Hospice Børsmose by Camilla Østergaard Hansen

Hospice børsmose ’A Place In Between’

Master Thesis Camilla Østergaard Hansen MSc04 // ARCH14 // 20093255 28.05.2014

Ill. 01: Picture from site

Project title: Theme:

Hospice Børsmose - a place in between Narrative potential of tectonic detailing in interior gesture

Short dissertation programme, master thesis Department of Architecture & Design Aalborg University Specilization in architecture Author:

Camilla Østergaard Hansen Stud. Msc. Eng. Architecture

Project periode: 1.2.14 - 28.5.14 Copies: Pages:

5 144

Main supervisor: Marie Frier Hvejsel Assistant Professor, PhD Department of Architecture, Design and Media technology Supervisor: Lars Vabbersgaard Andersen Assosiate Professor Department of Civil Engineering Camilla Østergaard Hansen

abstract This project ‘Hospice Børsmose – A Place in Between’ is developed by MA4ARCH14 as the final project of the master education in Architecture, Department of Architecture, Design and Media technology, Aalborg University. The project is based on the main theme ‘Narrative Architecture’ and takes its point of departure in the establishment of a Hospice in the site of Børsmose. The aim of the project is to explore the possibility of a tectonic detail as an emphasizing element in the creation of narratives in architecture. The project takes its point of departure in the tectonic theories of Marco Frascari and Gaston Bachelard in the creation of a hospice with the narrative of ‘a place inbetween’. The building of the hospice places it self in the landscapeof Børsmose as a ‘corner’ in the landscape, the rooms of the programme are organized to create a corner in the building and the building envelope is detailed to create a corner in the room. All three levels of detailing are explored through a tectonic principle of a wooden timber frame, thus the project explores the possibility of tectonic detailing in all three scales of a project. The main focus of the project is the articulation of the corners from where life can unfold. This notion has implied an attention to detailing of the architectural construction. The project report contains a presentation of the final design proposal of a Hospice in Børsmose along with initial research and analysis used in the process. Attached to the folder is an appendix and technical drawings related to the project.

Dette project ‘Hospice Børsmose – A Place in Between’ er udviklet som det sidste project, Master Thesis, på 4. Semester af Kandidat uddannelsen på Arkitektur, Design og Medie Technology ved Aalborg Universitet. Projektet tager udgangspunkt I det overordene tema ‘Narrativ Arkitektur’ and skabelsen af et hospice til Børsmose. Formålet med projektet er undersøge muligheden for, at tektonisk detaljering kan have en afgørende indflydelse på skabelsen af narrativer I arkitektur. Projektet tager udgangspunkt I arkitekturteorier af Marco Frascari og Gaston Bachelard i skabelsen af et hospice med det overordnede narrativ ‘A Place in Between’- Bygningen placerer sig i landskabet I Børsmose, som en tung base der skaber et ‘hjørne’ I landskabet, rumprogrammets organisering skaber hjørner I bygningen og til slut benyttes bygningens klimaskærm til at skabe hjørner I rummet. de tre niveauer of skalaer er udnyttet i forsøget på at, ved hjælp af tektonisk detaljering at and det tektoniske princip af en strukturel rammekonstruktion, at understreget et overordnet narrative. The overordnede fokus for projektet er artikuleringen af ‘hjørner’ i arkitekturen, hvorfra livet kan udfolde sig. Denne grundtanke har medført et fokus på detaljeringen af den arkitektoniske konstruktion. Projekt rapporten indeholder en præsentation af det endelige projektforslag for Hospice Børsmose sammen med de indlende skitser, tanker og analyser. Vedhæftet rapporten er et appendix, som indeholder strukturelle udregninger og præciseringer.

Table of Content 01 // Introduction Motivation

7 8

04 // place The sense of place

Phase 3: A wall in the bedroom

A place in the wall

The frame, facade and hierarchy

A hospice?

Site in Børsmose

Objective

Choice of site

Methodology Tectonic as a method Reading guide

02 // palliative architecture

Arrival and access

Housing and typologies

A narrative of a hospice - introduction

Hospice - term and philosophy

Water and sea Vegetation

Building area

Micro climatic conditions

05 // programme

An office

Admissions

Palliative day centre

Sub conclusion

Hospice Vendsyssel

The term: Hospice

51 52

Structure and details Phase 3: Development of the detail Solving the detail

82 82 84

Phase 3: The frame joint

08 // presentation

Hospice Børsmose

Entrance and day centre

Office

100

The ward

106

The bedroom

110

Common entrance and arrival

Elevation, North

114

Patient’s bedroom

Details

116

Arrival

Ward Common space

The ward

Sub conclusion

09 // epilogue

The bedroom

The workplace

06 // Initiating vision

Life and death

Religion and nature

Sub conclusion

Philosophy

Sub conclusion

Architectural themes

Choice of case studies

03 // case studies Abitasione Dimostrative, Gio Ponto Analysis Gunnløgsson Summer House, Halldor Gunnløgsson Analysis Woodlands Cemetary - Childrens Chapel, Gunnar Asplund

27 28 28 30 30 32

Analysis

Sub conclusion

My bed, my universe

07 // IDEATION PROCESS Initial sketching

Themes of interest Workshop 1 Volume and landscape Workshop 2 Programme and connections Workshop 3 Creation of a corner The corner in the landscape Phase 2: Creation of a corner The corner in the building Phase 2: Creation of a corner The corner in the room Phase 2: Creation of a corner Tectonic detail

59 60

123

Conclusion

124

Perspectives

126

10 // REFERENCES

127

Literature

128

Illustrations

129

11 // appendix

61 64 64 66 66 68

131

Workshop 1

132

Structural calculations

134

Daylight

140

Fire escape plan

141

68 70 70 72 72 74 74 76 5

“For our home is our corner of the world. (…) it is our first universe, a real cosmos in every sense of the word” Gaston Bachelard, 1958

01 // introduction

MOTIVATION The thought of a narrative

Ill.02: Entrance to library

Ill.03: Bookcase at Asplund’s Library

In reality all architecture has a narrative, a story of some sort, but it is my hypothesis that architecture, which influence us and sticks with our embodied memory is the architecture that is able to tell its’ story in every building component; from its large spatial organization to the detailing of a doorknob. What initially sparked my interest in the narratives of architecture was the fact that it answered my questions of why some places had stuck in my memory with a defined and clear sense of my spiritual and mental state, while others just became mere imagery of the places, an image I could just as well have experienced in a book or on a computer screen. The clearest examples of this is Gunnar Asplund’s Library in Stockholm. The library spark my interest in how these narratives could be constructed, and how they were to be articulated and expressed.

overall narrative of the library, but also to the visitor on a much more personal level. It is as though Asplund creates a space that contain the potential of the entire library in one little room, one small space in the otherwise large room of books.

The library stands to me as an example of a narrative told through the buildings components and organizational solutions; the thick walls protect the knowledge, as a safety box keeping its secret’s safe. The library is heighten to a near temple status, but when you enter it, everything unfolds and present its germs to the spectator. The books become the walls that keep the roof up and when you get close to the bookcase every single book presents itself to you; the building presents it’s knowledge to you. To underline the depth of knowledge and the great ventures of the books, one is offered a protected and sheltered reading corner within the bookcase itself, a space for the reader to connect and engage in the content of the book. The thick wall of books reveal spaces where you can obtain all the knowledge which the books have to offer. It seems to me that the reading corner is significant to this project, both as a gesture to the

In my understanding this is exactly what the reading corners of Asplund’s library are; the germ of the house, the little corner with the greatest influence; the corners are safe, thus allowing imagination to spark.

MOTIVATION Architecture is everything around us and it creates the worlds we live in, the worlds we sleep in, and the world we love, learn, and interact in. I wonder if it is possible for architecture to provides us with a specific narrated space that invite us to think and engage in the moment. Spaces that narrate our behaviour and perspective, which I find particularly interesting, is when architecture interacts with the spectator; affect our bodies, our souls, a narration that is suggested through the tectonic detailing of the spaces. With the thesis I wish to explore how a narrative is constructed and if it is possible to strengthen a narrative through gesturing tectonic details. The spaces we live in has a long term affect our body in what the Finish architect and Juhani Pallasmaa calls the embodied memory (Pallasmaa 2012). Our body remembers spaces and places, and they become the origin point from which our world is experienced. Thus influence the experience of our world and the experience of our selves. To me, it all comes down to the notion of spaces where we can connect and experience ourselves as human beings, thus I think it is important for architecture to have greater ambitions in the creation of these spaces. Hence, I wonder if there might a decisive connection between a narrative in architecture and experienced architectural quality; if, perhaps the narrative of architecture as described by N. Coates in his book ‘The Narrative of Architecture’(Coates, 2012) can be presented and specified to the spectator through tectonic detailing of the spaces surrounding the human body by introducing a specific gesture detail created through tectonic principles, and thus becoming interactive with the spectator.

Gaston Barchelard speaks of the corner from which ones world unfolds as daydreams and describes how the corner creates the intimacy needed for reflection and imagination: (…) every corner in a house, every angle in a room, every inch of secluded space in which we like to hide, or withdraw into ourselves, is a symbol of solitude for the imagination; that is to say, it is the germ of a room, or of a house. (Bachelard 1994, 136)

I believe there could be a link between a structural principle of a corner as a tectonic gesture to the experience and understanding of the architecture, thus creating an understandable architectural quality, and I wonder if this is something potentially possible to create in every part of a build space. The corner embraces us, the window reveals the outside world, a door guides us to other rooms, and a roof covers us. However it is possible for these building components to be articulated in a way that underlines and overall narrative the

architecture? In the case of Asplundâ&#x20AC;&#x2122;s library, it seems like this narrative is underlined by the structural principle of the reading corners as something integrated into the bookcase. Perhaps this experience of the hidden corner is given by the tectonic methodical approach to architecture?

Contemporary architecture has a tendency to be about a universal language of shape; an indefinable mass of building focused on the economical profit and time constrictions placed upon the building industries. Architecture has a tendency to become white plaster walls and linoleum floors â&#x20AC;&#x201C; and even the Super Hospitals being build seem to be influence by economic restrains and downsized ambitions. Adam Caruso calls it an era without the ability to grow old (Caruso 2008, 25) and points out how architectural work as become of a global scale, where it is a question of who will produce the largest and most outlandish project. I feel compelled by this statement; why are we designing shaped boxes meant for any and every place on the planet? I find it disturbing and problematic that so much architecture can be experienced without entering and how, when I feel the need to touch and caress a wall, it is hollow, have no materiality, no origin and no life. It is as though the wall could have been anywhere and that the building could have been anywhere.

I consider architecture as having the potential to make people feel save, connected, and in the exact right place at this exact moment that, at the end of the day, is important. When I think of places, great spaces, that has affected me, I clearly remember my state of mind at the moment and if I can be influenced to change my state of mind and to connect with a place in a way that stays in my mind for a longer time, should we not seek this influence in all of our architecture? Especially within the architecture of health care and institutions, I wonder how we create spaces with focus on the physical environment as an active part in prevention and healing of illness physical or mentally? I am not in any way suggesting this master thesis as a final answer, but I present it as an input to a discourse, I feel compelled to take part in. A discussion where contemporary architecture does not necessarily consider the human body or the human mind has a measure or as more than occupants. I ask myself how I, as an architect with an engineering background from architecture and design and an understanding of structural principles, am able to methodically approach architecture in a way that does so.

that supports a place meant for vulnerable people or where people in vulnerable situations can experience a high level of quality of life, both during and after a life crisis. To me, it is a question of articulating an overall narrative with the simplest means of detailing the architectural solutions, organisation of functions, and/or transitions between material, function and scale. It is my hypothesis that this might be solved in with tectonics as a point of departure from which architecture is created. Consequently this has become my point of departure for this master thesis.

I wonder if, perhaps architecture could consider the internal understanding and conversation between architecture and the human body. I believe narrative architecture could be one answer to how we can build, organize, and decorate our buildings in a way

A Hospice? Based on the discourse of healing architecture (Mullins, Frandsen 2011) and my conviction that architecture can affect both our body and soul, it felt natural to undertake one of the most vulnerable aspects of our healthcare system; the place people go to die: a hospice. A hospice is a part of our healthcare institution with a different perspective to the well being of their patients. The hospice focuses on the palliative care and life-quality of patients and their families in the final days of a human life. A hospice is about care and presence, the relief of sufferings from pain or other problems, physical, psychological or spiritual (WHO). As the Super Hospitals are build all over the country, so are the palliative day centres, cancer houses, and hospices. The discourse of the healing qualities of architecture has a tendency to get lost in the enormous building programmes of the hospitals in what I mentioned previously as architecture without understanding for the human scale, senses or language. However, there is one part of modern architecture that has been thoroughly developed and this with the attention to materiality, light, scale, and programmatic solutions of a hospice. Realdania has developed “Programme for the good Hospice” as basis for all future hospice buildings in Denmark and is concerned with the healing affects of nature, landscape, and the surroundings in which the hospice is located at the same level of importance as architecture. The programme specifies and enhances the importance of architecture as a healing aspect in patient care and describes how architecture can become a life-enhancing aspect in a patient’s everyday life. With the programme and engagement from Realdania, a consensus of the ability of architecture to change us and our well-being has been made. Naturally, the programmatic solution presented by Realdania is a step in the right direction. With this as a point of departure of

the project, I wish to develop and explore the future architectural opportunities of space that influence us. Through implementation of the narrative approach to architecture, I wish to further develop the programmatic possibilities and discuss the life-enhancing aspect of architecture through attention the human scale and architectur’s ability to tell a story to us through the constructive principles and detailing, as a way to experience our inner self. This is where I see narrative in architecture as having great potential.

Objective The primary objective of the master thesis is the design of a hospice building in Vestjylland that takes itsâ&#x20AC;&#x2122; point of departure in tectonic theory, hospice typology studies, case studies, and site analysis. I will develop an architectural proposal where the corner, the special space of a house, is articulated by the tectonic detailing through a constructive principle, thus accentuating the narrative and the architectural quality of the project. Through case studies of three architectural details, in different scales, I wish to explore the possibility that the overall narrative can be told through a single gesturing detail and that the scale of the detail is without influence. Furthermore, I wish to combine the notion of the detail with the notion of the three scales of landscape, building and envelope, thus exploring the creation of the narrative in all three scales. With this knowledge on how the detail influences the overall narrative, I wish to project these thoughts and ideas into a solution for a hospice in Vestjylland.

TECTONIC as a method The term tectonic is derived from the Greek word for carpenter or builder, tekton, and refers to the craft of carpentry and the basic skill of using an axe, thus tectonic being the act of making. Later in the literature by Homer, it takes a turn towards a more aesthetic understanding and is used to describe the art of construction in general, and can, thereby, be linked to another Greek term; techné, meaning the art of creating or the art of fabrication (Beim, 2004, 46). Much later the term is presented as belonging to an aesthetic category as an art of joining, by Adolf Heinrich Borbein in 1982. In practice the term, tectonic, is referred to the aesthetic challenges, material qualities and intentions of architectural construction (Beim, 2004, 45). Hereby tectonic can be described as a harmony between form and meaning. The term, tectonic, is becoming more and more abstract and detatched from its’ original state as an actual action, and is much more an expression of an architectural method where structure and aesthetics are equally influential. In her book ‘Tectonic Visions in Architecture’ architect and theorist Anne Beim concludes on a general summation of the different definitions of the terminology of construction in relation to architecture as follows. Firstly, Techné represents the most inner being of the creation, to create. Secondly, the term tectonic, the poetics of creation. Thirdly, Technique, the method of creation. Finally, technology, the knowledge of creation. The terms are naturally closely related, but can be interpreted in different matters according to the cultural and architectonic context, mainly they help to understand and recognize the intention of the architect in a given building (Beim, 2004, 47). Tectonics is at Aalborg University introduced as a methodical approach which challenge me as an architect to understand the construction and work with construction, in order to utilize this knowledge in a poetic manner

that gives the construction an equal level of importance as other architectural themes as room organisation, dimensioning, and materiality. As a student from Architecture & Design I am thought to understand the premises of the construction, understand how the building is carried. Thus I use tectonic as a way to refine this knowledge into an omniscient architecture that focuses on everything from the overall structural concept to the smallest joint in a wall. The tectonic approach to architecture allows architects to consider things in a much more specific and detailed manner. Moreover, it allows me to zoom in on one specific structural detail and let it become significant for the overall concept of the construction, perhaps a narrative of the construction.

“A beam needs a column; a column needs a beam. There is no such thing as a beam on a wall. ...” Louis I. Kahn (Beim, 2004, p. 145).

The experience I mention earlier, Asplund’s Library in Stockholm is also where I see the clearest connection between the narratives of architecture solved with tectonic approach to architecture. The detail of book selves becoming doorways to the study areas is a clear underlining of the narrative of a place of knowledge. By the simple principle of a folded wall, the corner is created and another world is revealed. Asplund combines the constructive notion of shelves into the creation of a space, a space that is meant for the action related to the shelves, thus using his structural principles to create coherence between the two. As a tectonic approach to architecture calls for integration between the structural and the aesthetic aspects of architecture, it also calls for a harmony between the two. Asplunds library solves the harmony through a clearly defined hierarchy, which, when reading into the theories of German architect Gottfried Semper in his book ‘De Vier Elemente der Baukunst’ (1851) and his definition of ‘tectonic as the original residential types and building principles’, where he argue how architecture is derived from four basic elements, the initial four elements of architecture, the human settlement which is covered by the roof/frame construction, the enclosure as a light structured surrounding membrane and the mound of the structure, is defining of the differentiation between these for elements of architecture. Thus Semper argues that the tectonics become the ordering of the elements and their interrelationships (Beim, 2004, 50). By defining the four elements, Semper concludes on the art of construction in two basic approaches, reinterpreted by architect and historical critic Kenneth Frampton as ‘Tectonics of the frame’, within which lightweight, linear components are assembled to contain the space, and the ‘Stereotomics’, the building process involving

stone of the earthwork. Thus mass and volume are formed through repeatedly pilling of heavy elements. (Beim, 2004, 51). Hence, Frampton states the difference between light and heavy construction and, furthermore, differentiating between ‘covering cladding’ as a depiction of the specific character of the construction and the ‘core’ of the structure as the foundation and matter of a building. Hereby, Frampton define a theory of an ordering of these elements, applied to his thoughts of hierarchy with the main structure, as a material indicator of the ‘core’. The narrative of a hospice are directly linked to the fact that the patients come there to die. It is a simple fact that this place is the final home of the patient. A hospice must accompany an uncomplicated, peaceful, and dignified death and be a save place for this to happen. The hospice takes care of people in the most extreme state of vulnerability and uncertainty and as they face death, a hospice needs to protect and embrace them. The hospice becomes their final home and the bedroom their final corner. I am intrigued with the opportunity to explore how meaning and narratives can be constructed, how a detail can become the focal point of an entire roof structure and wall system, or how the deck can meet the grounds in a way that supports the narrative of the place. If we regard tectonic as a method by which we design and create our spaces, then the tectonic method as introduced above could possibly become the integral solution to a future architecture that adapts the specific needs, technical qualifications and demands of the sustainable aspect of building, as well as an aesthetic approach.

Based on the notion of Semper and the notion of ‘the four elements’ and the internal hierarchy of these, the project takes it point of departure in the detail and the theory of the tell-the-tale-detail as introduced by Marco Frascari, who describes the detail as a joint. Fascari defines a detail as a joint, which can either be a formal joint or a material joint. The two are differentiated by their intension of the joining. Where the formal joint connects the insides with the outsides in what could materialize as a porch or an overhang, the material joint connects the constructed elements as in the way a capital connecting the column shaft with the architrave, (Fascari 1985, 2). Thus, the creation of gestures is a question of recognizing the small element that tells the tale of one specific space, but also how it combines into the narrative of the entire complex building of a hospice.

reading guide The thesis takes its’ point of departure in the introduction pages, describing my personal ambition and search for attention to the thoughts on architecture that interacts with our bodies and create spaces meant for specific actions, moods, and states of mind and how I believe this can be done by notion to the gesture-supported narrative of architecture. In and addition to the introduction chapter, the master thesis is divided into 9 chapters. The chapter ‘Palliative architecture’ is concerned with the state of the art within palliative care and architecture. In this chapter, I describe hospice architecture as a typology and search for an understanding of the important factors of a hospice identity, philosophy and the essential narrative of a place to die. The chapter is based upon the readings of ‘Programme of the Good Hospice’ by Realdania, a long with visits to Hospice Fyn and Hospice Vendsyssel, to gain a more refined view of the typology of a hospice. Following the analysis of the site is the chapter ‘Case Studies’, which consists of three case studies exploring the architectural role of the detail in relation to three scales of architecture; envelope, room, and building. The case studies are conducted through re-drawing of plan, section, and axonometric as the analysis method in the search for a specific gestures principle (Hvejsel 2010). The chapter’s main purpose is the understand a specific detail of a project and how it transfers into the overall narrative of the project in question and serve as a point of departure in the creation of narrative spaces further on in the process.

The chapter ‘Place’ is based on a site visit and consists of a serial vision analysis of the site, trying to determine the sense of place of the specific site. The analysis is followed by a micro climatic observation and finished with sectional diagrammatic understanding of the site. The chapter ‘Programme’ presents the programme of Hospice Børsmose and based on the programme provided by Realdania. The chapter is an elaboration and detailed description of my take on the specific project and programmatic conjunction in terms of functional requirements and technical demands in relation to the spatial experience of the hospice. The chapter elaborates on the design and programmatic choices that define the scenic hospice qualities. ‘Ideation’ is a documentation and representation of the design process and initiating studies of architectural approach to the landscape, concept development, intake of daylight, and other technical qualifications of the hospice design. The chapter is divided into the three different scales worked with during the process. The remaining drawings and illustrations can be found in the appendix for further readings.

Following the ‘Ideation’ chapter is the chapter ‘presentation’ containing my final proposal for a hospice in Børsmose, including architectural drawings, model pictures, and visual representation of the thoughts behind the project. The chapter ‘epilogue’ concludes upon the design and discuss the result in relation to the main objective of the projects. Furthermore, the chapter tries to reflect upon the thesis of the gesture-supported narrative as a main aspect in the creation of architectural quality. The final chapter ‘appendix’ contain the technical calculation and considerations of the project, as well as documentation of workshop, design process, and other drawings not included in the design development.

02 // palliative architecture In the following chapter I will explore the therm palliation and the notion of a hospicem in the search for a narrative of the place where humans come to die. The chapter is based on visits to two Danish hospices and talks with employees and patients.

02 // palliative architecture

A NARRTIVE OF A HOSPICE INTRODUCTION

I sit here waiting as though I am waiting to see a dentist; a bit anxious, my stomac turns once or twice as I hear doors opening or footsteps down the hallway. I am waiting for Kaj Sørensen, a cancer patient, who is admitted at a hospice to wait for death to pick him up and leave for a better place, a place Kaj expects to free him from the pain and suffering the illness has brought him for 5 months now. I am not sure why I am feeling so different; I have nothing to be afraid of, I am well prepared, I have written down all of my questions of how he thinks the rooms are decorated, if he has everything he needs in terms of space, places to be quite and think. I even have an expected answer, but I am horrified by the mere thought of a dying person and the vulnerability they posses, and now I am trying to understand a person who’s life is ending. I consider running. Kaj is wheeled up to my table in the lounge area and, as I shake his hand, it is a surprisingly firm handshake that greets me, followed by a steady voice that tells me to sit down; “so you are the architectural student, are you?” I start elaborating on the project and my ideas as he interrupts me: “That sounds a bit morbid, could you not have chosen something a bit more fun?” He smiles and lets me know that hospice has been the best thing that happen to him since he was diagnosed with liver cancer 5 months ago. Kaj is 53 years old and before his illness, he worked at a factory in Middelfart. Now he has packed up his most valuable things into one suitcase and left his home for 20 years to go to the hospice with his wife 8 days ago; the cancer had spread so rapidly, that he did not get to receive any treatment at all. He quit his job and while the

cancer spread even more, he spend the first months at home with his wife and their dog, Felix, trying to figure out how the doctors had gotten it all wrong and how he could get well. He desperately searched the Internet for alternate treatment and medicine. He even considered going to India to lay in a salt bath for 15 hours a day until the cancer had disappeared. It all ended in a state of depression, where Kaj just laid in bed for all day, not able to collect his thought into living his life. “My oldest daughter told me that it was like that Nik & Jay song ‘En dag tilbage’(…) She demanded a real and honest answer on how I would spend these last months”. He leans back into the wheelchair and smiles vividly: “I thought about it and bought a ferry ticket to Bornholm” Kaj laughs again and I wonder how that joke would have met a random audience at a comedy show. The joke seems widely inappropriate, but some how I sense a satisfaction in his eyes as his sees the scared look in mine. He provokes me; he tries to push my limits a bit and tries to show me how it is not a pity that he is here. “When my wife comes back with Felix in a bit, we are going to discuss what my funeral is going to be, but I think I already know (…) It going to be grand and they are all going to stand on their feet and sing my casket out of the church” Again the greatest grin on his face appears, his eyes are filled with life and I seem to forget how ill his really is.

