New Roskilde Viking Ship Museum by Jakob Frost Dahl

NEW Roskilde viking ship museum

PRELIMINARY

PREFACE THE NEW VIKING SHIPS MUSEUM The report is the final outcome of a master thesis developed at Architecture & Design, Aalborg University. The subject of the report is a design proposal for a new Viking Ship Museum in Roskilde through an integrated process with a focus on a sustainable approach. The project period spanned from 01.02.2019 to 23.05.2019.

PRELIMINARY

SYNOPSIS A NEW MUSEUM PROPOSAL This project deals with a design proposal of a new Viking ship museum in Roskilde. The proposal takes its point of departure from the existing museum which was de-protected August 2018 due to the damages it had incurred from being exposed to the harsh climate at Roskilde fjord. The final design proposal is a transformation project which respects the qualities of the existing museum while accommodating the rising needs of a modern cultural institution. A focus has been to integrate the new museum better with the context and the identity of the place as the existing lacked to do so. The volume is broken up leaving spaces for integration with the landscape, allowing interesting urban areas to appear and be utilized by the functions of the museum. The project also addresses the need for an improved masterplan which entails coastal protection, recreational areas, and a better flow on the museumâ&#x20AC;&#x2122;s area. The experience throughout the museum offers different atmospheres through light, materials spatiality and structure to address the expanded responsibility the museum has acquired. Through these atmospheres, the museum can ensure that visitors have the proper experience in a context in which the objects exhibited can relate itself. Through an integration of technical solutions, the strict requirements of the indoor environment are dealt with so it has the aesthetics desired while allowing for flexibility. the building offers the conditions in which visitors can interact with the exhibitions, making them feel as if they are a part of the exhibition.

4 PRELIMINARY

THEME Sustainable Architecture

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PROJECT TITLE New Viking Ships Museum in Roskilde

MASTER THESIS Department of Architecture, Design & Media Technology Aalborg University PROJECT PERIOD 01.02.19 - 23.05.19 NUMBER OF COPIES 4 NUMBER OF PAGES 201 AUTHORS Project Group ma4-ark9 SUPERVISORS Architectural Design Tenna Doktor Olsen Tvedebrink Ph.D., Cand.polyt. Associate Professor Department of Architecture, Design & Media Technology Aalborg University, Aalborg Denmark Technical Rasmus Lund Jensen Ph.D. Associate Professor Department of Civil Engineering Aalborg University, Aalborg Denmark

___________________________________________ Andreas Corfitz Jensen

___________________________________________ Jakob Frost Dahl

___________________________________________ Martin Bernhard Pedersen 5

PRELIMINARY

TABLE OF CONTENTS

MOTIVATION

8 A motivation for creating a New Viking Ship Museum

METHODOLOGY

Design approach

SUSTAINABILITY

Holistic sustainability DGBN in relation to the global goals

SITE ANALYSIS 24 Roskilde city Mapping Image of the city Sensing the place Arriving Understanding the site Serial vision Surrounding context Climate condition Climate change The state of the museum today Rising sea levels Current masterplan

THE VIKING SHIP MUSEUM 64 Historical timeline The findings The Creator of the Viking Ship Museum Museums presevation Qualities to retain Visitors of the Museum Types of visitors Machinery benhind The Museum Towards a New Habour New functions & responsibility Room programme

THEME ANALYSIS 98 Identity Perception of Architecture Modern Nordic architecture Precedent Studies

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DESIGN BASIS & PROCES

114

Design considerations Design Criteria Placement & orientation of new functions Adaptation Different form iterations Transformation The Concept Interpretation & disclosure Indoor environment New masterplan Sea level protection Why the circle? New recreational functions The meeting with the water

PRESENTATION

148 Masterplan The New Viking Ship Museum Elevations Materiality Plans Sections Entrance & Foyer The Viking Ship Hall The Special exhibitions The Sunken World Ventilation strategies & principles

EPILOGUE 196 Conclustion Relection Litterature Illustrationslist

MOTIVATION

Roskilde Vikings Ship Museum The great longships & The fishing vessel Skuldelev 1, 2 & 6 Ill. 1

