AAU MSc01_Sustainable Architecture | Design Report 2020

PIER 12

MSc01 ARCH 2019 Group 3

ABSTRACT This report presents the semester project of MSc01 ARCH gr. 3, Sustainable Architecture, at Architecture and Design, Aalborg University, Aalborg. The aim of the project is to design a social and environmentally sustainable housing complex with a mixed user group, and non-dwelling functions on the site which formerly housed LimfjordsvĂŚrftet in Aalborg. Through Problem Based Learning and The Integrated Design Process, dwellings with architectural qualities and innovative reuse of materials are designed with a low energy demand and high indoor comfort by taking advantage of the micro-climate and the surrounding characteristics of the site. The aspects of aesthetic, spatial, social, functional, logistical and technical parameters are iteratively designed throughout the process supported and guided by methodologies, its methods and its tools, of analyzing and forming the sense and spirit of the place, the user groups and their need of feeling sub-urban in a dense urban context, and sustainable strategies to reach such standards.

The outcome is a place where the building volumes are formed and placed by sun hour studies, gaining the best possible sun hours in the dwellings as well as the courtyards with their individual character offering social interaction with the public, the maritime environment of the boat builders’ workshops, social urban gardening, a plaza for public circulation and safety for the children of the occupants to play. The connection to the old LimfjordsvÌrft is seen though the reuse of the existing materials on the balconies and landscaping whilst new modern sustainable material is used in the construction to provide good indoor environment and safe living conditions for the occupants and their loved ones.

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TITLE PAGE DEPARTMENT OF ARCHITECTURE, DESIGN & MEDIA TECHNOLOGY

PROJECT TITLE

Pier 12

PROJECT TIME

27.10.2019 - 19.12.2019

SEMESTER

Msc01

SUPERVISORS

Michael Lauring Agathe Revil-Signorat

NUMBER OF PAGES

137

EMILIE HELLERUP

FEDERICO FIORINO

ILARIA GHILARDI

JOHANNE LYNGKLIP GAARDBO

MOHAMED JAMA ISAK

TABLE OF CONTENTS TABLE OF CONTENTS 0.0 INTRO

Introduction

Integrated design process Methodologies

1.0 ANALYSIS

6 8 9

‘In-between spaces’

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1.1 SITE ANALYSIS

History of Aalborg Noise

Building heights Flow Infrastructure

Buildings on site Morphology

Areal functions

Nolli Map

Kevin Lynch

Serial vision

Genius Loci SWOT Materiality Flooding Rainwater Radiation Windrose

Sun-hour study

18 20 20 21 21 22 22 23 23 24 26 28 31 32 33 33 34 34 35

1.2 SUSTAINABILITY Demographics

Jane Jacobs

Interview with Lars Jeppesen

DGNB Social Sustainability Users

38 39 40 41 42

Suburbs vs. City Enivronmentl aesthetics Environmental DGNB Environmental technology

1.3 INSPIRATION

Case studies

1.4 CONCLUSION

Program conclusion Problem Vision

Design criteria

Room program

44 46 47 47 50 58 58 58 60 62

2.0 SKETCHING

Workshop 1

Concept 1 / outside in

Workshop 2

Concept 2/ inside out

Assessment graph

Material study Landscape

66 68 70 72 74 76 78

3.0 SYNTHESIS

Chosen concept

Plan process

Passive strategies

Chosen materials

Materials & indoor climate Facades

Active strategies Landscape

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82 84 86 88 90 94 96 98

READING GUIDE

4.0 PRESENTATION Design

Exterior renders Masterplan

Outdoor areas

Masterplan ground floor

Cross section

Longitudinal section

Outdoor render

Indoor render Plans Daylight

Natural ventilation

Indoor renders Facade

Longitudinal section Details

Structural system Rainwater

Facade cladding

Fire and safety

Nolli Map Conclusion Reflection References Illustrations

102 104 106 107 108 110 111 112 113 114 118 120 122 124 125 126 128 128 128 130 131 132 133 134 137

The project report has its cornerstone in the program, where analyses and studies have formed design criteria that defined the shape of the final design solution. The program is introduced by a methodology chapter, describing how different methods can, shall and have been used in the first phases of the integrated design process. The methodology chapter will follow through the report and help to highlight the methods used in the process chapter where a thorough description of the very complicated and iterative design process will be conducted. This design process will systematically and chronologically present the sketching and synthesis phases of the integrated design process whereas the reader must be aware that the structured organization of the procedure is done to understand a process, which is not sequential when acted out. Through plans, sections, facades and 3D renderings the final design solution of a mixed-use zero energy housing complex in the west harbour of Aalborg will be presented, followed by a concluding comment underlining the potentials of the project and possible shortcomings and, finally, a reflecting paragraph on the work of such a complex.

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INTRODUCTION The purpose of the program is to show the current state of the site down by the harbour between Skudehavnen and Vestre bĂĽdehavn. It is an area of great characteristics, history and spatiality.

Analysing the possibilities and challenges will define different design criteria that will work as points of focus when entering the design phase of the Integrated Design Process.

How does one design a mixed-use sustainable housing complex in a local environment where aesthetic, spatial, social, functional, logistical and technical aspects are integrated, while carefully considering the indoor and outdoor private and public spaces, the space in-between and combining it with the demands of a net-zero energy building? In this project, the definition of zero energy is defined as `zero net site energy use’, or the energy provided by onsite renewable energy sources is equal to the amount of energy used by the building. By this, the micro-climate will have to be considered in terms of renewable energy production onsite, as well as considering the consequences of still being connected to the NET. Therefore, when designing a netzero energy building the solution of the design criteria should consider the zero-energy aspect.

The challenge then lies in creating the best possible space and place for the occupants, fulfilling their needs and wishes for social interaction privately, semi-privately, and publicly, their demands for an environmentally well-functioning indoor and outdoor, safety for their loved ones and an aesthetically attractive environment which respects the past of the site.

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illus.1 - NORDJYLLAND

illus.2 - AALBORG

illus.3 - VESTBYEN

INTEGRATED DESIGN PROCESS This project is based on the Integrated Design Process, a 5-phase method within the field of design.

The purpose of the method is to integrate the architectural, functional, climatic and energy aspects, leading to architecture and engineering merging into a higher unity. The method has a significant impact on the form of the design and its architectural language.

The Integrated Design Process is iterative as the phases can be repeated and overlap each other, where new knowledge can be acquired along the way. The first phase, ‘Problem’, is formulating the given project into a problem, introducing Problem Based Learning. The second phase, ‘Analysis’, is connected to the problem and contains studies of factors that may be applicable to the design. The aim is to provide an adequate site and user analysis, as well as the addition of planning requirements and regulations. In the third phase: ‘Sketching’, architectural and engineering skills are combined to meet the design criteria in several concepts.

In the ‘Synthesis’ phase, the design takes its final form by gathering the results from the analysis phase and the sketching phase, so that the acquired knowledge is implemented in the final design. Here the final calculation must take place in the finished concept.

In the final ‘Presentation’ phase, the concept must be communicated so that all the qualities of the design are illustrated, where the vision and design criteria for the project are visualized (Knudstrup, M., A., 2005).

PROBLEM PROBLEM

ANALYSIS ANALYSIS

SKETCHSKETCHING ING

SYNTHESIS SYNTHESIS

PRESENTAPRESENTATION TION

illus.4 - Integrated Design Proccess

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METHODOLOGIES GROUNDING THEORY - Aims to generate theory from systematic application of research Method: Literature Studies Studies of design theory such as Jane Jacobs, Hertzberger, Jan Gehl, Steen Eiler Rasmussen, Gernot BĂśhme and Hermann Schmitz has been done to understand the ways of working with the urban space and architecture through the thoughts of influenced people. This method is greatly used in every phase of the Integrated Design Process, except the presentation.

It works as a knowledge based supporting element in great combination with other methods.

Tools: Online information, books, general knowledge, rules of thumb Method: Interview Interviews are typically conducted in the problem and analysing phase, evaluating what challenges and opportunities the site will give. These can be both subjective interviews of a person of interest, a user group, or a way of gathering scientific information. In this project a qualitative interview has been conducted with Lars Jeppesen, the person of interest, in the very beginning of analysing the problem.

Tools: transcribing digitally

and manually, recording, quantitative - and qualitative interviews.

Method: Case Study Study of existing cases leaving a knowledge base, giving a reflective and critical state of mind when the sketching and synthesis phases set in. Knowing what does not work is as important as knowing what does.

Essential to this method is specifying the purpose of the study and framing the analysis leaving out the things that are irrelevant to the result. This method is often carried out in correlation with literature studies.

Tools: general knowledge, field trips, literature, databases, architectural magazines

TECHNICAL METHODOLOGY – Aims to generate results through treatment of data of technical aspects Method: Data collecting method By collecting data, analysing and typically presenting them graphically gives an understanding of a context’s environmental challenges and advantages and thereby defining strategies of possible blockage or usage. The climatic understanding of an area, for example, is crucial both in the

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analysing phase but also the sketching and synthesis phases, because the design and changes of the area will impact the results gradually and in different scales.

Tools: Kortforsyningen, Danske Standarder, QGIS, DMI, excel spreadsheets, schemes, databases, building height, functions, weather data files Method: Parametric Design Strategy The potential of parametric design is the ability to combine technical aspects and design solutions in the same analysis. This, as an example, can be how a building volume provides shadow on the surroundings in the microclimate based on how the sun moves in the macro climate. The parametric design strategy is ongoing from the beginning of defining the problem, analysing it, sketching and synthesizing.

Tools: Rhino, Grasshopper and animal plugins, Method: Simulation Simulations are typically used in the synthesis phase, the design phase. This method is crucial in understanding the performance of a design when doing integrated design. The simulation method has sub methodologies as single parameter and staircase simulations and Monte Carlo method.

METHODOLOGIES Tools: BSim, Monte Carlo, Velux Visualizer, Grasshopper and animal plugins, Method: Calculation Calculation methods are crucial in the Integrated Design Process by implementing computations from the beginning along with designing. The art of calculation tools can change rapidly between quick hand techniques throughout the process to complicated calculations as validating final calculations.

Tools: BE18, Robot, 24-hour, month average, hand calculation tectonics.

DESIGN GENERATING METHODOLOGIES – Aims to create a structured approach, procedures and techniques onto a mostly intuitive process Method: Mood board / collages Design-generating feature of creating ideas from moods, senses, feelings, expectations, cases and materials. The aim of the method is being able to communicate an idea to a neutral individuality. The method works best, if implemented in the analysing and sketching phase.

Tools: analogue sketching, pictures, InDesign, Photoshop, Illustrator

Method: Sketching The method of sketching is generating ideas quickly based on the analysis conducted, and with the help of other methods like mood boards, brainstorming and mind mapping. It usually has a goal to achieve and boundaries to take into consideration. The method is an iterative process and an essential part of the integrated design, in fact, a phase by itself.

Tools: analogue sketching, digital sketching in Rhino, Revit, sketch-up, materiality study Method: Volumetric studies Understanding a design, an idea, in 3D, as a volume, is a method closely collaborating with the one of sketching. The translation of a 2D drawing into a volume, enlightens potentials and challenges in a design and is mostly used in the analysis, sketching and presentation phases.

Tools: model making, Rhino, Revit, sketch-up

ON AND OFF-SITE SURVEY - Aims to systematically gather information of the existing context Method: Mapping The act of mapping provides direct information about the site

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and city in different scales of the plan.

Especially Kevin Lynch’s 5 elements (Image of the City, 1960), building height and functions are data with basically no space for personal interpretation, whereas a mapping method like flow can have a degree of understanding and expectations about how people are moving within the urban environment.

The aim is to provide enough information for the sketching phase to be focusing on the site and context. It is an analysing method and has its steppingstone in literature studies.

Tools: hand drawings, digital pro-grams, on- and off-site observations Method: Card sort and surveys Card sorting and surveys, like SWOT analysis are methods of breaking an area down to fragments and giving the possibility to analyze them individually.

The method is working in most phases of the Integrated Design Process and especially in the sketching and synthesis phase.

Tools: assessment matrix, SWOT, schematic organization of data

PHENOMENOLOGY -Aims to create a profound understanding of a phenomenon by a qualitative research approach Method: Genius Loci A study of the experienced atmosphere in an area by approaching it as a space rather than a place, opposite to mapping. Noting down the experiences by use of words that describes or provoke a feeling, a sense, is a way of communicating a subjective experience of the atmosphere of the space into an objective. The challenge of this method is graphical representation of senses and feelings and is usually used in the analysing phase of the Integrated Design Process Tools: picture and note taking Method: Serial Vision Serial Vision, used in the analyzing phase, is a fine line between a phenomenological methodology and mapping. By noting down the path of entering the site, taking pictures along the way and being aware of the atmosphere in the space results in a physical understanding of a spatial experience.

Tools: picture and note taking, personal experience and perception Method: Kahai A method of premonition, the

feeling of knowing that somethings is about to happen, expectations, the assumptions of a place according to subjective memories, experiences, perception of the world, and the norms of the society. This method is usually used in the analysing phase but can also have great potential in the sketching and synthesis phase as driving forces of forming a design that leads to a specific expectation.

Tools: general knowledge

PRESENTATION METHODOLOGY – Aims to simplify and communicate the developed work to a third person Method: Typography Typography is the technique of arranging type to make the written language legible and readable when displayed.

One can create a hierarchy in a presentation by arranging important arguments and subarguments by placement, point sizes or underlining or make the piece more appealing by selecting typefaces, line-spacing and latter spacing.

Tools: InDesign, Photoshop, analogue hand drawing Method: Infographic Infographics can graphically visualize a representation of

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data, information or knowledge which intention is to present information clear and fast. They can improve understanding by utilizing graphics to amplify the human visual system’s ability to see patterns and trends.

Tools: Rhino, Illustrator, Excel, Photoshop, analogue hand drawings Method: Illustrations Making illustrations is the technique of visualizing a concept, a process or an explanation of a text, communicating a specific and certain style, and in combination with composition most illustrators are seen designing for integration in published media.

Tools: Illustrator, Photoshop, CAD tools, Rhino, Revit Method: Renderings Render synthesis is the process of generating a photorealistic image from a 2D or 3D model by means of a computer program. By doing renders one has the ability to show a feeling, a place of sense, a volume in a human scale and are often the last phase, Presentation, of the Integrated Design Process when communicating the final design.

Tools: Graphical render tools such as: 3Ds MAX, Lumion, Enscape, Cinema 4D, V-ray

1 ANALYSIS

IN- BETWEEN SPACES Since the industrialization and rapid development, cities have been affected by a tendency to forget the human dimension. Cities are characterized by cars, bustle and the desire to get from A to B as soon as possible. It is often forgotten that it is the space between the houses which creates life in the city, and that it is in this space in which you can get together and share interests. Therefore, different theories for designing a better city have been considered, with the ambition of implementing these in the project.