“I was considering Bruce Springsteen, but seriously that could get a bit cheesy – so now I am thinking something like Børge Mogensen and the one with the morning breakfast” I smile at him and tells him that it sound reasonable. It gets quiet between us, as Kaj gazes out the window. “It really is not that bad, is it?” referring to the song and the sentence: ‘Livet er ikke det værste man har’ (reg. Life is not the worst thing you got), or maybe he refers to coffee as he reaches for the cup in front of him. “I am not afraid, if that is what you are wondering. I just wish it would have been in 25 years, instead of in 25 days” We speak about fears, joy, love, and heartbreak, and how it is all a part of life and how death might be considered the most basic part of life. It is going to happen, so why not just enjoy time until it knocks on your door. It is the ultimate state of powerlessness; you are in now way able to change the date, the hour, or the minute. Our talk is interrupted as a wind torn woman steps into the lounge area, holding the smallest little dog. I had expected a large vivid dog, like a Labrador or something alike. This tiny little thing does not even bark. “Did the little rat get some air?” Again Kaj jokes and laughs as the woman pecks him on the shoulder and smiles loving back at him. As we start wheeling Kaj back to his room, they speak of the plan for the remains of the day, about dinner, about a dog his wife had met on the walk, and about aunt Emma who is going to Tenerife during the Easter. I am looking at nothing but their conversation. I am wondering what the patient rooms will look like, and as we step into the room, I realize how relatively small it seems. It is almost filled by the two beds and the

only thing, which stands out, is the small, low dresser where the top is completely filled with pictures of his three girls, as he calls them. “It reminds me of everything” he says and pics up a small picture of him on a beach with a five or six year old girl on the one arm and a two or three year old on the other. His girls are grown now, they come to visit all the time, but looking at this picture, affects Kaj greatly. He is not crying, nor is he sad, but he is thinking about everything he is leaving behind right now. As I leave the patient ward, I look down at my little black book. I never got further from the first question on my paper. I never got to speak of architecture, but I got to speak to a dying man who lives and enjoyes his life at a hospice, the final place for him. Kaj will leave this place in a casket and it seems he is quite alright with that. Kaj is one story, one tale of a life who spends his final days at a hospice and it struck me how alive he was. He was not just laying there waiting. He was sick, very sick, but his joy of life had in no way left his heart. I am not sure what it was, but something in Kaj changed when we closed the door and looked at pictures. Even though the patient room was not his home, it was the place he belonged to right now and it was the place where the pictures of his girls stood on the shelve and reminded him of everything his life had been about. This meeting, this hour, stresses the fact that for Kaj, it is about life; about the life lived right before death. Kaj Sørensen died on Marts 8 2014, only 5 days after my talk with him.

Death naturally, is present almost everyday and that every patient knows that is where it is going, but every case is individual and special. Some are fresh and well functioning as Kaj, others are so heavily medicated that they do not sense anything around them. Others are so deeply depressed and sad that they just want to be left alone, though this is rarely the situations. Stories like Kaj are present in every single patient room. I could have walked into the next room and met Dorthe or Peter, and if I had come a month earlier, I could have met a young woman only a couple of years older than myself. The point is that every patient’s story is different and they all react to death, their admission, and their situation differently, but they are all in need of that place, where they can close the door and just sit teary eyed for a minute or an hour before heading out and facing their terminal illness again.

being in between. The following chapter explores the term and philosophy of a hospice and palliative care through a study of Hospice Vendsyssel by Østergaard Arkitekter, one of the latest hospices built in Denmark, following the programme provided by Real Dania with its inauguration in august 2013 and thus can be considered as the state of the hospice architecture. The hospice is described and understood according to its’ architectural solutions and spatial decisions. Futhermore, the programmatic decisions and considerations behind the programme is elaborated by head nurse at Hospice Fyn, Jette Søgaard Nissen, who elaborate the thoughts behind Real Dania’s programme.

Patients at a hospice have had to come to terms with the fact that their ticket awaits them in the nearest future, but if their life quality is to be kept at a high, the hospice needs to accompany this diversity people wishes, along with their expectations and fears regarding their own death. The purpose of the following chapter is to study the term and philosophy behind the hospice, thus creating an understanding of the potential design parameters influencing the design of a hospice in terms of both functionality and technical requirements, but also to further understand the narrative of a place meant for the time before death, and understand how that state of

02 // palliative architecture

HOSPICE TERM & PHILOSOPHY

PHILOSOPHY

THE TERM: HOSPICE A hospice is the last home of terminal ill patients and their relatives, a place where they can be and live their final days together while waiting for death to occur. Essentially, a hospice is a place to die, but first and foremost the hospice is about care and presence, about relief of both physical and mental pain, and other symptoms related to final days of a patients life, and a place where patients who are in the critical state where they need 24 hour intensive care, can be admitted. While hospices are a place meant for patient care and the main focus naturally is the relief of the patients’ pain, a hospice is also a place for relatives and friends to come for therapy and emotional and mental care during the admission of a patient. It is very important to stress the fact that the care and treatment includes the relatives and the people having to live their lives after the patient is gone. Patients are admitted on their own wish and through recommendations from their family doctor. The hospice is an offer covered by the Danish healthcare system. An average hospice patient spent 20,5 hours a day in their beds, thus becoming the main space of the patients. The patients are often too sick or too medicated in the final days and hours to go anywhere or do anything, but as the care includes therapeutic baths and music therapy, which is possible to provide for even the sickest patients. It is important for the personnel to do everything possible to relieve the patient, even if this is simply holding a hand or whisper comforting words as they pass. (Nissen, 2014).

Apart from the patients’ ward, dedicated to the terminal ill patients, most hospices include a palliative day centre where patients can come and receive the mental and physical treatments related to their state of illness. The centres patients are possibly future patients of the hospice and, thereby, the day centre can become a way of getting familiar with the house and personnel of the house (Nissen, 2014). Within the day centre, a palliative team works out of the house and visits patients in their own homes. This I what might be regarded as the final step of palliative care before admission is needed. The team treats their patients in their own home and patients, who wish to die there, can receive the treatment of the hospice without the admission. With these two integral units within the hospice, the palliative care is available to patients from a rather early state of their illness and in some case before it is determined as terminal, thus expanding the palliative care and philosophy and including it into the healthcare system in general.

The hospice philosophy, as seen today, is inspired by Dame Cicely Saunders and the St. Christophers Hospice is London in 1967 The main objective of Saunder’s hospice philosophy is the palliative care of a patient and their relatives being both physical, mental, social and spiritual (Realdania, 2009). It is important to note that the philosophy is a holistic approach to the well being of a person in a vulnerable situation and that the philosophy has inspired WHO to define palliation as the life quality of patients and relatives in the terminal state of illness and resulting death. The main focus of the hospice philosophy is to adapt the care to the specific needs and wishes of the patient. It is important to note that this is the difference between a hospice and a hospital, because the focus of a hospice is another – the hospice’s sole purpose is to relieve the patient from pain and assist in the final days before death, there is no treatment of the illness, only the symptoms.

sub conclusion

ADMISSIONS Many hospices are run by support groups and volunteer work do to the fact the almost every hospice in Denmark is a private institution. The support, cultural understanding, and sentiment have been changing through the last couple of years and the hospices all over Denmark feel the increasing support and interest in the palliative care in the final days of a terminal patients life (Nissen, 2014). As the hospices gain support and is considered an important part of the health care institution, the philosophy has inspired to multiple different branches of palliative care, such as palliative out going teams, day centres, and hospices with beds for patients to be admitted to. This variation in the targeting of palliative care result in a very coherent treatment throughout the term off a terminal illness which allow patients to meet and interact with the palliative care over a longer period of their illness. The admission spans have changed over the last couple of years as palliative care becomes a part of the regular treatment of illnesses and focus. In the future the palliative care can be described in two or three categories. The first being hospitalsâ&#x20AC;&#x2122; palliative care units with outgoing teams, who attend to patients in their own homes and have patient wards secluded from the rest of the hospital. This effort will often be the first introduction to palliative care a patient is offered. Second is the urban hospice and cancer centres, which often is located in close contact with the hospitals and have a great focus on day to day admission and therapeutic care during the illness, not disregarding the state of the illness, but rather to allow patients to stay at home as long a possible, while also being implemented into the hospice and the palliative team working there. In these clinics a great focus is on the palliative day centres, hence the urban context and, therefor, the centres will often have shorter admissions and more one-night patients than the scenic hospice.

Finally, the scenic hospice that has a landscape setting and main focus on the ward. It is often located in the outskirts of minor suburban areas with a great connection to the surrounding nature. The hospice is still combined with a day centre and palliative care for patients that do not need the fulltime admission yet. (Hospice Vendsyssel). Though different in focus, one of the most important parts of the palliative philosophy is the coherency of the treatment and, therefor, none of the hospices can have only one area of expertise. It is important that the hospices have a wide range of offers to their patients and it is important that the patient feel connected and calm in the situation. Still this differentiation is taking place and the hospices can offer different patients, various scenarios for their final days.

My introduction to Kaj SĂ¸rensen showed me how a hospice is not about death, but rather about the life just before death occurs. It is a question of fusing the right physical surroundings, content, and functional demands into one unit, which, from a human, professional, and architectural perspective, supports the people who is in need of the palliative care provided at a hospice. A hospice is a place that must take you in, embrace, and protect you. A hospice must frame your final days as your home has framed your life. The room is your final place in this world and the bed is the place you will spend you final waken hour. A hospice is a place in between. The final stop before the unknown, and a place to faces your fears, enjoy your happiness, and say goodbye to it all.

02 // palliative architecture

HOSPICE VENDSYSSEL a walk through

Hospice Vendsyssel Hospice Vendsyssel (2013) Architect: Østergaard Architects Location: Frederikshavn, Denmark Size: 1825 sqm

The design of a new hospice in Børsmose is will take its point of departure in the programmatic solution described in ‘Programme for the Good Hospice’, thus meeting the requirements presented by the leading doctors, health care personal, and hospice employees in Denmark. In order to get a more in-depth understanding of the programme and the overall narrative of a hospice, one of the latest hospices build in Denmark, ‘Hospice Vendsyssel’ is visited in the search for a greater understanding of the parameters in play in the everyday life of a hospice. Through a generic study of the layout, spatial organisation, interpretation of the narrative of dying, and the institutional aspects of “Hospice Vendsyssel”, I seek to determine focal architectural themes in the creation of ‘a place to die’. Hospice Vendsyssel is located in the scenic context of the suburban edge of Frederikhavn, surrounded by forest preserves and view to the sea. The building is designed by Østergaard Arkitekter from Aalborg and inaugurated in august 2013. The hospice Vendsyssel consist of the patients ward, employee area, hospice kitchen and palliative common facilities; all organized around two court yards and four main hallways providing access to the entire house. The main programmatic focus seems to be the ward and the employees’ work area, which appear to infiltrate the entirety of the house, while functions as Day Centre and external palliative care units are downsides and organized as multipurpose spaces close to the entrance, located opposite the patients ward on the south-east part of the hospice with view to the sea. The building’s overall organization separates the patient ward from the rest of the hospice, which greatly seems to consist of function related to the employees. The division of employee space makes the staff’s work area infiltrate the entire house, and thereby, activate every space connected to the hallways and courtyards. The division seems to have great influence of the workflow of the employees, but I feel a close resemblance to the institutional machine of a hospital in this part of the hospice. The patients do not seem to occupy these areas at all and, thus underlining the separation.

Ill. 04: Masterplan, Hospice Vendsyssel

arrival There is a specific vulnerability in the first meeting with the staff at a place like a hospice defined by the vulnerable situation of the people entering the doors, and even as a mere spectator it creeps a bit to walk down the drive way, towards the hospice. As I arrive to the hospice by a small road from the north of the site, passing the wood preserves and the scenic landscape, I am presented with the Kattegat Sea to the east. It seems to already calm my nerves a bit. The building in front of me looks like an oversized single-family house, again calming me down further, only the many cars parked in front tells another story. The entrance to the hospice is pulled a bit back from the parking area and covered by a large overhanging roof. When entering the double doors, the reception area is located to the right and pulled back even further from the entrance area and public space. This first meeting with an employee is protected from the larger space behind it. The roof is a bit lower here and it gives an impression of intimacy and privacy, though not available at all. On the opposite side from the small space surrounding the reception, the large common space unfolds with a piano and a minor setting area. It is possible to close it off completely if necessary, but as I arrive it is open and empty. The large space is directly connected to a courtyard and it all appear to connect into one large entrance space. It is possible to get a great overlook of the entire hospice from the reception desk, both the common space right next to the entrance, but also the employee work area, the kitchen, and the ward are visually accessible from here. The nurse leads the way and,

as we start walking around the courtyard, I notice the sea again. Just down the hallway, an opening is presenting itself to me and it seems to be available at my request. The arrival to the hospice, accompanied by the nature and the inbetween space of the porch connecting the hospice with the arrival path come across as well-functioning. It is as though the act of entering is divided into several steps, providing the opportunity to take in the forthcoming experience of the hospice. The entrance area within the foyer space is downscaled in relation to the rest of the foyer. The downscaling is very influential on the comfort of the first meeting, however it accentuates the size of the open spaces on the other side of the foyer, which can appear very large and feel empty. The main thing that seems to work really well is the axes of the hallways leading to the ward, and the technical spaces and kitchen, combined with the courtyard. Their provide the visitor with an initial understanding of the layout of the hospice and make it seem more accessible and inviting. As a first time visitor to the hospice, it appear very calming, easily readable when everything is visually available, and that I primarily have rooms on my one hand and courtyard on the other.

Ill. 05: Sitting niche, Hospice Vendsyssel

The ward The ward consists of 9 patients bedroom, 2 relative bedrooms, and several palliative functional rooms, all located at the end of two of the hallway surrounding the courtyard. I enter the ward through large double glass door and walk by the common function of the patients’ ward as reflection room, conversation rooms and the bath therapy room which is located in immediate relation to the entrance of the ward, close to the employee area and in direct contact to the court yard, thus enlarging the relatively limited spaces and providing direct access to an outdoor space. The entirety of the patient ward is organised on a long hallway with an open living and dining space, as the common space and centre of attention. As soon as we turn around the corner and enter the common space, the change in atmosphere is noticeable. Today, a patient’s sister has baked bread in the common kitchen and the entire ward smells of it. Nurses and patients say hello and smile at me as I walk with the nurse towards the living and dining room. I hear people chatting around in the corners and two children sit in a top lit spot playing with their toys playing. There is a clear difference in atmosphere from the entrance area and the hallway we just came from; as though everybody is together, but separate in a sense that allows for the vulnerability normally considered available in the privacy of one own home. The hospice’s treatment of scale is evident in the ward as the bedrooms are separated and shifted to create minor niches with room, thus creating a blurred understanding of the space. When walking around in the ward, there seems to be no main walking paths. The main living room floats into the patients entrances and out into the court yard, and the rest of the area consists of small sitting areas, niches, or living space, often defined by a skylight or a window towards the sea. These small spaces define places for private interaction and

leave the larger space as a common space for social interaction. The large common room and kitchen can be divided into a separate dining space and living room. The living room area has a single wall that looks pulled in from the outside. We sit down in the small wall niche, which, unlike the rest of the internal walls, is a brick wall. The change in materiality makes it a completely different object in the room and it becomes very influential on the feeling of the space. Its tacitly is softer and the light reflected of it, influences the light in the entire room. Furthermore, the wall contains a hearth; a small build-in fireplace which warms up the entire wall and the understanding of it. It is the ultimate and initial understanding of a gathering place; around the fire. There is something very primitive and substantial in gathering around the fire and as we sit in the niche, a patient in a wheelchair, pushed by a nurse, comes in and the importance of the common place is clear to me. This might just be the one hour today that he is well enough to leave his room; and he spends it at the fire looking out in the courtyard and enjoying the two birds jumping around.

intention. The main common space, the living room and kitchen has a very public character. The traditional understanding of the hearth, as something soothing to gather around, is accentuated by the narrative of the hospice as ‘a place to die’, so we can gather around the hearth, converse, and calm each other in togetherness.

The ward in experienced as a separate unit within the hospice, all surrounding the common spaces and the court yards. However, the most significant element in the rather large area is all the minor areas, that work as small breaks; areas in between the bedrooms’ severe situations and the social atmosphere of the common kitchen and living room. Critically. there seem to be a mixed level of privacy within the ward. The small niches just outside the patient’s bedrooms are obviously meant for these patients, while other areas are larger and perhaps occupy-able by everyone, while still private in its

Ill. 06: Patient room, Hospice Vendsyssel

the bedroom

the work place

We enter a room which has been empty since last night and a new patient will arrive tomorrow. It is completely empty except for a hospital bed, a table and two chairs occupying a corner each. The sun shines in through the window and lights up the wall. It does not seem too big, but definitely not too small either. As the eastern wall connects to a large terrace and the sea is visually available at all time. Mads Østergaard has told me that it is possible to see the sea from the bed and stresses how the patient is mostly to ill to move around. It is, therefor, important for their experienced life quality, to have some basic experience from within their bed. To accompany this thought of experiences, a large skylight is installed just above the place meant for the patient’s bed. The skylight defines the bed by lighting up the space around it. Even though the room is extremely well lit from the large east-facing window, the skylight contributes with a very special light to that exact spot. The skylight continues across the wall to the bathroom and light up the separating wall on the other side. The wall contains a bathroom sink which also lights up by the skylight and indicate the action of the room.

The employees’ area is located in the south-west corner of the hospice, in direct connection to the entrance and arrival path, and consists of separate work stations, offices, a common break room and kitchen. The employee area has access to their own, though minor, courtyard providing them with a sense of privacy and refuge from their routines at the hospice. On the north side of the hospice, the more technical unit as the kitchen and changing room facilities are located, while the south side, as mentioned, contains the employees’ office space and break rooms.

The bedroom is rather limited in square metres, but by installing the skylight, a zoning of the bedroom, affect the experience of the rather neutral room. The bed can be regarded as the absolute minimum unit and in this solution, the bed is staged as the best of the room. Unfortunately, this notion does not seem to infiltrate the entire room, but is restrained to that one spot. This leave the rest of the room with a lack of something; that something that makes the bedroom a special little germ.

The fact that the employee area is spread out in the entire hospice, forces activity in the part of the hospice separated from the ward. It also allows access to the ward from two different hallways, so nurses and healthcare personal are not forced to walk past and through the common spaces before arriving at a patient’s bedroom. In general it seems to be very well functioning to locate the office and examination rooms away from the ward, thereby avoiding the constant interruption or disturbance of the everyday workflow, internal meetings, and conversations between doctor and patient.

life & death When a patient dies they are placed in a casket in their own bedroom and the relatives and the closes nurses and healthcare personal have the opportunity to say a final goodbye. Afterwards the casket is closed and carried to the porch area accompanied by song. All patients are sung out from their bedrooms, unless they wish differently. The death of a patient is something that influences the entire house and the nurse tells me that it obviously affects the everyone when a casket and a patient leave the hospice. However, it is the fact of everyday life at a hospice and the patients are aware that it soon will be them. It seems very down to earth and not as a significant event when a casket leaves, and since the patients come and go trough the same door, it is the action of the living and not the architecture that says farewell to the dead.

Ill. 07: Patient terrace, Hospice Vendsyssel

religion & nature

sub conclusion

The hospice is not equipped with a religious room, though bibles, priests, and other religious artefacts are available at the patients’ request. Death is naturally a very sensitive subject to deal with and many seek contemplation in religion, thus the hospice has a contemplation room. A small secluded space where a patient or a relative can retreat in solitude, consider their situation, and just be alone with their thoughts. The hospice is, furthermore, equipped with several meeting and conversation rooms, which allow multiple patients and relatives to interact in a place secluded from the community of the common space. The religious aspect of a patient’s death is defined by the patient’s wishes, thus becoming more or less outstanding.

The overall experience I got from the hospice in Vendsyssel, was the notion of the landscape, the sea, and the sky as an omnipresent element which light up the place, and showed me direction, or simple introduced it self as a pleasant thing for me to look at, a back drop, or a beautiful painting. The landscape and nature had a subtle way of imposing on the architecture, or perhaps the architecture had a subtle way of introducing the landscape as something that defined the special spots meant for human occupation?

It seems to me that the hospice is fairly adaptable in regards to a patients religious needs. Jette Søgaard, informs me of the nonreligious attitude of the personnel, and the hospice philosophy naturally does not differentiate between religions, and neither should the building in any situation suggest a religion, but instead nature is suggested and presented as a partaker of spatial understanding and layout of the hospice.

02 // palliative architecture

SUB CONCLUSION A place to die?

SUB CONCLUSION Hospice Vendsyssel, as an overall architectural concept, deals with the notion of a protected and private space in the organisation of the building volume around two courtyards. The scale and flow of the hospice is optimized and the courtyards provide the hallways with a lot of light and create great visual connections throughout the house. The ward it self differentiates between the privacy of the patients’ bedrooms and the community in the common room. What I found particularly interesting was the many minor spaces in between to two; the seating place, the niches, and the small closed of groups of furniture, which, though a decorating feature, was defined by the build space itself, either by a sky light, a large window or a separation of the build volume. The hospice takes advantage of the scenic landscape and the effect it has on the spectator in the creation of the niches and uses natural light as an indicator of where to walk, sit, talk, or be quiet. Critically, I would argue that the building, as a detailed structure, lacks attention to the smallest scale of its architecture. It is highly noticeable how the patient rooms are separated to create niches, or the one spot, where a wall is used for a seating place, or the skylights that define an area of attention, but my main concern is why it is not articulated in a more significant way.

architectural themes The creation of a hospice can be regarded as an on-going compromise between the institutional machinery and the understanding of belonging, feeling safe and protected as if a patient was to be in their own home. With an average admission of only 21 days, it is hard to argue that the patients should feel at home, but the experience of privacy and places to occupy with the scale of the home is important. Based on the visit to Hospice Vendsyssel and Hospice Fyn, the interview with Jette Nissen, talks with nurses and especially my conversation with Kaj Sørensen have lead me to propose following main themes of a hospice. Functionality The most essential question in the creation of a hospice is the question of ‘how does it work?’ In order to provide the absolute best palliative care for the patients, it is important that the palliative team are able to perform at their very best and in this understanding, the hospice is the machine enabling this care to take place. As an architectural question, functionality is the main theme to take into account. Without it, the care and life quality of the patients will suffer. On the other hand, the palliative notion of the patient is the very centre of the palliative care, alters this thought of functionality into something more fitting to the patient. The notion of the in-bed patient is a minimal unit and it is important for life in the house to be considered from within a bed. Thus, focusing on the scale of the patient and on how life functions and evolves from there.

It is important to recognise the furnishing scale of the project in this situation, as this minimal scale is easily readable and connectable. It concerns a notion of scale and materiality, but also maintenance and cleaning have influence on the overall considerations of the hospice. Based on the notion of functionality and experienced life quality, following architectural themes is important and deserving of great notion. Transition If nothing else, a hospice is a place to close your eyes and die. The hospice is the spatial framework in which we are able to take the final transition from life into death. The situation surrounding deaths at a hospice is very varied and is never just a case of dying. The transition between life and death create different needs and situations for each patient and their relatives. This adaptability and versatility should be introduced through the architecture. On one hand, there is a fundamental need for an unpretentious and hands on acceptance of the patients situation. On the other hand, saying goodbye for good has the ability to influence patients mind-set and religious perspectives, thus creating a specific balance mood between optimism, joy of life and the solemn and graving pressure of dying.

Protection The situation of dying often leads to doubts and insecurities, perhaps even existential questioning from both patients and relatives. In this case, the greatest task of the hospice is to create a safe and protected narrative which insures the patient that he or she is safe and free to express their deepest fears and concerns. There is a certain vulnerability which is hard to deal with, if the patient is insecure or do not feel save in the hands of the palliative team or the building it self. The proactive nature of architecture can influence the experience and life quality of the patient. Nature Landscape and nature appears to be the essential symbol of life on earth. As a patient dies he or she is not only saying goodbye to their relatives, but also to life itself. The relationship between architecture and nature can have a significant influence on the patientâ&#x20AC;&#x2122;s perspective on dying and becoming a part of the circle of life represented by nature.

choice of case studies In the following chapter I will try to explore the potential of the detail in relation to an overall narrative, and how this detail can be constructed through a tectonic perspective. The analysis method used is presented by Marie Frier Hvejsel in her PhD project ‘Interioriry – a critical theory of domestic architecture’, which allow, me to consider a single gesture, its’ constructive principle, and further discuss how the single gesture is able to tell the story of the entire project; the narrative.

The following three case studies have been chosen to explore the notion of the detail in relation to an architectural theme and influence on an overall functional narrative. Furthermore, the case studies explore details in three different scales, thus exploring the possibility of the detail supporting a narrative in every scale of architecture:

Gunnløgsson House (1959) Architect: Halldor Gunnløgsson Location: Rungsted, Denmark Architectural theme: Nature, Functionality Detail: The room as a detail affecting the narrative of the house Woodland Chapel, Woodland Cemetery ( 1915-1940) Architects: Erik Gunnar Asplund Location: Stockholm, Sweden Architectural themes: Transition, Landscape Detale: The building as a detail affecting the narrative of the landscape

03 // CASE STUDIES In the following chapter I will explore the possibility, that a single architectural detail of an envelope, a room or an entire building has the ability to â&#x20AC;&#x2DC;tell-the-taleâ&#x20AC;&#x2122; of an overall narrative. I wish to undertake a single gesture and its relationship to the architectural understanding of a greater whole and the possibility that it is able to obtain information, which can be regarded as a supporting aspect in a buildings narrative.

03 // case studies

CASE STUDIES doorway / book case, Gio ponti

Abitazione dimostrative (1936) Architect: Gio Ponti Location: Trienale di Milano, Milan, Italy Architectural theme: Functionality, transition Detail: The envelope as a detail in the room Based on: Laura Falconi 2010: Gio Ponti, interiors object drawings (1920-1976) Graziella Roccella 2009: Ponti, Taschen The following case study is chosen due to its architectural theme of functionality and the scale of the interior detail. The detail in question is the bookcase and doorframe from the project presented at the VI Triennale Di Milano in 1936, by Italian architect Gio Ponti. Function: When looking at the functional aspects of the doorframe/bookcase with the integrated sliding door, one can immediately call it the marking of the entrance gab in a wall between the living room and the study which is revealing the content of the study. The doorframe obtains the function of bookcase integrated into the wooden structure of the doorframe. By making use of furniture and insertion of it into the envelope, the bookcase becomes a key element in the living room as it divides the two rooms, while also connecting them by the presence of the books in both rooms. The sliding door is hidden within the wall and, thereby, the door becomes an integrated part of the doorframe/bookcase, which seems to have a rather large influence of the experience of the overall perception of the doorframe/bookcase as it becomes one unit instead of two separate elements closely connected. In relation to the overall plan and section of the project, the doorframe/bookcase stands out as functional element obtaining the notion of a living situation of the house. The project contains multiple integrated solutions to furniture, but the doorframe/bookcase is the only element dividing the house’s otherwise open plan into two, and as though this is in no way the intention of the project, the gesture of the integrated bookcase reconnect the two rooms into one and reveal the function hidden behind a potentially closed door.