MOTIVATION INSPIRATION AND INTERESTS Throughout our education Architecture & Design at Aalborg University, we have had the privilege to visit many interesting danish as well as foreign cities, including: Randers, Ă&#x2026;rhus, Copenhagen, Berlin, Gothenburg, Milan, Venice, Tokyo, and Kyoto. It has been a cultural experience which has given a lot of inspiration and broaden our horizon for different building features. If we take a look back on all the buildings we have physically experienced, the cultural buildings are the ones which have had the greatest architectural impression. Especially museums have made an impression due to how art and objects are staged through architecture. Through our education, across the various semesters, we have worked with many different building typologies: Churches, mixed-use housing, theatre buildings, small residences, office buildings and health care houses. These experiences have provided a wide range of knowledge and understanding which is usable and has created a motivation for trying a new kind of building typology, a museum. Our motivation to do a new Viking Ship Museum in Roskilde is due to the rising water levels, which recently have affected the existing museum in a degree that the priceless ships are in danger of getting damaged. It is the strongest cultural heritage Denmark possesses and should be kept intact for future generations to learn about. The existing building has been considered a heritage site up until 30th August 2018 but is now free to redevelop (Niras, N. 2018). This presents an opportunity for a new museum, which can be an international drawcard for Denmark, and potentially become a place where the history of the Viking era has its foundation. 8

MOTIVATION

10 SUSTAINABILITY

L.A. Ring (1854â&#x20AC;&#x201C;1933) Oil painting on canvas, 1900 Ill. 2

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Summer day at Roskilde Fjord

METHODOLOGY

Problem

Analysis

Ill. 3

Sketching

Synthesis

Presentation

The Phases of the Integrated design process

METHODOLOGY DESIGN APPROACH The design method by Mary-Ann Knudstrup “The Integrated Design Process in problem-based learning” is used as an approach to investigate holistic sustainable solutions for a New Viking Ship Museum in Roskilde. The integrated design process consists of five phases, which it navigates back and forth between, and deals with an integrated design with functional, aesthetic and technical considerations. The method contains a problem, analysis, sketching, synthesis and presentation phase. The Problem Phase is based on a hermeneutic approach towards documents, programs, papers, and articles in an attempt to generate knowledge within the field of architecture in the themes of sustainability and Viking Museums. The Analysis Phase encompasses an analysis of all the information that has to be procured before the building is ready for the sketching phase, e.g. site conditions, climate conditions, historical context, us12

ers and relevant case studies. The analysis is based on empirical observations, phenomenological reflections and documentation with analysis which have a hermeneutic approach (Knudstrup, 2004). In order to obtain an overview of the Viking Ship Museum and the surrounding context, different methods are applied. One of the methods is Mapping, a method developed by James Corner, which helps to analyze the urban environment in either a small or large scale to better understand the context (Cosgrove, 1999). To understand the character of the area, and how the site interacts with the surroundings, the method “Image of the city” by Kevin Lynch is used. This creates an image and a model of the area, including landmarks, edges, and districts, which are marked on a map and helps visitors in the area orientate themselves (Lynch, 1960) To understand the Viking Ship Museum and the context from a human perspective different phenomenological analyzes are applied to get an understanding of the site experienced through a person’s own body. The phenomenological approach makes it possible to

METHODOLOGY

improve the visitor’s experience with the natural and cultural context in which the architecture is represented through form, space, and materials (Sheffield, 1997). To get “a sense of the place“, the Norwegian architect and theorist Christian Norberg-Schulz argues how important the phenomenological approach is, due to its major influence on Nordic architecture (Norberg-Schulz, 1980) To form an image and determine different moods, spatialities and contrasts of the site, Gordon Cullen’s method “Serial vision” is used to get a visual impression, when walking towards the existing Viking Ship museum from selected routes (Cullen, 2012). The result of the analysis phase is sufficient background knowledge for an initial design concept, which initiates the sketch phase. The sketch phase is where new creative ideas and solutions are produced, often through many iterative loops, which is constantly optimizing in relation to aesthetical, functional and technical aspects. By investigating different design proposals through analog

and digital models and sketches, we as designers are able to compare and validate the proposals in relation to the analysis made earlier. The approach is a subjective phenomenological, as well as an empiric and analytic method based on digital tools, which combined make informed design decisions between aesthetical, technical and functional considerations. The Synthesis Phase is where the building finds its final form. Here is where the integrated part gets activated and the project falls into place. It is where the demands in the aims and programs are met. In this phase, different elements used in the project should be optimized, and the building performance is documented with detailed calculation models. The Presentation Phase is the final phase, which includes the presentation of the project. The project presentation will show clearly how the goals, design criteria and target values of the project have been fulfilled (Knudstrup, 2004).