Hertzberger indicates that more focus should be placed on this transition to make better use of it so that the urban spaces on each side of the transitions become better and more intertwined.

If the above principles are present and working, there will be an opportunity to invite them to stay by making accommodations (such as benches), according to Gehl. Thus, there are prerequisites and opportunities for creating a social urban environment. By staying in urban spaces with life, where other people are present, it is possible to observe and get in touch with other people. Based on these theories, the basis for a good urban space depends on soft inviting transitions from the public to the private, the diversity and mix of the different population groups in the cityscape, the opportunity for residents to see people passing by, and invitations to stay in public places. Therefore, the urban space will consist of public, private and in-between zones.

These zones become interdependent and necessarily work together to create a good urban space.

Although cities are becoming denser, there is less interaction between people, and one may even feel lonely despite living in an area filled with people (Gillies, 2016). The presence of other people gives an increased feeling of security, which benefits the good urban space. It also contributes to making people more willing to go out, thereby increasing the opportunity for social interactions.

Herman Hertzberger describes in the chapter ‘The In-between’, the transition between the private home and the public space. He particularly finds the transition area captivating, as here you can feel both at home and safe, and at the same time out on an adventure. He has a desire to make the transitions between different activities and zones more social, and in this way exploit the space that is often overlooked (Hertzberger, 1991, p.32) This is where people’s daily lives cross, thus here often lies an untapped potential. Jan Gehl also talks about the transition from the private home to the public, and that this transition gives the resident a sense of security by being able to observe people passing by.

At the same time, you want to move out into a public space if there are other people present as it feels more secure and inviting (Gehl, 2010, p.92).

Thus, the good urban space is formed by a smooth transition from the public to the private, which signals hospitality (Gehl, 2010, p.109). At the same time,

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illus.5 - In-between spaces

illus.6 - In-between spaces

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1.1 SITE ANALYSIS

HISTORY OF AALBORG In the middle ages, Aalborg was one of the main cities for the entire Limfjord trade market, as all in and out traffic of the Limfjord was towards the east. It was also a large producer of herring fishing. Towards the end of the 16th century, the city’s merchants served well on exports to Germany, and exceptionally well on grain exports to Vendsyssel, and the Limfjord area, particularly to Norway.

The prosperity of the city increased, boosting the population to more than 4000 inhabitants at the end of the 17th century, making it the second largest city.

In the 18th century, the exports started to decline, and with the

loss of Norway in 1814, it lost its key position in the Limfjord region.

Industrial development and urban growth started to take off in the second half of the 19th century, rehabilitating the city. Railroads, bridges, and different factories were built, and trade and seafaring were again in progress by the end of the 19th century. This was a turning point for Aalborg’s urban growth, and created more jobs, attracting a larger civilization.

The strong industrial development was quite pronounced in the 20th century after the city port became the country’s second largest. The population continued to grow, and business was still characterized by heavy industrial companies such as Aalborg Portland, and

Danish eternitten. The city soon adopted the slogan ‘the city with the smoking chimneys. In the 60’s, about half of the city’s inhabitants were still employed in industry.

The old industrial city evolved into a modern city, and at the turn of the millennium, just under 60% of the workforce was in service and education industries.

In 1974 Aalborg University was established, and Aalborg has grown to be Denmark’s fourth largest city. Aalborg has received a lot of students and hopes to become a cultural and educational city. (Danmarkshistorien.dk, 2012).

illus.7 - Map of West Aalborg, Tilbageblik, H. (2019).

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illus.8 - History of Aalborg

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NOISE The technical noise analysis is done to determine if the site is dominated by noises and how this will affect a residential building. In general, the site is not exposed to noise higher than 60 dB. The closest noise source is the main road dominated by semi-large trucks and everyday cars. The smaller roads closer to the site are analysed by personal experience of on-site analysis and Serial Vision showing noise in terms of trucks transporting boats and materials for the Skudehavn, Street Food and the workshops on the site. Bikes are greatly using the road from the city, Street Food and the Vestre Fjordpark.

2,6 - 4

4-6

6-8

8 -10 dB illus.9 - Noise

2,6 - 4 2,6 - 4

4-6 4-6

6-8 6-8

8 - 10 8 - 10

10 - 12 10 - 12

12 - 14 12 - 14

14 - 16 14 - 16

16 - 20 16 - 20

m m

2,6 - 4 2,6 - 4

4-6 4-6

6-8 6-8

8 - 10 8 - 10

10 - 12 10 - 12

12 - 14 12 - 14

14 - 16 14 - 16

16 - 20 16 - 20

mmm

BUILDING HEIGHTS The analysis has been done in order to partially understand the different typology of buildings that surround the site. A translation of the height into colours, gives an overview of the urban fabric in relation to the Z-axis. To conclude most of the buildings along the fjord are lowrise, reaching a maximum height of 8 meters, with few exceptions. Crossing Peder Skrams Gade, courtyard typology residential buildings rise to 20 m tall and others 16 m. All along the south side of this area, around the Sports Centre, multiple height difference buildings were traced with a range of from 2,6 to 20 m.

illus.10 - Building height

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FLOW ANALYSIS The flow analysis illustrates a large amount of pedestrian movement along the waterfront, while movement on the site is bounded and isolated by the enclosing buildings and the gate which serves as the entrance to the site.

The movement on the water is minimal, and the harbour contains different flows from different directions due to the nearby kayak club and boats docking at Skudehavn. Analysing the flow will provide guidelines on how the building can be integrated into the area’s circulation.

illus.11 - Flow

INFRASTRUCTURE The analysis of the infrastructure shows that the major roads are located south of the site, where Skudehavnsvej is one of the major traffic arteries through the industrial area. The site is also closed off by a gate where Suensonsgade is directly linked to the entrance. The analysis of the flow also indicates a fair amount of movement on the smaller secondary roads leading into the surrounding residential area. The infrastructure on the water is largely dominated by boats in different sizes, where the smaller boat houses enter the Skudehavne for maintenance. Analysing the infrastructure provides an understanding of how the site relates to the surrounding movement in terms of cars and boats.

Boat traffic

Main roads

Secondary

illus.12 - Infrastructure

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BUILDINGS ON SITE There is a large industrial warehouse and a small shed in brick on the site today. The warehouse will be torn down in order to provide good sunlight conditions and make room for the traditional boatbuilders and their workshops, without feeling dominated and forgotten by the shipyard factory. The small building that houses the slipway will be kept, as it serves as an architectural installation and a symbol of Skudhavn history.

illus.13 - Buildings on site

MORPHOLOGY The morphology of the city is greatly dominated by “carré” shaped buildings starting in the centre and spreading towards East. Along the harbour small and large volumes are scattered, randomly allowing small urban spaces in between the building blocks just like the south area. The centre is dominated by a scattered semi-large volume in a structured system allowing linear movement from north to south. Close to the site, the morphology is large scattered buildings facing the Fjord, complicating a continuous flow throughout the site. The analysis can suggest how the building envelope should be defined in the site, how a possible difference in the morphology can complement the area, overrule it or align with the existing.

U - shaped block U - shaped block

Detached house 1 Detached house 1

Detached house 2 Detached house 2

Parallel block Parallel block

City block City block

illus.14 - Morphology

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AREAL FUNCTIONS The site is greatly dominated by Sailors Clubs, the Shipyard and eating places for both locals and tourists. Further south, residential apartments with some retail on the ground floor are present whereas the only supermarket is furthest to the East. This will be used in the design, to distinguish rather than provide new functions or complement the existing.

Shipyard Retail Retail Shipyard

Eating Eating

Business Supermarket Supermarket Sailors Sailorsclub club Residential Residential Business

illus.15 - Areal Functions

NOLLI MAP The Nolli map is used to establish Aalborg’s current urban space and then further analyse how additional public and private areas will influence the movement. The site is divided into two different areas. South is dominated by large enclosed, primarily private areas with internal courtyards and a limited amount of public activities. North is green public spaces with activities related to the harbour and restaurants, while residential areas are nonexisting. Inserting a new housing complex will link the city and the shipyard. Finally, the analysis will work as a validating result tool, showing how different urban spaces can contribute to the public movement of the city.

2,62,6- 4- 4

4 -4 6- 6

6 -6 8- 8

- 10 8 -8 10

Private PRIVATE

- 12 1010- 12

- 14 1212- 14

- 16 1414- 16

- 20 m m 1616- 20

Public PUBLICE

illus.16 - Nolli Map

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KEVIN LYNCH From this analysis, the landmarks, edges, paths, districts and nodes are taken into consideration when forming the design criteria. The analysis shows how the site does not necessarily have to be a landmark, but a place of attraction, how the site itself defines a district with history and change in materiality, and how ‘Skudehavn’ and ‘Lystbådshavn’ are closely connected with

the site. It shows how the site, with its concrete dominated materiality and industrialist vibe, is within an edge of the harbour divided from the residential area by a section of greenery, a park, and how a node in terms of a road crossing is formed at the entrance to the site, allowing a large amount of people to be aware of the entrance.

EDGES

LANDMARKS

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DISTRICTS

NODES

PATHS illus.17 - Kevin Lynch

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1

2

3 illus.18 - Serial Vision

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SERIAL VISION 1 2 3

illus.19 - Map of the paths to site

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The Serial vision shows the arrival to the site from the city centre alongside the harbour through a Sailors Club area with housing dominated by blue, red and black wooden materiality. The roads are narrow, filled with cars parked on each side of the road and greenery in the park on the side. The building height is low before arriving at the tall shipyard buildings where roads are wider, traffic is heavier, and the materiality moves from wooden to metallic. The analysis will be used to understand the public's expectations to the site and what elements of attractions we thereby need to implement, to allow a broad range of users and their flow within the site.

GENIUS LOCI The phenomenological analysis is a subjective and unquantified method, which concerns the way we perceive objects and spaces and the present atmosphere. Edward S. Casey describes how atmosphere is universal:

proach. In his book ‘Experiencing architecture’ he points out how the most important thing to appreciate when experiencing architecture is exactly how we move through or around a building and how it is also the most difficult to describe.

“We are always in atmospheres.

Everywhere has, is an atmosphere. We are always affected by atmosphere, more or less consciously, more or less intensively. (…) If space is anything more than volumetric void, ideal abstraction, or pure potential, it is atmosphere.” (E. Casey, 1993)

“if we believe that the object of architecture is to provide a framework for people’s lives, then the rooms of our houses, and the relation between them, must be determined by the way we will live in them and move through them.” (S. Rasmussen, 1964) His comment concerns public spaces as well as private.

In this project the phenomenological approach is done with inspiration from several methodologies: The German philosopher Gernot Böhme in ‘The Atmosphere of a City’ perceives atmosphere in architecture as a total impression, the force of its presence, in which we must enter to realise its effect on the surrounding environment. The atmosphere remains in its completion whether a perceiving body is present or not. If the body is present the apprehension of the atmosphere is immediate, an emotional resonance. (G. Böhme, 2006) Just like Böhme, the Danish architect Steen Eiler Rasmussen describes the experienced spaces with a sensual and visual ap-

Senses combined with movement - storytelling of the journey in the site through feelings.

It was a cold morning when I first visited the old shipyard. I walked along the Aalborg waterfront, experiencing the cultural and educational part of the city centre towards the last pieces of the industrial remains of Aalborg. The waterfront has been largely revitalized in the last decade from an industrial zone, filled with cars and manufacturing to a lively pedestrian friendly walkway that is peppered with new residential buildings, cranes and green parks. As I approached Spritten, the old distillery, I had the first taste of the old industry.

Continuing past the cultural bridge with colours of grey and

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red, finally reaching the entrance to the site. I am not sure whether it was allowed or not, but I slowly slipped through the rusty blue gate with the title: ‘Limfjords værftet’ written in white capital letters on top. The gate seemed to be more than just a fence; a separation between Aalborg and the shipyard, marking a clear difference between inside and out. From the outside it was possible to see the old laboratories, apparently forgotten, along with patinated red brick buildings.

Once inside, whilst walking on the cracked concrete trapezing on old steel bars embedded in the pavement like deep scars, I noticed the ships. Both in the water, waiting to be taken to sea, but also on land, awaiting repairs and restorations. Wherever I turned; view of the water and when the wind was not howling in my ears, I could hear it crushing against the pier. The site appeared to be exposed, particularly towards the west, and I found myself closing the jacket to avoid the cold breeze.

The surroundings created a courtyard in the centre of the site where I imagined boat builders working on ships when the yard was still active. I walked further along the pier, past the large white laboratory building and, to my surprise, I came across a small patch of rural nature. Although small, this piece of apparently

uncontaminated nature had survived the cement, metal and brick of the area. The exploration of the rest of the site revealed materials showing limpid signs of wear and patina gained over time expressing the usage of the place and the exposure to the rough saltwater environment. The red bricks were cracked, in some places both mortar and bricks were missing. The metal plates on the workshop’s façades contained many dings and rust. The wooden pallets were left scattered throughout the site, serving as benches and tables for the few who still used the area.

west side of the pier. The boats were caked with paint, the weathered wooden masts and flooring reminded me of the skin of men who spend their lives on the sea, leather-like but sturdy and indicative of a life of survival and experience. These boats, apparently refusing to leave the old shipyard, were for me a sort of last evacuation for the maritime society of the area. Just like the rest of the Aalborg port industry, this shipyard seems to be the next step in the development of Aalborg as a new cultural and educational fortress in Denmark.

As I got lost in the local materials, I noticed a car entering the parking lot and a man came out. At first, I thought he would tell me to leave, but it turned out he lived on one of the larger boats docked on the

KAHAI = MYSTERY + EXPECTATION

illus.20 - Kahai

The phenomenological methodologies have been used to improve the understanding of the progress of Aalborg, the elements of the city and lastly the atmosphere of the site. The experienced dimensions of the site became clear, the use of materials and potential challenges along the harbour. Following the path towards the site,

past the Kulturbro, a new intimate area was to be found. Smaller volumes, softer materials such as wooden cladding and an unpolished feel formed the area where, behind the gates that lead to the site, the maritime preservation of the site was enhanced.

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CLOS

ED

illus.21 - Words of elemets on site

Wordmap Visual and sensorial experience The aim of the analysis is to present the atmosphere of the place and its character. This is illustrated through a word map describing the visual and sensorial experience of a subject on the site; What are the visual characteristics and what feelings and senses are activated?

SALTY

SHI

MAT

CO E NT RA

CRU

ING BLOW

ST

VE NG SUR GETA INTI PRISE TION

WIND

OLD

WAT

SEPA

RU

FORG OTTEN

STY

DISC ER STRUREDY AWA OVE D ITIN RY G RAT

ION

illus.22 - Words of emotions on site

The site has a maritime atmosphere with a relaxing feeling through the sound of waves crashing and fresh, salty air. The site has plenty of characteristics whereas the positive impressions will be kept, and the negative loaded experiences for instance “cold”, “rubbish” and “closed” will be handled.

