and Haug p.6]. Here, the low angle of the sun creates a colorful interplay of light.

Throughout the seasons light changes from having long shadows during the winter, to long bright nights or even midnight sun in the summer. Pallasmaa [Sørensen and Haug, p.25] talks of the truly magical and intoxicating nightless summer light of the north, contrasted by the scant light in the continuous darkness of the polar winter night seems that emanates from below, as snow reflects the slightest light of the finament. This great variation in light has made many architects conscious of the importance of illumination and its role in shaping the form of architecture. Here, architecture has been shaped manipulate the low angled sun of the south, while buildings in need of softer light such as libraries and museums, use the light coming in from the north facing openings [Plummer, 2012].

Fig. 21. Sun angles

THEMATIC STUDY

37

LIGHT nordic light

One cannot discuss Nordic Architecture without underlining the importance of light. Nordic Architecture is inspired and informed by our daylight, following a conscious design and selection of artificial lighting for buildings [Sørensen and Haug, 2011, p. 1]. Moreover, there is a growing acknowledgment that daylight produces positive effects, both physiological and psychological [Phillips, 2004, p40].

Man is dependent of light. He is only socially active and functional under the presence of light, therefore all around the world man has been influenced by the rhythm given by day and night. Garnert [Sørensen and Haug, 2011] talks about the Nordic realm as a region that is in a way an exception to this, as the light varies more here then anywhere else on the planet. Here, the dark of winter is being relieved by a summer light which illuminates parts of the North throughout the night.

Today, man is able to exploit all hours of the day and night as a result of electric lighting. Previously however, lighting consisted of a simple flame that broke the darkness. This is why darkness has been perceived as an inevitable source of strain on the soul and body, while the lighter months of the year as an elixir of life. As an example, in the richly forested areas of Scandinavia the fire of the open hearth remained the most usual source of lighting until the emergence of the paraffin [Garnert, cited in Sørensen and Haug, 2011, p.6].

The Nordic light started being portrayed in the art and literature of Northern authors since the 19th century, after several artists have spent time in France and Spain, and experienced a light different then before.

The Nordic light is often found under two expressions.

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The warm, red sun of summer and the cold, blue winter light [Plummer, 2012] [Sørensen and Haug, 2011, p.19]. In Zorn’s painting, Midsummer Dance, the light, as it comes from a sun close to the horizon, brings out the warm red of the farmhouse facade.

NORDIC LIGHT IN ARCHITECTURE Light however, is not only the means that facilitates our visual boundaries. Light can also shape spaces.

Pallasmaa talks about perception of space as more then the product of our 5 aristotelian senses. According to him we measure and touch the world with our sense of gravity, balance, temporal continuum and self [Pallasmaa cited in Sørensen and Haug, p.27].

Therefore, the interplay of light and shadow also connects architectural spaces with the dynamics of the physical and natural worlds, seasons, and the hours of the day. Due to this unique quality, architects are able to articulate light in order to define spaces, as well as the feeling within.

Light in northern latitudes introduces a number of unique features in contrast to the light the rest of the world is experiencing. This light travels obliquely, long distances through atmosphere. Due to its low angle and the reflecting horizontal surfaces of water and snow, light in the northern latitudes can also enter buildings from below.

Although light offers a great potential, Nordic architects are quite pragmatic in their approach. However, while depicting upon a minimal intervention, one can still create a unique environment by use of light. Alvar Aalto challenges the universal properties of light through his architecture by bouncing it off white reflecting surfaces

or by facilitating entrances in the spaces along curved surfaces or edges [Pallasmaa cited in Sørensen and Haug p.29] TECTONIC Despite being one of the seminal works of modern Scandinavian architecture, Alvar Aalto’s Viipuri Library in Vyborg, Russia languished in obscurity for almost a century until its media breakthrough in late 2014. Nowadays however, it is considered one of the most successful examples of conscious architecture [Langdon, 2015].

With relevance to the discussed chapter, the Viipuri skylights outline a profound understanding of the Nordic climate with its characteristic features in terms of light. The depth of the cones ensures that no light rays can penetrate at an angle of 52 degrees or less.

Thus the lighting is indirect all year round, an essential characteristic when considering the function of the space underneath. This precise size and shape of the skylight achieves two goals: firstly the books are protected from direct sunlight and secondly, the reader is not disturbed by shadows or sharp light, whatever his position in relation to his book is. Moreover, the inner surfaces of the cones reflect daylight in such a way that the rays from each spread like a diffuse cluster over a large floor surface, therefore reducing the need of artificial light and surplus energy consumption [Pallasmaa cited in Sørensen and Haug, p.29].

It is conscious design such as the presented example, that seamlessly interweaves architectural, aesthetic features with functional considerations. This will inform the design decisions of the thesis proposal.

extreme environment sustainability in extreme environments

Slavid [2009, p.58] defines life in the tundra as incomparably hard, yet with a romantic appeal that some like to imitate today. This can be comprehended in the increasing popularity of ice hotels and bars in modern countries. The environment is unique in the sense that only a fraction of the worlds population experience similar conditions.

When considering building traditions, most frequently the construction is made according to the climatically worst weather conditions, either being the summer heat or the winter cold [Dahl, 2010, p.16]. However, when talking about the Greenladic environment, additional challenges are met. The Greenlanders are geographically marginal not only in terms of distances, but also of resources [Sejersen, 2015, p.20]. Therefore, building in such an environment, one most attribute extra consideration towards local opportunities and local traditions, as the programming of the construction of a building needs to be made in a conscious way.

Therefore, the choice of materiality and structure which fully satisfy the demands of a building placed in the arctic environment is fundamentally important.

Modern technology has now made it possible to have due account of aesthetic values, maintenance requirements, durability and sustainability. However, to the architect, sustainability as such should not only be about finding technical solutions, but also about designing interrelationships and systems [Ibler, 2008].

As an archetype, the Icelandic architectural heritage of few and small openings [Sørensen and Haug, p.99-104] can nowadays be replenished by windows covered with triple layered glass, filled with argon gas for

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THEMATIC STUDY

maximum insulation. This solution can be found in the Administration building for the Governor of Svalbard, which is placed in a climate that has temperatures ranging from 20 to -30 degrees [Noal, 2003, p.12-17].

Therefore, it is highly important to consider heat loss through glazed surfaces in such a context. A similar approach can be seen in Sibelius Hall, where the extensive glazing of the complex also attracts light into its interior even on the shortest days, and is double glazed to prevent heat loss [Noal, 2003].

When talking about natural light, the Nordic climate presents a unique opportunity to interplay with the cool light of the northern half of the sky and the warm light of the southern sky in a single space [Pallasmaa cited in Sørensen and Haug, p.27].However, integrated decision in terms of the envelope of a building also need to be consciously considered.

Hence, building walls and overhanging roofs should be angled as to protect entrance areas from both snow and wind. The building envelope requires good insulation and top rate construction if buildings are not to consume energy at a terrifying rate [Slavid, 2009, p.58]. An example of integrated design that involves the exterior and interior structure of a building can been seen in the Echigo Matsunoyama Museum of Natural Science in Japan, steel structure resists high winds and heavy snow loads by groaning as it adjusts itself to the weight of snowfall.