Ill. 08: Book case, perspektive

Emotion: When standing in the living room, the study, which is hidden behind the wall element containing the bookcase, offers the spectator a book and a doorway to a study where the book can reveal its own content. The doorway/bookcase can so to speak tell the tail of the room to enter behind the door. As in the case of Asplund’s library discussed in chapter 1, I regard the opening as an entrance through the bookcase, but unlike Asplund’s project, here the wall, door frame, and shelves are articulated as one single object conjoined into the revealing element between the study space and the living room. There is a clear, yet subtle hint to pick up a book as you walk through the door to the study, which is not as imposing as in the Asplund’s project. This fact is supportive of the overall narrative of a house and as a place of many functions. Realm: The project Abitasione Dimostrative (Demonstrative Home) was submitted to the VI Triennale di Milano in 1936 and is a physical representation of Ponti’s writing in the architectural magasin Domus in 1935. In the magazine, he defines the ‘way’ for modern Italian living as apartments with fixtures and fitted furnishings (Ponzio 2010, 64). Prior to the project in the post war era of Italian art and architecture, the futuristic uproar and Marinetti’s Futurist manifesto from 1909 had influenced the Italian discourse and, as Ponti in 1928 founded Domus, his aim was not only to influence the architectural discussions, but also the reach the broad public with an interest in art and architecture. Through its’ own search for a valid form to express

modern Italy, he wanted to teach good taste and to again celebrate beauty in Italian manner. Ponti argued in the 1930’s that the Italian house was a place where the Italian people had chosen to enjoy life and was not a shelter to protect from the climate, as it was the case in the more northern countries (Roccella, 2009, 12). This is what started the discourse of the Italian house and the furnished window. In this period of his work, Ponti defined a integral way of viewing the envelope of the room as an interior element. A room consists of four walls, when one wall becomes a window the room only has three left, until that window is treated like a wall and integrated into a furnish window. Ponti’s work with the Italian House, where he works with the typical house and develops a series of houses as an answer to the prefab development of the (Ponzio 2010, 59) and the exhibition at the VI Triennale di Milano, is the first representation of such a project where the main objective is to present a house with low cost furniture that meets the demands of modern life. Construct: As mentioned above the projects is not actually a finished or liveable project, but a manifestation of ideas and architectural thoughts and, therefore, it is difficult to say anything about the construct of the house as a whole or how the detail is influenced by a specific constructional manner. Nonetheless, it is obvious how Ponti’s integration of the revealing furnishing detail, in the most basic marking of the envelope, evolves into a structural understanding of the project. The details notion is based upon Ponti’s undertaking of the furniture as a integrated part of modern living and the delicate wooden panels is not only seen in the doorway/bookcase, but is the

Ill. 09: Bookcase, elevation

Ill. 10: Bookcase, plan

same as every other doorway, shelf, and sofa in the living room and study. Thereby, introducing the rooms as one coherent unit of space, almost as a wallpaper of functions, and not necessarily integrated into the construction carrying the house. It is my observation that the unity of the house as one space, where things fit together and become one united solution to live in, is the overall expectation of Ponti, who, in this case, uses the revealing element as the mediator or combining element of the functional demands and emotional qualities of the house to underline his thoughts on the narrative of a home.

or narrating, an action when walking from one room to the other. With regards to the contextual and constructive implementation of the gesture in relation to the overall architectural narrative of a home, I would argue that Ponti creates an integrated solution of furniture that allows him to create a specific integrated narrative of the entire house of Abitazione Demonstrativi; a house where he shows his ambitions for architecture as an omniscient living solution. Ponti integrates the scale of the envelope detailing and furniture, and uses the combination as overall gesturing elements narrating the spectator’s actions within the space. The entire house becomes a serving element for the inhabitants to enjoy and engage in, and when the envelope is extended until it becomes the furniture, Ponti creates an implementation of the function of a room into the envelop itself.

In the following I try to discuss the possibility that Ponti’s revealing gesture can be described as a simple constructed principle explaining how the revealing gesture can be regarded as an ability of the smallest unit of a house, the envelope, to influence the narrative of a house. The principle, the gesture, and the narrative: Through the analysis of the furnishing gesture of the doorway/ bookcase in Gio Ponti’s project, I would suggest that the gesture of revealing is created from the principle of a simple extension of the doorframe and its functions. It is the notion of integration that allows the bookcase to integrate the action of the study on the other side, and it is the extension of functions into the doorframe which makes space for the bookcase. The integrated furniture derives from the main idea of the doorframe as a marking of the transition itself. In this case the frame has been extended and is now suggesting,

Ponti creates that something extra; the little in-between by a simple detailing of the building’s envelope. He uses the minimal element of the built space to insinuate his idea of the home; articulating his thoughts of an overall narrative of the home. Concluding, I suggest that Ponti strengthens the narrative of a complete living situation in his integration of the living situation into the envelope itself, thus the constructive principle of the envelope obtains the narrative of the house.

03 // case studies

CASE STUDY Gunløgsson house, Halldor gunløgsson

Gunnløgsson Summer House (1959) Architect: Halldor Gunnløgsson Location: Rungsted, Denmark Architectural theme: Nature, Functionality Detail: The room as a detail in the house Based on: Real Dania, 2007: Halldor Gunnløgssons eget hus Tobias Faber, 1985: Indblik og Udsyn Micheal Sheridan, 2011: Mesterværker

Ill. 11: Gunløgsson House

The following case study is chosen due to its architectural theme of functionality, nature, and the scale of detail. The detail in question is the functional core in the Gunnløgsson House by Halldor Gunnløgsson in Rungsted, Denmark.

a point of reference for the narrations of the different actions in the different areas of the house.

Function:

When turning the corner from the entrance and passing the bookcase, the view of the sea is immediately presented to the spectator. In some ways, the window frame disappears, and the landscape and the sea come all the way in to the living room. The beams and wooden ceiling keep the rain out, and the core has already disappeared in the perception of the house in such a way that the house becomes a space in nature, covered by a large roof. The understanding of the house as one open space between two heavy gables and the roof, is detectable as the box silently contains the functional demands, and, thus, leaves the open space free to be occupied by life itself. The core guides life around it in a poetic separation of practical demands from enjoyment. The heaviness of the roof and the darkness of the painting affect the understanding of this separation between functional elements and the free space for life. It is my main observation, that Gunnløgson achieves the connection to the landscape in the basic poetry of an open façade; a situation enabled by the collection of the functions in the box and underlined by the heaviness of its materiality.

When considering the functional aspect of the core of Halldor Gunnløgssons house, one can easily understand it as a container of the functional demands and installations of a house from the recreational sojourning spaces of life lived in a house. Thus, the functional gathering separates function from landscape and nature. Referring to the thought of Louis I. Kahn, and the notion of the served and the serving element (Lobell 1979), the box contains everything serving; the entrance cabinets, wardrobe, library, kitchen, and bathroom, while the remaining house is an open plan with space for study, living room, dining room, and bedroom, those being the served elements. I would regard Gunnløgssons organisational choices as a clear separation of the serving and served spaces, and a means toward a compact living space with room for life instead of cabinets. The overall functional understanding of the box’ influence on the initial perception of the house’s layout has significant influence on the way Gunnløgsson suggests life to be lived in this specific house, as he creates only one solid wall element in the entire house. By creating this one solid element, the house can be regarded as one space in direct connection to the landscape. It is my main observation that the collection of functions in the core creates an indication of division of this open space related to the function of the core, thereby, guiding the spectator around in the open space. When moving around the house, the core becomes a fixture, a solid, and

Emotion:

Realm: The house is built as a private residence for Halldor Gunnløgsson and his wife Lillemor Gunnløgsson in 1958, where he lived until his death in 1985. Gunnløgsson worked as a teacher at the royal academy of fine arts, alongside Kay Fisker.

In 1942, during the Second World War, Gunnløgsson fled Denmark and went to live in Stockholm, where he was introduced to the ideas and thoughts of Gunnar Asplund, who had died in 1940, but had had great influence on contemporary Swedish architecture. Asplund became an architectural ideal for many of the Danish architects who lived in Sweden during the war, and especially the influence of the overall concept and the natural functionality and respect for construction as seen in Gunnløgssons future work (Faber 1985, 154). The notion of form following function had had great influence on Danish architecture, which developed into an era of Nordic functionalism with great inspirations from the open plan solutions of Mies Van der Rohe (Sheridan 2011) at the World Exhibition. The house is greatly influenced by Gunnløgssons trips to Japan, formally seen in refined logic and consistent constructions throughout the house. Moreover, it is seen when considering the detail in the overall relation to the plan and section, where one is led to think that Gunnløgsson, in this house, has created a closed off space for functions and an open space in great contact with nature; a place free from the functional demands of life; a place merely for enjoying life. Construct: The house is constructed based on two end-walls carrying the roof on the heavy base of the stone floor. In between these two horizontal elements is only the functional core as an influential architectural element. Dark painted beams carry the roof in a strict rhythm, going transverse on the length of the house and, thereby, underlining the

Ill. 12: Plan, Gunløgsson House

connection between the front yard with the sea as a backdrop, and the closed backyard with the forest as a backdrop. The two are connected through the house and the functional core fits within the beams, thus fitting the house’s premises and adapting the structural system. Gunnløgssons repetition of the beams and pillars create a grid in which the box seems to fit perfectly, and the box acts like a pillar carrying the roof and visually becoming a structural element, or at least understood as one. The notion of the box’ ability to keep the roof up is also described by Gunnløgsson in his choice of material, as the wooden structure is painted with the same back lack throughout the house. In the following, I discuss the possibility that Gunnløgsson’s guiding gesture can be described as a simple constructive principle. Furthermore, I will discuss the possibility of the gesturing detail as an influential part of the narrative of the house, and how the gesture is a partaker in the overall narrative of the house. Principle: Through the analysis of the furnishing gesture of the functional core in Halldor Gunnløgssons summer house, I would argue that the guiding gesture is created by a separation of function and a marking of the closed of space as a contrast to the otherwise completely open space. By creating a solid space to contrast the otherwise open layout, the core becomes significant to the overall layout and spatial interpretation of the house. In essence, the core becomes the detail that tells the tale of what type of life is to be lived in each section of the house.

Ill. 13: Section, Gunløgsson House

The principle, the gesture, and the narrative: To consider the detail’s influence on the overall narrative, I argue that the solid core’s guiding influence has a spatial defining influence on the remaining square metres of the house. It is the lack of detail which is actually interesting, and how the box can be unfolded and functions appear when you need it. It is a poetic way of displaying or covering the living machinery of the house which accentuates a living situation in close relation to the landscape and nature, and emphasize the heartiness of the people occupying the house. Analysing the narrative of the house through the guiding gesture of the core has enabled me to see how the whole house can be considered as having a guiding narrative due to the close connection with nature. Life in this house is everything lived between the functional demands and nature. The solid core lets you orientate your way around the house and stands as the fix point of reference to all the open space surrounding the spectator. To conclude, I find that Gunnløgsson strengthens his narrative through a gesturing detail in the scale of a room as detail in its relation to the whole of the house.

03 // case studies

CASE STUDIES Woodlands cemetary, ERIK GUNNAR ASPLUND

Woodland Chapel, Woodland Cemetery ( 1915-1940) Architects: Erik Gunnar Asplund Location: Stockholm, Sweden Architectural themes: Transition, Landscape Detail: The building as a detail in the landscape Based on: Simon Unwin, 2007: Doorway Christian Norberg-Shulz, 1996: Nightlands Ill. 14: Woodlands cemetary, perspektive

The following case study is chosen due to its architectural theme landscape, transition, and the scale of the detail as a building in the landscape. The detail in question is the outdoor entrance of the woodlands chapel by Erik Gunnar Asplund. Function: When looking at the functional aspects of the entrance port of the Woodlands Chapel and the detail of the bended walls in the doorway, one can immediately call it an in-between space connecting the chapel and the landscape. The chapel roof covers the porch and seems very heavy as columns speaking the same language as the wood surrounding the chapel carry the heavy roof. The front walls of the chapel are bended inwards to thicken the wallsâ&#x20AC;&#x2122; depths and strengthen the entering axis of the chapel, thus the bended wall in the doorway almost underline the transitional narrative of the chapel. When seen in relation to the overall plan and section of the chapel and surrounding cemetery, the entrance doorway and porch become the connecting element between the chapel and the landscape. The importance seem highly regarded, as the small chapel has nearly the same dimensions and the open porch almost appear to include the landscape into the building. Emotion: When entering the chapel to say goodbye to a close relative or a dear friend, the spectator walks into the dense pinewood forest and is met by the heavy roof of the chapel which gives the impression

of being carried solely on the columns reminiscing the trunks of the forest. The roof seems floating, but as one get closer, the building behind the columns present itself as the main structure. The large roof covers and protects the visitors as they move towards the entrance of the building. When standing underneath the roof on the porch of the chapel, one is presented with the combination of life and death. Behind you are the landscape and the living, in front of you is a chapel in which a dead friend is to be left behind. This manifestation of a place in-between lets the visitor clear his of her thoughts, take a breath, and step into the forthcoming situation at just the right time. However, it is my main observation that this deliberate accentuation of the transition is done to limit the hierarchy between the living and the dead. The porch becomes a filter and, in relation to the detail of the bending walls, the porch and doorway should be considered a connecting element, not a separating element in the architecture. It is reminiscent to the thought of the dell (Unwin 2007, 11) and how this dell is defined by its doorway. After service/funerals, the visitors attention is drawn to the landscape in a sense of reconcile to be found in death being a part of the circle of life and death. There is no hiding the purpose of the chapel. Death is considered a natural part of life and, for example, the keyhole is shaped as a skull where the key is entered through the eye.

Realm: During the 20th century, cremations became more and more typical and, as a result hereof, the cemetery was commissioned, alongside four chapels, to be incorporated into the complex. The cemetery is designed by Gunnar Asplund and Sigurd Lewerentz, following a competition victory in 1915. The Woodland Chapel by Asplund is the first chapel to be built on large complex of the woodland cemetery in the outskirts of Stockholm which is a simple wooden structure surrounded by the pine trees of the landscape. When the cemetery was planned, Asplund and Lewerentz focused on the experience of the visitors and the main reason why the visitors came to the cemetery, namely to say their final goodbyes and mourn. This is seen in almost every aspect of the cemetery, but most clearly is visible in the routes leading to the chapels, crematories, and graveyards. By exploring the wood as a frame for saying goodbye, I would argue that Asplund refers to the fairytale analogy of the forest as a place of mythical presence and transformation. The woodland chapel is found hidden within the outskirt woods of the cemetery and is by far the smallest of the four chapels. When seen in relation to the overall layout of the cemetery, I would argue that the significance of the chapel and its function as a childrenâ&#x20AC;&#x2122;s chapel is underlined, and the importance of privacy, transitional quiet, and peace is emphasised through the hierarchy of the four chapels. I feel that this is an emphasis also brought forth in the many transitional paths found in the entering axis of the chapel.

Ill. 15: Woodlands cemetary, plan

Ill. 16: Woodlands cemetary, section

Construct:

The principle, the gesture, and the narrative:

The chapel roof is constructed as a simple timber structure carried by the wooden columns found both in front of the chapel and inside the chapel. From the outside, the chapel is squared and inside the columns define a circular room. The porch itself consists of twelve aligned columns which heavily refer to the tree trunks in of the surrounding forest, a stone floor of natural stone which refers to the ground, and a heavy roof covers the entire building, porch and even a bit of nature as it sticks out from the foundation of the chapel.

From the analysis of the entrance porch and doorway of the Woodland Chapel by Gunnar Asplund and its connecting gesture, it is my opinion that one can consider the details of the entrance area and doorway as being created by a simple principle of stretching. By stretching the wall element, a thicker doorway is created, and by stretching the roof to cover an outdoor space, a transitional inbetween space is created. This shows great understanding of the chapelâ&#x20AC;&#x2122;s context and relation to the landscape of the overall concept of the cemetery as a place to say goodbye and mourn.

When seen in relation to the overall plan and section, the porch is understood as a part of the chapel. The porch is characterized by the alignment of the columns, leading the visitor to the doorway and on the inside surrounds the ceremonious space defined by a skylight.

Ill. 17: Woodlands cemetary, axonometric drawing

By zooming in on the articulation of the detail of the open entrance porch and doorway along with underlining the gesture of connecting a space, I have found that the spatial hierarchy makes nature and building meet in a fluent space between building and nature. Analysing the narrative of the Woodland Chapel by Gunnar Asplund, through the connecting gesture of the entrance porch and doorway, shows how the whole building can be considered an in-between space due to its function as a place for the transition between life and death hidden within the woods.

03 // case studies

SUB CONCLUSION a narrative potential of details

The case studies tried to explore the narrative potential of tectonic detailing in architecture. By examining details in three different scales, the chapter has tried to explore the possibility that a gesturing detail, as presented by Marie Frier Hvejsel, is possible to detect not only as a furnishing gesture of the envelope, but also of the room in the building and the building in the landscape. Ponti strengthens the narrative of an integrated home by displaying the function of the room behind the wall through the integration of a bookcase into the envelope feature of a doorframe. Gunnløgsson defines the liveable space by separating it completely from the functional aspects of the house, while Asplund merges the narrative of nature with the situation of death by accentuating the transition between the two in a tectonic detailing of a roof and the pillars carrying it. All three projects manage to tell a story with one little detail and, therein, strengthen the overall architectural narrative and quality. The analysis method has allowed me to regard a single gesturing architectural detail of the three projects, and the case studies have shown how the projects are able to strengthen their narrative by detailing their details. The case studies indicate the possibility that a detail as a tectonic principle of construction has the ability to obtain a specific gesturing aspect. Additionally, this gesture can be found in every scale of a project, thus every scale has the opportunity to be defining and strengthening of an overall narrative of a project.

I wish to utilize this notion of the scale of details as a methodical approach in the creation of Hospice Børsmose, thereby creating a narrative accentuated in the every scale of the hospice.

In the following chapter, I wish to explore the site in Børsmose and the notion of a ‘sense of place’. Moreover, I wish to explore if it is possible for a place, a site, to have a narrative, a story, and how this influences the human perception of self in relation to it. I wish to undertake the site through phenomenological study of the site.

04 // PLACE In the following chapter the site chosen for the project is presented. The chapter contains a priliminary study of the site and the notion of â&#x20AC;&#x2DC;a sense of placeâ&#x20AC;&#x2122;, thus exploring the influence of a place on the thought of a narrative.

04 // place

THE SENSE OF PLACE introduction to site

the sence of place The notion of place is a matter of cultural identity. When we look at buildings and architecture, we often recognise ourselves in the architectural language, use of materials, form, and typology, but also in the immaterial aspects of our cultural heritage, namely nature. The modern human has a cultural foundation in the place to which they feel a sense of belonging; a place they feel connected to. It is that which we do not see that signifies the sense of place. To me, place can become an important contributor in the creation of architectural atmosphere if taken into consideration, and the poetic contextual understanding that introduces the building’s cultural identity through place as an active player in the creation of architecture, is what tricks the discourse of a certain Nordic “sense of place”. As mentioned in chapter 1, I believe a great notion should be put into the understanding of the site and the site-specific narrative when creating build spaces. The discourse of Genius Loci, the notion of the spirit of place introduced by Christian Norberg-Schulz (19232000), takes its point of departure in the idea that our identity is founded in the place. We are the world around us, our place, our local community, our region (New Nordic 2013, 36). The theory is grounded in the concept of “the spirit of a place”, every place has a certain spirit and identity, and it is the architect’s job to transform this spirit into architecture. Thus architecture becomes the essential representation of the identity of the place and, thereby, also of the people. Whether the architecture underlines, plays against, or interacts with a site, the site influences architecture. Our identity and feeling of belonging is not a mere question of being present. It evolves

into being an active part of perceiving and taking in architecture as discussed by Kenneth Frampton in his 1985 article ‘towards a critical regionalism’, As we interact, we sense, we feel, and we receive the sense of a place. It is this sense of place, this notion of what the specific site is, can, and want, which is now subject for the following analysis. The main goal is to investigate the specific qualities and conditions of a site in the sandy dunes of Vestjylland. The analysis consists of a serial vision analysis of the site based on my site visit, a micro climatic analysis of the wind and the sun on the site, and finally a series of site sections to encounter the dimensions of the site.

Ill. 18: Picture from site

04 // place

SITE introduction to site

choice of site In the pursuit of a location for a new hospice in Denmark, and taking its point of departure in the thoughts on hospice developments in Denmark, the following considerations and thoughts has been playing an active part in the choice. As mentioned, hospice buildings have a tendency to either be urban or scenic. The majority of hospices in Denmark are located in close contact to larger urban areas, but also in connection to hospitals and healthcare institutions. The relevance of a hospice in a future context is connected to the future development of Super Hospitals erected throughout Denmark and the geographical area related to the hospice is estimated by a perimeter of 50 km. Thereby, a hospice in Børsmose reaches Esbjerg, Varde, and Hvide Sande, and increases the catchment area further from the small suburban societies on the West coast of Denmark.

specific Danish. The site has the recognisability one can always identify and connect with. It is this quality of site; this sense of place that has intrigued the idea of a site for the final home of terminal ill patients. Based on the idea of the non-urban hospice, the site in Børsmose has been chosen due to its complete dislocation from any suburban or urban context, and in complete symbiosis with nature and the sea.

Based on the placement of existing hospices in Denmark and the catchment area connected to the site in Børsmose is chosen due to the recreational qualities, which argues for a scenic hospice disconnected from the world. A hospice here should create an interrelation between nature, life, and death. Børsmose is placed on the edge of Jutland where land ends and the sea takes over, and the notion of the scenic hospice has inspired the idea of the landscape as a healing factor in hospice architecture. It is a thought on the connection to the lands, the idea of returning to basics and the giving in to being nothing, but a small part of a greater circuit of life on earth. A specific identity is found in these lands, perhaps it is the identity of Jutland’s or perhaps it is Ill 19: Hospices and hospitals in Denmark

Ill. 21: Site

arrival & access From afar, the site is approached by wavering roads adapting the landscape. The travel towards the site goes through the open landscapes of OksbĂ¸l and the military training course which has left the lands untouched and without inhabitants or buildings larger than small shelters. The nature characteristic becomes more and more obvious as one approach. The trees become further and further apart, the green grass turns yellow and high, and the earth becomes more and more sandy. It is a picturesque build up that leads to the end of land. The road towards the site is a sandy asphalt road which leads directly into the open sea in a long stretch with an opening in the dunes and the horizon coming closer and closer. Once parked in the nearby parking area, the flatness stops and the landscape takes over. The site is not visible from the parking, but a small track leads into the dunes and through a narrow space between two dunes is revealed the opening of the land where the site is situated. The site opens up to the north, hidden behind the dunes that define the edges of a large pocket.

Ill. 22: Picture from site

HOUSING AND TYPOLOGIES Summerhouses sporadically occupy the area as well as singlefamily houses. The buildings are mainly built in 1-2 stories in dark wood and have dark roofs or white-calked bricks with thatch roofs. The classical building typologies lay isolated and dislocated from each other. On the south side of the site is a camping area consisting of a larger welcome and administration house and minor huts sporadically placed on the ground. It seems that the buildings adapt the site and lay hidden within the dunes with only the very top of the roofs showing. The roofs blend into the layers of the landscape in a way that is nearly mimicking. The traditional building typologies are founded within the dunes and over the years the sand has covered some parts of the lowest building elements and uncovered others. The foundations stick up through the sand either too much or too little, and in no way the traditional building method would have presented itself in a landscape less changeable. The newer buildings of the camping area are built in point-foundations, which lift the building elements up from the ground and let the sand pass by underneath.

Ill. 23: Picture from site

water & sea On the south side of the site runs a small water stream that connects to the ocean just 100 meters west of the site. The ocean on the western coast of Denmark is known for its wide beaches and the backdrop dunes. The sea is not visible from within the site itself, but it is the first thing that meets the eye on arrival. It can be heard at all times and the sea has a certain smell, which cannot be explained. Thus the sea is ever present at the site and has a tremendous influence on the experience of the site.

Ill. 24: Picture from site

Ill. 25: Picture from site

Vegetation The site is mainly vegetated by heat grasses and minor trees. The earth is sandy and the wind carries it easily over the vegetation. The vegetation seems as one unified mass that covers up the entire site in shifting colors and heights, but at a closer look it is all very fragile, interrupted, and porous. The grasses stand waving in the winds and the trees seems to have adapted their growth to it. They stand crooked and bended, and display the tough strength of nature. One could be led to the thought that everything living here is on the terms presented by nature.

Ill. 26: Picture from site

Ill. 27: Picture from site

04 // place

BEACH

STEEP DUNE LANDSCAPE

FLAT POTENTIAL BUILDING AREA

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STEEP DUNE LANDSCAPE STEEP DUNE

Section AA1

building area BEACH

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POTENTIAL BUILDING AREA FLATFLAT POTENTIAL BUILDING AREA

STEEP DUNE STEEP DUNE LANDSCAPELANDSCAPE STEEP DUNE LANDSCAPE STEEP DUNE LANDSCAPE

Section AA3 BEACH BEACH BEACH BEACH

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Section AA4 BEACH

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Section AA5

BEACH BEACH

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SPECIFIC AREA OF THE BUILD BEACH

BEACH

The sections shows the level differences, 1-storey buildings and STEEP DUNE LANDSCAPE STEEP DUNE a person walking the area. It becomes visual how the landscape BEACH LANDSCAPE protects the site. BEACH

STEEP DUNE LANDSCAPE

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LANDSCAPE Based on the notion of a one level hospice, the building area is limited to a ground level of 6 meters, within the marked area the BEACH DUNE landscape changes no more the 1.5 meters. The building area isSTEEP LANDSCAPE then limited by severely high and more dramatic surrounding leaving the building complex free and covered by the heights.

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Ill. 28: Landscape sections

STEEP DUNE

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Ill. 29: Site

Ill. 30: Picture from site

03 // place

SITE

0 33

micro climate conditions

20 %

15 %

60 10 %

wind The landscape on the edge of the Western coast of Jutland is generally very exposed to west winds dominant in Denmark. The primary winds hit the site from a northwest, west, and south-western direction, but the experience when walking in the landscapes of the dunes is much more variable. The winds are messed up by the landscape and areas of lee, and wind speeds are very diverse due to the topographic variations.

Furthermore, investigation of the windâ&#x20AC;&#x2122;s average monthly strength throughout the year shows that the amount of wind in April, when the outdoor areas are often used, is at its strongest from the east direction wherefrom the wind is cold and dry. Oppositely, in the month of July the cool humid winds from west are the most dominant. With this everchanging wind situation it is important to take into account that the buildingâ&#x20AC;&#x2122;s geometry can create shelters and lee for the patients of the hospice.