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SWOT The site appears to have a great number of possibilities due to its location on the fjord and its surroundings. Nevertheless, the area has to face a wide range of weaknesses due to its historical function as a shipyard such as the restricted access, the wide empty surfaces and the lack of resting comfort places, isolating it from the nearby activities and life.

As a result of the overview, the design should respect the local activities and implement them as iterative workshops to make the site more attractive, as well as using the narrow entrance to stimulate a feeling of curiosity in people passing by. Moreover, the maritime character of the old shipyard is still actual and can be the starting point for the design development to recall its history.

STRENGTHS

WEAKNESSES

STRENGTHS

WEAKNESSES

Well-defined zone

Isolated from outside

Low buildings that Well-defined zonecan relate to urban scale Low buildings that can relate to Maritime characteristics urban scale

Open and empty areas Isolated from outside Patinated oldareas surfaces (rust) Open andand empty Few placesand forold study Patinated surfaces (rust)

Local builders, workshops and Maritime characteristics antique shops Local builders, workshops and antique shops

Narrow andfor singlesided entrance Few places study Narrow and singlesided entrance

OPPORTUNITIES

THREATS

OPPORTUNITIES

THREATS

Location on the fjord

Strong wind from West and South-west Strong wind from West and Noise and smell from small South-west industries around (not really, but could Noisehappen) and smell from small industries around (not really, but Trucks movement on and around could happen) site making it unsafe Trucks movement on and around Closed facilities in winter site making it unsafe

Location the city centre Location close on thetofjord and green spaces Location close to the city centre Controlled entrance (not really and green spaces welcoming spirit) Controlled entrance (not really Street foodspirit) as attracting point welcoming Boat traffic as attraction Street food as attracting point Well used byasvistors and locals in Boat traffic attraction summer Well used by vistors and locals in summer

Closed facilities in winter illus.23 - Swot diagram

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MATERALITY

illus.24 - Pictures of materials on and off site

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FLOODING 1,2 m

The seawater is rising as global warming continues, and areas of Denmark will sooner or later be underwater. To study the project site, an analysis of how much the sea level will rise in the future before it causes flooding has been studied.

According to the Ministry of the Environment and Food the site will starts being affected at a sealevel rise of 1,2 m by the end of the next century.

At 1.5 m the site will be completely flooded. This will be taken into consideration throughout the design process, in hopes of designing something which can either block the water, or complement the water rising, in the especially affected areas.

1.2m

1,2 m

1.5m

1,5 m

illus.25 - Flooding

RAINWATER 1,5 m

A study of rainwater accumulation on the site illustrates where certain places on the terrain create an indentation. According to the Ministry of the Environment and Food only 15 mm of rainwater is enough to fill the indentations on the site. The driest month 33 mm of rain falls and the wettest month 71 mm. In order to keep all of the water from collecting in different patches, different design solutions will have to be made, to either drain the water, or define spaces that invite it in.

illus.26 - Rainwater

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RADIATION kWh / m^2

The radiation study shows the amount of solar energy that hits a chosen surface in a whole year period. In this specific case, almost the whole ground surface gains a maximum of 992 kWh/ m2 in the most exposed zones, while the pitched roof sides facing south could gain more than 1102 kWh/m2. This information is fundamental to understand the location of public spaces, green spaces and orientation of the building within the surroundings. They also provide suggestions about the location of possible solar panels and passive heating strategies for the design criteria.

1102.43< 992.19 881.94 771.70 661.46 551.21 440.97 330.73 220.49 110.24 <0

illus.27 - Radiation

N

NW

WINDROSE

NE

E

W

The analysis suggests that the wind is strongest in winter compared to summer. During the winter the majority of the wind comes directly from west and occasionally southwest. The strongest wind in the summer comes mainly from the west and northwest. The project site is exposed to the west, and this a very important element to consider, as the feeling of staying near the harbour is characterized by the strong wind.

This could be used as an aesthetic element when designing the spaces that need protection from the wind, and the spaces that benefit from it.

The wind is also an element that could be used in terms of natural ventilation strategies in the project.

SW

SE

S

0

10 15< m/s

5

SUMMER N

NW

NE

SW

SE

W

S

0

5

E

10 15< m/s

WINTER

illus.28 - Windrose

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SUN - HOUR STUDY The urban fabric of the harbour around the site must be kept while the building in the middle of the site will be demolished; part of the design process will deal with the dialogue among the surroundings, even in environmental terms, and how the new design will adapt to it. The sun-hour study is important for a better understanding of the most lit zones around the plot, as well as understanding the shadow projection from the surroundings.

illus.29 - Summer

hours >14 13 12 11 10

illus.30 - Autumn/ Spring

9 8 7 6 5 4 3 2 <1 illus.31 - Winter

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1.2

SUSTAINABILITY

DEMOGRAPHICS Population forecasts are an important element of planning and management. The forecast provides an overview of the development and composition by age in the population.

0 - 10

Age distribution among residents in Aalborg Municipality Age distribution among residents in Aalborg Municipality

Year 2019

Year 2031

Year 2019

9.30% 0 - 10

11-20

Year 2031

11-20 12.10% 12.10%

The population in Aalborg is growing and is 21-30 21-30 expected to continue in the future. This can 31-4010.70% 10.70% 31-40 be applied to all age groups, but as showed 41-50 11.60% 41-50 11.60% in the graph, it is especially young people due 51-60 12.09% to Aalborg University, and other educational 51-60 12.09% 61-70 9.77% institutions attracting many new students. The 61-70 9.77% 71-80 4.55% elderly population will raise too because the 71-80 4.55% 81-90 3.72% birth rate is decreasing, and people are starting Age distribution among residents in Aalborg Municipality 91-100 0.70% 81-90 3.72% to live longer. Moreover, elders are moving Year 2019 to the city to have easier access to everyday 91-100 0.70% Year 2031 activities and have possibilities to socialize.

0 - 10 more9.30% 0 - 10 10.20% 11-20

0 0- 10 - 10

9.30%

12.10%

11-20

The city has qualities that attract both students 21-30 25.47% and seniors, but families with children prefer 31-40 10.70% to move away city. They are more 41-50from the 11.60% attracted to 51-60 the suburban 12.09%areas because of more space, gardens and nature close by, which 61-70 9.77% is attractive for the kids.4.55% Moreover, it has larger 71-80 privacy and is 81-90 quieter, which is sought in the busy 3.72% everyday life. 91-100 It also0.70% embeds a safer small local community which brings in socially controlled aspects as well. (Aalborg Kommune, 2019)

10.20%

51-60

10.67%

61-70

10.20%

91-100

4.44% 0.67%

220.000

210.000

200.000

190.000 2005 2006 2007 2008 2009 2010 2011 2012 2013 2014 2015 2016 2017 2018 2019 2020 2021 2022 2023 2024 2025 2026 2027 2028 2029 2030 2031

Population

10.20%

51-60

10.67%

61-70

10.20%

10.20% 10.67%

61-70 71-80

10.20% 7.56%

71-80 81-90

7.56% 4.44%

91-100

230.000

Expected growth

38

13.30% 13.30%

91-100 0.67%4.44% 81-90

7.56%

illus.32 - Demographics of Aalborg Municipality

21.66% 21.

41-50

51-60

Historical and expected population in Aalborg Municipality

Historical growth

21-30 21-30

41-50

13.30%

41-50

11.10% 11.10%

31-40 31-40

21.66%

31-40

81-90

25.47% 25.47%

11.10%

21-30

71-80

11-20 11-20

10.20% 10.20%

0.67%

JANE JACOBS Jane Jacobs discusses the need for mixed primary use. Firstly, the definition of primary use must be defined to understand its potentials within the urban environment: “The first, primary uses, are those which, in themselves, bring people to a specific place because they are anchorages.

Offices and factories are primary uses. So are dwellings (…) Primary use can be unusual sometimes.”. This state, how the definition of primary use can differ according to the level of use and how from an outward significance or other signs of presumed importance, one cannot tell if the primary use is an effective attractor of people: “(…) Some of the most impressive looking are ineffectual in performance”.

The question is then, how does one create an attractive environment with primary use, if the seemingly attractive places in fact are ineffective?

22

23

According to Jacobs, the key is timing. A primary use by itself is useless and even in combination with another primary use, that brings people on the same street at the same time, does not contribute to a creator of city diversity. But then, if “a primary use is combined, effectively, with another that puts people on the street at different times, then the effect can be economically stimulating: a fertile environment for secondary diversity.” (J. Jacobs, 1961) To sum up, the act of designing well functional spaces, contributing to a city of diversity lays in the fundamentals of activating the same place at different times. This could, in combination with different user groups, result in a dynamic, distinct and socially sustainable city that is constantly active and alive.

0

1

FAMILY 2

STUDENT

3

21 20

WORKER

4

19

ELDERLY 5

18

SENIORS 6

17

7

16

8 15

9 14 13

12

11

10

illus.33 - User schedule for a 24 hour period

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INTERVIEW WITH LARS JEPPESEN A crucial method of approaching designing for people in places for people is to analyse what the locals think of the place. What their experience of the place is now, what they used to be and how they see the place in the future.

For this, a qualitative interview was conducted with a local enthusiast of the site, Lars Jeppesen, to understand the site from an insider.

to houseboats, care about maintaining the area, doing reparations of the boats onshore and contributing to active harbour life.

His vision for the site is a space where the harbour is the entertainment of the site, promoting multiple activities happening at the same time, and a place supporting the interaction between the housing complex and the craftsmen on site.

He imagines a place, where the story of the site relates to the history and where the colours of the buildings have a meaning, like back in the days, where red and black were for buildings and blue for signs. A place, where colours provoke a feeling and the common sense of a neighbourhood.

Larsâ&#x20AC;&#x2122; first thoughts about the current state of the place was a shortage of life. There are no people around, no sunbathing, no kids playing or digging in the sand, especially in the winter.

Secondly, the tendency of houseboats in the harbour are not satisfying: â&#x20AC;&#x153;The type of people who live in the houseboats do not care about the city; they turn their back in order to look only at the waterâ&#x20AC;?. According to Lars, the people living in the boats as houses, opposite

From this, it is possible to formulate design criteria based on the vision of an insider, criteria impossible to formulate as outsiders.

illus.34 - Jeppesen's wishes

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DGNB SOCIAL SUSTAINABILITY SOC 1.5 USER CONTROL The energy consumption and the productivity of the occupants are closely linked to the user’s opportunities to control the indoor climate.

This criterion aims to provide occupants with the best possible options to control: ventilation, temperatures, daylight and artificial light, and ease of use.

This will be done through design elements based on the criterion of low tech, and nudging the users in an environmentally sustainable behavior. The DGNB criterion is based on offices – It might therefore vary in some cases when designing a dwelling. (DGNG, 2014)

SOC 2.2 PUBLIC ACCESS This criterion aims to provide the best possible access for the public onto the site: “buildings which offer good public access and a wide range of uses integrate better into the urban context and are more likely to meet with public approval” (DGNB, 2014). This draws parallels to Jane Jacobs mixeduse primary-use, allowing proper access for the public and access that allow spaces to be active in different times, by different user groups. It shall also be taken into account, that a dwelling is to be designed, therefore security of the residents is an essential part when designing “open to the public” The criterion will mainly focus on: •External facilities open to the public •Interior facilities, such as libraries or cafeterias open to the public •Variety of uses for public areas SOC 3.3 LAYOUT QUALITY

The layout and flexibility of the floorplans are taken into consideration when designing for a user group with behavioural changes through time. The act of designing the plans as multifunctional and flexible as possible will have its steppingstone in the following criteria from DGNB 3.3: Variety of possible uses and Quality of usable area with more or less detailing within the criteria.

(DGNB, 2014)

illus.35 - User control

illus.36 - Public acces

illus.37 - Layout quality

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USERS The behaviour and physical needs of the user groups is specified below to define how the user groups are compatible.

NUCLEAR FAMILY • Active family (parents have an office job, children go to school) • They have a small garden where they grow their herbs and vegetables • Once or twice a week they like to go have dinner in the communal dining hall • They often use different workshops to fix their bikes or make their new furniture for the house • Connection to outside private nature • They love riding bikes or walking in the surrounding area • Participate in water-related activities • They appreciate living near the city but in a

calm and nice area where their children are safe • The parents love to spend time in the living room after dinner, while the children prefer to go to their bedrooms to sleep or for privacy • The parents would like to have a visual connection between the kitchen and living room • They would love to have control over the amount of daylight in the rooms and ventilation (especially when the kids are running around in the living room, filling the air with heat) • Children growing up want to have more privacy, for example, a single room instead of a shared one

SINGLES AND COUPLES SENIORS • Reading newspaper and/or boardgames café • Morning walks along the harbour • Eat lunch together at the communal dining hall.

• They like to take care of the common garden while other users are away.

• They like to live together, and therefore they prefer a shared kitchen • They want to have an easy direct access to the outside where they can drink the coffee in the morning or watch the sunset in the evening • They like to have different views to the recreational areas and workshops to look at other people • They would like to have an open plan apartment layout •They prefer to stay in the living room instead of their own bedroom

WORKER/STUDENT/DIVORCED • Active, like to work out in an open fresh environment • Like to save money to spend on interests and therefore eat together once or twice a weekday • They like to invite people in the common hall • They like to take care of their own properties like bikes and tools, and asking for advice from professionals • They do not mind sharing spaces • They like to explore a wide range of possibilities using different workshops • Stay close to different type of neighbours • Like privacy but also panoramas, open views to the outside • Control of active systems, more than passive, to save money • Comfortable working space • They would like to step outside to breathe fresh air, even if it is a small balcony

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illus.38 - Single users private and public needs

Public similarities of the two user groups: Bike parking Storage Car parking Outdoor area Communal house / space Greenery Garden Washing area

illus.39 - Family private and public needs

SUBURBS VS CITY The suburban environment is characterized by two-storey single and row houses with private access and backyards. In a suburban area, basic amenities such as grocery stores, restaurants and coffee shops are mostly reachable by car because of the horizontal expansion of houses. Another main characteristic of the suburbs is the closed streets and neighbourhoods, which help to define a higher sense of security and community within the users.

With the rising population and economic growth, suburbs are growing as people are still attracted to the characteristics of privacy, feeling of ownership, freedom, a sense of small community and nearby nature.

This tendency has resulted in approximately 60 % of the Danish population living in single-family houses in the suburbs.

However, living in a suburban city also has some disadvantages such as the long distances from the inner city and from the workplaces, which are one of the main causes of increasing carbon emissions.