It is important to assess and learn from these passive qualities, and integrate them efficiently into our proposal.

inside

outside

inside

outside

inside

outside

inside

outside

Fig. 23. Building envelope

THEMATIC STUDY

41

vernacular architecture architectonic tradition

As mentioned in the previous subchapter, most frequently, traditional building design is made according to the climatically worst time of the year, weather this be the summer heat or the winter cold, in terms of thermal climate [Dahl, 2010, p.16].

surface to volume ratio. This acts as proof of the profound understanding of nature whit which the Inuit people were equip. Moreover, igloos are constructed by means of snow blocks, which are full of air and therefore insulating [Dahl, 2010, p.20].

With consideration towards the climate of Greenland, were the harsh winter months are only balanced by the summer months in terms of daylight, however temperatures remain at an average of 10 degrees Celsius, the experience of the buildings will involve a primitive sense of pleasure in the notion of shelter [Slavid, 2009, p.58].

The main characteristic of the Icelandic peat house is that it is built down into the terrain, exploiting the earth’s moisture, air and thermal absorbing warming qualities through the use of thick peat walls and grass roofs.

The house is again an example of conscous design, as internal wood panels on floors, ceiling and walls reduce heat radiation, hence increasing the room’s surface temperate and breaking thermal bridges that tend to occur. An interesting tectonic feature of peat houses is that often the furniture is an integrated part of the room’s permanent internal fittings. Moreover, when snow falls on a roof, particularly a roof with a low slope, it helps to retain the heat in the interior of the house by acting as an insulating element [Dahl, 2010, p.20].

In the extreme climate of the arctic and subarctic regions, two classes can be defined: the cold and humid climate characterized by a fluctuation between quiet dry and humid periods and very windy weather. The cold and dry typology is a constant change between extreme cold, long, dark winters and short, bright, cool summers.

The Greenladic building tradition borrows elements from both the cold and humid climate, and the cold and dry. Therefore, within the Greenlandic environment we see the typology of the igloo [cold, dry] standing besides the Icelandic peat house [cold, humid], and the Sweedish log house.

The igloo demonstrates man’s ability to develop architecture that provides maximum protection in extreme climatic conditions. Today, after intense studies upon energy consumption of a building, research has shown that circular shaped buildings are the most energy efficient because of a minimum

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THEMATIC STUDY

In Vagnby’s [2009] children’s book that portraits the Greenladic way of living, Malik, the main character, talks about a new typology embraced by the locals: that of the Swedish traditional log house ironically contrasting the lack of timber resources typical of the Greenlandic landscape.

With concern to building in a sustainable way in such a remote environment, it is essential to look at vernacular building traditions in order to understand the reasoning behind every architectural decision. These considerations will be further depicted in the design phase of the proposal.

1700

1400

1200

Fig. 24. Vernacular architecture timeline

LOCAL TRADITION principles for climate adaptation

This study is based on a series of short queries with local architects, as well as on observations. The diagram explains why certain design features are used in Greenland in a specific way. This exercise will equip us with a first quick understanding of Greenlandic building traditions.

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THEMATIC STUDY

1. roof the roof slope should be bigger then 7 degrees. corners should be avoided to prevent snow from piling up. gutters are absent due to big snow loads.

2. walls the design should aim for a low energy class 1 [br2015]. this can be achieved by high insulating building envelope, and by building compactly in order to ensures less losses.

3. earth by building in the terrain, the design can exploit the earth’s moisture, air and thermal absorbing warming qualities

1

4. foundation foundations should be either a crawlway, a shear wall or a pillar foundation in order to allow melting water to pass under the building

2

3 5

5. piping piping is idealy done above ground in insulated channels. pathways keep pedestrians above snow and melting water levels.

4

Fig. 25. Local typology

THEMATIC STUDY

45

cultural center spatial typology

Within the previous chapters, an opportunity and need of attaching the additional function of an arts and crafts cultural hub has been outlined. With consideration towards this statement, a short analysis into the typology of the culture center has been conducted.

A sketch by the well known architect Le Courbousier reveals the true nature of the culture center. The sketch portrays the real protagonists of the drawing as the persons themselves, while the place is there to provide a scenic backdrop for a theatrical piece that conceives of architecture not so much as of something constructed, but used and inhabited [Bione, 2009, p. 7].

When the concept of the cultural center first started taking shape, the objective behind the initiative was to promote the independence and responsibility of the citizen, with regards to social and cultural entertainment.

Nonetheless, the creation and fruition of art have not been presented together until recent times. However, a first instance of a cultural center can possibly be traced back to the renaissance courts when, for the first time, intellectual expression was freeing itself from the religious and military [Bione, 2009].

Yet, Bione [2009] still refers to the difficulty of defining an architectural typology when talking about the cultural center. This is based on the premise that cultural centers do not follow a specialized function, but are in fact an amalgamate of different experiences. Therefore, when looking into the compositional considerations of a culture center, one has to consider a fragmentary analysis which touches upon different disciplines in order to describe this heterogeneous collective experience [Bione, 2009, p.11].

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THEMATICSTUDY

A common feature amongst modern cultural centers is the common, open space. In an article dated 1970 Alfonso Martinez described Ruben Pesci and Hector Rossi’s competing project for the cultural center in Mendoza: ‘if we propose to distinguish the dominant parts of this composition, we shall find that they correspond to the non-specified ones: the circular shapes, those spaces without a destination which serve as unifying elements for the areas in which specific functions are carried out‘ [Corona Martinez, 1987].

Around this central compositional element, the morphology of the spaces can follow different organizational principles. While in some cases, a wide open plan as in the Vladimir Kaspe Cultural Centre designed by Broissin and Hernandez in Mexico City is preferred, other designs favor the approach that dwells on a fragmentation of the plan, offering users the chance to choose between a variety of different scales and different levels of denseness. An example is the De Kunstlinie Theatre and Cultural Centre in Almere, the Netherlands designed by the well-known Japanese architecture practice, SANAA, which hosts spaces from as small as 20 sqm to large multi-purpose rooms.

In either case, the cultural center as such needs to address and fully understand the needs of the users and of the context in which they are placed, such as in the example of the Information Centre for the Kalevala and Karelian Culturem Kuhmo, Finland which has the objective of increasing awareness of local traditions.

1. KB Center, 2. Circle of Life, Indian Culture Center, 3. Efenaar Cultural Centre, 4. Information Center for the Kalevala and Karelian Culture, 5.

Casa della Culture, 6. Vladimir Kaspe Culture Center, 7. Media Library, 8.

Cultural Centre in Sines, 9. Squamish Lil’way Cultural Centre, 10. Bon Benito Cultural Centre, 11. Triade Culture Center

1

2

3

4

5

6

7

8

9

10

11

this morphological study looks at how different cultural centers around the world treat the problematic of the diversity of spaces which characterize this typology. a conclusion is that regardless the diversity and denseness of the individual clusters, they are always united by a larger open plan space

LANDSCAPING intertwining with nature

Almost everywhere natural landscapes, by day or by night, are gradually losing their identity. The strategy is unfortunately simple and brutal: e tendency towards reducing nature down to a few untouched areas, while overly populating the remaining spaces [Fjeld cited in Sørensen and Haug, p.19]. Moreover, man is no creature of the night, therefore man is dependent on light in order to experience the limitless pleasures of nature. Thus, given the extreme climate of Arctic, as well as the extraordinary qualities of the proposed site of the thesis, it is essential to work with light and landscape to an equal degree in order to frame a natural scene that can be appreciated by all.