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HOLISTIC SUSTAINABILITY A CRITICAL APPROACH TO ENERGY AND RESOURCE USE The definition of the concept of sustainability, derives from the report “Our common future” published by the United Nations in 1987. The focus of the report was on global sustainability from a political point of view where everyone should have their basic needs fulfilled. Sustainable development contains three aspects: the environmental, the economic and the social where the goal is a balance between all three aspects. The term sustainability is very commonly used, but is, in practice, constantly re-designed for specific purposes. Sustainability is not a homogeneous concept but consists of many aspects which makes the approach complex. There is very little consensus about sustainability which is understood and utilized differently throughout regions and cultures. (Dac.dk, 2017)

be traced back to the 1st century BC Roman architect Vitruvius’ and his “Ten Books on Architecture” (Hawkes, McDonald and Steemers 2002) Reducing energy consumption has for the past 20 years become an important factor for both architects, engineers, and developers. Danish legislation has through the years forced a development through legal actions considering the energy consumption of buildings. Despite this positive development, the building sector still has a huge responsibility for the energy use and CO2 emissions that lead to climate change, ecosystem degradation, resource depletion and its effect on human health.

To create a more common definition, the United Nations has developed the UN’s 17 world development goals, which were adopted on the first of January 2016 and until 2030 will outline the direction for more sustainable development for both people and the planet. The world goals represent 17 specific goals and 169 sub-goals, which all of the 193 members of the UN are affected by. It is important that we consider the goals which are affecting the building sector. (Verdensmålene - for bæredygtig udvikling, 2016)

The building sector accounts for 40 percent of the Danish energy consumption, emits 40 percent of our total CO2 and generates 35 percent of Denmark’s total waste. (Byggeriet 2035 - En Foresight Analyse, 2018). It is therefore important that we optimize and rethink methods to ensure the sustainable development of our building sector in Denmark to face the climate and environmental changes. Sustainability in the construction sector can be summarized in two basic paradigms which give an overall understanding. Sustainability must be secured by; a long-term approach with a lifecycle perspective as well as a wider holistic perspective.

The quality of our buildings and the built environment is important to our society and crucial for our social and physical well-being. Sustainable architecture has been an interest for architects and engineers for many years. The interest in climatic architecture can

By using a holistic perspective we observe buildings as a unity, and the same time as part of a larger context which includes local, regional and global consequences. There are various tools and guidelines to ensure this and one of the better known in Denmark

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is DGNB. It is based on a holistic understanding of sustainability and consists of a set of criteria and sub-criteria that are used to evaluate buildings. The life cycle perspective is an essential part of understanding sustainable construction. Buildings often have a long lifespan and different sustainable challenges in its various phases. It is essential that all three qualities within sustainability are considered for the entire life cycle of a building. The lifecycle aspect is about considering environmental impacts and resource consumption throughout the lifetime of the building. Depending on the type of building; the production, construction, maintenance, and demolition can have a much higher environmental impact than the energy usage of the building itself. It is therefore important, that we become critical of the procurement of these materials and how we join them into a long-lasting building. All materials have an amount of embodied energy which is characterized as the total amount of energy required to produce and transport a material before its application. Depending on the type of material, each material has an individual need for energy and processing before they are ready for use. Wood is generally considered to have a lower level of embodied energy than concrete, bricks or metals. After all, the expected lifetime of wood is significantly lower than the other materials. The relation between the materials should be compared in a way

that makes it possible to make an informed decision about which materials to choose in a building. To help decision makers compare the environmental profile of different materials a software called LCAbyg is often used. LCAByg is based on Life Cycle Assessment; a methodology that distinguishes between environmental impacts such as global warming potential (GWP), ozone depletion potential (ODP) and primary energy use (Ptot). (Lcabyg.dk, 2019) So, what is the potential if designers can identify critical processes and materials in a building context? There is great potential in comparing materials and knowing the consequences of the chosen material applied in a building. Besides the fact that this method makes it possible to compare materials, it also changes how different materials can be assembled and disassembled. Here, focus is in particular on recycling and how we can utilize different materials to their fullest. A brick itself has a very long lifetime, probably longer than the building itself. So dismantling these materials properly is crucial. This idea can, in principle, be applied to all kinds of materials. Even though the focus has been on embodied energy in materials, the energy consumption of buildings must still be addressed. The two mentioned sustainable approaches should complement each other, so that a building with minimal environmental impact can be designed. It is therefore important to reach a Zero Energy Standard from a sustainability perspective.