Living in an urban context typically means apartments in multi-storey buildings, whether they are rented or owner occupied. The average size of social housing units is 77m2 while a rented private sector housing unit is 87m2. Due to the limited number of square meters, one of the challenges is the flexibility of the dwellings, as it is hard to modify the interiors if more space is needed, leading to restrictions of families living in the cities with private outdoor areas. The urban landscape is dense and composed of primarily plain surfaces. Parks are designed for nature but generally need to be sought out.

Buildings are multi-storey that shades streets below and adjacent properties.

The urban lifestyle in terms of community is characterized by having various diverse cultural experiences within a short walk, bike or a bus ride. One is more likely to meet new people, but at the same time still possible to remain anonymous within the crowd or even among the neighbours. This style of living is

44

becoming more necessary due to the limited space. It is a challenge for urban planners and architects to connect the advantages of suburban life with that of urban life in order to encourage the transition to more successful urban environments.

Conclusion: To ensure the qualities of both ways of living, the project aims to bring together characteristics of the suburbs into an urban context.

The possibility for private outdoor spaces from an environmental perspective, and feelings of community and safety from a social perspective, should be emphasized. Furthermore, accentuating positive qualities of urban life with a focus on the promotion of sustainable ways of mobility in the city by encouraging the use of bikes or public transports and demoting the cars.

illus.40 - Greenery in suburbs

illus.41 - Greenery in city

illus.42 - Density and distance in suburbs

illus.43 - Density and distance in city

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ENVIRONMENTAL AESTHETICS THE AIM OF AESTHETICS The architectural vision should consider the sense of place that has been growing, a sense shared with everybody, from seniors who will recognize it to youngsters who can discover it, saying “Oh, it’s my hood!”.

Just like how red and black represent the buildings and blue represent the signs. In other harbours like Nyhavn in Copenhagen, the use of other colours such as yellow or orange, are also common.

Our interpretation of this ‘sense of place’ is based on inspiration from materials, geometries, colours and rules that would evoke emotions belonging to the shipyard environment.

illus.44 - Picture illustrating the greenery on site

46

ENVIRONMENTAL DGNB TEC 2.2 BUILDING ENVELOPE QUALITY The aim of this criterion is to “reduce space heating demand, achieve a high level of thermal comfort, and to prevent damages to the building fabric” (DGNB TEC 1.3) This will be provided by focusing on preventing thermal bridges, providing adequate amounts of air exchange and protecting the interior from excessive heat gain. The method used in this criterion is evaluating the comparisons of the performance of the building with the required performance parameters defined in EN ISO.

illus.45 - building envelope

ENVIRONMENTAL TECHNOLOGY TECHNICAL SUSTAINABILITY BY USER CONTROL The character of the site is very hands-on, the boats are maintained by hand and allows people to interact with nature. Therefore, the technology in the residential building should work by hand.

The sense of low-tech is relying on the user’s interaction on a bigger scale than high-tech, not expecting the technology to do the work. This demands a level of general knowledge of the user, a willingness of the user to actively care about their indoor environment and solving the

eventual challenges by themselves. This does not imply that the occupants are left on their own, the design shall make it obvious how to manure the technologies to provide the most efficient passive strategies and not work as an obstacle.

This could either happen by nudging the occupants into a better sustainable behaviour or defining the user group as being aware of the sustainable behaviour.

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1.3 INSPIRATION

SOLID & VOID Atelier O-S Architects – 12 Social Housings in Quais Blanqui Interesting is the composition of volumes, which allows the viewer to perceive the building as a disposition of many stereometric shapes as well as part of the same complex. This result is also emphasized by the materiality of the facades which reflects the context they are facing The duality between urban and landscape, between smooth concrete (mineral city) and treated wood (organic nature). Moreover, compactness and openings (solid and void) provide perspective to the private landscape and the outdoor riverfront landscape.

illus.46 - Weiner, C. (2019).

PROGRAMME SHAPES THE VOLUME MVRDV – De Sax (apartment programme) De Sax tower building is characterized by a pixeled facades which come from the variety of the apartment inside: arranging a single module in different combinations allows to design multiple typology of apartments which can fit the necessities of many user groups and, at the same time, designing a playful facade which reflects the typology of the user in relation with the plan.

The grid/module can be broke in the case with the use of common spaces, social spaces, shops, etc (everything that it’s not housing or private).

illus.47 - MVRDV (2019).

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Vandkunsten - Tinggürden Herfølge The development includes five different housing types placed in clusters, each with a communal house. The robust, simple homes have flexible walls that allow for continual modification, so that for example, one family may acquire and take over a room from the neighbour. The individual homes are relatively small, with an average floor space of 78 square meters. However, with the availability of communal areas and houses, which account for some 10%, compared to 3% in most non-profit housing, even families with children find that they have enough space.

illus.48 - Vandkunsten (2019). In between outdoor space illus.49 - Vandkunsten (2019). Plan

Igual Guggenheim - Residential Complex in Muhlau This is an example of a very compact residential building. Looking at the plan it is possible to understand that very few square meters are dedicated to distribution spacesIn the staircase, the entrances are located on each platform, which means that the apartments are not on the same level. This characteristic is also shown in the facade, which appear to be more dynamic than a traditional one. Furthermore, the space is optimized thanks also to the position of the elevator which is shared between the two apartments. In terms of space planning is a good solution, but it could bring some technical problems regarding maintenance.

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illus.50 - Igual&Guggenheim Arkitekten (2019).

AART - House of generations House of Generations is an innovative project placed on the waterfront in Aarhus Ă&#x2DC;. It combines care homes for elderly and handicapped people, family homes, youth housing and kindergarten in a vision of creating ONE house and a daily framework for generous relationships and collaboration between generations. A typical city block is being divided into a composition of human-scaled houses. It´s like a city of network connecting people across culture, age and ability.

illus.51 - AART (2019).

illus.52 - AART (2019).

AART - Senior Co-Housing community Strengthening the interaction between residences. This vision is brought to life architecturally by maintaining the functions of co-housing communities so that common areas and residences are integrated with one another instead of being separate. The 14 residences are, therefore, grouped into three houses ranging from two to three storeys, all of which contain one or several common areas - from workshops to activity rooms, libraries and much more. The goal is to strengthen the interaction between the residences and common areas to create an inclusive environment where spontaneous encounters become a completely typical part of the residentsâ&#x20AC;&#x2122; everyday lives and where they can find themselves in good company without necessarily having to go looking

illus.53 - AART (2019).

illus.54 - AART (2019).

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URBAN ACTIVATORS MVRDV – Ijburg Agora The development of Lot 42A in IJburg Amsterdam presents the opportunity to establish a vibrant hotspot right next to the port of IJburg. A balanced mix of living, working, and recreation with a distinct nautical character that will become the beating heart of the district. A neighbourhood for and by the residents, but with attractions for the entire city. The programmatic concept is inspired by the Greek Agora, which literally translates as a ‘gathering place’. A place for social and commercial activities, but also for recreation. It will become a desired destination for water sports, cultural activities, food and play. Similarly, the halls with quays and squares comes alive. This dynamicity is reflected in the spatial organization of the Agora of IJburg; a rich combination of quays, streets, indoor and outdoor spaces allowing for social interaction. illus.55 - MIR.no (2019)

COBE - Kroyers Plads Koroyer Plads is a good example of architecture which takes into account the relationship with the context; it respects the urban fabric by considering the main axis and the optical relation between buildings as well as taking the warehouse typology as a reference. Materials and shapes are chosen to look at history and translating them in a modern key. Moreover, all the blocks are thought to be as much permeable as possible by providing galleries on the ground floors which connects to the intimate public spaces around the buildings.

illus.56 - COBE (2019).

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PASSIVE STRATEGIES LILAC - Low Impact Living Affordable Community A low-carbon modern method of construction was applied by using panel timber walls insulated with strawbale, resulting in a reduction of the CO2 emissions during construction. In total, the LILAC development captured and stored over 1,080 tons of atmospheric equivalent CO2 through photosynthesis during the growth of the timber and straw. The insulating materials and design of the buildings combine to store solar heat in the winter and reject solar heat in the summer, thus reducing the need to input heating energy. Each property has a “Mechanical Ventilation Heat Recovery System” (MVHR), which enables the indoor air quality to remain high without having to open the windows. Each home has a 1.25kw solar PV array, with an extra 4kw on the common house. The houses also have solar thermal for space and hot water heating. illus.57 - White design (2019).

SLA - Hans Tavsens Park and Korsgade

The project combines city nature, local community and smart cloudburst solutions, building upon the areas existing qualities and unique local spirit.

Rainwater is collected and used locally while excess water from cloudbursts is lead from the park to Peblinge Lake, being cleansed by city nature biotopes along Korsgade. Hydrological, biological and social circuits will work together in a strong symbiosis that does not only climate proof inner Nørrebro, but also has a positive effect on the entire city of Copenhagen.

illus.58 - SLA (2019)

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BOATHOUSE TRANSLATION ROMEGIALLI – Blueprint Building style inspiration. The case is in a complete relationship with the environment: planes, ropes, shadings, promenade. Everything talks with the context providing at the same time functions and benefits to it and designing the public space. The exterior structure is extended to the outdoor and it becomes ‘portico’, shading (curtain), mooring for the boats. It designs the dock and it connects it with the building.

illus.59 - Brenna, L. (2019).

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1.4 CONCLUSION

CONCLUSION From the sub-conclusions of the analysis, based on literature studies of urbanists, architects and theorists the first and second phase in the Integrated Design Process have been explored, defining the problem of the project based on site analysis, showing how the site is not exposed to significance noise from traffic, but contains sounds like waves crashing, birds chirping and local craftsmen working on their boats.

the area, the building heights are relatively tall, the flow of people through the site is almost non-existing but great for boats on the water and in the surrounding area of the harbour.

Oneâ&#x20AC;&#x2122;s perception of arriving to the site, is according to the Serial Vision and Genius Loci an experience of the suburban history of the Aalborg Harbour moving from an industrial to a maritime environment, with a continuous change in materiality, importance of landmarks, districts and edges in an area of different typologies, forming public spaces, not only on streets but also between the blocks.

By interviewing a resident-boat craftsman, the awareness of the user groups and the vibe of the site have been specified in order to design a piece of architecture, that supports the userâ&#x20AC;&#x2122;s ability to control their personal indoor environment using the microclimate sun radiations, light exposure and wind conditions, in order to make a zero energy building. Looking at the variated functions and demographics of

The results of the analysis, the definition of the user groups and the knowledge from existing projects, validate a stable base for the sketching phase and the ability to move forward in the Integrated Design Process.

PROBLEM How is a Zero Energy dwelling that will adapt to the change of a nuclear family and singles or couples of all ages designed providing common spaces for social interaction? And how can the design of the architecture invite people

to be socially sustainable? Finally, how can the intention of a vibrant and diverse common area contribute to a city of diversity, inviting transitions from the public to the private?

VISION Our vision is to create a space for the occupants, the visitors, and the boat craftsmen which will efficiently frame a place for their hobbies and their everyday life and keep the maritime sense of the place down by the Skudehavn. The inbetween spaces of private and public should allow diversity of functions and user groups, allowing the residents of the dwelling, the craftsmen of the boathouses and the public to

intertwine. The architecture should encourage the residents to live a sustainable lifestyle through a design that is user-friendly and lowtech using renewable energy, and passive and active strategies, providing the desired indoor environment to the userâ&#x20AC;&#x2122;s individual behaviour.

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illus.60 - Current site plan

DESIGN CRITERIA AESTETIC Provide a sense of place which the people can recognize and enjoy

The building and landscape should complement the materials, geometries and functions of the surroundings and respect the spirit of the site.

Should interpret the qualities of a single â&#x20AC;&#x201C; family suburban house; family interaction, privacy, feeling of home, green areas.

The residential complex should be designed for mixeduse, where families, seniors, singles, couples & students live side-by-side with shared spaces.

Provide activities / spaces which create an interaction between the people on site and the boat owners and craftsmen.

There should be a balance between public, semiprivate and private areas. Public areas should provide the opportunity to meet new people and interact with visitors, semi-private to give the inhabitants of the complex shared spaces and the private areas should maintain higher levels of intimacy.

Provide best layout qualities from criterion of DGNB SOC 3.3 Layout Quality, initiating variety of possible uses and quality of usable area.

SOCIAL The complex should provide areas allowing social interaction between user groups different times of the day through in-between spaces.

FUNCTIONAL

The user control should be low tech and hands on like the boatmen's craftmanship.

Must reach building ratio of 130 â&#x20AC;&#x201C; 200% but still have adequate outdoor spaces, private spaces and a suburban feeling.

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TECHNICAL Create an outdoor environment, relating to the microclimate by considering wind- sheltering and water handling.

Provide the occupants with the best possible options to control indoor climate with criteria of those specified in DGNB SOC 1.5 User controlventilation, temperatures, daylight and artificial light, ease of use

Provide best possible access with focus on the criteria of those specified in DGNB 2.2 Public access

The design should take in consideration the hours of light on the site in order to provide the right amount of light for both indoor and outdoor spaces.

The design should take in con-sideration the radiation quantity on specific surfaces in order to optimize the efficiency of solar panels or thermal collectors as well as building orientation.

The building should take advantage of the micro climate, creating energy to reach de-mand of â&#x20AC;&#x2DC;Low energy frameâ&#x20AC;&#x2122; of BE18 27 kwh/m2 by passive and active means.