However, during summer months, light in the Nordic realm is sometimes of omnipresence. In towns and cities the daylight of evenings had a bearing on the hours of street lighting. In the early 20th century, street lighting in a city like Stockholm remained unlit from 15 june to 15 july. [Garnert, J. cited in Sørensen and Haug p.9]. Hence, the lighting installations should be made in a way in which, during the summer periods, they can act as contextual works of art, not bearing only the function of street lighting.

As precedent experiences, Nordic architecture and landscape practices have managed to place architectural interventions in the landscape in a way in which minimal, empathetic interventions have been made in order to manipulate and maximize the experience of the site.

It is this exact design intention that has driven the architects at Gjøde & Povlsgaard Arkitekter when

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designing their Infinite Bridge in Aarhus, Denmark.

When asked about the project, Johan Gjøde has referred to the design as a sculpture that is all about experiencing the surroundings and becoming aware of the relation between the city and the magnificent landscape of the bay [Archdaily, 2015]. The experience of the landscape when walking on the bridge is that of an endless panoramic composition, while at the same time, social interaction with other people experiencing the same panorama is facilitated.

Interventions in the landscape can also offer the opportunity to frame the collective memory of the locals, stressing upon an analogy to the historical or natural context in which they are placed. An accurate example of this correlation is the soft glow of the Forest of Light installation, which brings forward childhood memories of days spent in the pine forest in warm sunshine, and elicits a mental connection between the familiarity of pine trees and this internalized experience of nature. Moreover, through the design of the pillars, the installation highlights the town’s connection to the surrounding pine forests and helps people orientate themselves through the city [ Sørensen and Haug, p.6972].

Similarly, in the Morild project by Snøhetta, the approach has been to redirect and take away the existing light pollution that either did not illuminate anything or illuminated the wrong elements. Therefore, through accurate site analysis, the architects were able to rediscover the richness of the local history, highlighting the true identity while other elements have been faded out in the dark[ Osuldsen cited in Sørensen and Haug, p. 141]

1. Trollstingen/Reilf Ramstad 2. Moses Bridge/RO&AD Architecten 3. Molid/Snøhetta, 4 Trollstingen/Reilf Ramstad, 5. Tom Ford Ranch/Tadao Ando 6. Molid/Snøhetta, 7. Forest of Light/VALOA design, 8. Leca Swimming Pools/Alvaro Siza, 9. Lee Ufla/Tadao Ando

Almost everywhere natural landscapes, day or night, are gradually losing their light identity, and the strategy is rather simple and brutal: regulate nature down to a few untouched leftover areas.

[Fjeld cited in Sørensen and Haug]

THEMATIC STUDY

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DESIGN APPROACH

TECTONIC ARCHITECTURE the constructed an the construing

The design intention that is placed on the highest step of our architectural ambitions throughout our proposal, is to achieve a place of inspiration for the people that use and live in our architecture. However, there are different values and activities that create quality of life for each individual. Architecture can add vitality to exactly these qualities, hence creating a meaningful setting, making architecture entirely about human beings‘ [Ibler, ed.2008].

As mentioned in the previous chapters, building in such an extreme environment frames a primitive sense of pleasure when referring to the notion of shelter. In this sense, by dwelling upon the meaning of a place, we underline the importance of the metaphysical perception of a space, the spirit of a place, which Classical Roman religion refers to as ‘genius loci‘.

Therefore, in order to achieve this primordial sense of belonging, one needs to take into account the expression of both the enclosures, as well as the exterior expression of a building. Detailing thus becomes a powerful generator of the character of the building [Frampton, 1995].

It is essential that through an understanding of the local Inuit traditions, as well as through a conscious exploration of modern technologies, we exploit the expressive potential of constructional techniques, characterized by a tectonic approach that upraises the craftsmanship of joinery. The art of detailing is in reality the joining of materials, elements, components and building parts in a functional and aesthetic manner. As Frascari [1984] stresses in his ‘Tell the Tale Detail’ it is the detail that confirms architectural greatness.

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Moreover, tectonic architecture is in command of not only the gesture, but also the way in which the architectural intention is to be constructed - the principle. Hence, the story of a place and its construction need to inform one another in a conscious and elegant way. While architecture becomes the art of appropriate selection of details in the telling of the tale, the architectural whole is seen as a phenomenon composed by details unified by a device, a structuring principle. A plot with the appropriate details becomes a fully developed and successful tale [Frascari, 1984]. In this direction, Umberto Eco highlights the necessity of underlining the sight that is indicative of the use of any given object [Frampton, 1995].

The previous studies have highlighted the uniqueness of the light of the Northern realm. In addition, there is a growing acknowledgment that daylight produces positive effects, both physiological and psychological [Phillips, 2004, p40]. In this sense, light manipulation through structuring principles presents the opportunity of achieving the desired sensorial experience within the enclosure of the building, and additionally has the potential of creating a landmark within the given site.

Furthermore, earlier in the program the traditional fire at the hearth of a building has been mentioned as being the solitary means of heat in vernacular Greenladinc building tradition. Semper [1989] stresses the importance of protection against wind, sun and water, of this exact hearth. Henceforth, he defines three elements of architecture : the mound, the roof and the enclosure:

‘ the three elements are the protecting negations or defenders of the hearth’s flame against the three hostile elements of nature ‘ [Semper, 1989, p.102] By dwelling upon a tectonic approach, the simultaneous existence of both the arts and the crafts [Frampton, 1995] is raised to the highest level of our design ambitions.

As seen from the perspective of the biggining of the design process, we intend to use our understanding of tectonic architecture and of Northern light in order to create successful architecture, conscious of its surroundings.

DESIGN APPROACH

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sustainable design social and environmental sustainability

The holistic approach to sustainability presented in the Brundtland-report identifies three major aspects of sustainable development: social, environmental and economic. This stresses on sustainability being viewed as a whole, as the interweaving of social, environmental and economic aspects, underlining the realization that our world is made up of mutual depending elements [DAC, 2014].

SOCIAL SUSTAINABILITY Social sustainability sustains an empathetic approach that places the needs of the user at the highest level of consideration. In an architectural and urban context social sustainability is about ensuring inclusion and diversity, dwellings for everyone and to create safe and appealing environments [DAC, 2014].

Given the social context of Greenland, a post-colonial society still depending on a block grant from Denmark [of DKK 3.6 billion] for areas such as education, health, fisheries, and environment [Sejersen, 2015, p.28], a major challenge in adaptation strategies is to raise awareness of the long-term view [Folke et al., 2002].

This involves catering for the foundation for human agency to deal innovatively with developments in the region. Otherwise, the people living here might not be in a position to seize new opportunities, therefore leading to a urban decertification an immense emigration [Sejersen, 2015, p. 52].

ENVIRONMENTAL SUSTAINABILITY Environmental sustainability is the most commonly debated aspect of sustainability, and is defined as the correlation between construction means and how they interact with the environment.

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Kaj Birket-Smith [quoted in Sejersen, 2015] talks about the extreme environment of the Arctic region and its close correlation to nature by referring to the Eskimo communities. These peoples live at the world’s back door, at the threshold to the empty polar wasteland and face to face with a nature that demands more of them than perhaps any other people of the inhabited world. These peoples are marginal not only in terms of geographical positioning, but also in terms of resources.