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DGBN IN RELATION TO THE GLOBAL GOALS A SUSTAINABLE DEVELOPMENT Ill. 4 DGNB (Deutsche Gesellschaft für Nachhaltiges Bauen) is a sustainable certification method with origin in Germany which expands well beyond the three-pillar model. DGNB focuses on the entire life cycle of a building together with the impact it has from a sociocultural and economical aspect (Dgnb-system.de, 2019). The certification method is, for now, voluntarily but can in the future become totally or partly incorporated in the legislation. The method persists of 5 main criteria which value a total of 100%. Environmental Quality (22.5%), Economic Quality (22,5%), Sociocultural and Functional Quality (22,5%), Technical Quality (22,5%) and Process Quality (10%). Besides these 5 main criteria is the site quality assessed separately, which means that there is given separate scores for the building and for the site. The 5 main criteria are divided into 40 sub-criteria which is used to assess the building. Each sub-criteria are valued differently making some more valuable than others. Each criterion has a minimum which must be fulfilled otherwise the certification will not be approved. The minimum criteria are to enforce that the entire building has a high standard and is why DGNB is considered a holistic sustainable certification method. Besides the requirement of a minimum score in the different criteria, two of the 40 sub-criteria are considered as “knock-out” criteria which are SOC 1.2 Indoor Air Quality and SOC 2.1 Design for All. If the minimum score is not met for these, the building will not be considered for DGNB certification. (Guide til DGNB for bygninger, 2019). The intended use of DGNB in this project is to ensure a holistic approach to sustainability. In this project 5 sub-criteria will be the main focus during the sketching phase. The 5 criteria which will be considered in this project are ENV 1.1 Life Cycle Impact Assessment, ENV 2.1 Life Cycle Assessment Primary Energy, SOC 1.2 Indoor Air Quality, SOC 2.1 Design for All, PRO 1.2 Integrated Design. The relation between the UN’s development goals and the DGNB criteria will also be examined since many of the criteria support the sustainable development goals the UN has developed. In 2015 every nation in the UN agreed to 17 development goals which should create a holistic sustainable development towards 2030. The development goals are made from 169 sub-goals which gives a detailed description of the exact measure which has to be taken in order for the goals to be fulfilled. The construction sector is responsible for emitting most greenhouse gases, which is mainly due to the use of fossil fuels in relation to the construction and usage of buildings. The contribution from DGNB in relation to the development goals influences more goals than just the climatic Action which directly addresses the problem of emissions. The overall goals which influence the building sector and therefore can be related to DGNB are goals: 3, 8, 11, 12, and 13 as the most valued, and goals: 5, 6, 7, 9, 10, 14, 15, 16, 17 which has a minor impact (FNs verdensmål og DGNB, 2019).

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SELECTED DGNB CRITERIA A SUSTAINABLE DEVELOPMENT Ill. 5

1.1

ENV 1.1 Life Cycle Assessment (LCA) - Environmental Impacts Life cycle assessment (LCA) is a tool which is increasingly being used to assess the potential environmental impact and resource consumption for products and services. It also applies to buildings where LCA is an essential part of the evaluation of the environmental sustainability of buildings. Life-cycle awareness focuses not just on the finished construction but involves the entire life cycle of the building. The indicators are divided into 5 different emissions which has an environmental impact: Global Warming Potential (GWP), Ozone Depletion Potential (ODP), Photochemical Ozone Creation Potential (POCP), Acid Potential (AP) and Eutrophication (EP). The calculation of the LCA is based on a Life Cycle Energi Model (LCEM). A tool which is utilized to calculate the LCA in Denmark is LCAbyg. LCAbyg provides an overview of how the various building components contribute to the overall environmental impact. It is possible to determine which building components you need to be aware of, if you want to limit the potential environmental impact of a building. LCA also provides the opportunity to compare materials or construction products which have the same structural properties on their environmental profile. (BirgisdĂłttir and R, 2015). We have acquired most knowledge of the first two phases (Product stage and construction process phase), even though in practice the challenges is in obtaining sufficient data for the calculations. The following three stages (Usage, End of life and Next production system) is scenario-based, which means that you must make assumptions on how the building is used, maintained and finally demolished. The 5 types of emission are weighted differently according to the influence they have in the evaluation of the buildingâ&#x20AC;&#x2122;s LCA. GWP (40%), OPD (15%), POCP (15%), AP (15%) and EP (15%) (DGNB System Denmark, 2016). Evaluation For evaluation, a reference building is established accordingly, from the databases of the relevant countries. This reference building is used to compare results for the different emissions and to allocate sub-points (SP) which then are converted into checklist points (CLP) by the means of how much they are weighed to determine the total score in this criterion. The CLP from the different emissions is added together to decide how many evaluation points is achieved (DGNB System Denmark, 2016).