ENVIRONMENTAL The hours of an indoor temp. above 27 degrees must not exceed 100 hours/ year Reduce space heating demands, provide height level of thermal comfort fromcriterion of those specified in DGNB 1.3 Building Envelope Quality

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Light Room

Unit

Area [m²]

Height [m]

Type of space

Light

Atmospheric

Daylight Demand Ventilation type (%) [l/s]

D/A >3 Mechanical 20 >2.5 Common Kitchen Livingroom 1 14 >2.5 Private D/A >5 Hybrid 0.3 Master bedrooom 1 12 >2.5 Private D/A >3 Hybrid 0.3 Bathroom 1 3.5 >2.5 Private A Mechanical 15 1 created to>2.5 Commonplan and A section, -but also allows - of AStorage room program has been define initial awareness Bike/Car parking >2.5 Common A dimensions of rooms in order to quickly implement orientation and placement of rooms according Washing >2.5program Commonto the Amicroclimate an area area in the sketching phase. The additional rooms within Outdoor area Common D/A functions as a base ground for the sketching the apartment. This is similar for e.g. windows

ROOM PROGRAM

phase, a solid argument for dimensions when according to the demands of daylight and Total = daylight/artificial drawing in plan, section and29.5 3D, independent ofD/Apossibilities for natural or mechanical ventilation. characteristics of the chosen tool when working within the method. The dimensions and number As an expansion of the room program according SINGLE APARTMENT WITH KITCHEN of rooms are a bare minimum and as follows, the to the user’s behavior and movement through final dimensions will be different. the day, a weekly room schedule of the family Area Height Type of Daylight Demand apartment of single Light and the two types Ventilation typeapartments Room Unit [m²] [m] space (%) [l/s] The room program allows, not only fixed with shared common space has been made and >3 20 >2.5 5 1 measures and dimensions when sketchingPrivate in can beD/A seen in Appendix 2Mechanical Kitchen Livingroom Master bedrooom Bathroom Storage Bike/Car parking Washing area Outdoor area

1 1 1 1

Total

14 12 3.5

>2.5 >2.5 >2.5 >2.5 >2.5 >2.5

Private Private Private Common Common Common Common

D/A D/A A A A A D/A

>5 >3 -

Hybrid Hybrid Mechanical -

0.3 0.3 15 -

34.5

FAMILY APARTMENT Room Kitchen Livingroom Master bedrooom Bedroom Bathroom Toilet Storage Bike/Car parking Washing area Outdoor area Total

Demand Daylight Ventilation type (%) [l/s]

Unit

Area [m²]

Height [m]

Type of space

Light

1

5

>2.5

Private

D/A

>3

Mechanical

20

1 1 3 1 1 1

14 12 8 3.5 2

>2.5 >2.5 >2.5 >2.5 >2.5 >2.5 >2.5 >2.5

1

> 20

Private Private Private Private Private Common Common Common Private

D/A D/A D/A A A A A A D/A

>5 >3 >3 -

Hybrid Hybrid Hybrid Mechanical Mechanical -

0.3 0.3 0.3 15 15 -

60.5

illus.61 - Family room programme

62

SINGLE APARTMENT WITH SHARED KITCHEN Light Room

Unit

Kitchen Room Livingroom Master bedrooom Kitchen Bathroom Livingroom Storage Master bedrooom Bike/Car parking Bathroom Washing area Storage Outdoor area Bike/Car parking Washing area Total Outdoor area

Unit 1 11 1 1 1 1 1

Height [m]

Area [m²] 14

>2.5 Height [m] >2.5

12 3.5 14 12 3.5

>2.5 >2.5 >2.5 >2.5 >2.5 >2.5 >2.5 >2.5 >2.5 >2.5 >2.5 >2.5

29.5

Total

Room

Area [m²]

29.5

Unit

Atmospheric

Demand Daylight Ventilation type (%) [l/s] Light Atmospheric Common D/A >3 Mechanical 20 Type of Daylight Demand Light Ventilation type space (%) [l/s] Private D/A >5 Hybrid 0.3 Private D/A > 3 Hybrid 0.3 D/A >3 Mechanical 20 Common Private A Mechanical 15 Private D/A >5 Hybrid 0.3 Common A Private D/A >3 Hybrid 0.3 Common A Private A Mechanical 15 Common A Common A Common D/A Common A Common A D/A = daylight/artificial Common D/A Type of space

Light

D/A = daylight/artificial

SINGLE APARTMENT WITH KITCHEN

Area SINGLE HeightAPARTMENT Type of WITH KITCHEN Daylight Demand Light Ventilation type [m²] [m] space (%) [l/s]

1 Kitchen Room Unit Livingroom 1 Master bedrooom 1 1 Kitchen Bathroom 1 Livingroom 1 Storage 1 Master bedrooom 1 Bike/Car parking Bathroom 1 Washing area Storage 1 Outdoor area Bike/Car parking Washing area Total Outdoor area

5 Area [m²] 14

>2.5 Height [m] >2.5

Private Type of space Private

12 5 3.5 14 12 3.5

>2.5 >2.5 >2.5 >2.5 >2.5 >2.5 >2.5 >2.5 >2.5 >2.5 >2.5 >2.5

Private Private Private Private Common Private Common Private Common Common Common Common Common Common

Total

34.5

34.5

D/A Light D/A D/A D/A A D/A A D/A A A A A D/A A A D/A

Mechanical 20 >3 Demand Daylight Ventilation type (%)5 [l/s] > Hybrid 0.3 >3 3 Hybrid 0.3 > Mechanical 20 Mechanical 15 >5 Hybrid 0.3 >3 Hybrid 0.3 Mechanical 15 -

FAMILY APARTMENT

Room

Unit

Area [m²]

Height Type of Light APARTMENT [m] FAMILY space

Kitchen Room Livingroom Master bedrooom Kitchen Bedroom Livingroom Bathroom Master bedrooom

1 Unit 1 1 1 3 1 1 1

5 Area [m²] 14 12 5 8 14 3.5 12

>2.5 Height [m] >2.5 >2.5 >2.5 >2.5 >2.5 >2.5 >2.5

Private Type of space Private 63 Private Private Private Private Private Private

D/A Light D/A D/A D/A D/A D/A A D/A

Daylight Demand Ventilation type illus.62 (%) - Singles & couples room programme [l/s] >3 Mechanical 20 Daylight Demand Ventilation type (%) [l/s] >5 Hybrid 0.3 >3 3 Hybrid 0.3 Mechanical 20 > >3 Hybrid 0.3 >5 Hybrid 0.3 Mechanical 15 >3 Hybrid 0.3

2 SKETCHING

CLIMATE, VOLUME, ACCESS & DAYLIGHT WORKSHOP 1 With grounding theory in mind and the results of technical, on-and-off site surveys and phenomenological methodologies documented in the program, the sketching phase in the Integrated Design Process was kicked off by a workshop, using design generating methodologies to explore the challenges and possibilities of forming a volume according to, specifically microclimatic and spatial analysis of the site, but also of the relationship between building mass, typology and orientation. A volumetric study strategy was carried out with tactics like analogue modelmaking and sketching in scale, to address the aspects of access, relation to the urban context and movement of people, as well as generating thoughts about public, private and in-between spaces, in the relationship between building form and perception of space. In order to verify the building volumes' performance, and addressing aspects like daylight conditions, sun hours (see appendix 6), building density and floor-to-area ratio, a digital simulating and parametric design strategy was implemented, using technical tools like Rhinoceros and its plugins, but also quick hand calculation tectonics.

66

illus.63 - Illustrations of workshop 1 models, sketches and simulations

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CONCEPT 1 / OUTSIDE IN The first concept aims to reflect the on-site sense of place formed by the courtyard building typology of the surroundings, by considering the buildings as curtains, which create an intimate and comfortable environment for the inhabitants by protecting them from noises and wind, while also providing a sense of safety and cosiness. Considering the large dimension of the plot, it was reasonable to subdivide it into three human-scaled courts with connection to each other and the watefront.

The blocks have been shaped by acknowledging the best orientation for the apartments. Furthermore, the composition of the entire intervention is based on a repetition of a north-south oriented modules, which primarily allow a wide range of possibilities of daylight and natural ventilation. Secondly, it gives a sensation of repetition, typical of the harbour environment.

Moreover, the overall composition has been tested through sun-hours and radiation simulations, ensuring the correct amount in the open spaces and on the facades. The goal was to ensure a first draft of high quality indoor and outdoor environment.

In order to avoid dull and meaningless residential boxes, the volumes have been characterized by pitched roofs, which on one hand relate with the context, creating a suburban feeling, and on the other hand, optimize the production of solar energy and solar thermal collecting due to their slope.

hours >14

13 12 11 10 9 8 7 6 5 4 3 2 illus.64 - Sun-hour study Autumn/Spring

illus.65 - Sun-hour study Summer

Together all of these factors allow the complex to be perceived in different ways in accordance with the point of view.

In terms of the programme, all the private spaces such as the apartments and common spaces are on the upper floors while the public functions are on the ground floor. The reached FAR is 131%.

illus.66 - Sun-hour study Winter

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<1

illus.67 - Plan of concept 1

FAMILIES

COMMON AREAS

VERTICAL CONNECTION

COUPLES

SINGLES

PUBLIC SPACES

PARKING

illus.68 - Functions section of concept 1

illus.69 - West facade concept 1

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DWELLING, SPATIALTY, LIGHT AND FUNCTION WORKSHOP 2 In the second workshop, allowing a freeform sketching strategy, the tactic of analogue sketching was implemented in order to explore the building volume from an inside-out approach, designing an apartment in plans and sections, and letting them form the building volume and thereby its perception of space in relationship to public, private and in-between spaces. By exploring fixed slab dimensions with a depth of 9, 12 and 14 meters, placement of circulation systems, and thereby addressing the spatiality and utility of the space gives an understanding of the internal performance of the apartment, and shows how some strategies work better than others. Technical methodology such as digital parametric simulation tactics was implemented to finalize the performance of the space, and expand and relate the performance of the space to the overall performance of the building typology.

A constant shift between analogue and digital sketching, technical simulation and hand calculations was acted out in order to analyze different design options. This is where the Integrated Design Process has its potentials, where the iterative process acts out and is in constant use. This makes integrated design possible not only between phases but also internally within the phases, allowing a variation of strategies and its tactics for different thematics.

illus.70 - Plans from workshop 2

70

illus.71 - Sketches from workshop 2

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CONCEPT 2 / INSIDE OUT The final composition was a result of a study conducted on different ideas of plan layout, where families shared common spaces with seniors and students with singles allowing smaller apartments but bigger common spaces.

Due to the distinctions in building users, the positions of families were preferably on east and north, in which more safety and privacy occurs due to the surrounding buildings. The building volumes down by the harbour, according to its central location, were thought to be for singles and students surrounded by public life. Their shape was defined to invite people to the waterfront, and at the same time, to perform as a transition in order to protect the courtyard from wind and provide a safe environment.

hours >14

13 12 11 10 9 8 7 6 5 4 3 2 <1

illus.72 - Sun-hour study Autumn/Spring

The social aspect, one of the driving forces of the concept, allows challenges in terms of achieving a good Floor-to-Area Ratio (FAR). Moreover, the orientation of the buildings was not straight south to reach best possibilities for passive strategies like passive heating, nor did it optimize the opportunity for active strategies in terms of solar panels and collectors.

The overall composition of the building volumes does not complement the geometries of the surroundings as demanded in the design criteria and the maritime environment is not to be seen.

illus.73 - Sun-hour study Summer

FAR 146% 50 Family Appartments = 5017 sqm 16 Appartments with kitchen = 856 sqm 40 Appartments without kitchen = 800 sqm 18 % other functions = 2051 sqm Parking = 1500 sqm illus.74 - Sun-hour study Winter

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illus.75 - Plan of concept 2

FAMILIES

COMMON AREAS

VERTICAL CONNECTION

COUPLES

SINGLES

PUBLIC SPACES

PARKING

illus.76 - Functions section of concept 2

illus.77 - West facade concept 2

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The building and landscape should complement the materials, geometries and functions of the surroundings and respect the spirit of the site.

Should interpret the qualities of a single â&#x20AC;&#x201C; family suburban house; family interaction, privacy, feeling of home, green areas.

-

0

+

+

concept 1 inside - out

concept 2 outside - in

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The residential complex should be designed for mixed-use, where families, seniors, singles, couples & students live side-by-side with shared spaces

Must reach building ratio of 130 â&#x20AC;&#x201C; 200% but still have adequate outdoor spaces, private spaces and a suburban feeling.

The design should take into consideration the radiation quantity on specific surfaces in order to optimize the efficiency of solar panels or thermal collectors as well as

The design should take into consideration the hours of light on the site in order to provide the right amount of light for both indoor and outdoor spaces.

building orientation.

+

+

0

+

0

+

+

+ illus.78 - Assessment graph

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MATERIAL STUDY expression , while research was conducted to give an understanding of the construction possibilites, sustainability, fire safety, etc.

Different materials were researched and illustrated through a material collage in order to give an understanding of the aesthetic

STEEL

BRICKS

WOOD

ADVANTAGES

DISADVANTAGES

Good Life Cicle Assessment Local material Durable if threated Carbon storage Fits to Maritime concept Easy to replace the cladding and to maintain it Thermal conductivity coefficient is low Light material Sound absorption (prevents echos and noise) Healthy material Aesthetics: colour (sunlight and oxidation with time but not rust)/smell/exposed structure Eco-friendly, reliable and long life material Fits to the site materials Reusable and recyclable Absorb humidity, minimize the chances of mold Aesthetics: different colours, size, texture Fire: flame retardant and non-combustible Low maintenance: colour retention and durability (repair chipped bricks, can be washed, no need painting) Sound performance due to its thickness Energy: brick stabilizes the inside temperature, delays the movement of heat through the wall.

Inorganic and non-combustible material and therefore has an advantage against fire Industrial feeling Metal is recyclable (reduction of construction waste) Construction material that can withstand higher stress compared to equivalent mass of wood or stone Aesthetics: can be painted in different colors/ structure can be exposed/ metal cladding panels required very little maintenance or repair work.

76

Requires almost twice amount of heat energy than stones and concrete; similarly, three times of energy is needed for heating or cooling steel Not good for sound isolation Absorb moisture / water (can be prevented) Can be attacked by bacteria and insects Amount of material used Needs more maintenance Fire: combustible material (but large timbers burn slowly and give time to escape, in this case is a safe material)

In production process use more energy than other materials Time consuming construction Aesthetics: limited colour choices Rough surfaces of bricks may cause mold growth if not properly cleaned

Increase the heat (Thermal conductivity coefficient of steel is 1650times more than wood) Aesthetics: It has to be threated against oxidation as metal get rust (can be positive if it is controlled) Fire: heat increases, steel faces deformation, and their resistance decreases and collapses High maintenance costs (paints have to be applied regularly on the surface to prevent corrosion) Less feeling of “home” compared to other materials

STEEL

WOOD

BRICK illus.79 - Material studies

77

LANDSCAPE A mix of analogue and digital sketching, working with mood boards/collages, and literature studies such as those of Gehl and Hertzberger were performed in order to give an idea of how to create good solutions for outdoor areas on the site. The mood boards/ collages served as a source of inspiration, while also illustrating the type of spaces wanted for the different functions, which cannot otherwise be shown through words . The analogue sketching allowed for fast ideas to be jotted down, while the digital sketching gave a larger idea of the human scale, and the landscape in 3D.

illus.80 - PATHWAYS AND ROADS

SENSATIONS The creative process started with some considerations of the existing situation on-site relating to the sensations and feelings, in order to fully understand the sense of place that has been grown over the years and to mimic it into the design. How can new spaces bring the same heritage into the future whilst respecting the canons of the nowadays public space?

The approach was based on the replication of those sensations as guidelines which were helpful to wholly understand the values of the site itself.

FUNCTIONS Choosing the proper functions was part of the design process. The aim was to relate indoor functions with outdoor activities as much as possible in order to create a circular activity which could keep the site active during the journey. For instance, a nursery with an outdoor green space, a coffeeshop linked with laundry or simple stairs facing the water.

illus.81 - LANDSCAPE

GREEN From the beginning, the ambition was to preserve as much of the natural vegetation as possible on the site, as it is spontaneous greenery which requires minimal maintenance, thus less expenses on labour and watering. illus.82 - ACTIVITIES

78

illus.83 - Landscape sketches

79

3 SYNTHESIS

80

81

CHOSEN CONCEPT After the sketching phase, different methods were used in order to decide which form/ concept to choose. Through an assessment graph, in which the two different ideas were compared with different design criteria, it was observed that the second concept (outsidein) performed best. The two designs were also presented at the midway critique, in which a decision towards concept two was enhanced, but with an ambition of also integrating the new way of living presented in concept one.