Moreover, transportation is a major opportunity for reducing our carbon footprint. Therefore, locally sourced materials shall be considerer, in order to reduce the overall consumption and emissions.

Thus, it is all the more essential to built consciously within this environment, and analyze all forms of energy use in the building, relating them to the different needs of individual architectural programs, to see where savings can be made, and at the same time, make the greatest use of natural resources [Phillips, 2004].

METHODOLOGY Keeping a sustainable approach in mind, the criteria of the DGNB certification scheme have been used as design tools from early stages of the design process.

The process selects the most important criteria from the entire list of DGNB requirements, in order to form an overview of the considerations that we wanted to achieve. The diagram names the DGNB principles that we have decided to work with, while a full explanation can be read in the appendix.

Within the actual design, passive strategies will be integrated in order to reduce the energy demand, as well as achieve good air tightness and overall

compactness. Moreover, it is highly important to interact with the energy infrastructure and be an active part of it [Larsen, 2015]. Therefore, district heating is intended to provide the energy for heating domestic hot water and the heating system, while, in order to balance the energy consumption (both electricity and heat), new energy will be generated on site.

Hence, by means of passive and active strategies we aim to construct an architectural proposal that not only gives to the city in terms of social implications, but can also be seen as luminary for successful sustainable architecture in Arctic climates.

ENV1.3

TEC1.2

TEC1.5

OTHER

ENV1.2

SOC1.3

ENV2.2

SOC2.1

SOC1.1

TEC1.1

PRO1.3

IMPORTANT

SOC1.2

SOC1.4

SOC2.2

SOC1.3

CORE

Fig. 28. DGNB requirements DESIGN APPROACH

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MOOD BOARD inspirational precedence

SIMPLICITY Considering the given societal frame in which our proposal shall be placed, as well as depicting upon the simplicity of Nordic design, a principle that will be followed is that of simplicity. [img.

Bruder Klaus Field Chapel/Peter Zumthor]

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DESIGN APPROACH

FRAMING The topographical declination of the site towards the South presents a great opportunity for experiencing the landscape from different perspectives.

Therefore, we will aim to sustain a number of different views of the surroundings through the architecture that we propose. [img. Infinite Bridge/ Gjøde & Povlsgaard Arkitekter]

LANDMARK The proposal shall aim to be seen as a local landmark not only in terms of the architectural language of the design, but also through its unique function that will address the needs of the Greenlandic society through creating the opportunity of economic development and entrepreneurship in the context of economic modernization. [img. Expo 2002 Pavilion/Jean Nouvel]

LIGHT Natural daylight is essential for the proposal. Hence, a tectonic approach that wraps together conscious light design in terms of energy use, yet DUALITY The proposal shall aim to embrace the addresses permanent consideration natural landscape and interact with the towards the perception of light from surroundings in a harmonic way. [img. within the building will be place at the highest point of our design intentions.

Museum of the Human Body, BIG] [img. Casa das Historias, Paola Rego]

TRADITION Nonetheless, by looking at local traditions we would like to find simple yet innovative way of coping with the extreme environment of South-Western Greenland. [img. local Nuuk house]

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CASE STUDY i Harpa Concert and Conference center

ACHITECTS: Henneing Larsen Architects & Batteríið Architects LOCATION: Reykjavik, Iceland AREA: 28000 sqm YEAR: 2011

a chat while waiting for the conference or concert to begin. These lounges are bringing the human scale into the enormous foyer and establish an inviting room for people that is important to have in mind when designing larger buildings like culture centers.

Harpa Concert and Conference center is one example of the new Nordic identity in architectural design. It is known for its dramatic facade expression that has been designed in close cooperation between Henning Larsen Architects, the Danish-Icelandic artist Olafur Eliasson and two engineering companies. (Archdaily,2011)

The case study was used as an interesting example of how the construing can merge with the constructing.

Nonetheless, having a similar climatic background as our proposal in Nuuk, it has been interesting to see how the experienced architects at Henning Larsen have treated the relation to the environment.

Harpa’s design plays with the Icelandic character of the rough nature placed between icebergs, rocks and the shimmering of light from the water. It is emphasizing some of the contrasts you find in the cold, snowy,landscape and the hot springs around the island by working with glass and metal facade up against black stone materials and red fabrics of the interior.

The facade that with its crystal expression creates a self-supporting structure is truly an architectonics detail. It has a purpose not only of bringing daylight into the foyer, neither just being a bearing structure but it creates a screen that at the same time has a playful effect of breaking the light and setting a colorful atmosphere that stays in a sharp contrast to the black auditoriums.

Along the facade a long, almost floating stairway goes up to the second floor. The stairway is not just for getting from A to B, but is at the same time a place to stay. Next to the steps nine plateaus has been furnished with small lounge areas, where people can socialize and have

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DESIGN APPROACH

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CASE STUDY ii Echigo-Matsunoyama Museum of Natural Science

ACHITECTS: LOCATION: BUILT AREA: YEAR:

Talaharu and Yui Tezuka Matsunoyama, Niigata, Japan 998 sqm 2006

The cor-ten building sits in a cleared on a small area of raised ground in the dense coniferous forest in Niigata, Japan. It is tough, it is uncompromising and it looks almost like a relic from some industrial age [Slavid, 2009, p.65].

The reason behind investigating this building is not because of its overall architectural features, but because of the harmonic blend between structural, aesthetic and energy considerate decisions. This entwinement of technical and aesthetic solutions promotes the project as an example of tectonic architecture on account of having the detail confirm architectural greatness, by acting on behalf of both the constructing and the construing environment [Frascari, 1984].

elements radiate heat [Slavid, 2009, p65].

The climate of Niigata, Japan is characterized by heavy snowfall that can sometimes reach 7 metres in depth. From inside the museum the build-up of snow is visible through large windows and can sometimes even see small animals pressed against the window like specimens on display. To sustain the weight of the snow and give the structure a proper isolation, all windows were made of 55 to 75-millimeter-thick acrylic. Additionally, the material provides an extremely high degree of transparency, successfully erasing the boundary between the inside and the outside [Architecture News Plus, 2009].

Therefore the example stands out as a beautiful example of tectonic architecture which frames the simultaneous existence of both the arts and the crafts [Frampton, 1995] through means of sustainable design.

The approach behind the building’s construction is inspired by that of the submarine. While the submarine is designed to resist the pressure of water, in the presented example, the building must resist the pressure of snow.

The industrial appearance of the museum is contrasted on the interior with white plasterboards supported on a lightweight steel framework. The cavity behind the walls is used circulation of warm air in winter, while in summer months the process is inverted, circulating cooling fresh air. The air is injected through long grilles in the floor, and extracted through slots at eaves level. Because the heat passes behind the walls, floors and ceilings, the Fig. 36. Echigo Matsunoyama Museum 58

DESIGN APPROACH

update:

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RESOLUTION interdependent relationship

Using the competition for Greenland’s National Art Gallery as a point of departure, the program for the presented thesis proposal has been shaped to accommodate the needs of the Greenladinc society, a society that is undergoing fundamental changes in social and economic tradition. Therefore, the function of the proposal has been expanded to that of an art gallery and culture house, with the aim of promoting the local art movement. The following paragraphs will summarize the findings of the previous chapters, and set the frame for the design process.