Procent:

5.0 - 11.0 m/s

> 11.0 m/s

0.2 - 5.0 m/s

Ill. 31: Winddiagram

West 240

East

240

East

West

30 40

The dunes are newer shadowing much more area than their hillsides, but the different shadowing and colorization of the surroundings give an extraordinary debt to the site.

300

120

Summer sun 210

210

150

Equinox sun Winter sun

South

From the diagram listed below it can be seen that the building area of the site is located in an area with no shadows from surrounding buildings, while nature provides light and shadowed hills of the dunes.

North 330

330

North

sun

Ill. 32: Sundiagram

Ill. 33: Picture from site

05 // PROGRAMME In the following chapter the project programme for the hospice in bĂ¸rsmose is presented. The programme takes it point of departure in the programme provided by Realdania, but may be considered a edited verson fit for a hospice in the landscape. The chapter defines the narrative to follow specific programmatic units.

05 // programme

PROGRAMME An office, a day centre & a patient ward

The programme for Hospice Børsmose takes its point of departure in the programme developed for ‘The Good Hospice’ and the notion of the scenic hospice. The presented programme stays fundamentally linked to the programme provided by Real Dania, while additions and specifications are made with focus on the experience of the admission from a patient’s perspective. The programme is divided into three core elements and further detailed in the following pages. The three core elements are first the office, second the daycentre and third the patient ward. The programme must be organised logically and with a great notion to the patient’s ability to orientate and navigate through the different functions and the specific needs and requirements for each programmatic function.

An Office, Working area The employees working area is the employees’ place of escape and though connected to the ward have the possibility to be closed of f and visually disconnected. The area is meant only for office space and the consultation and conversation rooms should be integrated in a way that allows for patients to enter without entering the workspaces. The overall layout of the workspace should be open and avoid closed rooms; this should encourage a more integrated work process and conversations between the employees. The employee area should include minor a private outdoor space, for the employees to have a break from the demands of the job, a minor kitchen and dining space should be integrated into the employee area and with great connection to the landscape. The kitchen could benefit from a direct connection to the main kitchen in the palliative day centre. The employee area should also include spaces for informal and formal meetings for up to 15 persons with the possibility to visually disconnect from the rest of the centre. Minor meeting and consultation rooms should be integrated as mentioned above. The main narrative of the office is ‘A place to focus’; derived from my visit to Hospice Fyn and Hosipce Børsmose, it has been my observation that the hospice employees are greatly engaged, but also affected by their jobs, thus it is important to create a space, where they are able to focus on their jobs and perhaps even escape for a second.

EMPLOYEE AREA Office room type

sqm no.

light

view

comment

narrative

WORK AREA common employee area

120

formal meeting room

10-15

informal meeting area

5-10

telephone room

print & copi room

coffee & dining area

break room

wardrobe / changing room

employee toilets

storage

journal archive

archive

TECHNICAL

function: working space gesture: framing

1. 1. office space and workshop grounds7 work stations included inforone open planed keeper office space for the employees of the hospice and 2. the space washing machines, dryers, dayfor center 3. 2. storage placed in a cellar, opportuaccesscan to abe10-15 persons meeting room for nity for bedwashing daily info meetings 4. 3. storage ofconnected bedlinnen, to laundry and other visually the entrance and day appliances. center 4. it must be possible to control visual connection to every room in the employee area 5. the palliative team works from this area along side the hospice employee

“a place to work”

1. changing room, bath and toilets for employees 2. lockable closets 3. handicap friendly toilets

1. estimate archive need is 50 running meters including journal archive and palliative team archieve 2. one archive can be placed seperate from the employee area.

180 sqm

groundskeepers office

trash

10-15

cleaning room

5-10

flushing room

laundry & linnen room

15-20

storage

delivery area

function: working space gesture: framing

palliative day center

PALLIATIVE DAY CENTRE room type

sqm no.

light

view

outdoor connection

comment

narrative

PALLIATIVE DAY CENTRE activity room

palliative day center The centre’s palliative functions and the day centre’s main room are mainly an area for patients not yet in need of the same level of palliative care, quiet and tranquillity as the patients admitted to the hospice full time, but it is still a place for patients to get the first introduction to the hospice philosophy and the palliative care that they might need later on in the illness. The hospice day centre is also a place to get away from the medical care of the hospitals and instead focus on one inner well-being. The space should invite to interaction, activity and gathering. It is a space where many different activity offers happen at the same time. The day centre should be located in close contact to the employee and consultation space. The main spaces should be spacious and be able to accommodate larger groups and gatherings. The centres visual connection to the entrance and employee area should be highly regarded and detailed in a way that strengthens the centres atmosphere. The main space is used during the day and should be east and south facing and have a clear treatment of the daylight included into the spaces. The main narrative of the palliative day centre is ‘a place to recreate’; a place for that patients to get better, both physically; hence the fact that they are not nessecarily terminally ill yet, and mentally. The day centre also includes a children’s room with the main narrative of ‘a place to play’, this should be regarded as a place where children feel free to have fun and be children in a place not filled with such. The children’s room should be centrally located and available to the children at most times.

examiniation room

gym / yoga room

therapy room

1-2

break room / quiet room

toilets

wardrobe / changing room

childrens room

1. the day centre has mainly a social fucntion 2. space for activity and interaction for larger groups and events 3. different activity can take place at the same time 4. access to outdoor area seperate from the ward 5. the examination space must be related to the employee area 6. the palliative team has workstations in the employee work area

function: gathering space for multiple activities gesture: sheltering “a place to recreate”

1. a secluded space away from the day centre, for patients who have sudden distrees 1. seperate toilets for patients of the day centre 2. wardrobe and changing room with lockable closets

1. a small activity room in close contact to the large space of the center. 2. must be connected to the activity room

function: seperate room for play gesture: protective “a place to play”

ARRIVAL & ENTRANCE main entrance

reception area

10-15

waiting area

5-10

conversation / meeting room

15-20

arrival path

tranquillity path

toilets

1. personal welcome to the centre 2. entrance must signal openess, welcome and be informative of the layout of the hospice 3. easy exit with casket, or biers 4. waiting area and conversation room must be near work area of the palliative team and the day centre

function: create a readability of a space gesture: inviting “a place to enter”

OUTDOOR FACILITIES

view point

benches & niches

1. path from parkinglot to hospice entrance through the landscape 2. a walking path 3.must be accesible with gurney and hearse 4. must reveal the hospice bit by bit 1. walking path in the landscape from the hospice and looping round 2. must include a minor shelter with view of the landscape 3. must include minor breakes and seating niches for patients to relax 4. must have different lenghts and opportunities to return to the hospice

function: connect the landscape, hospice and visitor in a common mental state gesture revealing “a place to progress”

PALLIATIVE DAY CENTRE room type

sqm no.

light

view

outdoor connection

comment

narrative

PALLIATIVE DAY CENTRE 50

activity room examiniation room

gym / yoga room

therapy room

1-2

break room / quiet room

toilets

wardrobe / changing room

childrens room

gesture: sheltering “a place to recreate”

1. a secluded space away from the day centre, for patients who have sudden distrees 1. seperate toilets for patients of the day centre 2. wardrobe and changing room with lockable closets

PalliativeAREA day center EMPLOYEE room type

function: gathering space for multiple activities

sqm no.

light

view

1. a small activity room in close contact to the large space of the center. 2. must be connected to the activity room

comment

function: seperate room for play gesture: protective “a place to play”

narrative

ARRIVAL & WORK AREA ENTRANCE 1. work stations included one open planed 1.7personal welcome to theincentre office space must for thesignal employees of the hospice and 2. entrance openess, welcome and be the day center informative of the layout of the hospice 2. access to a 10-15 persons meeting room for 3. easy exit with casket, or biers daily info meetings 4. waiting area and conversation room must be 3. visually the entrance near workconnected area of thetopalliative team and and day the day center centre 4. it must be possible to control visual connection to every room in the employee area 5. the palliative team works from this area along side the hospice employee

common employee area main entrance

120 -

formal meetingarea room reception

10-15 10-15

toilets area informal meeting

5-10 20

common entrance and arrival

telephone room waiting area

55-10

The main narrative of the arrival is ‘a place to prepare’, thus the parking area which includes both car parking and bicycle parking areas, should be placed away from the primary entrance to the hospice, thus creating a free space in front of the building. It is important for the visitors and relatives to discover the hospice bit by bit, hence the server impact a house like a hospice can have. The hospice should be entered through one entrance only. When entering the hospice layout should be apparent and the patients, relatives or visitors should be met by a welcoming atmosphere and a clear sense of direction. From the entrance area it should be possible to access the employee area, the ward and the palliative day centre, without having to walk through other areas first. The reception area should be the first thing to greet a visitor or relative when arriving. The reception area should be casually integrated into the space, thus not imposing it self and forcing the thought to an institutional reception.

print & copi room conversation / meeting room

515-20 11

coffee & dining area

break arrivalroom path

20 -

1 1

wardrobe / changing room

tranquillitytoilets path employee

view point storage

12 5

benches & niches journal archive

archive parking spaces

20 -

1 25

OUTDOOR FACILITIES

bicycle parking area TECHNICAL

trash

10-15

cleaning room

5-10

flushing room

laundry & linnen room

15-20

storage

delivery area

gesture: inviting function: working space “a place to enter” gesture: framing “a place to work”

180- sqm 15-20

groundskeepers office 20 ourdoor entrance space

function: create a readability of a space

1. path from parkinglot to hospice entrance through the landscape function: connect the landscape, 2. a walking path 1. changing room, bath and toilets for employees hospice and visitor in a common mental 3.must be accesible with gurney and hearse state 2. lockable closets 4. must reveal the hospice bit by bit 3. handicap friendly toilets gesture revealing 1. walking path in the landscape from the hospice and looping round “a place to progress” 2. must include a minor shelter with view of the landscape 3. must include minor breakes and seating niches for patients to relax 1. archive need is 50 and running meters 4. estimate must have different lenghts opportuniincluding journal archive and palliative team ties to return to the hospice archieve 1. one parking must bebe available all employees, 2. archive can placedfor seperate from the relatives and patients of the day center employee area. 2. the parking spaces can be located within walking distance of the hospice 3. drop off shall be available near the main entrance 1. office space and workshop for groundskeeper 2. space for washing machines, dryers, 3. storage can be placed in a cellar, opportunity for bedwashing 4. storage of bedlinnen, laundry and other appliances.

the hospice, close contact to nature storage

1. safety box for storage of personal values 2. closets

COMMON SPACE entrance to ward

living room / fireplace

kitchen / dining area

1. gathering areas for the patients, relatives and the employees 2. handicap accessable 3. accessable in for in-bed patients 4. must acompany various activities and various group sizes 5. centrally located and visually connected to the bedrooms 6. must include a minor common kitchen with space for eating 7. the common space must include minor breaks and niches for informal relaxation and conversation

function: multi purpose spaces gesture: framing “a place to interact”

RECREATIONAL library / reading area meditation room

1.acousticly regulated space for reading, listening to music or writing 2. visually connected to the surrounding nature 3. accessible for in-bed patients 1. rooms for bathing, meditation and theraputic rehabilitation as palliative care 2. acoustic regulation with use of music as part of the care 3. storage must be large enough for massage benches, mats and music system connection comment 4. control of natural and artificial lights 5. high level of privacy 6. accesible by lifts and wheelchairs

Patient related programme theraputic bath

WARD

room type rehabilitation / therapy room

PATIENT ROOM

TECHNICAL entrance storage sleeping area

sqm no.

2-3

5-10

medicin storage

living space

5-10 15

1 2

The patient’s bedroom

toilets

The patient’s bedroom demands great care and nearness from the employees to create save-zones and accompany the palliative care for the patients. The main narrative of the patients’ bedrooms is directly linked to the fact that the patients spend most of their time in bed, and the functional demands in regards of moving around the bed in different room is important for the patients sense of freedom. From my visit to hospice Vendsyssel and meeting with Kaj Sørensen, I would argue that the main narrative is ‘a place to live and explore’. It is highly valuable for the patients not to feel entrapped in their bed. The essence of the bedroom is the essence of a live still to be lived. Though the patients are about to die, it is important that life is not over before it really is. A focus is to be put into the experience of life in the bed. How a room can accompany a life in a bed and how the room is an entire universe of its own and with this notion it is also. The room should have direct access to a private outdoor area or terrace. The bed should be visually disconnected from the common area, in the sense that the door often is left open and the need for privacy in a fragile situation in present.

laundry room

8 12

storage

entrance to ward relatives bedroom / guests

1 4-6

living room / fireplace

kitchen / dining area reflection room

40 20

1 1

bathroom

1 1

COMMON SPACE OTHER

light

view

outdoor

1. beds must be with double sided access 2. the rooms must be equiped with a 1. storagedoor of medicin and dosaging of the lockable medication 3. same floor level to and from the room 2. locked and visually connected to the 4. rooms mustnot have own bathroom and toilet common 5. controlarea of light and daylight is a nessesaty for 3. of well-being lifts, wheelchairs, bedlinnen and thestorage patients matresses 6. acustic regulation dividing the bedrooms from 4. toilet facilities sharedand between patients, each other, bathrooms hallways relatives and employees. 7. outdoor space disconnected from the rest of 5. of bottled oxigento and climatic thestorage hospice, close contact nature machinary 6. washers and dryers, roomvalues for dirty 1. laundry, safety box for storage of personal laundry and trash. 2. closets 7. partly disconnected from the common area

1. gathering areas for the patients, relatives and 1. for relatives not interested in thebedrooms employees sleeping in patient rooms. 2. handicap accessable 2. to own bathroom and toilet 3. access accessable in for in-bed patients 3. storage space for clothing and personal 4. must acompany various activities and various effects group sizes 4. 5. lockable centrally located and visually connected to the bedrooms 1. but non religious 6. spiritual, must include a minor common kitchen with 2. storage space for religious artifacts and space for eating music 7. the common space must include minor breaks 3. good acoustic regulations and niches for informal relaxation and conversa4. accesible for in-bed patients tion

function: quiet space for personal healing gesture: protecting “a place to let go”

narrative

function: a shelter, a home, a universe gesture: revealing “a place to live and explore”

function: bedroom gesture: inviting function: multi purpose “a place to sleep”spaces gesture: framing “a place to interact” function: connect the user to the landscape gesture: isolating “a place for thoughts”

RECREATIONAL library / reading area meditation room theraputic bath

storage

medicin storage

toilets

laundry room

rehabilitation / therapy room

1.acousticly regulated space for reading, listening to music or writing 2. visually connected to the surrounding nature 3. accessible for in-bed patients 1. rooms for bathing, meditation and theraputic rehabilitation as palliative care 2. acoustic regulation with use of music as part of the care 3. storage must be large enough for massage benches, mats and music system 4. control of natural and artificial lights 5. high level of privacy 6. accesible by lifts and wheelchairs

TECHNICAL 1. storage of medicin and dosaging of the medication 2. locked and not visually connected to the common area 3. storage of lifts, wheelchairs, bedlinnen and matresses 4. toilet facilities shared between patients, relatives and employees. 5. storage of bottled oxigen and climatic machinary

function: quiet space for personal healing gesture: protecting “a place to let go”

WARD room room type type

sqm sqm no. no.

PATIENT PATIENT ROOM ROOM

30 30

entrance entrance

2-3 2-3

1 1

sleeping sleeping area area

5-10 5-10

1 1

living living space space

light light

view view

5-10 5-10

1 1

WARD

Ward Common space The common space of the ward is a place for the patient and their relatives to interact and connect. It is the place they come when the room is to small or they want to do something specific. The patient must feel protected and safe in the space and the rooms are filled with minor areas and corners for the patient to sit, talk, lay or eat. It is the notion of the shelter – the space created to protect, small environments in a larger whole. The common space should be directly connected to an outdoor space and the entrance. The wards common areas include several palliative offers as therapeutic bath, meditation room and a library. All the programmatic functions should be closely related to the ward and be understood as a part of the patients every day life. The library could a separate part of the common area. It should be considered a place for gathering in solitude and a place connecting the users with literature. The room should be usable for other activities and gathering and have a specific notion to the landscape. The library should either be included in the large common space or in close relation to the common space. The main narrative of the common spaces is ‘places to interact’. It is noted from my visit and study of palliation that patients and relatives have a high level on interaction, thus a room where this is in focus seems important. The programme differs between the main purposes of the common rooms, thus also proposing narratives of the recreational units as ‘ a place to let go’.

type

comment comment

narrative narrative

12 12

Ward Common space 8 1 bathroom 8 1 bathroom room storage storage

outdoor outdoor connection connection

-1 sqm 1no.

PATIENT ROOM COMMON SPACE COMMON SPACE

entrance entrance to entrance to ward ward

--2-3

11 1

sleeping area living living room room // fireplace fireplace

5-10 40 40

11 1

living space kitchen kitchen // dining dining area area

5-10 40 40

11 1

bathroom

storage

library library // reading area reading to area entrance ward

50 50 -

1 1 1

meditation meditation room room living room / fireplace

10 10 40

1 11

theraputic theraputic bath bath kitchen / dining area

20 20 40

1 11

rehabilitation rehabilitation therapy room room // therapy

15 15

1 1

storage storage library / reading area

12 12 50

1 1 1

medicin storage storage medicin meditation room

5 5

1 1

toilets toilets

10 15 15

1 2 2

theraputic bath laundry laundry room room

20 12 12

11 1

rehabilitation / therapy room

relatives relatives bedroom bedroom // guests storage guests

15 15 12

4-6 4-6 1

medicin storage

reflection toilets reflection room room

15 20 20

21 1

laundry room

light

view

1. 1. beds beds must must be be with with double double sided sided access access 2. 2. the the rooms rooms must must be be equiped equiped with with a a lockable door door lockable 3. same same floor floor level level to to and and from from the the room room 3. 4. 4. rooms rooms must must have have own own bathroom bathroom and and toilet toilet 5. control of light and daylight is a nessesaty 5. control of light and daylight is a nessesaty for for the patients well-being the patients well-being 6. acustic acustic regulation regulation dividing dividing the the bedrooms bedrooms from from 6. each each other, other, bathrooms bathrooms and and hallways hallways 7. 7. outdoor outdoor space space disconnected disconnected from from the the rest rest of of the hospice, close contact to the hospice, close contact to nature nature 1. storage 1. safety safety box box for for comment storage of of personal personal values values outdoor connection 2. 2. closets closets

function: function: a a shelter, shelter, a a home, home, a a universe universe gesture: gesture: revealing revealing “a “a place place to to live live and and explore” explore”

narrative

RECREATIONAL RECREATIONAL COMMON SPACE

1. for the gathering areas fordouble the patients, patients, relatives and 1. gathering beds mustareas be with sided relatives access and the employees thethe employees 2. rooms must be equiped with a 2. 2. handicap handicap accessable lockable dooraccessable 3. in patients accessable in for fortoin-bed in-bed patients 3. accessable same floor level and from the room 4. activities and various must acompany acompany various activitiesand andtoilet various 4. must rooms must havevarious own bathroom group sizes group sizes 5. control of light and daylight is a nessesaty for 5. and 5. centrally centrally located and visually visually connected connected to to the patientslocated well-being the bedrooms theacustic bedrooms 6. regulation dividing the bedrooms from 6. must include a minor common kitchen with 6. must include a minorand common kitchen with each other, bathrooms hallways space for space for eating eating 7. outdoor space disconnected from the rest of 7. common space must 7. the the common space musttoinclude include minor breaks breaks the hospice, close contact natureminor and and niches niches for for informal informal relaxation relaxation and and conversaconversation tion 1. safety box for storage of personal values

function: a shelter, a home, a universe function: multi gesture: revealingspaces function: multi purpose purpose spaces gesture: “a place to live framing and explore” gesture: framing “a “a place place to to interact” interact”

2. closets

1.acousticly 1.acousticly regulated regulated space space for for reading, reading, listening to writing 1. gathering areasor the patients, relatives and listening to music music orfor writing 2. visually connected to the surrounding thevisually employees 2. connected to the surrounding nature nature 3. for 2. accessible handicap accessable 3. accessible for in-bed in-bed patients patients 3. accessable in for in-bed patients 1. rooms for bathing, meditation and theraputic 1. rooms for bathing, meditation and theraputic 4. must acompany variouscare activities and various rehabilitation as rehabilitation as palliative palliative care group sizesregulation 2. acoustic regulation with with use use of of music music as as part part 2. acoustic 5. centrally located and visually connected to of the care of the care the bedrooms 3. storage must be large enough for massage 3. storage must be large enough for massage 6. must include a minor common benches, mats and and music system kitchen with benches, mats music system space forof eating 4. control of natural and and artificial artificial lights lights 4. control natural 7. the common space must include minor breaks 5. high level of privacy 5. high level of privacy and niches for informal relaxation and conversa6. accesible by lifts and wheelchairs 6. accesible by lifts and wheelchairs tion

function: function: quiet quiet space space for for personal personal healing healing gesture: protecting gesture: function: multi protecting purpose spaces “a place let “agesture: place to toframing let go” go” “a place to interact”

TECHNICAL RECREATIONAL TECHNICAL

OTHER OTHER TECHNICAL

1. medicin dosaging of 1. storage storage of ofregulated medicin and and dosaging of the the 1.acousticly space for reading, medication medication listening to music or writing 2. locked not visually connected to the 2. visually locked and and not visually connected to connected to the surroundingthe nature common area common area for in-bed patients 3. accessible 3. storage of lifts, wheelchairs, bedlinnen and 3. storage of lifts, wheelchairs, bedlinnen and 1. rooms for bathing, meditation and theraputic matresses matresses as palliative care rehabilitation 4. toilet toilet facilities facilities shared shared between between patients, patients, 4. 2. acoustic regulation with use of music as part relatives and employees. relatives and employees. of the care 5. storage of bottled oxigen and 5. storage of bottled oxigen and climatic climatic 3. storage must be large enough for massage machinary machinarymats and music system benches, 6. laundry, laundry, washers washers and and dryers, dryers, room room for for dirty dirty 6. 4. control of natural and artificial lights laundry and and trash. trash. laundry 5. high level of privacy from the common area 7. partly disconnected 7. accesible partly disconnected the common area 6. by lifts andfrom wheelchairs

1. 1. bedrooms bedrooms for for relatives relatives not not interested interested in in sleeping rooms. sleeping inofpatient patient rooms. 1. storagein medicin and dosaging of the 2. access to own bathroom and toilet 2. access to own bathroom and toilet medication 3. storage space clothing and 3. locked storageand space for clothing and personal personal 2. not for visually connected to the effects effects area common 4. lockable 4. storage lockableof lifts, wheelchairs, bedlinnen and 3. matresses 1. spiritual, but 1. toilet spiritual, but non non religious religious 4. facilities between patients, 2. storage storage spaceshared for religious religious artifacts and 2. space for artifacts and relatives and employees. music music 5. storage of bottled oxigen and climatic 3. good acoustic regulations 3. good acoustic regulations machinary

function: quiet space for personal healing gesture: protecting “a place to let go”

function: function: bedroom bedroom gesture: gesture: inviting inviting “a place to “a place to sleep” sleep”

function: function: connect connect the the user user to to the the landscape landscape gesture: gesture: isolating isolating “a “a place place for for thoughts” thoughts”

05 // programme

Sub conclusion connections and programme sepcifications

Based on the programme provided by Realdania, the programme for hospice BĂ¸rsmose takes it point of departure in the notion of the scenic hospice as described in chapter â&#x20AC;&#x2122;02 Palliative Architectureâ&#x20AC;&#x2122; and the notion of and integrated and connected building, with room for both the hospice patients, the day centre patients and the employees. The overall organisation and connections through out the hospice is based on the information and demands provided in each group in the programme presented above. First and foremost the organisation of the hospice should be highly functional and ease the workflow for the employees. The organisation should create a clear understanding of the different levels of privacy of the hospice and create differentiated narratives through out the hospice. The patients rooms should be considered the patients final home, thus the organisation of the room should allow patients to experience life from here. This might be translated in to a notion of working further with three levels of privacy and accessibility. The many palliative square metres seems to be a core factor through out the programme, while larger sojourning spaces as the gym and the library has the opportunity to both obtain large crowds in together ness or single patients in solitude. It is this duality that seems to be the main influencing partaker in the programme. Derived from the study of palliative architecture in chapter 02 and the study of the programme in chapter 04, following three design parameters are set concerning the layout of the hospice:

1: High level of organisational hierarchy 2: Common functions as a connecting element 3: Defined levels of privacy

Hence, the organisation of the hospice should accommodate the requirements and demands of a hospice in a manner that has a clear approach to the landscape and orientation of the spaces while organising them in a way that creates a sense of privacy or common atmosphere depending on the spatial function.

06// VISION In the following chapter in initiatiing vision of the project is presented. The vision generated the ideation process and as the project took shape and change its form, shape and perception, the vision became a point of reference of the project. The vision may be regarded as a point of departure, but also as the purest thought on what I believed my hospice could become.

06 // vision

MY BED, MY UNIVERSE initiating conceptural thoughts

Ill. 34: The notion of ’the corner’

The main objective of this master thesis is the creation of a proposal for a new hospice in Børsmose, focused on the narrative of a hospice, the interaction and healing affects of the landscape and the programmatic organisation of a hospice both dealing with a high level of functional demands and the need for privacy, in the following I present the main vision of the project, founded in the preliminary studies and analysis.