Therefore, a combination of the two was chosen to work with. The following feedback was given and served as a start to the synthesis phase.

for crucial direct sunlight during the winter.

Regarding the plan’s layout, the “new way of living” of “inside -out” concept with the common spaces in the middle, is an interesting angle.

However, there should be more apartments around it, rather than just 4, in order to make the common space more attractive and dynamic.

When designing the apartments, strive for double-facaded rooms, and if thats not possible it is important to not only have rooms towards north, in risk of low daylight factor. In case the apartments are single-sided, it would be nice if the common area is double-facaded to give the possibility for everyone to enjoy both sides.

Remember to also integrate terraces or balconies for singles/couples’ apartments, preferably facing south-west.

MIDWAY CRITIQUE FEEDBACK Through the sun-hour analysis of the two proposed volume compositions, the design should strive to get at least one hour of direct sunlight in every appartment. The disposition of different functions, which should be defined, placed along the courtyards should take into consideration this analysis along with the radiation study.

Rising the terrain to include the car parking underground and simultaneously protect the housing units from flooding is working, but it excludes the possibility of social interaction between neighbours on a ground floor level.

If the north area of the site will be raised, the landscape should be designed in order to provide accessibility to all, avoiding for example stairs.

The new development’s aesthetics are still in discussion, but the theme of looking back to the genius loci of the place is the focal point. This can be solved in two different ways depending on the availability of the materials: down cycling (use the existing) vs. upcycling (implementing new) materials.

To conclude the volume composition, the second proposal is more effective considering the climate and the sun light hour analysis, and it increases the chances of integrating some active strategies in the building’s envelope, as well as providing a connection along the entire waterfront. The “inside out” scenario is more open to the west harbour but closed to north, however it has a new way of thinking the social interaction between neighbours that is more active and should also be integrated in the previous proposal.

The sloping of the roofs facing mostly south in concept 2 should be planned to host the solar panels needed in order to fulfil the energy and thermal requirements of the whole housing block, while at the same time, it should not shade

82

+ =

illus.84 - Form concept

illus.85 - New way of living concept

83

PLAN PROCESS STAIRCASE AND APARTMENTS The first step was to determine theThestaircases first step was to determine the the staircases to minimize the in order to minimize the amount and number square and square meters of the distribution area. meters of distribution area. The Thestaircases staircases where positioned in the intersection of the building’s composition always in the were positioned in the intersection of andthe heighest part of the two. building’s composition.

The concept plan for the singles and couples’ apartments developed during the second workshop and became the starting point in The concept plan for the singles/ defining the position in the complex.

The couples’ apartments developed during the workshop was the starting idea was to have a private common area in point to define the position of their apartment. The idea was to have a the middle and apartments surrounding it. area Toin the middle private common and apartments all around it. isolate the common space from Tothe isolatefamily the system from the family, it was placed in the two middle buildings apartments, it was placed in the middle, and the accessand to the common space were limited to the apartments providing a connecting door (?) the access to the common spaces was limited In this way, the common space will face both east and west orientation, where to the apartments providing a connecting the sun rises and sets, which corresponds to the time, according to the user’s schedule, door. In this way, the common space would when people will be the most at home.

The common space is double height with shared face both east and west, where thekitchen, sundiningrises room and living room. make people socialize the dimension of the and sets, acknowledging the user’sToapartments schedule, are minimum sizes. when people will mainly be at home. The common space is double height with a shared kitchen, dining room and living room. To nudge people into socializing, the dimension of the apartments are of the minimum required size.

The family were located in the two

The first step wa the staircases to number and squa The meters offirst the ste dis the staircas The staircases w and in thenumber intersectio The fir meters th composition and theof sta The part stairca heighest of numbe in the inters meter compositio The st heighest pa in the compo heighe

Distribution area

2

Distribution area

2

Distribution area

2

3

1

3 COMMON SPACE

1

Distribution area

Distribution area

2

COMMON SPACE

6 3

1 COMMON SPACE

4 Distribution area

1

Distribution area Distribution area

5 1

4

4 4

Bedrooms

The family were endsDining of build Ser Thethe family ar haveroom the greate ends of the daylight havefactor the gra Distribution are area deeper.

TheLiving fa daylight fac room ends o Generally, the la are deeper have diningGenerally, room fact daylig room facingdining South and de facing Sout provide a are good provide aag Gene The balconies The balcon Distribution dining to enjoy the sun area enjoy th facing will be ho Bedrooms familyto familyprovid will b takeService advantage area take advan The ba to enjo Dining Living family room room take a

ends of the building. These apartments will have the greatest chance of a good daylight factor also where the rooms are deeper.

Generally, the layout of the plan has a dining room facing West, a living room facing South and rooms facing North, to provide a good indoor environment.

The balconies are usually on West side to enjoy the sun when most of the family will be home and on South to take advantage of the shading in Summer.

The family is located in the ends of the building. These apartments will have the greatest chance of good daylight, even where the rooms are deeper. Generally, the layout of the plan has a dining room facing west, a living room facing south, and bedrooms facing north, in order to provide a good indoor environment. The balconies are usually on the west side in order to enjoy the sun when most Another type of apartment is the one for seniors.

This apartment has a private kitchen and of the family is home, and on the south in order the living room is shared between two apartments. to provide passive shading in summer. Another type of apartment is the one for the seniors.

This apartment has a private kitchen and the living room is shared between two apartments.

Another type of Another typ 2 apartment h This This apartm the living roomroi the living

Distribution area

COMMON SPACE

illus.86 - Plan process of staircase and appartment

84

2

COMMON 3 SPACE

The concept pla couples’ apartm duringThe theconcep works pointcouples’ to defineapt apartment. duringThe the w The co private common point to de couple and apartments apartment. during To isolate thecom sy private pointint it wasand placed apartm apartm To access isolate and the t privat it was place limited to the ap and ap and thedoo acc connecting Toto isoth In thislimited way, the c it was connecting both east and w and th In rises this way, the sun and limited a to theboth time,east acco conne sun rise whenthe people wi In this to the time, The common spa e 7 whenboth peopro kitchen, dining the sun 3 The commo To make people to the kitchen, din apartments are when To make 8 pe The co apartments 4 kitche To ma apartm

1

Anoth This ap the liv

PLAN PROCESS COMMON SPACE PHASE 1: In the design process the flexibility of common spaces and types of user groups that would best benefit from the common spaces was also considered. The singles and couples' apartmens were prioritised for common spaces due to their size. The family was also included in this case in order to mix different user groups together, but because of the building volume and the need for daylight, only one family could get access to the common space.

Distribution Distribution area area 1

COMMON SPACE 2

3 Distribution Distribution area area

PHASE 2: In this case the common space is divided into 2 parts that are connected to a distribution space, which is then shared by a combination of one family unit and two single units. This combination gives both families the opportunity to use the common space. A disadvantage of this is the southeast orientation of the common space, resulting in the space being mostly shaded from the sun when the family and working inhabitants would arrive home and use the space.

COMMON Distribution area SPACE

2

3

1 4 Distribution area COMMON SPACE

PHASE 3: In this case the family is no longer connected to the common space, and it is only the singles and couples that are using it. By having the common space in the middle and the smaller apartments surrounding it, the possibility of socializing and connecting with other people on different levels was initiated. The common space would, in this case, contain a shared kitchen facing west and a living room facing east, and therefore provide the opportunity to enjoy the sunlight later in the evening when they get home from the everyday life.

2

Distribution area

3 COMMON SPACE 1

Distribution area

4

illus.87 - Process of plan of common spaces

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PASSIVE STRATEGIES HIGH PERFORMATIVE ENVELOPE The chosen insulation material is wood fibre, a natural and sustainable material that ensures high performance of the envelope. Moreover, an air gap between the cladding and the wall has been provided in order to ensure the ventilation of the facade reducing the overheating and reducing the risk of mold and mildew.

The thermal transmittance reached is equal to 0.09 W/m2K.

O

I

illus.88 - ENVELOPE

O

O

NATURAL VENTILATION Natural ventilation was taken into consideration for the layout design of the apartments. Cross and single-sided ventilation have been provided in both apartment and common spaces to reduce the amount of indoor pollution, as well as reducing overheating during the hot season. In the majority of the cases, the natural ventilation is caused by the west wind. In other cases, thermal buoyancy is the driving factor.

I

I

illus.89 - NATURAL VENTILATION

57° 11°

57°

PASSIVE HEATING In order to reduce the heating consumption, passive heating strategies have been incorporated into the design of the buildings. Balconies play a crucial role as they block the sun rays during hot seasons, while still allowing them to enter during the cold seasons.

The effect of passive heating is increased by adding a layer of gypsum on the internal walls of the apartment, reflecting the natural daylight.

86

11° 57° 11°

illus.90 - PASSIVE HEATING

illus.91 - BASE

illus.92 - BALCONIES

illus.93 - SHUTTERS

illus.94 - Basemodel BE 18 calculation

illus.95 - Building with balconies BE 18 calculation

illus.96 - Building with shutters BE 18 calculation

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CHOSEN MATERIALS In a zero-energy and carbon-emission perspective, new buildings have a CO2 emission level higher than old buildings. Reusing the materials on site gives the building an opportunity to account for the CO2 emission and its embodied energy, especially if the process of separating the materials is done on site.

Most of the materials in the building complex are reused from the demolishing of the big LimfjordsvĂŚrftet in the middle of the site. The building has been torn down in order to provide good sunlight conditions and making room for the traditional boatbuilders and their workshops, without feeling dominated and forgotten by the shipyard factory.

illus.97 - Process of materials

CLT In order to be environmentally sustainable, CLT from FSC sources has been the initial preferred material for the building structure. Wood as a construction material is the best when storing carbon emission, but some of the challenges are, that it does not have the same fire safety level as concrete and brick, nor does it have a natural protection against water and salt and will have to be protected. Therefore, in order to meet the fire safety demands the CLT will have to be protected by exterior and interior materials different form the solid CLT. Moreover CLT has economical benefits when looking at transportation, it is lighter than both concrete and brick and by prefabricated elements transportation costs are lower both economically but also environmentally, saving energy. illus.98 - Cross laminated timber (CLT)

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CONCRETE One of the materials is concrete. The process of reusing concrete typically involves crushing or pulverizing the concrete rubble. After separating the steel the concrete is broken up by industrial crushing equipment and thereafter run through a secondary impactor to remove dirt and particles, usually by using a hydraulic system with water flotation, electromagnetism or an air separator system. The downside of reusing concrete and other materials on site is there may not be enough material for the entire construction. Therefore the contractor will need to provide material from elsewhere, preferably from other deconstructed buildings, however still considering cost of transportation. The reused concrete is used to form the terrain in the project, protection from rising water, construction of the car parking under the terrain and the construction of the pillars and walls on the ground floor supporting the wooden CLT structure. (www.concretenetwork.com) Another aspect of reusing concrete that is difficult to control is the durability and the quality of the materials strength as it can not be tested for and verified.

CORTEN STEEL When reusing steel, a process of keeping the elements as is from the structure, separating them into individual beams and columns in the right measures for the new construction and only replacing the old joints and assembly points with new will, especially if the deconstruction happens on site, reduce the environmental footprint. According to Tata Steel and the Dutch steel promotion institute Bouwen met Staal in their cooperation on a project at Amsterdam’s Schiphol Airport: “A reuse level of between 20 and 40% would reduce the environmental footprint of the steel used in the building by 18 to 36%.” (Tata Steel Europe, 2019). The result of reused steel in the design is balconies in steel cladding with a wood flooring.

The slab of the balcony is of CLT fastened on the walls whereas steel mounted on the CLT wall and the outer façade of the balcony works as wires being the structural and load bearing element of the balcony.

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illus.99 - CONCRETE

illus.100 - CORTEN STEEL

MATERIALS & INDOOR CLIMATE Like mentioned before, CLT has beneficial features when constructing buildings in both an economical and an environmentally sustainable perspective, but how does one reach the demands of a good indoor environment with a CLT structure like the ones specified in the design criteria?

analysis in a clear and well-defined manner.

(Hansen og Lamberts) The study has its starting point in two different materials: concrete and CLT with the same u-values in terms of construction layers and are exposed to the same changes in a range of simulations, to analyse what a passive strategy, like change of material will do. Bsim simulation tool has the possibility to change a single parameter and evaluate what influences that specific parameter has on the building. The parameters that are changed are additional passive strategies.

The design criteria demands a reduction of the space heating, and a high level of thermal comfort from criterion of those specified in DGNB 1.3 (Building Envelope Quality), and furthermore leaving the occupants with the best possible options to control indoor climate with criteria of those specified in DGNB SOC 1.5 (User control- ventilation, temperatures, daylight and artificial light, ease of use). The hours of the indoor temperature of 27 degrees may not exceed 100/year. (DGNB, BR18, Danske Standarder)

A range of additional passive strategies such as shading, change of window sizes, and natural ventilation will be implemented in the simulation step by step and lastly, so will active strategies, like mechanical ventilation and heating. The analysis focuses on the CO2 level in the living room according to passive strategy changes, as well as the hours < 19 and > 27 in a year focusing on the individual months and their differences.

Finally, a total evaluation of the entire family apartment will be conducted with the results from the open living/dining room.

BSIM PROCESS AND FINAL RESULT: To test whether CLT may or may not be the best construction material, an analysis of one of the top apartments facing south has been chosen to simulate in Bsim as the most critical apartment in terms of indoor environment. Especially the living/dining room, facing south and west, has been chosen to show, step by step, how the changes in the materials and other passive initials have an effect.

Bsim simulation tool has the possibility to change a single parameter and evaluate influences that specific parameter has on the building. Like explained by Hansen and Lamberts the boundary conditions of Bsim is taking a piece of the reality, simplifying it and specify the purpose of the

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1ST CASE In the first case, the living room is supplied with three windows measuring 2.2*2.1 m placed 0.3 m meter above the floor, one facing south and two facing west. There is no shading on the windows, and balconies have not yet been implemented as a passive shading strategy. No natural or mechanical ventilation has been activated and neither has heating.

On the graph is seen how the CO2 level in the room with the CLT construction is generally lower than the concrete. The hours above 27 degrees are greatly lower in the CLT and especially in June, the difference is 213 hours.

Both the materials provide cold winter months, worst in January.

illus.101 - 1st case

2ND CASE Placing the balconies on the south and west façade of the apartment works as a passive shading strategy. No other passive strategy has been used nor has natural and mechanical ventilation and heating.