THE PROBLEM OF ADAPTABILITY AND INTEGRATION Deeply entangled in colonial and post- colonial projects, and subjected to substantial environmetal changes, the Greenlandic society find their on their way into modernity. However, by having a geopolitical context that places them marginal with respect to not only distances but also access to natural resources, the society has become marginal in regard to their own culture, as well as marginal with concern to their skills and knowledge understood to be so decisive when it comes to making use of the environment. Therefore, for these people of the North, adaptability becomes a central tool for dealing with this marginality, and therefore to be integrated in the globalized context of the modern society [Sejersen, 2015, p.20].

However, there has been little focus upon questioning how well these concepts meet the concerns and developments of human behavior today [Fjeld cited in Sørensen and Haug, p.17]. Therefore, our proposal will be only a theoretical approach upon what can be a solution to the problem of conscious integration.

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CLIMATE CHANGE Climate change has been crucial for the Greenlandic community, which has been relying on hunting and fishing as their main means of providing for their families.

The speed of environmental change that challenges indigenous peoples’ capacity for adaptability is linked with the discourse of the speed of cultural and social changes in the wake of modernization. In relation to their previous status as a Danish Colony, the indigenous peoples are also seen as ‘at risk’ of not being able to adapt quickly enough in order to avoid mass emigration.

Emigration can prove devastating to indigenous towns and communities.

SOCIAL CONTEXT The problematic of the post-colonial society discusses in the ‘International Context‘ subchapter is concluded by stressing upon Sejersen’s [2015] view on the importance of considering the Greenlandic society in new ways. This approach depicts on the variegation of the local economy to support the welfare ambitions of the state. By doing so, Greenlanders are renegotiating the significance of places and global relations.

From this perspective, one is compelled to look not only into local people’s knowledge-making in terms of environmental issues and environmental use, but should also include societal issues that are not necessarily related directly to the environment.

However, it is important to revere in front of the wish of the indiginious peoples to have their culture and self-determination recognized and respected, despite being conscious about needing to delve their way into modernity.

EXISTING BRIEF A second step in supporting the initiative of extending our proposal to accommodate extra functions in relation to the social development of the Greenlandic community is outlined in the initial brief for the Architecture Competition held in 2012. Here, the requirements encase the need of space in which both teaching of practical creativity and teaching of a more theoretical nature can be delivered. Nonetheless, the brief mentions the need of creating the opportunity for young people to express them­selves through workshop ­oriented activities [Greenland’s National Gallery Of Art, 2010, P.19]. Therefore the function of an art-related culture hub that promotes the local artistic environment through art-related start up practices has been shaped.

Moreover, the venue offers locals the space in which to create their own art, as well as learn about the social and economic implications of doing so.

SOLUTION MAKING: A DUAL RELATIONSHIP Sejersen [2015, p.158] argues that by creating ‘a destination’ and ‘an event’, an opportunity of global relations and reinvention of a place for cultural consumption in a novel way is made. Our proposal sets out for doing just this, therefore facilitating a much needed global integration of the Greenlandic society.

Therefore, through the already placed initiative of the National Gallery of Art, we are seizing the opportunity for development in terms of a local arts and crafts movement. This ambition has the potential to support the

movement towards establishing global relations. Through our proposal we are recognizing the Inuit peoples as competent future-makers in possession of the necessary collective political, economic and intellectual resources and we offer them the means with which to develop their own path.

Hence, a dual relationship in which cultural exchange between the modern world and the local traditions of the Inuits of Greenlands by way of an art hub that supports the trilogy of education, production and exhibition can respond to the needs outlined in the previous paragraph. From here a modernization of this Nordic society by means of their own traditions can be achieved. Through the means of a specialized cultural center which favors the direct interaction between the public and the artists the proposal seeks to contribute to ‘the development of a living culture’ [Bione, 2009, p.7] THE TECTONIC AND SUSTAINABLE APPROACH Moreover, the interiors of the buildings placed in such extreme conditions bear a special sensorial occurrence where one can ‘experience a primitive sense of pleasure in the notion of shelter‘ [Slavid, 2009, p.58]. Therefore it is essential to create a space informed by vernacular traditions that accentuates this unique loci of a place through a tectonic approach. Moreover, the advancement of technology shall be used to achieve more efficient architecture in terms of energy goals indoor environment, thus stressing upon sustainable considerations.

Fig. 38. Dual relationship

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VISION architectural intention

Nuuk Nuuk House House 2 floors 2 floors 2 aprox. 40m

Aprox. 40 m2

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Hans EgedeChurch Church Hans Egede ? floors ? floors aprox. 1546 m2 Aprox. 1546 m2

Radiofjorden Housing Block Radiofjorden Housing block 5 floors 5 floors aprox. m2 m2 aprox.6700 6.700

‘Understanding ‘the local point of view’ is not necessarily an exercise in representing one’s understanding of place or one’s understanding of a diversity of views, but more precisely, a question of appreciating how place-awareness can be multidimensional and can be entangled in dynamic spatial and temporal scale-making while, at the same time, being deeply embedded in everyday life and prevailing problems.’

[Sejersen, 2015, p.159]

Nuuk NuukCenter Center 10 10floors floors 2 aprox.

25000 25.000 m2m

Nuuk Center Katuaq Culture Center 10 floors 3 floors 2 aprox.

25000 4800 m2 m

?

New Culture Culture Center New Center ?? floors floors 2 aprox. 4500 m Aprox. 4500 m2

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DESIGN APPARATUS construing meets constructed

As mentioned previously in this study, there are different values and activities which create quality of life for each individual. Architecture can add vitality to exactly these qualities, hence creating a meaningful setting, making architecture entirely about human beings [Ibler, ed.2008].

The ambition to design a place of contemplation an awareness will be expressed through both a tectonic and a sustainable approach. As our knowledge lies in the field of the architect and the engineer the aim is to implement both approaches in order to achieve great architectural qualities. Therefore, by combining considerations of aesthetics, function and construction we will achieve the most holistic solution to the architectural problem enunciated on the previous spread.

We believe that successful design is the product of conscious detailing. Detailing however is the means through which both sustainability and tectonics are expressed. Frascari [1985] defines the detail as the meeting place of the mental construing and the actual construction. Yet, when addressing passive design, it is this exact attention that addresses the actual construction that promotes conscious, sustainable architecture.

Semper [1989] stresses the importance of protection against wind, sun and water, of hearth of the building.

Henceforth, the defines an three elements of architecture : the mound, the roof and the enclosure. It is by this exact principle that the fire at the hearth of a building, mentioned earlier as being the central element for Arctic building tradition is protected more then

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anywhere else in the world [see debate on vernacular building traditions]. Hence, we can see that throughout history, the interlocking of the tectonic and the passive strategy [defined as a characteristic of sustainable architecture] has been perpetually challenged.

This conscious design can be also seen in contemporary architecture. Such an example is the Admininstration Building for the Governor of Svalbard designed by Einar Jarmund, HĂĽkon VigsnĂŚs, Christian Dahle. Here, the building unites with the external landscape to maximize shelter from the winds, daylight penetration and the impact of the stunning mountain views, therefore maximizing both the potential of sustainable design through passive solutions, as well as interacts with the landscape, letting the perceptual intention shape the architecture.