If considering the notions detected in the study of the architectural philosophy, it is possible to argue how the hospice can be considered ‘a place in between life and death’, while the architecture it self deals with a similar contradiction in the balance of ‘a place in between institution and home’ and finally the study of the site show the chosen site to be ‘a place in between landscape and the sea’. The main vision of the hospice must be to create ‘a place’ for the patient in the final days of his or hers life. Hence, the main narrative of a hospice is not about dying as first assumed, but rather it is about the transition; the time just before; in this sense a hospice is ‘a place in between’. Life at a hospice is not over yet neither is fully liveable. Derived from the fact that the patients spend 20,5 hours a day in their bed, consequently it is from this perspective life must unfolds. The bed is the home of the patient and it is from this space life must fold and this minimum unit must be able to comprehend and offer the entire universe to it inhabitant, because it is all the things unfolding itself in between that is really interesting and need

careful consideration and detailing; it is the spaces in between that is life and it is the space in between that must be framed, protected, guided, moved and invited. The basic idea of the fundamental minimum space being the bed develops into a notion greatly linked to the philosophy of Gaston Bachelard. It is from the corner, a simple form of spatial definition that one can start to describe, comprehend and explore to world. It is the doorway that marks a transition, it is the terrace that introduces nature and it is the corner of bedroom from where ones entire world can unfold. In between are all the spaces we unknowingly apprehend as ‘that something special’ The conceptual approach to creating a hospice with a narrative of ‘a place in between’ must start in the definition of the spaces in between. By exploring the integration of the interior as a tectonic element with a gesture that underlines the intention of the spaces unfolding from within the patients bed/corner, this master thesis will try to emphasis the narrative of a hospice and describe the interaction between the patient, the bed and the world. ”From the depths of his corner, the dreamer sees an older house, a house in another land, thus making a synthesis of a childhood home and the dream home” (Bachelard, 1958, 142) Thus, the main vision for a hospice in Børsmose is to create the corners from which patients’ final days can unfold.

07// IDEATION PROCESS In the following chapter the ideation process is presented as a non liniar procress from preliminary sketches to final detailing

07 // ideation process

INITIAL SKETCHING PRELIMINARY THOUGHT & IDEAS

The design process is divided into four parts that addresses the initial sketches and architectural development at different scales. The initiating design phase consisted of three workshops taking their point of departure in the notion of details in three different scale. The first workshop ‘landscape & volume’ addressing the notion of the volume in the landscape, exploring how a volume could address the specific site, thus the conceptual development of the notion of a volume in the landscape, the second workshop Programme & Connections’ shed light on the notion of the programmatic opportunities with in the hospice and how the many programmatic units could be organized according to their functional demands and connectional needs, while the third and last workshop ‘Creation of corners’ was an abstract workshop exploring the principles behind the creation of a physical corner. The second phase takes it point of departure in the initiating workshop ‘Volume & Landscape’ address the settlement of the project in the landscape, thus the overall concept of the project. The third phase ‘the places in between’ takes it point of departure in workshop 2 ‘programme and connection’ and explores the possibility of creating spaces in the organisation of rooms. The fourth phase ‘solving the detail’ focuses on the private space of the bedroom and how it is possible to create a explorative situation for a patient lying in bed. The phases takes it point of departure in the notion of the bed as a minimal unit and explores the possibility of the ‘corner’, thus this phase of the project has great notion to the scale of the human body, the body’s experience of a space and places to fit into.

themes of interest

Ill. 35: A complete wooden structure:

The initial sketching takes it point of departure in a brain-storming process, before any specific design parameters has been explored. The sketching point to specific areas of interest within the topic ‘hospice’ and the site of Børsmose, before analysis, reading, theory or architectectural definitions does so. The sketches were hung un my pin-board as inspiration and reference to remind me of all the first thoughts of this process. The sketches has worked as a point of reference in the further development of an architectural vision

A basic notion to the thought of minimal impack, changeability and nature. With a wooden structure like this, it would be possible to demolish the hospice without anybody ever knowing it was there. Seen from the perspective of the delicate landscape, and the notion of life as one large circle, this way of approaching the building could provide the process with an opportunity to create a significant identity in symbiousis with nature.

Ill. 36: The hospice as something light, strentching across the landscape: The main conceptural thought was for the buildings regularity to underline the fluent landscape and let it pass freely undernearth it. By pillaring the build, the lands would stand untouched by man, thus creating a distance between the living space and nature.

Ill. 37: Small niches, sticking out of the build volume:

Ill. 38: Minimal impack on the site, light roofs and wires

Ill. 39: Taking in the light and perhaps the sound of the sea

With the build main volumen as something rather heavy, small niches in a lighter structure could possibliy define an area of specific interest, a place in closer contact with nature

Again, continuing in the notion of minimal impack in the landscape, this idea is based on a structure heavy enough to carry the entire build complex, reminesence of a ship poles of the sea, the structure carries the roof, underneath which life is to be lived.

The final notion of the initial sketching focuses on taking in the experiences of the outdoors, this being the sun, the wind and the sound of the sea. It is a matter of trying to bring nature to the patients laying in bed and perhaps underling a notion as the place, as something omnicent and overwelming.

07 // ideation process

WORKSHOP 1 ‘volume & landscape’

Workshop 1: ‘Volume and Landscape’ takes it point of departure in the notion of the landscape as described in chapter ’04 Place’., tries to shed light on the size of the programme of the hospice. The primary objective of the workshop is to explore the building volume as an object in the landscape, how it can adapt, stress or influence the experience of the site, thus how the building could become a corner in the landscape. The workshop focuses on the volume as a planar solution in the landscape and the volume as a volume seen from the road, thus the place from where most people would observe it. The volume used is as described in chapter ’05 Place’ and the workshop, though not concerned with the programmatic differences, often use the programme to divide or gather volumes. The workshop allows me to regard the volume from the largest scale and work my way down into smaller subdivisions later on, thus working from the outside and in, as a starting point. The main conclusion of workshop 1, was the utilize the landscape that would allow the building to become invisible in the large open landscape, thus creating both privacy, but also preserving as much visible landscape as possible. Further more the workshop began to explore the possibility of ways the build volume could adapt to the landscape, thus creating niches and physical connections to smaller or larger areas of the site.

Ill. 40: Semi Courtyard

Ill. 41: A long volume

A subdivision between to equal building elements creates an inner defined space, a semi courtyard, further limited by the dune as a backdrop. If considered from a far the building volume is more of less hidden behind the first dune, thus minimizing the visual influence from this angle.

The volume places it self on the western dunes of the site, follows them in a fluent and irregular line in the landscape.

Ill. 42: A semi circular shape

Ill. 43: A courtyard block

Ill. 44: A rigid line

By placeing the volume as a semi circle in the landscape, the volume diffrentiate severly between a front side and a back side. The volume becomes fairly large in the landscape and seems to interfer heavily with the site.

The build volume creates a protected inner courtyard and an omniscient outlook to the landscape, though it is noted that the volume has little relation to the understanding of space.

By placing the build on a stright rigid line the volumen underlines the fluent essens of the landscape.

07 // ideation process

WORKSHOP 2 ‘programme & connections’

Workshop 2: ’Programme and Connections’ takes it point of departure in the notion of the room as a detail in the building and as an initiating foundation of the possible ways to organise the hospice in a way that creates a balanced relation between function and spatial definitions. The workshop main objective is to provide a wide and more in depth understanding of the possibilities of the programme and it organisational opportunities, but also to spark a notion of how I consider a hospice could begin to tell stories within it organisation. The main conclusion derived from the workshop is the notion of levels of privacy and coherence and how programmatic organisation has to opportunity to encounter this dilemma and underline different levels of privacy. Based on the notion of the analysis of palliative architecture and the visit to Hospice Vendsyssel, it seems very important for the organisation to take into account that the patients and their relatives have the opportunity to chose between being social and being solute.

Ill. 45: Subdivision of the programme The picture show the suddivision as presented in the chapter ’06 programme’ and is based on the notion of a define seperation between the different programmatic unit, reconnected by a in between space contain

Ill. 47: A grouping of the programme

Ill. 48: Dividing the programme according to level of hominess

Ill. 49: Dividing according to the programmatic size

The shown is one of many notions on how the programme can subdivided into multiple minor groups according to their programmatic subtance

The shown is a notion of how the programme could be divided into public and private functions

By collecting the larger room programme, the focus become on a a downscaling through out the hospice.

07 // ideation process

WORKSHOP 3 ‘creation of a corner’

Workshop 3: ’Creating a Corner’ takes it point of departure in the physical statement of a corner, the folding of an element. The main objective of the workshop was to determine different ways of creating corners in the physical context. The workshop was based upon the simple material of grey cart board and glue and works without scale of any sort. The main conclusion drawn from the workshop was that it is possible with simple means to create differentiated spatial experiences around the envelope, though also noted that folding, bending, distorting and raising has a tendency to create similar experiences. The workshop sparked a set of ideas, leading to the tectonic principle of the framework.

Ill. 50: Folding

Ill. 51: Distortion

Folding a wall element explores the possibility of creating niches and minor rooms within the envelope.

A distortion of a wall element explore the possibility of a slight expansion of a space

Ill. 52: Bending

Ill. 53: Raising

Ill. 54: Cutting

By bending a wall element horizontally or vertically the spatial experience differese on each side of the wall

Raising the floor to create a simple stage or step down into a minpr space

Cutting into a folded wall, the model explores the possibility of downscaling the envelope element to create different spatial experieces

07 // ideation process

THE CORNER IN THE LANDSCAPE phase 2: creation of a corner

Based on the notion of how the building could become a corner in the landscape and the study of the building volume in workshop 1: â&#x20AC;&#x2122;Volume and Landscapeâ&#x20AC;&#x2122; the following sketches explores different conceptual approaches to the building.

Ill. 55: Subdivision of a backdrop and volume

Ill. 56: Adapting the landscape

A backdrop wall element creating a courtyard between the dune and the build volumen, thus creating a private outdoor space, a direction in the experience of the landscape.

A long fluent compact wall element create spaces within the dune and a lighter structure facing the views of the landscape. This concept explores the possibility of one primary direction in the building and focuses on the experience of the landscape

Ill. 57: A doorway in the landscape

Ill. 58: A seperated volumen in the landscape

Ill. 59: Views in the landscape

Two minor building seperate the large open space from the walking path. Behind is a larger main building, containing the main privat functions of the hospice

A centrally place volumen creates the opportunity for a large facade and an omniscient experience of the landscape. though, the volume also has a rather large impact on the site and become an significant influence on the experience of the landscape. Further, this suggestion does not take into consideration how the building is entered or exited.

A building volume elongates the notion of the main axis of the site, thorugh the two high dunes. The volume exspans and divides into two or three â&#x20AC;?armsâ&#x20AC;? containing the different functions. The building is able to create direction and a defined front and backside of the building, while also creating the opportunity for a private space in the landscape.

07 // ideation process

THE CORNER IN THE BUILDING phase 2: creation of a corner

The following drawings represent the thought on how to create a tectonic principle hat has the ability to create a differentiated space within the large context of the building. The drawings propose several similar proposals, though all founded in different tectonic principles.

Ill. 60: Creating eye to the landscape

Ill. 61: Perferating axesâ&#x20AC;&#x2122; connecting dune and open landscape

The drawing proposes a notion of a perferated wall element that define a space, a visual connection or a guiding line as a tectonic principle.

By creating a cut whole in the front volume, a connectio between the building and the landscape is create. The principle as the potential of becoming bath guiding and framing as it takes in light and views at a specific area.

Ill. 62: a wooden frame

Ill. 63: Pushing a box into a solid element

Ill. 64: Two wall elements floating in and out of each other

The notion of a wooden frame, that connect, break and stick out of the build volume. The frames has the possibilty to change the materiality and tactility of a space.

As a development of the notion of the frame, it notion of the box pushed into another solid element. The conjunction of the volumes create a differentiated space in between the two.

A notion of the potential of two wall elements bending their way in and out from each other to created open and closed spaces.

07 // ideation process

THE CORNER IN THE ROOM phase 2: creation of a corner

Ill. 65: Bending a wall:

Ill. 66: Filtering

Derived from the notion of Workshop 3 the principle of bending is used as a point of reference in a labrynthical layout of open rooms

A complete division between the common and the private, by utilizing the spatial volume as a filter

Ill. 67:Branches The main notion of the above shown was the idea a folded walls that lead the way and perhaps where able to fold or extend to create a differentiated experience between open and closed.

07 // ideation process

tectonic detail phase 3: a wall in the bedroom

The following is a representation of the development of the bended lamella wall within the bedroom. The drawings are not to be considered in any order, but merely a representation of ideas and thought.

Ill. 70: A bended lamella door frames the bathroom and creates a spatial experience within the bathroom. The semi circle has great influence on the bedroom, thus creating a â&#x20AC;&#x2122;negativeâ&#x20AC;&#x2122; space not easily decorated or understood as framing.

Ill. 71: The lamelle wall is bended less than the prior sketch, opening up the room when entering from the hallway. Again the wall creates a clearly defined space within the bathroom and a different experience on the bedroom side of the wall.

Ill. 72: A soft circular lamella wall element tries to become more defining of the bedroom,

Ill. 73: By replacing the backpart of the bathroom wall with regular wall element, it is possible to create a unexposed place within the bathroom. The bended wall is still not able to define the place for the bed.

Ill. 74: A dual bending of the wall element frames both the bathroom and the bedroom and the lamella wall becomes a principle of seperation and framing.

Ill. 75: The entire wall towards the bedroom is replaced with the lamella wall, thus creaing a backdrop of the bedroom opposite the window and door, and the view to the landscape.

Ill. 76: A lamella piece of wall defining a spot on the other side by letting light shine through. The walls taktility has influence on both the bathroom and the bedroom side of it, though limited by it size.

Ill. 77: A lamella wall defines the entrance of the room and also the bathroom. the effects of light comming trough the lamellas will thus create a special lighting in the entrance

07 // ideation process

tectonic detail a place in the wall

Ill. 78: Two way entry to a room and the notion of a rooms functioning as a filter

Ill. 79: A seating spot and kitchen combined into a place in the envelope. The kitchen can be closed of be a folded wall

Ill. 80: Derived from the notion of the bended wall in workshop 3, a seating spot is created by the tectonic principle of the lamelles.

Ill. 81: A reading corner in a wall, a minor space and the notion of a window bridge as something meant for seating

Ill. 82: The notion of a seating spot being accesible in bed

Ill. 83: A notion of a minor terrace space, where the structure defines an indoor space, and ourdoor space and a in between space under the cantilevered roof.

07 // ideation process

tectonic detail The frame, facade and hierachy

Ill. 84: Some frames might be higher, thus indicate a spacial place, when looking at the building from the outside.

Ill. 85: Some frames might be lower and pulled back into the building to create a protected space in which a patient can be alone.

Ill. 86: A notion of the section as the light structure standing on the heavy, with all frame in the same level.

06 // ideation process

structure and details phase 3: development of the detail

Ill. 87: Utilizing the cross section, to create a wider beam section in the joint between the two pitched beams

Ill. 88: The roof as a free structure, enabling a free facade and the lack of notion the the construction.

Ill. 89: The idea of a fixed triangular pillar system, able to carry the entire roof as a folded piece of the envelope.

Ill. 90: One heavy wall, able to obtain the moment of the structure, with cantileavering roofs in differentiating heights.

Ill. 91: The structure could utilize the pitch joint and create a stiff structure floating on either fixed pillars of a solid concrete wall.

Ill. 92: By constructing the frame as a rafter, the structure becomes stabil as it can be fixed to the concrete wall. This also allows sun to enter rooms from the southside of the project, but seems to be a heavier solution than initially desired.

07 // ideation process

Solving the detail phase 3: THE FRAME joint

Ill. 93: A possible way of creating a moment stiff joint is to widen the cross section of the pillar, thus let is act as a triangluar support. The following sketches are ideas of how this could become a joint of the structure

Ill. 94: Another solution to the joint is to apply a mental joint, with enough depths to create the stifness. This might become diffecult, but do seperate the wooden structure as initially desired.

08//PRESENTATION In the following the final design proposal for a Hospice in BĂ¸rsmose will be presented and explained. The presentation takes its point of departure with an explanation of the main concept development, followed a walk through of the hospice as experienced by a visitor.

08 // presentation

HOSPICE BØRSMOSE ‘A PLACE IN BETWEEN’

3: A heavy settling base in the landscape

Hospice børsmose Hospice Børsmose places it self with in the characteristic dune landscape of Børsmose and the Western coast of Denmark. In the landscape the hospice appears as one collected volume, as it settles heavy into the softness of the terrain on a concrete base with a lighter wooden structure on it. Hospice Børsmose consists of three primary domains; entrance & palliative day centre, an office and a ward, separated by open in between space connecting the indoor space with the landscape.

2: A light wooden structure creating room for life

The following is a presentation of the final proposal for a hospice in Børsmose. The chapter is presented as a walk through and divided into three main presentational parts; this being ‘Entrance & Palliative Day Centre’, ‘An Office’ and ‘A Ward’.

3: An open common spaces in contact with nature

HEATHER FOREST

PATH

DUNE LANDSCAPE

PARKING

ENTRANCE

ROAD

Ill. 95: Site

Ill. 96: Masterplan

08 // presentation

HOSPICE BØRSMOSE Plan 1:500

Ill. 97: Plan

Ill. 98: Office entrance, modelphoto

Ill. 99: Main entrance and Northern facade, modelphoto

Ill. 100: Roof plan, modelphoto

08 // presentation

ENTRANCE & DAY CENTRE

PLAN 1:200

8 3 2

1 : Entrance

2 : Reception 3 : Waiting area / Open meeting

18 library

library

4 : Computer room

5 : Day Centre 6 : Consultation room 7: Quiet room 8: Kitchen

1 13

9: Delivery area

10 : Open meeting

11 : Wardrobe 12 : Toilets 13 : Childrens room 14 : Womens changing rooms 15 : Mens changing rooms 16 : Yoga room 17 : Storage 18 : Theraputic bath 19 : Library 20 : Seating spot 92

Ill. 101: Plan, entrance and daycentre orangeri,

open

meeting

& waiting

area

orangeri, open meeting & waiting area

Ill. 102: Section 1:100, entrance and day centre

Arrival The hospice is located behind a dune, visibly disconnected from the road leading up to the area and the parking area within the dunes. The parking lot equipped with 18 parking places and a covered area for bicycles parking. As the visitor approach the hospice by walking up the arrival path, the hospice is presented as they turn the soft corner of the concrete wall. The large open façade of the hospice’s entrance area presents it self as an open and inviting build volume, with a slight notion of the landscape on the other side. The narrative of ‘a place to prepare’ is underlined in the bending of the wall and the physical walk up the entrance path.

Ill. 103: Arrival, modelphoto

Ill. 104: Entrance, modelphoto

ENTRANCE Hospice BĂ¸rsmose is entered in an arched wooden and glass faĂ§ade facing the visitor between two concrete walls that disappear into the dunes. The axis of entrance is directly connected to back to nature, as well as the main axis of transition is ends in weather porches and the opportunity to re-enter the landscape; thus the building is continuously connected to the dunes. From the entrance area it is possible to access the computer room, a open meeting and waiting area, the childrenâ&#x20AC;&#x2122;s room and the palliative day centre functions; the Yoga room and the Palliative day centres main space. Further it is possible to go down two hallway providing access to either the office or the ward.

Ill. 105: Entrance

Ill. 106: Entrance, modelphoto

reception As the spectator enters the hospice, they are meet by a small wooden box containing the computer area of the hospice. On the left is the reception area, pulled back from the large room and hidden underneath the cantilevered roof of the daycentre’s main room. The reception desk is a semi circular desk in wooden lamellas, standing out in relation to the concrete flooring and white plaster walls. The narrative of the entrance as ‘a place to feel greeted’ is articulated in the open space, while the room is subdivided into minor space to accompany the feeling of privacy.

Ill. 107: Hallway seen from entrance, modelphoto

Ill. 108: Reception, modelphoto

08 // presentation

THE OFFICE PLAN & SECTION 12

5 8

9 3

1 : Dining room 10

2 : Living room

3 : Fireplace 4 : Patientâ&#x20AC;&#x2122;s bedroom

5 : Nurses open office 2

6 : Relatives bedroom 7 : Coffee stand

8 : Minor kitchen

9 : Flush room 10 : Laundry storage 11 : Laundry room 12 : Medicin room 13 : Storage

14 : Main Storage 15 : Seating spot

Ill. 109: Plan office

100

Ill. 110: Section 1:100, open meeting space

101

a workplace On the walk towards the office area, the visitor is presented with opportunity to hang their jackets in the wardrobe, use the toilets or have a seat in the open meeting area between the office and the daycentre. The area functions as a buffer zone between the employeesâ&#x20AC;&#x2122; private area of the office and the common functions of the daycentre. The office is separated into three larger rooms, the main room containing 8 workstations, a informal meeting / coffee station, with direct access to the outdoor, a break and dining room, also with the opportunity to enter the outdoor part of the concrete plateau, and a formal meeting space, possible to close of in situations where needed. Two open boxes located on each side of the entrance door define the spatial organisation of the rooms. The boxes contain a small kitchen and coffee stand, while the other contains the archives, copy and printer. The two are spatially defining minor spaces in front of them in which the office furniture is located.

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Ill. 111: For employees

Ill. 112: Terrace, modelphoto

a work station The tables, the workstations of the employees, are created from a bended lamella wall, surrounding the desk and introducing the employee to complete privacy in that exact spot. The main notion of the table is to provide the employee with a space that is only theirs in an open office environment. Further an element alike the work station contain the functions of the office, as the archieve, the journal archive, printer and copy, as well as the coffee station and minor kitchen area. Thus the office is divided into minor zone of working, with the tectonic principle of the lamella wall as the frame for â&#x20AC;&#x2122;a place to workâ&#x20AC;&#x2122;.

Ill. 113: Workstations

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Ill. 114: Office, modelphoto

14 13 12

8 10 9 5 3

7 6

1 : Dining area

10 : Laundry

2 : Living area

11 : Laundry storage

3 : Fire place

12 : Medicin storage

4 : Bedroom

13 : Storage

5 : Nurses open office

14 : Main storage

6 : Relatives bedroom

15 : Seating spot

7 : Coffee stand

16 : Common terrace

8 : Minor stand

17 : Exit

9 : Flush room

Ill. 115: Plan 1:200, Ward

08 // presentation

The ward PLAN 1:200 // Section 1:100

Ill. 116: Section 1:100, ward

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a common space The ward is organized around the main common space, containing a dining area, a living room and the fire place, located in the break of the hallway. When walking towards the main common space of the ward, the hallway presents the spectator with multiple minor seating spots on one hand and the patientsâ&#x20AC;&#x2122; bedrooms on the other. The main common room of the ward is created by five timber frames bended in a soft semi circular shape of a fan. The widest part of the fan contain a larger living room space in direct contact with the landscape and provides the spectator with a place to sit in solitude or in community. Behind the living room is an integrated dining table with room for multiple different groups to be located or everybody to join in at meals. The dining table functions as the main common space of the ward. On the opposite side of the hallway it the fireplace and a minor living room space for a more private experience of the common room. The fire place it self functions as a physical separator of the two areas of the common space. Ill. 117: Common room

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Ill. 118: Common room, modelphoto

08 // presentation

THE BEDROOM PLAN, 1:50 9

3 : Secoondary bed spot 4 : Bathroom 5 : Seating spot 6 : Minor kitchen 7: Wardrobe 8: Closet 9: Terrace 1 : Entrance 2 : Bed primary spot

2 5

a private space The Bedroom consists of a main spot for the bed, a large bathroom with a skylight, a seating spot, defined by a minor skylight, a small kitchen and a wardrobe. Further more the bedroom has direct access to an outdoor terrace space, accessible in bed. The bedroom is organised with the notion of the bed as a unit. The bed fits within different places of the space and it is possible of the patients to occupy the majority of the space from with in the bed.

1 : Entrance 2 : Bed primary spot 3 : Secoondary bed spot 4 : Bathroom 5 : Seating spot

6 : Minor kitchen 7: Wardrobe 8: Closet 9: Terrace

Ill. 119: A patient room

110

Ill. 120: Section 1:100, library

A wall, a seating spot, a cabinet From with in the bed, the patients room unfolds as the lamellas between the bathroom and the bedroom is closed by a glass wall, thus allowing the southern light to shines in to the room, laying delicate lines of shadow on the floor and walls. The primary spot of the bed in defined by a marking of the envelope, making room for a two shelves and other personal belongings. The most personal belonging can be placed within the cabinet, integrated into the envelope next to the bed. It can unfold to contain a picture, a letter or simple a cup of coffee.

AXONOMETRI OF THE WALL AND THE CABINET

Ill. 121: A patient room

112

Ill. 122: A patient room, modelphoto

08 // presentation

Elevation, North PLAN, 1:200

114

Ill. 123: North elevation 1:200 , realligned

115

mella allation room l arnier hinge 08 elf

// presentation

DETAILS

Ill. 125: Detail 1:5, Charnier

116

Ill. 126: Detail, the wall cabinet axonometric

1:10

1 2 3 4

1: Lamella 2: Installation room 3: Wall

Ill. 124: Detail 1:10, Cabinet

4: Charnier hinge 5: Shelf 117

1:1

08 // presentation

CONCEPT OF CONSTRUCTION EXPLODED PRINCIPLE DRAWING

The principle of a frame The construction principle of the hospice is based on the tectonic principle of the frame as a freestanding object on the solid concrete base as the basic structure. The principle of the frame varies trough out the house, according to the specific gesture of the house. In the main area of the house, the structure stands transverse to the concrete core, with a flat and levelled roof in the same height as the concrete core. This area contains the patient bedroom, the palliative day centre, and the office area. When the structure contains the open meeting and the library, is heighten to draw in southern light into the sojourning rooms. The third situation is applied in the two primary social rooms; the entrance and to common room o the ward, where the structure is a complete free standing object perforating the concrete core to make contact to the southern façade. In the two first situations, the frame is supported on the backside by the concrete core, thus stabilizing the structure even further. The entire concrete core and foundation is constructed in reinforced concrete, dimensioned according to its ability to withstand the pressure of the sand. The core contains the main ventilation installations. The interior walls within the light structure is constructed as a light wooden structure with a high level of insulation, thus preventing sound to travel from room to room and increasing the sense of privacy. In the common rooms and entrance, the wooden structure is located within the building, thus not exposed to the outdoor stresses of weather, while it, in the situation of the patients room, the palliative day centre and the office the structure is extended out of the building, thus creating a protective overhang of the terraces. The beams’ ends are covered by a metal cap, to prevent moisture from transfer into the rest of the construction. It is noted, that a technical solution to this problem might be found in an invisible separation between the extended structure and the load carrying construction, which then could be supported by en exterior wall. The wooden façade is mounted in a manner that allows it to be change every few years, since the weather conditions of Børsmose is very hard on wood.