The graph shows the CO2 concentration is nearly the same as in case no. 1 but also how the hours above 27 degrees has decreased greatly in the CLT construction and less in the concrete

illus.102 - 2nd case

3RD CASE The size of the 3 windows in the third case has been changed from 2.2*2.1m to 1.7*2.1m placed 0.8m above the floor. Thereâ&#x20AC;&#x2122;s still no shading, except for the balconies, nor natural or mechanical ventilation, nor heating.

The hours above 27 degrees are still decreasing in the summer months in both materials but especially in the CLT construction. illus.103 - 3rd case

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4TH CASE By implementing natural ventilation in combination with the calculated effective area of the West windows (0.68 m2) and the Southern (0.77 m2) ( se appendix 4) the CO2 concentration decreases drastically in the summer months in both cases of the construction materials. This passive strategy is both economically and environmentally sustainable in terms of using a natural resource free of charge. The ventilation leaves the room with a CO2 level of no more than 850 ppm as the regulation in BR18 demands. illus.104 - 4th case

The hours above 27 degrees are furthermore completely demolished in the living room of concrete and only 9 hours are left in the CLT construction.

5TH CASE Lastly, active strategies, such as mechanical ventilation with heat recovery and heating has been implemented to provide an adequate CO2 level without compromising the indoor temperature during winter.

The CO2 emission level is greatly stable when implementing mechanical ventilation and the change between natural and mechanical is clear.

illus.105 - 5th case

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CONCLUSION The starting value of carbon emission in the 1st case is higher when using concrete than CLT and therefore the calculated natural ventilation is not efficient enough to provide an acceptable indoor environment in the summer of max 850 ppm. The CO2 emission level is acceptable in June (809.5 ppm) but unacceptable in May, July and August (928.2, 918.6 and 884.2 ppm) whereas the same months with the CLT construction has a level of 751.2 ppm in June and 844.3, 823.8 and 806.7 in May, July and August.

The need for mechanical ventilation is moreover higher when using concrete rather than CLT. Therefore, not only is CLT a great material for sustainable buildings when considering the carbon footprint and the embodied energy/pollution, but also a preferable material for the indoor climate and the energy efficiency of mechanical initials, compared to concrete.

The conclusion of the overall energy distribution in the apartment shows how people load and equipment are big contributors to the energy load in the rooms. These are factors are almost impossible to change for designers. When designing, one can nudge people or give the opportunity to live a more sustainable life, and choose equipment that uses less power but in the end it is the occupantâ&#x20AC;&#x2122;s responsibility to live sustainable. The infiltration and transmission are the main losses in the living room. That might be a result of the placement and number of windows, dimensions of the room and orientation. (See appendix 5) Lastly the graph shows how the CO2 level is under the value of 850 ppm in every room, every hour of the day, defined by the Danish Building Regulation (BR18)

illus.106 - Bsim results of entire appartment

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FACADES

CLADDING

CLADDING In order to understand how the facade would look in wood, a small study of horizontal and vertical cladding was done through 3D sketching. The horizontal cladding gave the building a heavy look, which made the volumes seem bigger and denser.

In terms of the vertical cladding the expression was lighter and leads the eye to the sloping roof. The vertical cladding would in few cases feel too tall due to the height of some of the buildings, where the need for cutting the length of cladding was optimal giving the faรงade small detailing lines.

BALCONIES The placement of the balconies was from the very beginning a secondary design element, mostly because the optimal solution is to place the balconies facing west, but also because placement of the windows and orientation of the living and dining area would have massive consequences for the balconies position. When the layout was fixed, the placement of the balconies came naturally.

WINDOWS The sizes of the windows were decided by focusing on the impact on the indoor thermal comfort and daylight. Different iterations were inserted into Bsim and Velux, in order to find the best possible size for the windows to fullfll the demands. Bigger windows could cause problems in overheating, specifically when placed towards south, but would reach the daylight requirements. The smaller windows were not able to allow enough daylight to enter, especially when placed towards north and passive heating through solar gain was minimal. The solution was therefore a compromise between the two.

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illus.107 - HORIZONTAL

illus.108 - VERTICAL

WINDOWS

BALCONIES

CLOSED -very private -heavy expression -protection against wind -static

OPEN WIREFRAME -very public -does not sustain the overall form -lighter expression -provides dynamic

illus.110 - BIGGER WINDOWS

VERTICAL BANNISTER -good balance between public and private -good for sorting wind -follows the overall aesthetic

illus.109 - Balcony iterations

illus.111 - SMALLER WINDOWS

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ACTIVE STRATEGIES SOLAR PANELS Due to the orientation and slope of the roofs, the use of solar panels are self-evident. Through the use of BE18 as a calculation program, the amount of solar panels and their effect on the energy requirements have been calculated. The solar panels cover approximately 1200 m2 of the southern facing roofs, and bring the energy requirements from the earlier iteration of 38.4 kWh/m2 per year (illus.93) to 11.8 kWh/m2 per year.

Monocrystalline solar cells are the chosen type as they are the most efficient, and due to their simple expression and color. Due to aesthetic reasons, the solar panels are built into the thermal envelope, creating factors to consider as stated in illus. In order to resolve the possible issue of reflecting resulting from the slope and height of some of the panels, a solution is to texture the surface, as the anti-glare glass' roughness is higher than normal glass. This solution is chosen as the reflective light can be transferred into absorbed light, allowing it to become an efficient power generator, even on cloudy days. (Solar, 2019)

illus.112 - Chosen solar panel specifications

FLAT SOLAR THERMAL COLLECTORS

SOLAR THERMAL COLLECTORS In order to reduce the energy requirement even more, solar thermal collectors were studied, and placed on 70m2 of the south facing roofs in sizes 2x1m. They provide energy for heating and domestic hot water, and are more efficient than solar panels, with an efficiency of 30-45% (Suciu et al., 2018), leading to a final energy requirement of -0.6 kWh/m2 per year. Flat solar thermal collectors were chosen in order to have a similar aesthetic to the solar panels.

illus.113 - Chosen solar thermal collectors' specifications

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SOLAR PANELS

illus.114 - BE18 calculation with solar

illus.115 - Solar panels

-Integrated in the exterior roof -can be difficult to replace defective componenets -expensive -Must be more cautious of shadows and vandalism risk illus.116 - Integration of solar panel into building envelope panels

THERMAL HEAT COLLECTORS

illus.118 - BE18 calculation with solar panels & thermal heat collectors illus.117 - Solarpanels and thermal heat collectors

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LANDSCAPE

PLANTS Different types of plants are placed for the different functions in the outdoor areas. For example, edible plants are mainly placed by the greenhouse areas, whilst larger pants are placed around seating areas for wind sheltering. The plants have various blooming times throughout the entire year in order to ensure variety. The intention is to create wild greenery, allowing for natural shrubs and plants to thrive, mimicking the naturally overgrown greenery of the original site.

PATHWAYS An issue is the accessibility to pedestrians and cars. The courtyard typology allows to define a dual pedestrian path, a private one inbetween the buildings dedicated especially to the inhabitants and a public one facing the waterfront. The cars have direct access to the area on the road towards east bringing one directly to the underground parking. This road is also a design solution which helps detach the design from the existing light industry. The material of the foundation is concrete, and therefore rather than placing an extra layer of material on top, the concrete is engraved (see illus 119) in order to create a dynamic aesthetic, and to avoid a slippery surface. Metal bands are also placed into the concrete to imitate the boat scaffolding of the original site (see page 32, image 1).

FUNCTIONS The placement and spirit of the different courtyards are defined in terms of programme and functions. The aim is to avoid the general public area and to design spaces which provide the opportunity to activate them according to the necessities. The north courtyard is defined as playful while the south one, close to the entrance, is productive which underlines the importance of the suburban feeling. On the other hand, the central courtyard is morphologically and significantly the formal core of the public space in which the inhabitants and the public can interact, organize events or simply relax. Another ambition for the courtyards is to reach a threefold link between building functions, landscape and outdoor functions mostly related to the water.

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illus.119 - Paving texture

ALCHEMILLA MOLLIS Color: Green Height: 30 – 50 cm Blooming: June – July Flowers color: yellow

ROSMARINUS OFFICINALIS Color: Silver green Height: 30 -50 cm Blooming: June - July Flowers color: Purple

HIPPOPHAE HUN-KLUN Color: Grey Height: <600cm Blooming: May-June Flowers color: Orange

PANICUM VIRGATUM Color: Red Height: 100 – 130 cm Blooming: August - November Flowers color: Purple

FESTUCA GLAUCA Color: Silver blue Height: 30 – 50 cm Blooming: June – July Flowers color: Green

CORTADERIA SELLONA Color: Red Height: 80 – 100 cm Blooming: August - October Flowers color: White

LAZULA NIVEA Color: Green Height: 20 – 30 cm Blooming: June - July Flowers color: Crème MENTHA PIPERITA Color: Green Height: 30 -50 cm Blooming: July - August Flowers color: Purple

PLACEMENT OF PLANTS The largest plants are placed in the middle in order to be able to see all of the plants from different views.

SALVIA OFFICINALIS Color: Silver green Height: 30 -50 cm Blooming: June - July Flowers color: Purple

illus.120 - Illustrations of plants used along with their specifications

99

4 PRESENTATION

102

FAR > 130 %

143 m

FAR + ORIGINAL DIMENSIONS OF SITE

+1,75m

+0,50m

+0,50m

CONSIDERATION OF FLOODING - RAISED TERRAIN + SUBDIVISION OF BLOCKS FAR = 143% FAMILY FAMILY FAMILY FAMILY FAMILY FAMILY

PARKING

COUPLES COUPLES COUPLES COUPLES

COUPLES COUPLES COUPLES

NURSERY PARKING

FAMILY FAMILY

LAUNDRY

COUPLES COUPLES COUPLES COUPLES COUPLES FAMILY COUPLES COUPLES FAMILY COUPLES COUPLES FAMILY BATH LAUNDRY

FAMILY FAMILY COUPLES FAMILY COUPLES COUPLES FAMILY FAMILY COUPLES COUPLES FAMILY COMMON EXHIBITION LAB

PLACEMENTS OF FUNCTIONS WITH 143% FAR

FAMILY FAMILY FAMILY FAMILY FAMILY

PARKING

COUPLES COUPLES COUPLES

COUPLES COUPLES

NURSERY PARKING

FAMILY

LAUNDRY

COUPLES COUPLES COUPLES COUPLES COUPLES COUPLES FAMILY COUPLES COUPLES FAMILY BATH LAUNDRY

FAMILY FAMILY COUPLES FAMILY COUPLES COUPLES FAMILY COUPLES COUPLES FAMILY COMMON EXHIBITION LAB

TYPOLOGY OF ROOFS TO MATCH CONTEXT AND ORIENTATION TOWARDS DIRECT SUNLIGHT

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104

105

N

MASTERPLAN 1:1000

SEATING FOR BOAT WATCHING

GREENHOUSES

-Space for watching boats being pulled up -Entrance open space to invite public onto site

-Communal gardening -Interaction between public and occupants

PLAZA

STAIRCASE & RAMP

-Small poles surrounding seating for wind protection -Poles illustrating masts referring to maritime with sails -

-Ramps for handicap access -Ramp for cars -Green areas for sitting and playing

PLAYGROUND & FRONT GARDENS

HARBOURFRONT

-Fences for safety -Front gardens -Interaction between parents and children

-West for sunset -Steps used as seats -Placed on water -Interaction with boats

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N

MASTERPLAN GROUND FLOOR 1:1000

Lab space Exhibition space Nursery Cafè Laundry Public bathroom + sauna

Couple's apartment without kitchen

PUBLIC Lab space Exhibition space Nursery Cafe Laundry Public bathroom + sauna

GROUND FLOOR FUNCTIONS IN 1:1000

PARKING IN 1:500

109

CROSS-SECTION IN 1:500

110

LONGITUDINAL SECTION IN 1:1000

111

112

sections

COUPLE APARTMENT

113

N

ment ment with kitchen ment without kitchen ment without kitchen e

MASTERPLAN OF DIFFERENT TYPES OF APARTMENTS IN 1:1000

Family's apartment Couple's apartment with kitchen Couple's apartment without kitchen Single's apartment without kitchen Common space

2ND FLOOR

114

N

1ST FLOOR SINGLE AND COUPLE APARTMENTS WITH COMMON SPACE IN 1:100

115

N

FAMILY UNIT 1 FIRST FLOOR IN 1:100

116

N

FAMILY UNIT 2 GROUND FLOOR 1:100

117

DAYLIGHT FACTOR IN SINGLE AND COUPLE APARTMENTS, AND COMMON ROOM

118

Daylight factor

8%

7%

6%

5%

4%

DAYLIGHT FACTOR FAMILY APARTMENT 2

119

3%

2%

1%

NATURAL VENTILATION FOR SINGLE AND COUPLE APARTMENTS, AND COMMON ROOM

120

NATURAL VENTILATION FOR FAMILY APARTMENT 2

121

COMMON SPACE FOR SINGLE APARTMENTS

122

FAMILY APARTMENT LIVING SPACE

123

FACADE WEST 1:100

LONDITUDINAL SECTION 1:100

ROOF [U = 0.08 W/m²K] Cedar wood cladding 25mm Horizontal wooden batten 35mm Vertical wooden battens 35mm Highly breathable synthetic membrane 0.4mm Wood fibre insulation 60mm Wood fibre Insulation with timber battens 180mm Monolithic vapor stop membrane 0.6mm CLT (three-la yers) 160mm Wood fibre insulation 60mm Gypsum board (2 la yers) 12,5mm each

illus.121 - DETAIL OF ROOF IN 1:20

126

WALL [U = 0.08 W/m²K] Cedar wood cladding 25mm Horizontal wooden battens 35mm Vertical wooden battens 35mm Wind barrier and waterproof membrane 0.6mm Wood fibre insulation 60mm Wood fibre Insulation with timber battens 180mm Monolithic vapor stop membrane 0.6mm CLT (three-la yers) 160mm Wood fibre insulation 60mm Gypsum board (two la yers) 12,5mm each

FLOOR [U = 0.2 W/m²K] Wood flooring 25mm Underfloor heating with thermal insulation 50mm Separation layer 0.2mm Impact sound insulation 17mm CLT (five-layers) 200mm Wood fibre insulation 60mm Gypsum board (two layers) 12,5mm each

illus.122 - DETAIL OF BALCONY IN 1:20

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STRUCTURAL SYSTEM The structure of the building is a system of concrete pillars on the ground floor that support maximum five-storey, load-bearing CLT structures.

To stabilize the building against torsion, two concrete cores are placed around the staircases and four internal load-bearing CLT walls are supporting the CLT slab panel connections. The prefabricated CLT panels for slab, facade and roof have a maximum size of 3m x 12.19m.