Therefore, by dwelling upon a tectonic and sustainable approach, the simultaneous existence of both the arts and the crafts [Frampton, 1995] is raised to the highest level of our design ambitions. As seen from the perspective of the commencement of the design process, we intend to use our understanding of light, energy efficiency, phenomenological considerations and material perception in order to create successful architecture, conscious of its surroundings.

heat loss

solar gain

thermal comfort

ventilation attention acoustics

sound intelligibility

sound transmission

sound annoyance

view

daylight glare

privacy

sunlight

PHYSICAL CONSIDERATIONS

PSYCHOLOGICAL PERCEPTION

Fig. 40. Relations between physical and psychological attributes [inspired by lecture slides from Camilla Brunsgaard, 2013]

room program functional and spatial considerations

The room program has been established by combining the requirements from the Competition Brief for Greenland National Museum of Art, with our analysis of Cultural Centers and Arts and Crafts workshops.

In this sense, a venue that comprises a built area of 4500 sqm is required. 3000 sqm will be the area dedicated for the settlement of the actual Art Museum with its specific functions, while and extra area of 1500 has been added for accommodating the cultural center with it’s workshops and seminar rooms.

Further analysis will hep determine a suitable clustering of the required spaces. This will be visible in the morphology of the proposal.

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PUBLIC Gallery Collections Special exhibitions Total

600 350 950

Outreach Workshop for children Auditorium Total

50 150 200

Cafe, Shop CafĂŠ, restaurant Shop Total

150 50 200

Foyer Public entrance Toilets Cloacroom Total Artists workshop Workshop 1 Workshop 2 Total

100 45 45 90

Art and Crafts Workshops Toilets Kitchen Display Total

300

Reception Delivery Total

100 100

SERVICES Storage Open storage Closed storage Total

200 200 400

Conservation Painting Sculpture Paper Other materials Total

100 100 50 50 300

Staff Washroom Chnging Total

50

Workshop for Technicians Joinery and Carpentry Painting Chnging and shower Total

25 20 15 60

Plant and utility room Plant room Utility room Total

ADMININSTRATION Library Library Documentation and archives Total

130 30 40 200

Administration 3-4 Offices Meetingroom Staff canteen with kitchen Total

Aprox. 200

100

this table shows a distribution of spaces according to the public, the service and the admininstrative quarters

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technical requirements indoor climate

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Indoor Climate in Museums and Galleries An increasing number of museums and art galleries are becoming aware of their need for sustainable solutions in order to lowering their energy consumption and carbon footprint. At the same time the requirements for indoor climate is becoming stricter as the technology is allowing even more controlled systems. This is a challenge as more tightly controlled environments require greater energy consumption. Museums and galleries have nowadays become more complex with a wide pallet of different functions - from permanently to temporary and ancient to digital exhibitions, workshop spaces, shops and cafĂŠs. This wide range of different spatial typologies are giving an extra complexity to the systems and together with the demands of an optimum environment, it has become impossible to achieve without mechanical systems. (Museums & Galleries Queensland, 2014) (Padfield and Larsen, 2004)

American Institute for Conservation, for acceptable environmental control for a majority of material types.

(Museums & Galleries Queensland, 2014) The set point will be changed within the allowable range according to the seasonal climate conditions in Nuuk.

Environmental Damage Environmental damage to collections is not entirely inevitable but can be minimized by being aware of the three primary ways that deterioration will occur. To slow down chemical changes in an object, the climate has to be kept cold and dry; to hinder items from biological decay, such as mold, moist an insects, the relative humidity (RH) must generally have the upper limit of 65% with a temperature at 20 °C; and to minimize mechanical decay such as physical stresses in objects the extremes of RH and temperature must be avoided.

But with a collection with a wide range of different objects and materials, compromises have to be made.

(Museums & Galleries Queensland, 2014) In this project, the indoor environment for storage and display rooms will follow a guideline developed by the

Atmospheric The CO2 level should according to the Danish Building Regulation, not exceed 900 ppm in longer periods which also have to be met in the exhibition spaces. (bygningsreglementet.dk,2016)

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Environmental comfort In other zones where there is no art exhibited, the strict environmental control is replaced to meet the requirements of the Danish Standards. The values for the indoor climate in these areas is set to Category II that applies to a normal level of expectations and should be used for new buildings. (DS/EN15251:2007).

Thermal The given parameters for the thermal comfort are found in the DS 474 are based on values for clothing (clo) and allows 10% of dissatisfied.

Visual Daylight during the winter season in Nuuk is very limited and can therefore not follow normal recommendations, but in the summer season the daylight factor in other rooms than the galleries, comply with the Danish Building regulation and have a minimum daylight factor of 2% I working areas.(bygningsreglementet.dk,2016) In the galleries an average daylight factor of 5% and minimum 2%. (ICAEN, 2004)

Acoustic When having large rooms with many visitors, the chatter from people and their activities will become a challenge if the overall sound level is not dealt with. Acoustic considerations will therefore be made by principle, by sound insulation in the interior walls to prevent the noise to spread from one room to another. Awareness of what materials to use is another criteria to succeed.

Display and storage

Workshop, Café, Shop and other

°C

Energy No galleries ore Museums are the same and therefore it is not easy to predict how much the museum will consume in operation. According to the current regulations in Grenland, the energy consumption for other buildings than residential are not allowed to exceed 290 MJ/m² pr. year, plus 280 MJ/m² pr. year divided with the number of floors plus 13.000 MJ pr. year divided with the footprint area. (Direktoratet for Boliger og Infrastruktur, 2006)

15-25°C

+/-4°C per 24 hours

45-55%

+/-5% per 25 hours

Winter, clo = 1,00: 19-23°C Summer, clo = 0,75: 21-25°C

RH

CO 2

< 900 ppm

< 900 ppm

1-5%

> 2% on average

DF

However, the summer season has higher temperatures and there is plenty of daylight, which makes it a goal to achieve zero energy over the summer months, in order to compensate the energy consumption in the cold dark winters.

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technical requirements renewable energy

ACTIVE ENERGY SOLUTIONS Greenland is the world biggest island with the smallest density of the population. This makes Greenland have many small wide spread isolated communities that need to generate their own energy. Historically, Greenland has generated their energy by diesel-driven power plants driven by imported fossil fuel which is the biggest contribution to Greenlandâ&#x20AC;&#x2122;s greenhouse gas emission. (ABB, 2012) In order to lower their carbon footprint, Greenland has over the past few year replaced many of the fossil fuel generators with renewable energy, which now has become 50% of the national energy supply. (Climate Greenland, 2016) Since the climatic conditions are very different from what we know in Denmark, a research on renewable energy solutions is made in order to find the most suitable solutions for energy production on site.

HYDROPOWER The biggest renewable energy source in Greenland is Hydropower generated by five hydropower plants.

These are driven by water from precipitation and melting water from glaciers. This makes it important to study the feasibility for such a power plant before being build, so it still will have enough water resources available in the future. Hydropower is a high reliable source as the energy can be generated on demand to comply with the amount of energy needed. A hydropower plant is highly efficient but there must be a large number of residents to make a plant profitable, as transportation of energy over long distances is not a solution due to the great energy loss. (Nordic Folkecenter, 2016)

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(Climate Greenland, 2016) Furthermore this solution is not an option on site, as water resources for running a hydropower system is not available on site.