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Ill. 127: Concept of construction

Ill. 128: The joint between pillar and beam

Ill. 129: Detail of the buttress wall in the entrance path

Materialities The building relate its self to the landscape in it choice of materials, that all have a natural apperance and color that changes severly as it ages. The roof is constructed in zink, with high standing seam. As the roof ends, the zink folds down onto the facade, thus illustrating the thickness of the roof and stress the horizontal understanding of the building. The basis in constructed in concrete, folded seamless into the wall element of the core. The base is constructed lower than the sandlevel, thus the sand floats along the concrete to create the lower limit of the building The facade of the wooden structure are clad with vertically aligned wooden panels Ash wood. Since wood would quickly deteriorate in the environment of the site wind heavy winds and salty water in the winds, the wood is thermally treated, thus preventing it from totting and deterioirating. Unfortunately, this also prevent the wood from changing into it natural grey nuance as quickly as desired, but as the ash wood is fairly grey from a start, the material will not stand out in the context.

Ill. 130: Ash, Zink and Concrete

119

1 2 3 4 5 6 14

17 18

7 8 9 10

12 13

1 Wood cladding

11:Leca blocks

2: Laths

12:Reinforcement bar

3:Wind barrier

13:Base

4: Insulation

14:Sand

5:Metal collum

15:Polystyrene

6:Rafter

16:Floor Heating

7: Plaster

17:Concrete

8:Moisture barrier

18:Wooden floor

9:Rafter

19:Wood Piller

10: plywood

20:Metal joint Ill. 131: Detail 1:10, Foundation

120

6 10 9

5 4 3

1 2

12 11

1: Wood lamella

11: Wood

2: Laths

12: Insulation

3:Window mount

13: Installation pipe

4: Rain noise

14: Air

5: Mounting rafter 6: Glas 7: Rafter 8: Moisture barrier 9: Rafter 10: Roof tiling, Zink Ill. 132: Detail 1:10, Skylight

121

1: Ground level, sand 2: Concrete, C45 3: Reinforcing steel, tentor 4: Gravel 5: Drain

4 5

1: Ground level, sand 2: Concrete, C45 3: Reinforcing steel, tentor 4: Gravel 5: Drain Ill. 133: Detail 1:10, Retaining wall

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09 //EPILOGUE

09 // epilogue

CONCLUSION HOSPICE BØRSMOSE - a place in between

Within the theme of palliative architecture and the creation of architectural quality this master thesis has explored the possible ability of a tectonic principles to create a detail that tell the tale of the overall narrative of architecture, thus enhancing the experienced architectural quality of a project. The master thesis has dealt with the hypothesis through the creation of a proposal for a hospice in Børmose. This final chapter contains a conclusion and perspective and discuss the result based on the design of the hospice. As described in chapter ‘01 Introduction’, this master thesis is motivated by a curiosity and wondering of the potential of tectonic detailing’s ability to obtain narratives in architecture. It has been my hypothesis that a notion of a narrative in architecture has influence on the experience architectural quality, and most important that this narrative can be told through tectonic articulation of gesturing details, thus detailing of architecture has a significant influence on the architecture that frame our lives. Herein it has been my main ambition to explore the possibility of the tectonic detail as something not only detectable in the smallest joint of the envelope, but also in the greatness of a buildings relation to the landscape or a rooms spatial influence on the overall appearance of a building. In the following I will seek to explain my main reasons behind Hospice Børsmose, a building perhaps both monumental and strict in its shape form and language, but in its detailing reflect upon the human scale, and ‘the sense of place’ with in the dunes of Børsmose and how this is founded in the tectonic method and thus, brings something new to the table, something worthy of discussion. The development of palliative architecture has excelled within the last couple of years, as cancer centres, Project ‘Livsrum’ and hospices are build all over the country, stating the fact, that architecture has a significant influence on patients’ well-being. It is a somewhat vulnerable field to step out into when proposing a specific situation for people to end their days, a place where they can live just before death. And how the practical and functional needs of a health care institution should be merged with the notion of protection, belonging, and the transition between life and death. Never the less I chose the creation of a hospice because it is a place where we, if anywhere, have the opportunity to present narratives. A hospice is the final place of a person’s life, of many different persons’ lives, thus filled with many different stories, many different situations, lives and narratives. The hospice as a typology must create frames for these stories and the weighing of the architectural themes of functionality, transition,

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protection and nature poses multiple unanswered questions to what should be the most important to patients, relatives and employees. Thus, the hospice architecture as a typological topic of my master thesis became the theme that allowed me to undertake these notions and ideas and reflect upon the complex question of architectural quality while also creating an architectural response to the specified demands being technical, practical and contextual. In the following I will discuss the result of my master thesis, the main objective, the creation of a proposal for a hospice in Børsmose, before discussing the overall potential of tectonic detailing as a partaker in the creation of a narrative.

Through my analysis of the hospice typology, the terminology and philosophy of architecture and a visit to the newly building hospice in Vendsyssel, I proposed the narrative of a hospice as ‘A place in between’. The definition of the narrative is my response to the notion of people in extremely difficult and insecure situations, thus it has been the point of departure in the creation of the hospice in Børsmose.

A place in between: The hospice as a detail in the landscape The project takes it point of departure in it location in the landscape. The ‘sense of place’ was addressed a source of character, an influence on the specific typology of a ‘scenic hospice’. It has been important for the project to treat the overall approach to the landscape a part of the creation of the narrative, thus it is becoming the larges scale of the corner. If regarding the project is relation to it plan, it is obvious how the building as a ‘gestalt’ in nature has adapted the fluent shape of the sandy dunes. The project places it self as a connecting mass within the landscape, allowing the landscape to continue alongside it, on it and within it. When considering the project in relation to it section, it becomes visible how the concrete foundation, creates the barrier towards the sand and create a plateau upon which live can unfold, thus describing life in this place as something lived in between the landscape and the sky, hence giving notion to the light wooden structure creating the shelter needed to project the inhabitants.

The projects orientation is as well visible in the section of the hospice and its relation to nature. The clearly defined separation between front and back, create a great notion to a specific direction, and if regarded in relation to the plan of the hospice, is can be argued that all transition and movement is “locked” by the long hallway following the landscape, while the sojourning spaces is transversely organized on this transitional axis, thus creating focus on the landscape. The frame structure is underlining this focus in their overall relation to the hallway. It is my main conclusion on the notion of the hospice as a detail in the landscape, that the project is able to define a differentiation between sojourning and transition with a notion to the presence of the landscape at all time. As well as the landscape giving something significant to the narrative of the hospice, the hospice in Børsmose tries to give something back, adapt to the landscape by placing it self within the dunes and connect to the walking trail of the surrounding lands, thus creating a connection between the constructed concrete base containing the hospice.

A place in between: The room as a detail in the hospice The project is based upon the tectonic potential of the structural framework, placing itself as a light structure on a heavy concrete foundation. The regularity of the frames transverse to the concrete core creates a grid work within which the building unfolds, thus the frames indicate where the focal points of the projects are. The regularity of the frame is broken four places in the hospice, this being the entrance; the room in between inside and out side, the ward’s common space; the room in between patients, relatives and healthcare personal and finally in the two open in between spaces separating the day centre from the ward and the office, obtaining the function of in between meeting space and a library. In the entrance the frame adept to a softer semi circular fan shape, creating a large entrance area, and a pointed open meeting space on the other side, focusing on the landscape and the long views towards the north. The spatial potential on the regular frame is developed into the notion of the southern façade, as a larger and welcoming object, visible to the approaching spectator, while the spatial potential of the space underneath the frame adapts to two very different situations, a large and open entrance area and a small secluded open meeting space with great notion to the landscape.

In the wardâ&#x20AC;&#x2122;s common space the frames bend as well, though less and the opposite way, than the entrance, thus creating a larger common space towards the landscape, and a smaller secluded space towards the south obtaining the function of the fireplace, the hearth, a gathering space for a defined group of people. If regarding the two in relation to the overall plan and layout of the hospice it is obvious to observe the programmatic importance of them. They obtain the function of togetherness and common activity, while also presenting the opportunity of seclusion. The frames present a defined space for these activities and as the main spaces where the landscape is directly introduced. The library and the open meeting space separating the Palliative Day Centre from both the ward and the office, are kept regular to the grid, thus serves more as a mental separator or connector between the functions. It is my main conclusion on the notion of the room as a detail in the building, that the project is able to integrate the hospice into one united hospice instead of three minor programmatic functions with separated narratives, users and employees. In all cases the frames act differently to underline the importance of the space, thus implying that these places are something special, a place where you are introduced to nature, a book, a friend or perhaps a palliative nurse. If regarding these rooms in relation to the overall plan of the hospice, they function as the social space in between functions, workspace and bedrooms.

A place in between: The envelope as a detail in the room Underneath the light structured rooms covered by the frames are the different programmatic situations of the hospice, including the Palliative Day Centre, the bedrooms and the office space. With in the rooms themselves, the wooden frames are not visible; instead a wooden lamella takes the shape of the tectonic principle. The rooms are defined by the grid of the wooden structure and within one wall is found a seating spot, where the wooden panels tell the tail of the wooden structure, further more one entire wall is translated into the wooden lamellas, and as it bends in the same semi circular shape as the entrance and the ward common room, it creates the bath room and the main space of for the bed. If regarded in relation to the layout of the room, the wall it self becomes a spatial defining principle, with the opportunity to embrace the bed and obtain the function of the bathroom, it becomes the backdrop of the room, an

object defining narrative of the room, thus accentuating where to sit, lay, bath or note the landscape from. If regarding the smallest detail of the bedroom is the cabinet in the wall, where you can hide your one special thing. The small cabinet is created from the notion of the wooden wall, as the backdrop of live lived in the room. Is regarded in relation to the overall plan the cabinet are not only able to contain objects of importance, both further more it becomes spatial defining as it introduces an additional space meant for the bed; next to the window; with a bended window bridge; creating a sightline from within the bed, thus creating a place just for observing the landscape. It is my main conclusion on the notion of the envelope as a detail in the room that the project is able to define spaces for living and experiencing life from with a bed, thus creating a sense of belonging and protection with in the bedroom it self. If considered in relation to the overall narrative of a place in between, the tectonic detailing of the envelope becomes a partaker in the creating of a place in between the home and the institution.

The project creates clearly defined spaces, with clearly differentiated purposes through the notion of tectonic detailing of the wooden frame. The result has become a house with a great notion of the landscape and patientâ&#x20AC;&#x2122;s experience of life, nature, being together or secluded in a hospice filled with functional demands and restrains. It is my main conclusion that it is an architectâ&#x20AC;&#x2122;s responsibility to insist upon the narrative potential of detailing architecture. That we must take responsibility for every joint as it has the potential to further develop the experienced architectural quality of a project. We may not neglect a window bridge or the way a building meets the ground and the sky and with this project it has become my conviction that every detail, no matter size, has the potential to tell the tale and possibility to strengthen the narrative.

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09 // epilogue

PERSPECTIVES THOUGT IN PRACTICE?

perspective The notion of the narrative in architecture has through time been discuss by many and with several different arguments and conclusions. I do not propose this project as a final answer of how to create architectural quality, but rather as one potential way, founded in the educational background given to me by Aalborg University, Architecture & Design, as a civil engineer, with a understanding of structure, construction and detailing. What I am suggesting with this project is that, perhaps, tectonic detailing and the notion of an overall narrative could become a point of departure in future designs, at least for myself. In the following I will critically discuss the specific topics of the project and it potentials, as follows, starting of with the notion of a narrative in architecture.

In regards to the notion of the narrative of ‘Hospice Børsmose’ and how it became a point of reference in the ideation process, I find it interesting to discuss the possibility that the narrative is nothing but a word, a sentence perhaps, but non the less a sentence filled with ambition and intensions. I took point of departure in the analysis of the hospice typology, the philosophy, but the greatest revelation to me was meeting Kaj. Narratives in architecture seem to have a potential to create specific places and spatial experiences, but it is individual definable. I wonder if I had never met Kaj, would my proposed narrative of Hospice Børmose had been something different, hence also a different architectural proposal? And then, what would another architect propose as the narrative of a hospice, if they where to meet Kaj, or another patient? I am not sure I have a wrong or right answer to this, but one thing that might show every architect in the same direction is if we perhaps could undertake every building typology as Real Dania has done with the hospices, and discuss the philosophy of a kindergarten, a school or a perhaps even a warehouse? This way the foundation of architecture might become a stabile subject open for discussion and disagreements, but at least a point of departure in the design process.

In regards of my specific project proposal, the narrative seems to be well defined in the situations, where all three scales of detail is contributing, as for example in the open meeting area of the entrance, where the large wooden structural frame create direction

126

and notion of the landscape, a minor wooden box separate the large open space and create a secluded space for encounters, perhaps both with other or alone, and the detailing of the wooden envelope within the box define a place to sit and enjoy. The principle of the lamella panels seems to downscale the tectonic notion of the large wooden structure, into a sense of tactility, closeness and feeling of embracement. To further strengthen the Notion of the wooden elements within the building, I believe the project could have explored the possibility of a mid-scaled wooden element, as the cladding or perhaps, a greater use of the lamella wall. It seem the three elements utilizid in the project at this point, as different levels of utilization and also detailing. It might have strengthen the narrative further, if it had been possible to introduce a connection between the three in the way they were jointed, thus introducing a small metal element, that could work in all scales of detailing in what Marco Frascari would call a ‘material joint’. Further it could have been very interesting to try and incorporate every notion of the tectonic principles into one single space; an ultimate space of reflection. In the programme and the intension for the hospice, I note a ’Reflection Room’, this room has not been defined in my project and I would regard its importance fairly high, in heinsight.

Another thing interesting to my project is how my project has been structure in accordance to design processes, initiating studies and reading of architectural theory. This project is greatly linked to a theoretical notion to architecture, also at a much higher level, than I have ever done a project before. The notion of a theory has had a relatively high influence on my design, and as I mentioned Tectonics as a method in chapter ’01 introduction’, I find it important to discuss its influence on my project now.

I think the greatest influence the tectonic method has had on my process is the way a structural principle becomes defining of the spatial experience and design decisions. With tectonics, many decisions are implicit and a natural reaction to another decision, only limited by the constructions structural restrains or a specific focus within the design.

This leads me to a topic which I have not regarded at all in my proposal, sustainability. I have worked with this project from an entirely different perspective, a notion of ulimited freedom in the creation of architectural quality. Thus, I am aware of the utopian aspects of this project, and how the disregard of sustainability would never be a possibility in the real world, but I would argue that perhaps tectonic architecture as a great possibility to become sustainable. When a tectonic method takes it point of departure in the technology and the structural principles, perhaps it is fair to imply that this also could include the principles of sustainability? Hence, my final question will be, if it is possible that we as architects could start to discuss the tectonic of sustainability?

Thus, I have arrived a this final point of my project, where I sit here in the window of the Utzon Centre, trying to conclude and reflect upon how my thought of the narrative has turned in to practise and all I have got is this place, a window bridge, with the sun shining in, warming up my arm as I type. There is a specific tactility, a closeness and a spatial definition of this small space that allow my thoughts to become words, I am still not completely sure what it is, but I am starting this life as an architect exploring the possibility that it lies hidden within the notion of the tectonic approach to architecture. Suddenly, it hits me that this is one of those spot and this moment is one of those moment thats will stick in my memory for a very long time.

10 // REFERENCES

10 // references

LITERATURE

LITTERATURE Bachelard, G. 1994, The Poetics of Space, the classic look at how we experience intimate places, Beacon Press Frampton, K. 1995, Studies in tectonic culture - the poetics of construction in nineteenth and twentieth century architecture, MIT Press, Cambridge, Mass. Frascari, M. 1984, The tell-the-tale detail, Via, no. 7, p. 22-37. Hvejsel, M. F. 2010. Interiority - A critical theory of domestic architecture. Aalborg University. Louisiana, New Nordic. 2013, New Nordic: Arkitektur & Identitet. Louiseana. Norberg-Schulz, C. 1991. Genius Loci: Towards a Phenomenology of Architecture. Rizzoli Norberg-Schulz, C. 1991. Nightlands Caruso, A. 2008. The Feeling of Things. Ediciones Poligrafa. Pallasmaa, J. 2012. The Eyes of the Skin: architecture and the sences. Wiley and Sons Ltd. Falconi, L. 2010. Gio Ponto: interiors objects drawings 1920-1976.Mondadori Electr S.p.A Coates, N. 2012, Narrative and Architecture, Wiley

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Jensen, B. C, 2010, Teknisk StĂĽbi, Teknisk Forlag Mullins, M. Frandsen, A, 2011, Helende Arkitektur, Aalborg Universitets Forlag Lobell, J. Kahn, L.I., 1979, Between Silence and Light, Spirit in the architecture of Louis I Kahn, Shambhala Faber, T., 1985, Udsyn og Indblik, Arkitektens forlag Roccella, G., 2009, Ponti, Taschen Sheridan, M., 2011, MestervĂŚrker, Strandberg Publishing Unwin, S,. 2007, Doorway, Routledge Nissen, A., mfl, 2009, Program for det Gode Hospice, Realdania

10 // references

ILLUSTRATIONS

LIST OF ILLUSTRATIONS Unless mentioned, it is my own illustrations, drawings and photos. Ilustrations for mappings (ill. 21, 29 and 95) are based on material from www.kortforsyningen.dk. Weather diagrams (ill. 31-32) are based on data from www.dmi.dk Zink material (ill. 130): www.wildtextures.com/tag/zinc/ Wood material (ill. 130):http://files.arroway-textures.de/catalog/images/demos/full/crop_wood-003.jpg

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130

11 // APPENDIX

11 // appendix 1

WORKSHOP 1 A VOLUME IN THE LANDSCAPE

132

133

11 // appendix 2

STRUCTURAL CALCULATIONS wood structure

The structural system of Hospice BĂ¸rsmose consists of repeated timber frames, angled according to the desired direction of the room, connecting to the site. This calculations take their point of departure in the roofstructure over the open meeting space between the office and the palliative day centre, since these are Situation considered high riskthe hence their timber exposure 1: As constructed, free standing frame to wind, and the fact that they are considered a free standing object. The timber frames are stabilized with transverse timber rafters hidden within the roof structure, thus working as a plate. Timber frame is constructed in timber C30.

equally submitted snowload (Ci) 64,74 kN

The construction is a static system simple supported by charniers hinges, able to transfer the tensile forces and the shear forces, while the joint between the beam and columns are considered fix and able to withstand moment, thought it is noted that this might be hard to achieve in the actual detailing of the construction, the calculation and Situation 2: The timber frame is stabilized by the concrete wall model build in robot is considered like such. (for more information on the development and structural possibilities see chapter â&#x20AC;&#x2122;07 Ideation & Design Processâ&#x20AC;&#x2122;. The structural system of Hospice BĂ¸rsmose consists of repeated timber frames, angled according to the desired direction of the room, connecting to the site. This calculations take their point of departure in the roofstructure over the open meeting space between the office and the palliative day centre, since these are considered high risk hence their exposure to wind, and the fact that they are considered a free standing object. The timber frames are stabilized with transverse timber rafters hidden within the roof structure, thus working as a plate. Timber frame is constructed in timber C30. The construction is a static system simple supported by charniers hinges, able to transfer the tensile forces and the shear forces, while the joint between the beam and columns are considered fix and able to withstand moment, thought it is noted that this might be hard to achieve in the actual detailing of the construction, the calculation and model build in robot is considered like such. (for more information on the development and structural possibilities see chapter â&#x20AC;&#x2122;07 Ideation & Design Processâ&#x20AC;&#x2122;. Material definition: (Teknisk stĂĽbi, 2011, 314) Strenght:

Elasticity: Density: 134

Bending: Axial tension: Transversal tension: Axial compression: Transversal compression: Shear:

30 MPa 18 MPa 0.6 MPa 23 MPa 2.7 MPa 4.0 MPa

Axial elasticity modulus: Average modulus:

12000 MPa 750 MPa 380 kg/m3

Material definition: (Teknisk stĂĽbi, 2011, 314) Strenght:

Elasticity: Density:

Bending: Axial tension: Transversal tension: Axial compression: Transversal compression: Shear:

30 MPa 18 MPa 0.6 MPa 23 MPa 2.7 MPa 4.0 MPa

Axial elasticity modulus: Average modulus:

12000 MPa 750 MPa 380 kg/m3

Calculational strength number, MPa for C30 timber: đ?&#x2018;&#x201C;đ?&#x2018;&#x201C;!,! = 13,3 Â đ?&#x2018;&#x20AC;đ?&#x2018;&#x20AC;đ?&#x2018;&#x20AC;đ?&#x2018;&#x20AC;đ?&#x2018;&#x20AC;đ?&#x2018;&#x20AC; (P) đ?&#x2018;&#x201C;đ?&#x2018;&#x201C;!,! = 17,8 Â đ?&#x2018;&#x20AC;đ?&#x2018;&#x20AC;đ?&#x2018;&#x20AC;đ?&#x2018;&#x20AC;đ?&#x2018;&#x20AC;đ?&#x2018;&#x20AC; (M) đ?&#x2018;&#x201C;đ?&#x2018;&#x201C;!,!",! = 0,27 Â đ?&#x2018;&#x20AC;đ?&#x2018;&#x20AC;đ?&#x2018;&#x20AC;đ?&#x2018;&#x20AC;đ?&#x2018;&#x20AC;đ?&#x2018;&#x20AC; (P) đ?&#x2018;&#x201C;đ?&#x2018;&#x201C;!,!",! = 0,36 Â đ?&#x2018;&#x20AC;đ?&#x2018;&#x20AC;đ?&#x2018;&#x20AC;đ?&#x2018;&#x20AC;đ?&#x2018;&#x20AC;đ?&#x2018;&#x20AC; (M) đ?&#x2018;&#x201C;đ?&#x2018;&#x201C;!,! = 1,78 Â đ?&#x2018;&#x20AC;đ?&#x2018;&#x20AC;đ?&#x2018;&#x20AC;đ?&#x2018;&#x20AC;đ?&#x2018;&#x20AC;đ?&#x2018;&#x20AC; (P) đ?&#x2018;&#x201C;đ?&#x2018;&#x201C;!,! = 2,37 Â đ?&#x2018;&#x20AC;đ?&#x2018;&#x20AC;đ?&#x2018;&#x20AC;đ?&#x2018;&#x20AC;đ?&#x2018;&#x20AC;đ?&#x2018;&#x20AC; (M)

Basis of calculation: Consequence class: CC2, a minimum risk of loss of life The consequence class is determined based on the direct access to nature in case of an emergency and the usage of the house. CC2: K !" = 1.0 Limit of application class: 1, interior structure The structure is primarily detailed as an interior structures, in few cases the roof structure creats an overhang and the structure is in direct contact with the outdoor envirionment, but in these cases the structure is supported by an interior pillar.

The following calculations takes their point of departure in the above mention frames and is concerned with the most critical structural part of the building, the free structure of the in between space of the office. Permanent load, roof structure: Wood structure: 1.7 kN/m2 Roofing felt: 0.1 kN/m2 Suspended ceiling: 0.2 kN/m2 2 kN/m2 roof area: 15,4m* 8,8m = 112,4 m2 roof load: 2kN/m2 * 112,4 m2=224,8 kN Dead load, G: 224,8kN + 42,62kN = 267,42 kN Snow load, S The snow load is a variable load, affecting the structure vertically. The snow load is defined by following: . S = Â ÂľÎź! C! C! S! ÂľÎź! = roof shape factor, <30Â° sloping 0.8 C! = Local exposition factor, windy 0.8 C. ! = Thermic factor 1 !" S! = characteristic value of the terrain 0,9 ! ! kN S = Â 0.8 Â â&#x2C6;&#x2122; 0.8 Â â&#x2C6;&#x2122; 1 Â â&#x2C6;&#x2122; 0.9 = 0.576 Â ! m Snow equally distributed on roof: Area of roof: 8,8m * 15,4m =112,4m2 â&#x20AC;Ś S = 0.576 * 112.4m2 = 64,74 kN

. . . . . . . .

to the calculation of the wind load, the terrain factor, K ! has been calculated according to the terrain category I. K ! = 0.19 Â

q !(!) = Â 1 +

0,68 * 1,07 kN

0,8 * 1,07 kN

Wind load, q The wind load is a variable load affecting the structureD horizontally. Prior to the calculation of the wind load, the terrain factor, K ! has been calculated according to the terrain category I.

K ! = 0.19 Â

!!,!

(teknisk stĂĽbi, 168)

z! = length of roughness 0,34* 1,07 kN z!,! = length of roughness, category I 0.05 Â m !.!" K ! = 0.19 Â = 0.21265 0.01 Â m

0.05 m 0.01 m

e/5=2.24m

V! = Speed of wind, seaside

K ! = Terrain factor q!

7 5 Â m ln 0.05 đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC; = 1.07384 Â ! đ?&#x2018;&#x161;đ?&#x2018;&#x161; = Â 1 +

! !

0.21

! !

0.21

h=5,6m

đ?&#x2019;&#x17D;đ?&#x2019;&#x17D;

d-e/5=10.36m đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC; đ?&#x2018;&#x161;đ?&#x2018;&#x161; 15 Â m 7 e/5=2.24m 1 = Â 1 + â&#x2C6;&#x2122; 1.25 Â ! 27 Â â&#x2C6;&#x2122; 0.21 ln 5 Â m 2 đ?&#x2018;&#x161;đ?&#x2018;&#x161; đ?&#x2018; đ?&#x2018; 0.05 ln 0.05 đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC; = 1.07384 Â ! đ?&#x2018;&#x161;đ?&#x2018;&#x161;

Form factors of the faĂ§ade, Cp is determined according to the shape of the structure d = 12,6m b = 15.4m h = 5.6m

0,34* 1,07 kN

e is determined to 2h=11,2 and as e > d, the following wind zones on the vertical walls are applied: see diagram above A = e/5 = 2,24m d-e/5=10.36m B = d-e/5 = 6,56m

The above determined form factors are applied to the building and the characteristic wind pressure is determined as follows:

0,68 * 1,07 kN

Form factors of the faĂ§ade, Cp is determined according to the shape of the structure d = 12,6m B h=5,6m b = 15.4m h = 5.6m

Following form factors are calculated according to the above determined peak wind, Cp: (Teknisk StĂĽbi, 170) A = -1,2 B = -0,8 đ??ˇđ??ˇ Â â&#x2039;&#x2026; đ?&#x153;&#x152;đ?&#x153;&#x152; = 0,8 Â â&#x2039;&#x2026; 0,85 = 0,68 đ??¸đ??¸ Â â&#x2039;&#x2026; đ?&#x153;&#x152;đ?&#x153;&#x152; = â&#x2C6;&#x2019;0,4 Â â&#x2039;&#x2026; 0,85 = â&#x2C6;&#x2019;0,34

đ?&#x2019;&#x17D;đ?&#x2019;&#x17D;

1 đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC; đ?&#x2018;&#x161;đ?&#x2018;&#x161; 15 Â m â&#x2C6;&#x2122; 1.25 Â ! 27 Â â&#x2C6;&#x2122; 0.21 ln 2 đ?&#x2018;&#x161;đ?&#x2018;&#x161; đ?&#x2018; đ?&#x2018; 0.05

d=12,6m

0,8 * 1,07 kN

1 z â&#x2C6;&#x2122; Ď V! â&#x2C6;&#x2122; K ! ln 2 z!