RAINWATER HARVESTING One of the sustainable ideas includes the reuse of natural elements such as rainwater. The rainwater is collected in a tank that is connected to the roof gutter and the balcony drainage system, where it is then pumped through the system and to the different functions. The rainwater that is collected can be used in the laundry room and washing machines, toilet flushing and maintenance of the boats in the workshop.

FILTER / PUMP

illus.123 - Rainwater illustration

FACADE CLADDING CEDAR WOOD Cedar cladding is characterised by a silky surface texture and the strong odour, but the timber has natural robustness and an expected life of over 60 years without any treatment. Because of the location of the project and effects of water when it comes to wood, cedar wood was best choice in terms of resistance against fungus and rot. Cedar wood is also used a lot in the boat industry and places where the weather is rough. The cladding of buildings will however in some parts of the buildings need treatment and a layer of protection because of the close distance to the harbour and water in order to insure a longer lifespan of the wood

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illus.124 - Facade cladding concept

illus.125 - Structural system

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FIRE AND SAFETY As explained previously, the structure of the construction is purely made from CLT, therefore the fire safety must be taken into even greater consideration than when building with other materials.

As described in BR18, chapter 5, § 94, no. 2, 5 and 6, the emergency exits shall be easy to recognize and reach, the distance to such a fire exit must not exceed 30 m independent of the furnishing, and the apartment unit shall be a fire cell by itself, but may include rooms that are not fire protected. This applies if the building category is 4 of §85 where the building includes sleeping, people in the building are aware of their exits and have the ability to bring themselves to safety and where there’s no limit on how many people are allowed in the same place at once. (Trafik- Byggeog Boligstyrelsen, 2019)

REI: 90 from inside 60 from outside Fire cells Emergency exit Longest escape route: 4.2 m

Rescue opening

Rescue opening

Rescue opening

Rescue opening Rescue opening

Rescue opening

The building layout of the plans allow no more than 4 apartments pr. emergency exit and a clear, visible exits paths to the cores of the emergency staircases. Each apartment functions as a fire cell itself and have direct access to the emergency exit from the front door and emergency exits to the open from the balconies. The longest escape route is 4.2 meters and therefore far from the maximum of 30 meters.

Rescue opening

Rescue opening

Rescue opening

illus.126 - Fire safety

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NOLLI MAP As seen in the analysis chapter, the Nolli map of the site shows a great discrepancy between residential buildings on south and the harbourfront on north. Following this, the project was developed in order to keep the ground

floor mainly public to host the harbourâ&#x20AC;&#x2122;s activity toward west and more private on the east side where the courtyards between them will function as a transition area.

Public

Private 131

illus.127 - Nolli Map

CONCLUSION Pier 12 is an example of the combination between social housing, resilience and sustainability which consider the multiple facets of the history of the area in order to integrate itself as much as possible into both urban fabric and context. It is a combination of the phenomenological values of architecture with the scientific aspect of it. It is well known that sustainable design could compromise the aesthetic features of architecture, producing anachronistic and out-of-context design in order to satisfy the complexity of the requirements. We strongly believe that this proposal is proof that sustainability can be beautiful. The solution can be found in the dualistic purpose of our choices, from the courtyard typology to the pitched roofs, and even through the terrain.

composition shows their complexity in multiple ways according to the point of view. From the entrance of the site, the continuity of the buildings can be recognized while on the other side of the fjord, the repetition of the single module is evident, making it appear as human-scaled pixelated volumes which blend with the maritime identity.

Materiality declares the relationship within the harbour environment in which the protagonist is the wood that has been used for both CLT structure and cladding of the upper floors. Cedar wood is the choice of facade cladding due to its durability without treatment and its patinating properties. The timber structure is placed over a recycled concrete base.

The material of the ground floors is mineral-based, due to structural and environmental reasons such as flooding. The entire waterfront is characterised by a 'portico' walkway which ensures protection from weather and defines a space that is considered as public. A timber floating deck is designed to extend the mooring surfaces for boats while also providing individual public spaces related to the water. The north side is characterised by six units useful to store kayaks and other watersport tools.

The apartment layout, provides socialization for both families and couples apartments with common spaces in both cases. Specifically for singles and couples, a double-height common space has been provided every eight apartments. This gives the opportunity to meet all together and socialize around a big common table.

First of all, the suggestion of the courtyard building typology comes from the urban fabric in the surrounding context, and by adapting it to the site, it is possible to obtain three courts of different sizes according to the various necessities. A subdivision of the site into courts is a design tool to provide good daylight to every building volume and to handle the high-density requirements (130% < FAR < 200%), which in this case reached a value of 143%. They also provide multiple pathways and permeability through the site, increasing the possibilities and the relations with the elements, the landscape and the water. Moreover, it is possible to define private, intimate and protective areas from public and open spaces along the perimeter.

Secondly, due to the surrounding typology the design has implemented pitched roofs to integrate it with the suburban environment, while also optimising the efficiency of PV panels and solar thermal collectors on the roofs.

Three-quarters of the site is risen 0.50m and the rest, the north portion, 1.75m over the existing paving in order to prevent possible calamities that could provoke the rising of waters in a foreseeable future. This morphological intervention has been integrated with a semi-underground parking for 57 cars and 88 bikes.

Even though the overall organization comes from a simple reiteration of a stereometric volume, which can be perceived in the plans, the resulting

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REFLECTION The challenge of the integrated design process is the integration of design-influencing parameters throughout the design in the various moments of the phases. The methodology of Grounding theory had created a base of information and knowledge for the process of problem finding, analysing, sketching and synthesizing throughout the entire Integrated Design Process. The tools for acting out such methodology are almost endless, therefore, when one finds a tool no longer useful one can change the tool and find new information and continue the process without having to compromise on the quality of the results. The same is the case when using on- and off-site surveys. In the method of mapping, theorists have provided us with ways to systematically and thoroughly gather information about a place. It is then our responsibility to choose the ones that are efficient enough, and let us inspire to explore beyond the traditional analytical methods. In combination with the technical methodology, gathering information about the site, typically climatic, has resulted in a broad range of different analysis on- and off-site presenting data that acts as solid ground for the sketching phase.

The sustainable aspect of both the social and environmental has been a key factor for the shaping of the design solution and thereby in particular the discussions about materiality and their origin. Wood as a construction material has great environmental advantages and so does concrete and brick, the advantages are just different. Looking in an economical perspective concrete is cheaper than brick and wood, and lasts longer than wood. Brick lasts longer but the embodied energy and the process of making new bricks is not environmentally sustainable as wood. The embodied energy of concrete is neither environmentally preferable, but the amount of concrete used to create the same strength as wood or brick is smaller and therefore the amount of material will increase if choosing concrete. The chosen materials for the design was wood and let the speculations on reusable materials on the site wonder into a question of durability and quality of the existing materials, which could have been investigated more in depth to obtain more knowledge and solutions.

Another challenge has been defining the level of social interaction between the inhabitants of the different social user groups. The question is of whether framing an environment that is inviting is efficient enough to achieve the desired social interaction among the residents. Like Jane Jacob puts it: â&#x20AC;&#x153;(...) Some of the most impressive looking (places) are ineffectual in performanceâ&#x20AC;? (J. Jacobs, 1961) and since social interaction is optional and based on individual needs, the occupants may prefer privacy over social. One can only hope that by making the private areas smaller and the common areas bigger and providing activity elsewhere will encourage residents to participate for their own social health and sustainability.

When entering the sketching phase of the process the technical methodologies really come through and intertwine architecture and engineering. Especially tools like Rhino, Grasshopper and the other plugins are a great possibility to integrate parametric design with climatic analysis and have left us with a process of forming volumes according to the climatic demands of the site, and thereby a partially designed volume for the building envelope. However, the challenges or short comings of technical methodologies are the amount of analysis that needs to be done, needs to be done with different software. The software itself can simulate, calculate or estimate different factors of the design and give great valid results, but the communication and collaboration between the software interface is almost non-existing. This results in many different models, some detailed and some estimations, throughout the whole process, in different softwares to analyse different parameters.

If an integrated design process should be completely integrated, the technical methodologies should be possible to integrate.

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REFERENCES BOOKS 1) Centre for Housing and Welfare: Housing in Denmark, 51st IFHP World Congress 2) Cullen, Gordon(1961), Concise Townscape, Routledge, 1st edition 3) Cykelparkeringshåndbogen; Celis, P - Celis Consult & Bølling-Ladegaard, Dansk Cyklist Forbund, 2007 4) Den almene boligsektors fremtid (The future of the social housing sector) Ministry of Social Affairs, Copenhagen.

5) DS/EN 15251. (2007). Indoor environment input parameters for design and assesment of energy performance of buildings adressing indoor air quality, thermal environment, lightening and acoustics, Danish Standards Association, København, first edition 6) DS/EN 1752. (2001). Ventilation for Buildings - Design criteria for the inddor environment, Danish Standards Association, København, first edition 7) DS/EN 1995-1-1/A2. (2014). Eurocode 5: Design for timber structures – part 1-1: General – common rules and rules for buildings, Danish Standard Association, København, first edition.

8) DS/EN 1991-1-2/AC. (2013). Eurocode 1: Actions on structures – part 1-2: General actions – Actions on structures exposed to fire, Danish Standard Association, København, first edition.

9) Edward S. Casey, ‘Getting Back into Place: Toward a Renewed Understanding of the Place-World’, Bloomington: Indiana University Press, 1993 10) Gehl, J. (2010). Byer for mennesker. København: Bogværket 11) Gernot Böhme, ‘Architektur und Atmosphäre’ (2006), translated by Jean-Paul Thibaud in ‘The Aesthetics of Atmospheres’, chapter on the Atmosphere of a City, Routledge, 2016.

12) Hermann Schmitz, ‘System der Philosophie, Volume II, part 1: Der Leib’, Bouvier, Bonn 1965.

13) Hertzberger, H (1991). Lessons for students in architecture. Rotterdam: Uitgeverij 010, pp.32-39 14) Jacobs J. (1961). The death and life of great American cities. New York: Vintage Books 15) Jensen, Jesper Bo: Fra nutidens til fremtidens parcelhuse (From past to present single-family houses) Centre for Housing and Welfare, Realdania Research, Copenhagen 2006 16) Kristensen, Hans (Ed): Den gode bolig – Hvordan skal vi bo I fremtiden? (Good housing. How will we live in the future?) Danish Academy of Technical Sciences, Lyngby, 2006 17) Lynch, K. (1981). Good city form. Cambridge, Mass.: MIT Press, pp.277-291.

18) Q-GIS database, version 3.10.0, updated on 8th November 2019 19) SIB - Anvisning 213 (2018). Bygningers energibehov, Statens Byggeforskningsinstitut, Aalborg Universitet, 5th edition 20) Steen Eiler Rasmussen, ‘Experiencing Architecture’, MIT Press Paperback Edition, 1964

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ILLUSTRATIONS illu 1-6 Own illustration illu 7 Historisk tilbageblik - Aalborg Sejlklub - Marina Fjordparken. [online] Aalborg Sejlklub - Marina Fjordparken. Available at:

https://www.aalborg-sejlklub.dk/wpas/om-aalborg-sejlklub/ [Accessed 16 Dec. 2019]. illu 8-30 Own illustration illu 31 - 32 Own illustration of original from Befolkningsprognose, Aalborg Kommune, COWI 2019 illu 33 - 45 Own illustration illu 46 Atelier O-S Architectes (2019). [image] Available at: https://divisare.com/projects/379383-ateliers-o-s-architectes-12-so

cialhousings-in-quais-blanqui#lg=1&slide=5 [Accessed 7 Nov. 2019]. illu 47 MVRDV (2019). [image] Available at: https://www.dezeen.com/2017/07/13/mvrdv-designs-new-rotterdam-skyscrap

er-the-sax-pixellated-walls-netherlands/ [Accessed 7 Nov. 2019]. illu 48 Vandkunsten (2019). In between outdoor space. [image] Available at: https://vandkunsten.com/en/projects/tinggaarden [Ac

cessed 7 Nov. 2019]. illu 49 Vandkunsten (2019). Plan. [image] Available at: https://vandkunsten.com/en/projects/tinggaarden [Accessed 7 Nov. 2019]. illu 50 Igual&Guggenheim Arkitekten (2019). [image] Available at: https://divisare.com/projects/398417-igual-guggenheim-architek

ten-radek-brunecky-residential-complex-in-muhlau#lg=1&slide=15 [Accessed 7 Nov. 2019].

Rum (2019). View of the building. [image] Available at: https://www.rum.as/projekter/english-project-2 [Accessed 7 Nov. 2019]. illu 51-52 AART (2019). Bird-eye view. [image] Available at: https://aart.dk/en/projects/fremtidens-seniorbof%C3%A6llesskab [Ac

cessed 7 Nov. 2019]. illu 53-54 AART (2019). Program Plan. [image] Available at: https://aart.dk/en/projects/fremtidens-seniorbof%C3%A6llesskab [Ac

cessed 7 Nov. 2019]. illu 55 MIR.no (2019). [image] Available at: https://www.mvrdv.nl/projects/299/ijburg-agora?photo=17095 [Accessed 7 Nov. 2019]. illu 56 COBE (2019). [image] Available at: http://www.cobe.dk/project/kroyers-plads-0#3310 [Accessed 7 Nov. 2019]. illu 57 White design (2019). [image] Available at: https://www.modcell.com/projects/lilac-affordable-ecological-co-housing/ [Ac

cessed 7 Nov. 2019]. illu 58 SLA (2019). [image] Available at: https://www.sla.dk/files/6814/6606/4860/Large_HTP3.jpg [Accessed 7 Nov. 2019]. illu 59 Brenna, L. (2019). [image] Available at: https://divisare.com/projects/338852-act_romegialli-lopes-brenna-ivan-gusmero

li-simone-marmori-lorenzo-fassi-blueprint-competition#lg=1&slide=11 [Accessed 7 Nov. 2019]. illu 60-97 Own illustration illu 98 U.S Department of Agriculture (2019). Is cross-laminated timber the concrete of the future. [image] Available at: https://

images.adsttc.com/media/images/5d4b/4d6e/284d/d154/4b00/0008/medium_jpg/39309537250_7e143fa5cf_b.jpg?1565216106

[Accessed 13 Dec. 2019]. illus 99 Worac (2013). Concrete texture. [image] Available at: https://st.depositphotos.com/1809008/3397/i/950/de

positphotos_33979267-stock-photo-concrete-texture.jpg [Accessed 13 Dec. 2019]. illu 100 luGher 3D (n.d.). rusty only heavy brown 2. [image] Available at: http://www.lughertexture.com/index.

php?view=image&format=raw&type=img&id=678&option=com_joomgallery&Itemid=14 [Accessed 13 Dec. 2019]. illu 101-127 Own illustration

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