Wave energy Wave energy is one of the renewable energy sources currently not utilized, though it has a good potential in south/west Greenland due to the estimated 2030 kwh/m. (Linearinductionwavepower, 2016) Wave energy is only possible in ice-free areas, but according to The Danish meteorological institute DMI, the ocean in Nuuk will not freeze.

The wave energy plants comes in a wide range of different solutions and sizes but most solutions will be visible on the water or coast. The main types of offshore plants are Attenuator, Point absorber and Terminator.

The Attenuator long device that is floating perpendicular to the waves on the surface on the ocean. The Pint absorber can be both floating on top or submerged in to the water, and is generating energy from either up down motion on the surface or pressure difference in the water. The Terminator is with a mechanical principle that is placed perpendicular to the wave direction and physically intercepts the waves. This is considered as one of the most efficient Wave energy Converters.

Furthermore there are shoreline devices that have the advantage that they are easily maintained, are close to the utility network and that extreme weather conditions will cause less damage on the device. These devices are visible on the coast, which is why it has to be considered in the design phase. (Drew, B., Plummer, A.R., Sahinkaya, 2009) (DMI, 2016) (Estefen, S.F., 2012)

TIDAL ENERGY In Nuuk the tidal range can be up to 4,6m between high and low, which makes it a good potential for utilizing tidal energy. It can be a disadvantage with the ice in some regions, but Nuuk is in an ice-free zone. (DMI, 2016) There has not been made any studies of the feasibility of tidal energy in Greenland, but with the big differences in tidal heights and with locations where the land has big fjords, there can be significant speeds of water movement. (Sørensen S., Adelsteinsson H., Knudsen J. R., Hofstad K., 2006) Tidal energy turbines are in a basic understanding much like wind mills that are installed on the seabed.

The tidal cycles are producing kinetic energy caused by the fast-moving currant that the turbine converts in to energy. Unlike other renewable energy systems like wind, sun and wave, tidal is a predictable reliable source. (Marine Current Turbines, 2016) “Despite its promise, however, today there are less than a dozen tidal turbine projects operating worldwide, and few look alike.” (Climate Central, 2010) It even could seem that even though the tidal energy is not optimal, it can still be beneficial. (Climate Central, 2010) Wind power Greenland is not located in a favorable location for wind power and it is only in the southern part of the island where it can be a feasible source. Mainly the information about the potential of generating energy from wind power I Greenland, is limited. Wind energy is only a minor energy source at the current state due to the fact that it has a natural limitation of not always being available. One of the reasons why there has been so little research about the feasibility of wind energy is, that the wind speed is highly variable from each location as the wind is being influenced by mountains and fjords. (Naalakkersuisut Government of Greenland, 2016) (Sørensen S., Adelsteinsson H., Knudsen J. R., Hofstad K., 2006) Dispite this fact, Niras has made a research of feasible locations for wind power in Greenland, but the project leader Henrik Mai states, that he would not recommend to introduce wind power in Greenland, as other projects with wind turbines located outside of the middle latitudes of the globe, have not been a success.

(Miljøministeriet,2016) Also when looking at different wind power systems like smaller turbines that don’t require the same wind speeds as the big windmills, it becomes clear that the surroundings on site most likely would cause too much wind turbulence from buildings and ‘fjeldet’ for the turbine to sustain its rotation.

[Galsworthy J., 2015.]

GEOTHERMAL ENERGY Geothermal energy is generated by heat pumps that pump an antifreeze liquid trough pipes that are dug into the ground and thereby utilize the heat from the earth.

There are furthermore pumps that utilize the heat from hot springs, but there is not such geothermal activity in Nuuk. (Hjartarson A., Armannson H., 2010) Mainly there are two types, one with horizontal pipes and the other with vertical pipes deeper down in to the ground. The vertical pipe system would be the most likely to use in Nuuk, as it should remain free from the permafrost. This solution would however require that holes are drilled into the ground and this could quick become a financial irresponsible solution as this is a part of the holistic approach to sustainability.

SOLAR ENERGY During the past few years there has been a growing interest in solar energy in Greenland. As other active solutions, solar energy can be produced with a wide range of different systems. The basic main two types are Photovoltaic (PV’s) that produce electricity and Solar Thermal Collectors that produce heat. (Planete Energies, 2015) Most people will often tend to believe that solar power is a bad idea in Greenland because of the very dark winters. Greenland is a big Island and in the southern regions where Nuuk is located, there are nearly the same hours of sunshine than in Denmark.

Product specialist, Jess Rowedder from Verdo explains, that a solar power plant in Nuuk placed with an optimal inclination can produce approximately 1.025 KWh/KWp whereas the same system would produce around 900 KWh/KWp in Denmark which is 14 percent less than in Greenland. (Sejlund, H., 2013) (Randers I Dag, 2013) A calculation done by PhD Janne Dragsted from the Department of Civil Engineering in Denmark, shows that the potential production of a solar collector in Nuuk, placed with an angle of 45°, facing south should have

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a potential of 1176 KWh/m2 whereas the same angle and orientation in Copenhagen would produce 1148 KWh/m2. These calculations have been followed by examining the performance in the Low Energy House in Sisimiut. This has shown that the practical result of the heat production is 7,5 % lower than expected but with some improvements it does not seem unrealistic that the solar fraction could reach 50% and even higher.

(Dragsted, J., 2011).

Due to the reflections of the snow from the surrounding environment and the low temperatures all year round, Pvâ&#x20AC;&#x2122;s and solar collectors have a good potential for making Greenland greener in terms of renewable energy. These stated facts are quite good results, but one is made by the solar energy company Verdo, and is not an independent source which should be considered. On the other hand the calculation and studies by Janne Dragsted are reliable research and proven in practice. Also the occasionally tough weather should be accounted for before constructing, to ensure the sturdiness of the system.

CONCLUSION The research of six active solutions in relation to the site has both confirmed but also ruled preconceptions.

When looking at all solutions at once, there are some more suitable for energy production on site, than others.

The Hydropower plant is already a reality in Nuuk, but requires water resources on site that are not found.

The wave and tidal energy are the two solutions that normally not are feasible for energy produced on site, but since the site is reaching out in the water, this was seen as an interesting examination.

It has been found that energy generated by either wave or tidal range is an actual possibility but these solutions especially tidal, still needs a lot of local research and data in order to have an estimate of the actual potential outcome.

When looking at the visual environmental impact or potential for integrated design solutions, wave power have more challenges compared to the tidal plants that often are submerged. Windpower on site is not a feasable option as the turbulence caused by the context will impact the laminary windflow required

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for any wind turbine to sustain its rotation and energy outcome.Geothermal energy would be a possible solution but with high initial costs economically and environmentally. This is therefore seen as having too many penalties to be a realistic solution.Sun energy has despite the long dark and cold winters a surprisingly great potential for a good energy outcome. With actual studies and data supporting the good results it could be a suitable integrated design solution.

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BIBLIOGRAPHY

LITERATURE: ABB,(2012).Clean sustainable energy for Greenland [Online] Available at: <http://www.abb.com/cawp/seitp202/ b08ea3b92dc74ac8c1257aaf0047543c.aspx>[Accessed 21 Feb 2016] Adams, N. [2014]. Asplund’s Gothenburg: The Transformation of Public Architecture in Interwar Europe, ... , Penn State University Press.