Correlation factor, Â đ?&#x153;&#x152;đ?&#x153;&#x152; Â ! = 0,636 Â ! đ?&#x153;&#x152;đ?&#x153;&#x152; = 0,85

1 z â&#x2C6;&#x2122; Ď V! â&#x2C6;&#x2122; K ! ln z 2 z ! ln z! z = Height of the construction above ground level 5 m z! = Leght of roughness 0.05 m đ?&#x2019;&#x152;đ?&#x2019;&#x152;đ?&#x2019;&#x152;đ?&#x2019;&#x152; Ď = Density of air 1.25 đ?&#x;?đ?&#x;? 7

1,2 * 1,07 kN

d=12,6m

The peak wind load is then calculated according to following: q !(!) = Â 1 +

K ! = Terrain factor

V! = Speed of wind, seaside

0,34* 1,07 kN

0,68 * 1,07 kN

!.!"

0.05 m 0.01 m

z z! A z = Height of the construction above ground level 5B m b z! = Leght of roughness 0.05 m đ?&#x2019;&#x152;đ?&#x2019;&#x152;đ?&#x2019;&#x152;đ?&#x2019;&#x152; Ď = Density of air 1.25 đ?&#x;?đ?&#x;? D

(teknisk stĂĽbi, 168)

z! = length of roughness z!,! = length of roughness, category I 0.05 Â m !.!" K ! = 0.19 Â = 0.21265 0.01 Â m

0,8 * 1,07 kN

1,2 * 1,07 kN

!!,!

!.!"

The peak wind load is then calculated according to following:

1,2 * 1,07 kN

Area of the east/western wall, free from surrounding building mass: đ??´đ??´!,! = 15,4đ?&#x2018;&#x161;đ?&#x2018;&#x161; Â â&#x2039;&#x2026; 3,7đ?&#x2018;&#x161;đ?&#x2018;&#x161; +

!",!! Â â&#x2039;&#x2026;!

= 72,38đ?&#x2018;&#x161;đ?&#x2018;&#x161;!

đ??şđ??ş! Â = 72,38đ?&#x2018;&#x161;đ?&#x2018;&#x161;! Â â&#x2039;&#x2026; 1,07 ! â&#x2039;&#x2026; 0,68 = 52,66 Â đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC; ! đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC; ! đ??şđ??ş! = 72,38đ?&#x2018;&#x161;đ?&#x2018;&#x161; Â â&#x2039;&#x2026; 1,07 ! â&#x2039;&#x2026; â&#x2C6;&#x2019;0,34 = â&#x2C6;&#x2019;26,33 Â đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC; đ?&#x2018;&#x161;đ?&#x2018;&#x161; đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC; đ??şđ??ş!""#$ = 34,5đ?&#x2018;&#x161;đ?&#x2018;&#x161;! Â â&#x2039;&#x2026; 1,07 ! â&#x2039;&#x2026; â&#x2C6;&#x2019;1,2 = 44,3 Â đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC; đ?&#x2018;&#x161;đ?&#x2018;&#x161; đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC; đ??şđ??ş!""#$ = 101đ?&#x2018;&#x161;đ?&#x2018;&#x161;! Â â&#x2039;&#x2026; 1,07 ! â&#x2039;&#x2026; â&#x2C6;&#x2019;0,8 = 86,45 Â đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC; đ?&#x2018;&#x161;đ?&#x2018;&#x161; đ??şđ??ş!!! = 52,66đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC; + 26,33 Â đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC; = 78,99đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC; In the following the load are used to analyse the structure as a parametric model in the Rhinoceros Plug-In Grasshopper. The analysis incorporates two analysis parts; parametric model of the structural system in Grasshopper with a preliminary structural analyses in Karamba â&#x20AC;&#x201C; with the load defined above to investigate the deformation of the structural system and a preliminary definition of the structureâ&#x20AC;&#x2122;s cross sections and finally the optimized structure is analysed through a structural analysis in Robot, Autodesk estimating the utilization of material strength and modulus. The first analysis is performed in karamba to optimize the structure sections, according to the deformation. Karamba is an interactive structural analysis plug-in program that combines parametric design and static assessment. Karamba uses loads without taking into account the partial coefficients of the Eurocode. Therefor the analysis from Karamba can be used as a preliminary indicator of the structural efficiencies and not the final. The results can be viewed as a guideline, before bringing in another program for the complete analysis. Â The maximum deformation is determined as: đ?&#x2018;&#x2122;đ?&#x2018;&#x2122; đ?&#x2018;&#x161;đ?&#x2018;&#x161; đ??ˇđ??ˇ!"# = 400

135

11 // appendix 2

STRUCTURAL CALCULATIONS KARAMBA & ROBOT ANALYSIS Area of the east/western wall, free from surrounding building mass: đ??´đ??´!,! = 15,4đ?&#x2018;&#x161;đ?&#x2018;&#x161; Â â&#x2039;&#x2026; 3,7đ?&#x2018;&#x161;đ?&#x2018;&#x161; +

!",!! Â â&#x2039;&#x2026;!

= 72,38đ?&#x2018;&#x161;đ?&#x2018;&#x161;!

đ??şđ??ş! Â = 72,38đ?&#x2018;&#x161;đ?&#x2018;&#x161;! Â â&#x2039;&#x2026; 1,07 ! â&#x2039;&#x2026; 0,68 = 52,66 Â đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC; ! đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC; ! đ??şđ??ş! = 72,38đ?&#x2018;&#x161;đ?&#x2018;&#x161; Â â&#x2039;&#x2026; 1,07 ! â&#x2039;&#x2026; â&#x2C6;&#x2019;0,34 = â&#x2C6;&#x2019;26,33 Â đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC; đ?&#x2018;&#x161;đ?&#x2018;&#x161; đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC; ! đ??şđ??ş!""#$ = 34,5đ?&#x2018;&#x161;đ?&#x2018;&#x161; Â â&#x2039;&#x2026; 1,07 ! â&#x2039;&#x2026; â&#x2C6;&#x2019;1,2 = 44,3 Â đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC; đ?&#x2018;&#x161;đ?&#x2018;&#x161; đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC; đ??şđ??ş!""#$ = 101đ?&#x2018;&#x161;đ?&#x2018;&#x161;! Â â&#x2039;&#x2026; 1,07 ! â&#x2039;&#x2026; â&#x2C6;&#x2019;0,8 = 86,45 Â đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC; đ?&#x2018;&#x161;đ?&#x2018;&#x161; đ??şđ??ş!!! = 52,66đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC; + 26,33 Â đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC; = 78,99đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC; In the following the load are used to analyse the structure as a parametric model in the Rhinoceros Plug-In Grasshopper. The analysis incorporates two analysis parts; parametric model of the structural system in Grasshopper with a preliminary structural analyses in Karamba â&#x20AC;&#x201C; with the load defined above to investigate the deformation of the structural system and a preliminary definition of the structureâ&#x20AC;&#x2122;s cross sections and finally the optimized structure is analysed through a structural analysis in Robot, Autodesk estimating the utilization of material strength and modulus. The first analysis is performed in karamba to optimize the structure sections, according to the deformation. Karamba is an interactive structural analysis plug-in program that combines parametric design and static assessment. Karamba uses loads without taking into account the partial coefficients of the Eurocode. Therefor the analysis from Karamba can be used as a preliminary indicator of the structural efficiencies and not the final. The results can be viewed as a guideline, before bringing in another program for the complete analysis. Â The maximum deformation is determined as: đ?&#x2018;&#x2122;đ?&#x2018;&#x2122; đ??ˇđ??ˇ!"# = đ?&#x2018;&#x161;đ?&#x2018;&#x161; 400 đ??ˇđ??ˇ!"# = 0,039đ?&#x2018;&#x161;đ?&#x2018;&#x161;

The parametreâ&#x20AC;&#x2122;s changeable to optimize the structure:

136

To further analyse the structure the parametric model is exported to the FEM program Autodesk Robot. Robot is a structural analysis software developed by Autodesk, to analyse the structural behaviour of

View - Deformation; Cases: 4 (COMB1)

Situation no. 1: Pillar section: 0,20m x 0,20m Beam section: 0,20m x 0,40m Deformation: 0,085 m Material utilization: Pressure: 136,2% Tension: 134,9% Situation no.2: Pillar section: 0,20m x 0,20m Beam section: 0,25m x 0,50m Deformation: 0,061 m Material utilization: Pressure: 111,6% Tension: 110,2% Situation no. 3: Pillar section: 0,25m x 0,25m Beam section: 0,25m x 0,50m Deformation: 0,039m Material utilization: Pressure: 86,8% Tension: 85,5% To further analyse the structure the parametric model is exported to the FEM program Autodesk Robot. Robot is a structural analysis software developed by Autodesk, to analyse the structural behaviour of structures. The BIM model created in Rhinoceros Grasshopper is converted into a FEM model in Robot, thus the model can be changed in Rhinoceros Grasshopper on desired parameters and processed into resulting analysis of the variable structures. Robot is able to combine loads according to the Eurocode, as well as having a material library available, resulting in a more accurate approximation of the structures deformation and utilization of the material.

indicate that the preliminary dimensioning could have had benefittet from being analylized in a wider range of different solutions. In general, the calculations has a certain level in insecurity, hence the way the structures supports and the static system is define. The calculations are done prior to the final design of the pillar, thus some of the joint are calculated as fixed in stead of what would actually be realistic. Concluding on the structural analysis, the structure could have been optimized and the material utilization heighten, if the analysis had included multiple investigations.

This part of the analysis, analyse the optimized model from Karamba in Rhinoceros Grasshopper and the results are as follows: Situation no. 3: Pillar section: 0,25m x 0,25m Beam section: 0,25m x 0,50m Deformation: 0,002m Material utilization: 53%

Date : 25/05/14

Page : 1

Thus the analysis in Robot show a lower utilization of the material and a much lower deformation than the calculation in karamba. The analysis

137

The wall is dimensioned through a simple calculation of a fixed cantilevering concrete beam. Earth loads are the loads and tensions affecting a wall on the surface in direct contact with the ground as horizontal loads Opposite the loads of a liquid, earth loads and its horizontal load almost never the same as it vertical load on the surface (Teknisk StĂĽbi) The pressure of the earth is depends on the construction and the type of earth in which it is build, and in some cases also external loads, as other buildings, roads or bridges. The type of earth, its strength and stiffness, thus its ability to carry itself, defines the main influence. As for example in the case of the following calculation, the concrete wall separate a outdoor walking path from the dunes in the landscape, the TERRAIN wall is located without any sort of external influences, thus the earth pressure can be calculated as the resting pressure, which is the calculated as follows: p = 2,5 kN/m2

11 // appendix 2

STRUCTURAL CALCULATION DIMENSIONING OF CONCRETE WALL FACING

Sand

2,0 m

First the active load on the backside of the wall is calculated. The calculations are of a drained situation, as the ground water mirror must be estimated to be located several meters below the construction. This calculation is done to determine if the cross-sectional momentâ&#x20AC;&#x2122;s strength is able to withhold the moment of the sand. 0,5 m

0,3 m

Dimensioning the concrete wall towards sand In the following section, the concrete wall separating the landscape from the walking path of the entrance is dimensioned. The wall is constructed as a prefabricated element, as shown on the illustration above: The wall is dimensioned through a simple calculation of a fixed cantilevering concrete beam. Earth loads are the loads and tensions affecting a wall on the surface in direct contact with the ground as horizontal loads Opposite the loads of a liquid, earth loads and its horizontal load almost never the same as it vertical load on the surface (Teknisk StĂĽbi) The pressure of the earth is depends on the construction and the type of earth in which it is build, and in some cases also external loads, as other buildings, roads or bridges. The type of earth, its strength and stiffness, thus its ability to carry itself, defines the main influence. As for example in the case of the following calculation, the concrete wall separate a outdoor walking path from the dunes in the landscape, the wall is located without any sort of external influences, thus the earth pressure can be calculated as the resting pressure, which is the calculated as follows: First the active load on the backside of the wall is calculated. The calculations are of a drained situation, as the ground water mirror must be estimated to be located several meters below the construction. This calculation is done to determine if the cross-sectional momentâ&#x20AC;&#x2122;s strength is able to withhold the moment of the sand. Basis of calculation, sand: đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC; đ?&#x203A;žđ?&#x203A;žâ&#x20AC;˛ = 16 ! đ?&#x2018;&#x161;đ?&#x2018;&#x161; đ?&#x153;&#x2018;đ?&#x153;&#x2018;â&#x20AC;˛!" = 35Â° The construction is constructed in geotechnical category 2 and class of consequence 2. Design values: tan Â đ?&#x153;&#x2018;đ?&#x153;&#x2018;â&#x20AC;˛!" đ?&#x153;&#x2018;đ?&#x153;&#x2018; ! ! = arctan = Â 30 Â Â° đ?&#x203A;žđ?&#x203A;ž! 138 đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC; đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC; = 3,75 đ?&#x2018;&#x192;đ?&#x2018;&#x192;! = 1,5 â&#x2C6;&#x2014; 2,5 đ?&#x2018;&#x161;đ?&#x2018;&#x161;2 đ?&#x2018;&#x161;đ?&#x2018;&#x161;2

0,45 m

1,5 m

Basis of calculation, sand: đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC; đ?&#x203A;žđ?&#x203A;žâ&#x20AC;˛ = 16 ! đ?&#x2018;&#x161;đ?&#x2018;&#x161; đ?&#x153;&#x2018;đ?&#x153;&#x2018;â&#x20AC;˛!" = 35Â° The construction is constructed in geotechnical category 2 and class of consequence 2. Design values: tan Â đ?&#x153;&#x2018;đ?&#x153;&#x2018;â&#x20AC;˛!" đ?&#x153;&#x2018;đ?&#x153;&#x2018; ! ! = arctan = Â 30 Â Â° đ?&#x203A;žđ?&#x203A;ž! đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC; đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC; = 3,75 đ?&#x2018;&#x192;đ?&#x2018;&#x192;! = 1,5 â&#x2C6;&#x2014; 2,5 đ?&#x2018;&#x161;đ?&#x2018;&#x161;2 đ?&#x2018;&#x161;đ?&#x2018;&#x161;2

The pressure on the wall, q, is calculated as following: đ?&#x2018;&#x2019;đ?&#x2018;&#x2019; ! = Â đ?&#x203A;žđ?&#x203A;ž ! đ?&#x2018;&#x2018;đ?&#x2018;&#x2018;đ??žđ??ž! + đ?&#x2018;?đ?&#x2018;?đ??žđ??ž!

Earth pressure: đ??žđ??ž! = đ??žđ??ž! + 0,007 Â đ?&#x2018;&#x2019;đ?&#x2018;&#x2019; ! !"# đ??žđ??ž! is calculated: 1 + sin Â (đ?&#x153;&#x2018;đ?&#x153;&#x2018;) đ??žđ??ž! = Â 1 â&#x2C6;&#x2019; sin đ?&#x153;&#x2018;đ?&#x153;&#x2018;

â&#x2C6;&#x2019;1

1 + sin Â (â&#x2C6;&#x2019;30) 1 + (â&#x2C6;&#x2019;0,5) = Â = 0,33 Â 1 â&#x2C6;&#x2019; sin â&#x2C6;&#x2019;30 1 â&#x2C6;&#x2019; (â&#x2C6;&#x2019;0,5) In case of active earth pressure the angle is added as a negative value. đ??žđ??ž! = Â 0,33 đ??žđ??ž! = đ??žđ??ž! + 0,007 Â đ?&#x2018;&#x2019;đ?&#x2018;&#x2019; ! !"# ! â&#x2C6;&#x2019; 1 = 0,95 Â Â đ??žđ??ž! = Â

đ?&#x2018;&#x2018;đ?&#x2018;&#x2018; = 2,0 Â đ?&#x2018;&#x161;đ?&#x2018;&#x161; đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC; đ?&#x203A;žđ?&#x203A;žâ&#x20AC;˛ = 16 ! đ?&#x2018;&#x161;đ?&#x2018;&#x161; The value is an estimation of the drained situation of the sand. đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC; đ?&#x2018;?đ?&#x2018;? = 2,5 đ?&#x2018;&#x161;đ?&#x2018;&#x161;2 p is estimated at 2,5 kN/m2 as the case is for example in office areas, thus allowing people to walk on the sand without it influencing the wall. đ?&#x2018;&#x2019;đ?&#x2018;&#x2019; ! = Â đ?&#x203A;žđ?&#x203A;ž ! đ?&#x2018;&#x2018;đ?&#x2018;&#x2018;đ??žđ??ž! + đ?&#x2018;?đ?&#x2018;?đ??žđ??ž! 3,75đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC; kN đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC; â&#x2C6;&#x2014; 2 â&#x2C6;&#x2014; Â 0,95 + â&#x2C6;&#x2014; 0,33 = Â 31,64 đ?&#x2018;&#x2019;đ?&#x2018;&#x2019;â&#x20AC;˛ = Â 16 đ?&#x2018;&#x161;đ?&#x2018;&#x161;2 m2 đ?&#x2018;&#x161;đ?&#x2018;&#x161;2

đ?&#x2018;&#x2018;đ?&#x2018;&#x2018; = 2,0 Â đ?&#x2018;&#x161;đ?&#x2018;&#x161; đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC; đ?&#x203A;žđ?&#x203A;žâ&#x20AC;˛ = 16 ! đ?&#x2018;&#x161;đ?&#x2018;&#x161; The value is an estimation of the drained situation of the sand. đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC; đ?&#x2018;?đ?&#x2018;? = 2,5 đ?&#x2018;&#x161;đ?&#x2018;&#x161;2 p is estimated at 2,5 kN/m2 as the case is for example in office areas, thus allowing people to walk on the sand without it influencing the wall. g đ?&#x2018;&#x2019;đ?&#x2018;&#x2019; ! = Â đ?&#x203A;žđ?&#x203A;ž ! đ?&#x2018;&#x2018;đ?&#x2018;&#x2018;đ??žđ??ž! + đ?&#x2018;?đ?&#x2018;?đ??žđ??ž! đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC; 3,75đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC; kN â&#x2C6;&#x2014; 2 â&#x2C6;&#x2014; Â 0,95 + â&#x2C6;&#x2014; 0,33 = Â 31,64 đ?&#x2018;&#x2019;đ?&#x2018;&#x2019;â&#x20AC;˛ = Â 16 đ?&#x2018;&#x161;đ?&#x2018;&#x161;2 đ?&#x2018;&#x161;đ?&#x2018;&#x161;2 m2

From this the cross-sectional moment around the fixed point is calculated as follows, in the debts of 2 meters 1 đ?&#x2018;&#x20AC;đ?&#x2018;&#x20AC;! = Â â&#x2C6;&#x2019; đ?&#x2018;&#x17E;đ?&#x2018;&#x17E;đ?&#x2018;&#x2122;đ?&#x2018;&#x2122; ! 6 !

đ?&#x2018;&#x20AC;đ?&#x2018;&#x20AC;! = Â â&#x2C6;&#x2019; â&#x2C6;&#x2014; 31,64 !

Â â&#x2C6;&#x2014; 2! = 21,1

In the following I will calculate the cross-sectional moment of a reinforced concrete beam, as this can be considered a simple way of dimensioning the wall. REBAR / REINFORCEMENT BARS !! Basis of the calculation: Class of consequence: 2 Environment class: aggressive Material definition: Concrete C45: đ?&#x2018;&#x201C;đ?&#x2018;&#x201C;!" = 45đ?&#x2018;&#x20AC;đ?&#x2018;&#x20AC;đ?&#x2018;&#x20AC;đ?&#x2018;&#x20AC;đ?&#x2018;&#x20AC;đ?&#x2018;&#x20AC; Â Steel tentor, Ă&#x2DC;16 đ?&#x2018;&#x201C;đ?&#x2018;&#x201C;!" = 550đ?&#x2018;&#x20AC;đ?&#x2018;&#x20AC;đ?&#x2018;&#x20AC;đ?&#x2018;&#x20AC;đ?&#x2018;&#x20AC;đ?&#x2018;&#x20AC; Â Concrete section: h= 450 mm b = 1000 mm Reinforcing steel: Ă¸ = 16 mm

c= 30 mm + 10 = 40 mm c1= 40 mm + 16 mm = 56 mm a = 125 mm 8 reinforcement steels in the length of the beam area of section in steel: đ?&#x153;&#x2039;đ?&#x153;&#x2039; đ??´đ??´! = 8 â&#x2C6;&#x2014; 16! â&#x2C6;&#x2014; = 1608,5 Â đ?&#x2018;&#x161;đ?&#x2018;&#x161;đ?&#x2018;&#x161;đ?&#x2018;&#x161;! Â 4

đ?&#x153;&#x17D;đ?&#x153;&#x17D;! = Â đ?&#x2018;&#x201C;đ?&#x2018;&#x201C;!"

Calculational strength (EU2) đ?&#x2018;&#x201C;đ?&#x2018;&#x201C;!" đ?&#x2018;&#x201C;đ?&#x2018;&#x201C;!" = Â đ?&#x203A;žđ?&#x203A;ž! 45 Â đ?&#x2018;&#x20AC;đ?&#x2018;&#x20AC;đ?&#x2018;&#x20AC;đ?&#x2018;&#x20AC;đ?&#x2018;&#x20AC;đ?&#x2018;&#x20AC; đ?&#x2018;&#x201C;đ?&#x2018;&#x201C;!" = Â đ?&#x203A;žđ?&#x203A;ž! đ?&#x2018;&#x201C;đ?&#x2018;&#x201C;!" đ?&#x2018;&#x201C;đ?&#x2018;&#x201C;!" = Â đ?&#x203A;žđ?&#x203A;ž! 550 Â đ?&#x2018;&#x20AC;đ?&#x2018;&#x20AC;đ?&#x2018;&#x20AC;đ?&#x2018;&#x20AC;đ?&#x2018;&#x20AC;đ?&#x2018;&#x20AC; đ?&#x2018;&#x201C;đ?&#x2018;&#x201C;!" = Â đ?&#x203A;žđ?&#x203A;ž!

p = 2,5 kN/m2

Sand

m 2,1

Î¸

2,0 m

Firstly the division line between tension and elongation is determined as follows: đ?&#x2018;§đ?&#x2018;§ = Â đ?&#x2018;&#x2018;đ?&#x2018;&#x2018; â&#x2C6;&#x2019; 0,4đ?&#x2018;Ľđ?&#x2018;Ľ

đ?&#x2018;&#x2018;đ?&#x2018;&#x2018; = 450 Â đ?&#x2018;&#x161;đ?&#x2018;&#x161;đ?&#x2018;&#x161;đ?&#x2018;&#x161; â&#x2C6;&#x2019; 40 Â đ?&#x2018;&#x161;đ?&#x2018;&#x161;đ?&#x2018;&#x161;đ?&#x2018;&#x161; â&#x2C6;&#x2019;

The concrete single sided fixed beam is considered according to its break point/point of rupture, of a normally reinforced section, to determine the break moment: Break moment is determined according to: đ?&#x2018;&#x20AC;đ?&#x2018;&#x20AC;!" = đ??´đ??´! â&#x2C6;&#x2014; đ?&#x2018;&#x201C;đ?&#x2018;&#x201C;!"( Â đ?&#x2018;&#x2018;đ?&#x2018;&#x2018; â&#x2C6;&#x2019; 0,4đ?&#x2018;Ľđ?&#x2018;Ľ)

Basis of calculation: Total elongation of concrete: đ?&#x153;&#x20AC;đ?&#x153;&#x20AC;!,! = Â 0,35% Total elongation of reinforcement: đ?&#x153;&#x20AC;đ?&#x153;&#x20AC;! â&#x2030;¤ đ?&#x153;&#x20AC;đ?&#x153;&#x20AC;! â&#x2030;¤ đ?&#x153;&#x20AC;đ?&#x153;&#x20AC;!" Â Reinforment tension: đ?&#x153;&#x17D;đ?&#x153;&#x17D;! = Â đ?&#x2018;&#x201C;đ?&#x2018;&#x201C;!" Calculational strength (EU2) đ?&#x2018;&#x201C;đ?&#x2018;&#x201C;!" đ?&#x2018;&#x201C;đ?&#x2018;&#x201C;!" = Â đ?&#x203A;žđ?&#x203A;ž! 45 Â đ?&#x2018;&#x20AC;đ?&#x2018;&#x20AC;đ?&#x2018;&#x20AC;đ?&#x2018;&#x20AC;đ?&#x2018;&#x20AC;đ?&#x2018;&#x20AC; đ?&#x2018;&#x201C;đ?&#x2018;&#x201C;!" = Â đ?&#x203A;žđ?&#x203A;ž! đ?&#x2018;&#x201C;đ?&#x2018;&#x201C;!" đ?&#x2018;&#x201C;đ?&#x2018;&#x201C;!" = Â đ?&#x203A;žđ?&#x203A;ž! 550 Â đ?&#x2018;&#x20AC;đ?&#x2018;&#x20AC;đ?&#x2018;&#x20AC;đ?&#x2018;&#x20AC;đ?&#x2018;&#x20AC;đ?&#x2018;&#x20AC; đ?&#x2018;&#x201C;đ?&#x2018;&#x201C;!" = Â đ?&#x203A;žđ?&#x203A;ž!