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LoneP ylaln2 e0 ,t1N 6.uuT kown (Godh tåb [O ).nnile A]vaalibh e alp t:w /: wwol.neylpalnec .tomg /reenalndn /uuk-o twn-godh tabh /sio t[rA yccessed 22 Feb 2016]

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SørenseA S n,d .esle tnissoH K n,n .udse H R Jn,.osfa t2 d K0,.0T6h.W eeN stordR cienewabE elnergS yource M –sG niireeB nooTkra.nsale tro d fm Dansib hM ySe t.nbaeC k.openhagenN : ordC ci ouM o nfcnlisie trs

79

ANNEX

DGNB REQUIREMENTS

ENVIRONMENTAL QUALITY Life cycle assesment (LCA)

ENV1.1 Life Cycle Impact Assessment Indicators:

Climate change: Global Warming Potential (GWP)

Depletion of the stratospheric ozone layer: Ozone

Depletion Potential (ODP)

Summer smog: Photochemical Ozone Creation Potential (POCP)

Dying forests and fresh water fish: Acid Potential(AP)

Eutrophication: Eutrophication Potential (EP) Global and local environment

ENV1.2 Local Environmental Impact Indicators:

Local environmental impact

ENV1.3 Responsible Procurement Indicators:

Procurement of timber and timber-based materials

Procurement of natural stone Resource consumption

ENV2.1 Life Cycle Assessment Primary Energy Indicators:

Non-renewable primary energy demand (PEnren)

Total primary energy demand (PEtot)

Proportion of renewable primary energy

ENV2.2 Drinking water and waste water Indicators:

Drinking Water Demand and Waste Water Volume

ENV2.3 Land Use Indicators: Land use ECONOMIC QUALITY Life Cycle Cost (LCC)

ECO1.1 Life Cycle Cost Indicators:

Life cycle cost Value development

ECO2.1 Fleksibility and Adaptability Indicators:

Space efficiency Ceiling height

Depth of floor plan Vertical Access Floor layout Structure Building services

ECO2.2 Commercial Viability Indicators:

Location and image

Access and parking

Characteristics of the market

SOCIAL QUALITY Health, comfort and user satisfaction

SOC1.1 Thermal comfort Indicators:

Operative temperature / heating period

Drafts / heating period

Radiant temperature asymmetry and floor temperature / heating period

Relative humidity / heating period

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ANNEX

Operative temperature / cooling period

Drafts / cooling period

Radiant temperature asymmetry and floor temperature / cooling period

Relative humidity / cooling period

SOC1.2 Indoor Air Quality Indicators:

Volatile Organic Compounds (VOCs)

Occupancy-based ventilation rates

SOC1.3 AcouStic comfort Indicators:

Individual offices and multi-person offices with areas

up to 40 m²

Multiple occupation offices

Rooms for “Speech”(Conference rooms)

Cafeterias with an area of > 50 m²

SOC1.4 Visual Comfort Indicators:

Availability of daylight throughout the building

Availability of daylight in working areas for regular use

View to the outside

Preventing glare in daylight

Preventing glare in artificial light Colour rendering

SOC1.5 User Control Indicators: Ventilation Shading Glare protection

Influence on temperature during the heating period

Influence on temperature outside the heating period

Control of daylight and artificial light

Ease of use

SOC1.6 Quality of Outdoor Spaces Indicators:

Quantitative evaluation of outdoor spaces

Qualitative evaluation of outdoor spaces

SOC1.7 Safety and Security Indicators:

Subjective perception of safety and protection against assault

Reduction of damage should an accident occur Functionality

SOC2.1 Design for All Indicators:

Design for all

SOC2.2 Public Access Indicators:

General public access to the building

External facilities open to the public

Interior facilities, such as libraries or cafeterias, open

to the public

Possibility for third parties to rent rooms in the building

Variety of uses for public areas

SOC2.3 Cyclist Facilities Indicators:

Number and quality of the parking facilities

Facilities for cyclists Aesthetics

SOC3.1 Design and Urban Planning Indicators:

Scope and quality of design competition Architectural award Independent appraisal Options appraisal

SOC3.2 Integrated Public Art Indicators: Funding Procurement Awareness-raising

Alternative: Minimum public art requirement

SOC3.3 Layout Quality

TECHNICAL QUALITY Technical Design

TEC1.1 Fire Safety Indicators:

Fire safety certificate

Additional fire safety features of the design and structure

Additional fire safety features of the technical building system

TEC1.2 Sound Insulation Indicators:

Footfall sound insulation against other residential and

working areas and in the own area

Airborne sound insulation against other residential and

working areas and in the own area

Airborne sound insulation against external noise

Sound insulation against building services systems

TEC1.3 Building Envelope Quality Indicators:

Median thermal transmittance coefficients of building components Thermal bridges

Air permeability class

Amount of condensation inside the structure Air exchange

Solar heat protection

TEC1.4 Adaptability of Technical Systems Indicators:

Access and spare spatial capacity in technical centres

Adapting operating temperatures to incorporate regenerative energies

Suitability of lift system for later change

System integration across relevant trades

TEC1.5 Cleaning and Maintenance Indicators:

Load bearing structure

External non-load-bearing structures

Non-load-bearing interior structures

TEC1.6 Deconstruction and Disassembly Indicators:

Ease of disassembly

Scope for disassembly

Recycling / disposal concept PROCESS QUALITY Planning

PRO1.1 Comprehensive Project Brief Indicators: Requirements planning

Agreement on objectives

Influence on the user and use related expenditure of energy

PRO1.2 Integrated Design Indicators:

Interdisciplinary planning team User participation Public participation

Functional specification

PRO1.3 Design Concept Indicators: Energy plan Water plan

Optimisation of daylight / artificial light Waste plan

Measurement and monitoring plan

Conversion, deconstruction and recycling plan Cleaning and maintenance plan LCA design options appraisal LCC design options appraisal Quality assurance in implementing the fire safety plan

PRO1.4 Sustainability Aspects in Tender Phase Indicators:

Sustainability in tendering

Sustainability in selecting contractors

PRO1.5 Documentation for Facility Management Indicators:

Maintenance, inspection, operating, and care instructions

Adaptation of plans, verifications, and calculations to

the completed building User handbook Construction

PRO2.1 Environmental Impact of Construction Indicators:

Low waste building site

Low noise building site

Low dust building site

Environmental protection on the building site (soil protection)

PRO2.2 Constuction Quality Assurance Indicators:

Documentation of the materials used, auxiliary materials

and the safety data sheets

Quality control measurements

PRO2.3 Systematic commissioning Indicators: Systematic Commissioning SITE QUALITY

SITE1.1 Local Environment Indicators:

Site location risks

Site location conditions

SITE1.2 Public Image and Social Conditions Indicators: Survey

Positive effect on the location

SITE1.3 Transport Access Indicators:

Accessibility of the nearest stop on the public transport

network (bus, local train, tram, etc.)

Cycling infrastructure at the location

Quality of the road connection Parking plan

Transport plan, traffic plan

SITE1.4 Access to Amenities Indicators: Gastronomy Local amenities

Parks and open spaces Education Public administration Medical provision Sporting facilities Free time Service providers

ANNEX

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ANNEX

Service providers

83