đ?&#x2018;&#x2018;đ?&#x2018;&#x2018; = 402 Â đ?&#x2018;&#x161;đ?&#x2018;&#x161;đ?&#x2018;&#x161;đ?&#x2018;&#x161;

16 2đ?&#x2018;&#x161;đ?&#x2018;&#x161;đ?&#x2018;&#x161;đ?&#x2018;&#x161;

đ?&#x153;&#x2039;đ?&#x153;&#x2039; = 1608,5 Â đ?&#x2018;&#x161;đ?&#x2018;&#x161;đ?&#x2018;&#x161;đ?&#x2018;&#x161;! 4 đ??´đ??´! â&#x2C6;&#x2014; đ?&#x2018;&#x201C;đ?&#x2018;&#x201C;!" đ?&#x2018;Ľđ?&#x2018;Ľ = 1,25 Â Â đ?&#x2018;&#x2122;đ?&#x2018;&#x2122; â&#x2C6;&#x2014; đ?&#x2018;&#x201C;đ?&#x2018;&#x201C;!" đ??´đ??´! = 8 â&#x2C6;&#x2014; 16! â&#x2C6;&#x2014;

đ?&#x2018;Ľđ?&#x2018;Ľ = 1,25 Â

1608,5 Â đ?&#x2018;&#x161;đ?&#x2018;&#x161;đ?&#x2018;&#x161;đ?&#x2018;&#x161;! â&#x2C6;&#x2014; 458,3 Â đ?&#x2018;&#x20AC;đ?&#x2018;&#x20AC;đ?&#x2018;&#x20AC;đ?&#x2018;&#x20AC;đ?&#x2018;&#x20AC;đ?&#x2018;&#x20AC; Â = 28,67 Â đ?&#x2018;&#x161;đ?&#x2018;&#x161;đ?&#x2018;&#x161;đ?&#x2018;&#x161; 1000 Â đ?&#x2018;&#x161;đ?&#x2018;&#x161;đ?&#x2018;&#x161;đ?&#x2018;&#x161; â&#x2C6;&#x2014; 32,14 Â đ?&#x2018;&#x20AC;đ?&#x2018;&#x20AC;đ?&#x2018;&#x20AC;đ?&#x2018;&#x20AC;đ?&#x2018;&#x20AC;đ?&#x2018;&#x20AC;

đ?&#x2018;&#x2018;đ?&#x2018;&#x2018; = 402 Â đ?&#x2018;&#x161;đ?&#x2018;&#x161;đ?&#x2018;&#x161;đ?&#x2018;&#x161;

Fa G

16 2đ?&#x2018;&#x161;đ?&#x2018;&#x161;đ?&#x2018;&#x161;đ?&#x2018;&#x161;

đ?&#x153;&#x2039;đ?&#x153;&#x2039; đ??´đ??´! = 8 â&#x2C6;&#x2014; 16 â&#x2C6;&#x2014; = 1608,5 Â đ?&#x2018;&#x161;đ?&#x2018;&#x161;đ?&#x2018;&#x161;đ?&#x2018;&#x161;! 4 đ??´đ??´! â&#x2C6;&#x2014; đ?&#x2018;&#x201C;đ?&#x2018;&#x201C;!" đ?&#x2018;Ľđ?&#x2018;Ľ = 1,25 Â Â đ?&#x2018;&#x2122;đ?&#x2018;&#x2122; â&#x2C6;&#x2014; đ?&#x2018;&#x201C;đ?&#x2018;&#x201C;!" !

đ?&#x2018;Ľđ?&#x2018;Ľ = 1,25 Â

floor

0,5 m H

Fp 0,3 m

0,45 m

1,5 m H

In the following I wish to determine if the wall will tip over from the pressure of the sand. I will explore the moment equipoise around the moment, 0. See illustration above:

đ?&#x2018;§đ?&#x2018;§ = Â 402 Â đ?&#x2018;&#x161;đ?&#x2018;&#x161;đ?&#x2018;&#x161;đ?&#x2018;&#x161; â&#x2C6;&#x2019; 0,4 â&#x2C6;&#x2014; 28,67 Â đ?&#x2018;&#x161;đ?&#x2018;&#x161;đ?&#x2018;&#x161;đ?&#x2018;&#x161;

It is estimated that the moment equipoise must compress the sand under the section with a maximum of 200 KPa, thus keeping the construction stabile

Cross-section moment: đ?&#x2018;&#x20AC;đ?&#x2018;&#x20AC;!" = 1608,5 Â đ?&#x2018;&#x161;đ?&#x2018;&#x161;đ?&#x2018;&#x161;đ?&#x2018;&#x161;! â&#x2C6;&#x2014; Â 458,3 Â đ?&#x2018;&#x20AC;đ?&#x2018;&#x20AC;đ?&#x2018;&#x20AC;đ?&#x2018;&#x20AC;đ?&#x2018;&#x20AC;đ?&#x2018;&#x20AC; Â 390,6 Â đ?&#x2018;&#x161;đ?&#x2018;&#x161;đ?&#x2018;&#x161;đ?&#x2018;&#x161; = 228,2 Â đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;/đ?&#x2018;&#x161;đ?&#x2018;&#x161;

From the previous calculations following is known:

đ?&#x2018;§đ?&#x2018;§ = Â 402 Â đ?&#x2018;&#x161;đ?&#x2018;&#x161;đ?&#x2018;&#x161;đ?&#x2018;&#x161; â&#x2C6;&#x2019; 11,4 Â đ?&#x2018;&#x161;đ?&#x2018;&#x161;đ?&#x2018;&#x161;đ?&#x2018;&#x161; = 390,6 Â đ?&#x2018;&#x161;đ?&#x2018;&#x161;đ?&#x2018;&#x161;đ?&#x2018;&#x161;

Since I have shown in the previous section, at the earth pressure creates a moment of 21,1 kN/m2 it is possible to determine that wall is able to withhold the pressure from the sand, thus the wall is over dimension.

đ?&#x2018;?đ?&#x2018;? = 2,5

đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC; đ?&#x2018;&#x161;đ?&#x2018;&#x161;2

đ?&#x153;&#x2018;đ?&#x153;&#x2018; ! ! = arctan

tan Â đ?&#x153;&#x2018;đ?&#x153;&#x2018;â&#x20AC;˛!" = Â 30 Â Â° đ?&#x203A;žđ?&#x203A;ž!

Pressure of the earth at 2m below the surface, eâ&#x20AC;&#x2122;: đ?&#x2018;&#x2019;đ?&#x2018;&#x2019;â&#x20AC;˛ = 31,64

kN m2

To determine if the wall element is stabile, I determine the different moments affecting the wall around the point 0. 1: The moment created by the earth load around 0 on the active side of the wall is determined as follows: 1 đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC; đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC; đ??¸đ??¸ ! = â&#x2C6;&#x2014; 2,1đ?&#x2018;&#x161;đ?&#x2018;&#x161; 0 + 31,64 = 33,23 2 đ?&#x2018;&#x161;đ?&#x2018;&#x161;2 đ?&#x2018;&#x161;đ?&#x2018;&#x161; đ??šđ??š ! = đ??¸đ??¸ ! tan 30 = 1918 Â đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;/đ?&#x2018;&#x161;đ?&#x2018;&#x161; !

đ??¸đ??¸ ! đ?&#x2018;§đ?&#x2018;§ ! = â&#x2C6;&#x2014; 2,1! đ?&#x2018;&#x161;đ?&#x2018;&#x161; â&#x2C6;&#x2014; 0 !

+ â&#x2C6;&#x2014; 2,1! đ?&#x2018;&#x161;đ?&#x2018;&#x161; â&#x2C6;&#x2014; 31,65 !

= Â 23,26 kNm/m

2: The moment created by the earth load around 0 on the passive side of the wall is determined as follows: Top level of toe: 0m kN đ?&#x2018;&#x2019;đ?&#x2018;&#x2019;â&#x20AC;˛ = 0 m2

139

đ?&#x2018;&#x20AC;đ?&#x2018;&#x20AC;đ?&#x2018;&#x20AC;đ?&#x2018;&#x20AC; = 45,9 + 24 Â

kN đ?&#x2018;&#x2019;đ?&#x2018;&#x2019;â&#x20AC;˛ = 31,64 m2

! !

đ??¸đ??¸ đ?&#x2018;§đ?&#x2018;§ = â&#x2C6;&#x2014; 2,1 đ?&#x2018;&#x161;đ?&#x2018;&#x161; â&#x2C6;&#x2014; 0 !

+ â&#x2C6;&#x2014; 2,1 đ?&#x2018;&#x161;đ?&#x2018;&#x161; â&#x2C6;&#x2014; 31,65 !

= Â 23,26 kNm/m

2: The moment created by the earth load around 0 on the passive side of the wall is determined as follows: Top level of toe: 0m kN đ?&#x2018;&#x2019;đ?&#x2018;&#x2019;â&#x20AC;˛ = 0 m2

1 đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC; đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC; â&#x2C6;&#x2014; 1đ?&#x2018;&#x161;đ?&#x2018;&#x161; 48 = 24 2 đ?&#x2018;&#x161;đ?&#x2018;&#x161;2 đ?&#x2018;&#x161;đ?&#x2018;&#x161; đ??šđ??š ! = 0

The moment around 0 is determine to: 1 đ??¸đ??¸ ! đ?&#x2018;§đ?&#x2018;§ ! = 24 â&#x2C6;&#x2014; â&#x2C6;&#x2014; 1 = 8 Â đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;/đ?&#x2018;&#x161;đ?&#x2018;&#x161; 3

3: moment of the constructions dead load: 0,45đ?&#x2018;&#x161;đ?&#x2018;&#x161; â&#x2C6;&#x2014; 2,0đ?&#x2018;&#x161;đ?&#x2018;&#x161; â&#x2C6;&#x2014; + 0,5đ?&#x2018;&#x161;đ?&#x2018;&#x161; â&#x2C6;&#x2014; 2,1đ?&#x2018;&#x161;đ?&#x2018;&#x161;

16đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC; đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC; 1,5 â&#x2C6;&#x2014; 2,0/2 = 24 đ?&#x2018;&#x161;đ?&#x2018;&#x161; đ?&#x2018;&#x161;đ?&#x2018;&#x161;

4. Load on the foundation plate: 0,5 Â đ?&#x2018;&#x161;đ?&#x2018;&#x161; = 14,03Â° đ?&#x153;&#x192;đ?&#x153;&#x192; = arctan 2,0 Â đ?&#x2018;&#x161;đ?&#x2018;&#x161;

đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC; đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC; â&#x2C6;&#x2014; 24 = Â 45,9 đ?&#x2018;&#x161;đ?&#x2018;&#x161;3 đ?&#x2018;&#x161;đ?&#x2018;&#x161;

140 Moment around 0:

đ?&#x2018;&#x20AC;đ?&#x2018;&#x20AC; = đ?&#x2018;&#x2030;đ?&#x2018;&#x2030; ! đ?&#x2018;&#x2018;đ?&#x2018;&#x2018;đ?&#x2018;&#x2018;đ?&#x2018;&#x2018; = đ?&#x2018;&#x20AC;đ?&#x2018;&#x20AC;! + đ??¸đ??¸ ! đ?&#x2018;§đ?&#x2018;§ ! â&#x2C6;&#x2019; Â đ??¸đ??¸ ! đ?&#x2018;§đ?&#x2018;§ ! â&#x2C6;&#x2019; đ??šđ??š ! (đ?&#x2018;?đ?&#x2018;? + đ?&#x2018;Śđ?&#x2018;Ś) đ?&#x2018;&#x20AC;đ?&#x2018;&#x20AC; = đ?&#x2018;&#x2030;đ?&#x2018;&#x2030; đ?&#x2018;&#x2018;đ?&#x2018;&#x2018;đ?&#x2018;&#x2018;đ?&#x2018;&#x2018; = 162,04 Â đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;/đ?&#x2018;&#x161;đ?&#x2018;&#x161; !

đ?&#x2018;&#x2030;đ?&#x2018;&#x2030;â&#x20AC;˛! = đ??şđ??ş + đ??¸đ??¸ ! đ?&#x2018;&#x2020;đ?&#x2018;&#x2020;đ?&#x2018;&#x2020;đ?&#x2018;&#x2020;đ?&#x2018;&#x2020;đ?&#x2018;&#x2020; đ?&#x153;&#x192;đ?&#x153;&#x192; + Â đ??šđ??š ! đ??śđ??śđ??śđ??śđ??śđ??ś đ?&#x153;&#x192;đ?&#x153;&#x192; â&#x2C6;&#x2019; Â đ??šđ??š ! đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC; đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC; đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC; + 33,23 Â đ?&#x2018;&#x2020;đ?&#x2018;&#x2020;đ?&#x2018;&#x2020;đ?&#x2018;&#x2020;đ?&#x2018;&#x2020;đ?&#x2018;&#x2020; 30 + Â 19,18 đ??śđ??śđ??śđ??śđ??śđ??ś 30 â&#x2C6;&#x2019; Â 0 đ?&#x2018;&#x2030;đ?&#x2018;&#x2030;â&#x20AC;˛! = 146,79 đ?&#x2018;&#x161;đ?&#x2018;&#x161; đ?&#x2018;&#x161;đ?&#x2018;&#x161; đ?&#x2018;&#x161;đ?&#x2018;&#x161;2 đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC; đ?&#x2018;&#x2030;đ?&#x2018;&#x2030;â&#x20AC;˛! = 180,01 đ?&#x2018;&#x161;đ?&#x2018;&#x161; đ??ťđ??ť! = đ??¸đ??¸ ! đ?&#x2018;?đ?&#x2018;?đ?&#x2018;?đ?&#x2018;?đ?&#x2018;?đ?&#x2018;? đ?&#x153;&#x192;đ?&#x153;&#x192; â&#x2C6;&#x2019; Â đ??šđ??š ! đ?&#x2018; đ?&#x2018; đ?&#x2018; đ?&#x2018; đ?&#x2018; đ?&#x2018; đ?&#x153;&#x192;đ?&#x153;&#x192; â&#x2C6;&#x2019; Â đ??¸đ??¸ ! đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC; đ??ťđ??ť! = 34,93 đ?&#x2018;&#x161;đ?&#x2018;&#x161;

Moment around 0: đ?&#x2018;&#x20AC;đ?&#x2018;&#x20AC; = đ?&#x2018;&#x2030;đ?&#x2018;&#x2030; ! đ?&#x2018;&#x2018;đ?&#x2018;&#x2018;đ?&#x2018;&#x2018;đ?&#x2018;&#x2018; = đ?&#x2018;&#x20AC;đ?&#x2018;&#x20AC;! + đ??¸đ??¸ ! đ?&#x2018;§đ?&#x2018;§ ! â&#x2C6;&#x2019; Â đ??¸đ??¸ ! đ?&#x2018;§đ?&#x2018;§ ! â&#x2C6;&#x2019; đ??šđ??š ! (đ?&#x2018;?đ?&#x2018;? + đ?&#x2018;Śđ?&#x2018;Ś) đ?&#x2018;&#x20AC;đ?&#x2018;&#x20AC; = đ?&#x2018;&#x2030;đ?&#x2018;&#x2030; ! đ?&#x2018;&#x2018;đ?&#x2018;&#x2018;đ?&#x2018;&#x2018;đ?&#x2018;&#x2018; = 162,04 Â đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;/đ?&#x2018;&#x161;đ?&#x2018;&#x161;

!"!!!,!! !,!!

! 1 ( đ?&#x2018; đ?&#x2018; ! â&#x2C6;&#x2019; 1 cos Â (đ?&#x153;&#x2018;đ?&#x153;&#x2018; ! ! )! 4 ! đ?&#x2018; đ?&#x2018; ! = đ?&#x2018;&#x2019;đ?&#x2018;&#x2019; ! !"# ! ! (1 + đ?&#x2018; đ?&#x2018; đ?&#x2018; đ?&#x2018; đ?&#x2018; đ?&#x2018; đ?&#x153;&#x2018;đ?&#x153;&#x2018; ! ! )/(1 â&#x2C6;&#x2019; đ?&#x2018; đ?&#x2018; đ?&#x2018; đ?&#x2018; đ?&#x2018; đ?&#x2018; đ?&#x153;&#x2018;đ?&#x153;&#x2018; ! ! ) 1 + đ?&#x2018; đ?&#x2018; đ?&#x2018; đ?&#x2018; đ?&#x2018; đ?&#x2018; 30 đ?&#x2018; đ?&#x2018; ! = đ?&#x2018;&#x2019;đ?&#x2018;&#x2019; ! !"# !" = 18,40 1 â&#x2C6;&#x2019; đ?&#x2018; đ?&#x2018; đ?&#x2018; đ?&#x2018; đ?&#x2018; đ?&#x2018; 30 ! 1 đ?&#x2018; đ?&#x2018; ! = ( 18,40 â&#x2C6;&#x2019; 1 cos Â (30)! = 14,62 4

đ?&#x2018; đ?&#x2018; ! =

đ?&#x2018; đ?&#x2018; ! = đ?&#x2018; đ?&#x2018; ! = 1 đ??ťđ??ťđ??ťđ??ť ! 34,93 ) = 1â&#x2C6;&#x2014; = 0,19 đ?&#x2018;&#x2013;đ?&#x2018;&#x2013;! = (1 â&#x2C6;&#x2014; đ?&#x2018;&#x2030;đ?&#x2018;&#x2030;đ?&#x2018;&#x2030;đ?&#x2018;&#x2030; 180,01

đ?&#x2018;&#x2026;đ?&#x2018;&#x2026; ! ! 1 ! ! = đ?&#x203A;žđ?&#x203A;ž đ?&#x2018;?đ?&#x2018;? đ?&#x2018; đ?&#x2018; ! đ?&#x2018; đ?&#x2018; ! đ?&#x2018;&#x2013;đ?&#x2018;&#x2013;! + đ?&#x2018;&#x17E;đ?&#x2018;&#x17E;â&#x20AC;˛đ?&#x2018; đ?&#x2018; ! đ?&#x2018; đ?&#x2018; ! đ?&#x2018;&#x2013;đ?&#x2018;&#x2013;! 2 đ?&#x2018;?đ?&#x2018;? ! ! đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC; đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC; đ?&#x2018;&#x2026;đ?&#x2018;&#x2026; ! 1 = â&#x2C6;&#x2014; 16 ! Â 3,2đ?&#x2018;&#x161;đ?&#x2018;&#x161; Â 14,64 â&#x2C6;&#x2014; 1 â&#x2C6;&#x2014; 0,04 + 16 ! â&#x2C6;&#x2014; 18,4 â&#x2C6;&#x2014; 1 â&#x2C6;&#x2014; 0,19 2 đ?&#x2018;&#x161;đ?&#x2018;&#x161; đ?&#x2018;&#x161;đ?&#x2018;&#x161; đ?&#x2018;?đ?&#x2018;? ! đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC; = 70,9 đ?&#x2018;&#x161;đ?&#x2018;&#x161;2 Hence,

đ?&#x2018;&#x2030;đ?&#x2018;&#x2030; ! ! 180,01 đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC; đ?&#x2018;&#x2026;đ?&#x2018;&#x2026; ! ! đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC; = = 56,2 < ! = 70,9 ! 3,2 đ?&#x2018;&#x161;đ?&#x2018;&#x161;2 đ?&#x2018;&#x161;đ?&#x2018;&#x161;2 đ?&#x2018;?đ?&#x2018;? đ?&#x2018;?đ?&#x2018;?

Thus, the wall will not tilt and create rupture of the ground, in the following I consider in the earth pressure will push the wall harder than the friction can withstand:

=16 kN/m2

Effective overburden: đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC; đ?&#x2018;&#x17E;đ?&#x2018;&#x17E; ! = 1,0 â&#x2C6;&#x2014; 16 đ?&#x2018;&#x161;đ?&#x2018;&#x161;2 đ?&#x2018;&#x17E;đ?&#x2018;&#x17E; ! = 16

For đ?&#x153;&#x2018;đ?&#x153;&#x2018; ! ! = 30Â°, Â following factores of loadcarrying ability is determined? (Teknisk stĂĽbi)

đ?&#x2018;&#x2013;đ?&#x2018;&#x2013;! = đ?&#x2018;&#x2013;đ?&#x2018;&#x2013;! ! = 0,04

Effective unit weight: As the ground water level is longer from the bottom of the foundation, than the effective width, I only calculate the drained mass: đ?&#x203A;žđ?&#x203A;ž! â&#x201E;&#x17D;! đ?&#x203A;žđ?&#x203A;ž ! = ! đ?&#x2018;?đ?&#x2018;?

đ?&#x203A;žđ?&#x203A;ž ! =

đ?&#x2018;?đ?&#x2018;? ! = 3,2 Â đ?&#x2018;&#x161;đ?&#x2018;&#x161;

đ?&#x2018;&#x20AC;đ?&#x2018;&#x20AC;đ?&#x2018;&#x20AC;đ?&#x2018;&#x20AC; = đ?&#x2018;&#x17E;đ?&#x2018;&#x17E;đ?&#x2018;&#x17E;đ?&#x2018;&#x17E; !" !"# đ?&#x2018;&#x20AC;đ?&#x2018;&#x20AC;đ?&#x2018;&#x20AC;đ?&#x2018;&#x20AC; = 45,9 + 24 Â â&#x2C6;&#x2014; 2,1đ?&#x2018;&#x161;đ?&#x2018;&#x161; = 146,79 Â !

4. Load on the foundation plate: 0,5 Â đ?&#x2018;&#x161;đ?&#x2018;&#x161; = 14,03Â° đ?&#x153;&#x192;đ?&#x153;&#x192; = arctan 2,0 Â đ?&#x2018;&#x161;đ?&#x2018;&#x161;

Effective width: y=0,12 m b=1,95 m đ?&#x2018;?đ?&#x2018;? ! = 2 đ?&#x2018;?đ?&#x2018;? + đ?&#x2018;Śđ?&#x2018;Ś â&#x2C6;&#x2019; đ?&#x2018;&#x17D;đ?&#x2018;&#x17D; đ?&#x2018;?đ?&#x2018;? ! = 2 2,25 + 0,12 â&#x2C6;&#x2019; 0,77

đ??¸đ??¸ ! =

đ??şđ??ş!"#$ =

â&#x2C6;&#x2014; 2,1đ?&#x2018;&#x161;đ?&#x2018;&#x161; = 146,79

thus, a is determined: 109,24đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;/đ?&#x2018;&#x161;đ?&#x2018;&#x161; = 0,77 Â đ?&#x2018;&#x161;đ?&#x2018;&#x161; 2,1đ?&#x2018;&#x161;đ?&#x2018;&#x161; carrying capacity:

Bottom level of the toe: -1m 16đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC; kN â&#x2C6;&#x2014; 1m â&#x2C6;&#x2014; 3 = 48 đ?&#x2018;&#x2019;đ?&#x2018;&#x2019; ! = đ?&#x2018;&#x161;đ?&#x2018;&#x161; m2

đ??şđ??ş =

đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC; đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC; Â < đ?&#x2018;&#x2030;đ?&#x2018;&#x2030;! tan đ?&#x153;&#x2018;đ?&#x153;&#x2018; ! ! = 180,01 â&#x2C6;&#x2014; tan 30 = 103,92 đ?&#x2018;&#x161;đ?&#x2018;&#x161;! đ?&#x2018;&#x161;đ?&#x2018;&#x161;2

The above shows that the earth pressure will not push the construction either.

đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC; đ?&#x2018;&#x161;đ?&#x2018;&#x161;2

For đ?&#x153;&#x2018;đ?&#x153;&#x2018; ! ! = 30Â°, Â following factores of loadcarrying ability is determined? (Teknisk stĂĽbi) ! 1 ( đ?&#x2018; đ?&#x2018; ! â&#x2C6;&#x2019; 1 cos Â (đ?&#x153;&#x2018;đ?&#x153;&#x2018; ! ! )! 4 ! đ?&#x2018; đ?&#x2018; ! = đ?&#x2018;&#x2019;đ?&#x2018;&#x2019; ! !"# ! ! (1 + đ?&#x2018; đ?&#x2018; đ?&#x2018; đ?&#x2018; đ?&#x2018; đ?&#x2018; đ?&#x153;&#x2018;đ?&#x153;&#x2018; ! ! )/(1 â&#x2C6;&#x2019; đ?&#x2018; đ?&#x2018; đ?&#x2018; đ?&#x2018; đ?&#x2018; đ?&#x2018; đ?&#x153;&#x2018;đ?&#x153;&#x2018; ! ! ) 1 + đ?&#x2018; đ?&#x2018; đ?&#x2018; đ?&#x2018; đ?&#x2018; đ?&#x2018; 30 đ?&#x2018; đ?&#x2018; ! = đ?&#x2018;&#x2019;đ?&#x2018;&#x2019; ! !"# !" = 18,40 1 â&#x2C6;&#x2019; đ?&#x2018; đ?&#x2018; đ?&#x2018; đ?&#x2018; đ?&#x2018; đ?&#x2018; 30 ! 1 đ?&#x2018; đ?&#x2018; ! = ( 18,40 â&#x2C6;&#x2019; 1 cos Â (30)! = 14,62 4

đ?&#x2018; đ?&#x2018; ! =

đ?&#x2018; đ?&#x2018; ! = đ?&#x2018; đ?&#x2018; ! = 1 đ??ťđ??ťđ??ťđ??ť ! 34,93 ) = 1â&#x2C6;&#x2014; đ?&#x2018;&#x2013;đ?&#x2018;&#x2013;! = (1 â&#x2C6;&#x2014;

đ??ťđ??ť! =â&#x2C6;&#x2014; 34,93

= 0,19

Conclusion The calculations above show how the wall is over dimensioned in almost every aspect of its construction. In the case, where material usage, of utilization of the materials strength would have been a parameter, it could have been done, by slimming the wall. The section of the wall could have benefitted from being slimmer in the top and thicker in the bottom, thus the cross-section would have adapted the loads applied to it.

09 // appendix 3

FIRE ESCAPE PLAN ESCAPE ROUTES AND ACCESS

Emergency route

Emergency exit

Rescue opening

Fire cell

Fire section

Reinforced sand, fire road

40 meters

141

142

Thank you, C

143

Master Thesis Architecture & Design 144

Aalborg University