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SELECTED DGNB CRITERIA A SUSTAINABLE DEVELOPMENT Ill. 6

2.1

ENV 2.1 Life Cycle Assessment (LCA) - Primary Energy The criterion evaluates the complete primary energy requirement of a building in relation to the entire life cycle. The indicators which are incorporated in the evaluation are non-renewable primary energy demand, total primary energy demand and proportion of renewable primary energy. The primary energy demand is calculated in the same manner as criterion ENV 1.1 with a Life Cycle Energi Model (LCEM). The indicators are valued differently according to the influence they have in the evaluation of the buildingâ&#x20AC;&#x2122;s LCA: Non-renewable primary energy demand (60%), total primary energy demand (40%) and proportion of renewable primary energy (20%). Evaluation Each indicator is evaluated separately by comparing them to the indicators of a reference building as in criterion ENV 1.1. Sub-points (SP) are allocated accordingly which then are converted into checklist points (CLP). A minimum of 10 SP are allocated if the buildings primary energy equals 1.4 x the primary energy of the reference building, and a maximum of 100 SP if the buildings primary energy equals 0.7 x the primary energy of the reference building. The same principle is applicable to the total primary energy demand. Points are also allocated if the proportion of renewable primary energy is larger than from the reference building. A minimum of 5 SP is allocated if the difference is 2% and a maximum of 50 points if the difference is 20%. The SP is converted into CLP by the means of how much they are weighed and then added together to determine the score of how many evaluation points is achieved.

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Ill. 7

1.2

SOC 1.2 Indoor air quality An integrated design consists of the entire process from project brief until completion. The main objective is to involve all participants simultaneously and equitably as an interdisciplinary design team. The goal is to work with clients and users to develop a holistic sustainability strategy. In the assessment of integrated design in DGNB is, therefore, checking if an interdisciplinary team is present and to what extent users and the public have been involved. A functional specification document with design objectives for sustainability will also be valued (DGNB System Denmark, 2016). Evaluation This criterion is evaluated through 4 different criteria: Interdisciplinary design team, user participation, public participation and Functional specification which can make a total score of 100 checklist points (CLP). Each criterion has to be well documented in order to be considered for evaluation. An interdisciplinary design team must consist of at least 4 experts from different disciplines such as architects, structural engineer, material ecologist etc. to receive a maximum of 30 CLP. The team has to at least consist of 3 to achieve the lowest of 20 CLP. The user participation can reach a maximum of 30 CLP if the users or user representatives have the possibility of co-determination in the development of the proposal as well as execution and implementation. The lowest CLP of 10 is ensured if the users were consulted and their suggestions are considered in the proposal. Public participation can be carried out on 3 different levels. If the feedback from the suggestions of the public was considered in the design making process a score of 10 CLP as the maximum is given. If a consultative public participation was carried out without implementation 7.5 CLP was scored. And if only an informative public participation was conducted it receives 5 CLP. To achieve a maximum of 30 CLP a functional specification is worked out with detailed requirements for sustainability of a building and responsibility is defined on how these are implemented. To receive the lowest score of 20 CLP the same functional specification has to be carried out just without handing out responsibility. The value limit of CLP is 55 to be considered in the DGNB evaluation.

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SELECTED DGNB CRITERIA A SUSTAINABLE DEVELOPMENT Ill. 8

2.1

SOC 2.1 Design For All This criterion is to ensure that the quality of the indoor air does not have a negative effect on the health and well-being of the users, reduce the concentration of harmful substances and to prevent unpleasant smells. If the total concentration of Volatile Organic Compounds (VOC) exceed above 3000 μg/m 3 or the concentration of formaldehyde exceeds 120 μg/m 3 the building will not be considered for certification making this a knock-out criterion. To prevent a high concentration of micro-biological pollutants the building must be able to achieve the necessary ventilation rate. In addition to this, the choice of materials should be considered, choosing low-emitting materials. Since it is not possible to test the future VOC concentration in a room with digital tools one can only control this through ventilation design and by using materials and products with environmental labels. After construction, the indoor air quality will be tested accordingly to the standards of DGNB in order to be considered for certification (DGNB System Denmark, 2016). Evaluation The objective is to achieve a measured VOC concentration significantly lower than the cut-off value of 3000 μg/m 3. A guideline VOC value is set at 500 μg/m 3. Buildings with a VOC concentration lower than 500 μg/m 3 receive maximum checklist points (CLP) The formaldehyde concentration of 120 μg/m 3 is both the cut-off and guideline concentration. A maximum score of CLP can only be achieved if the measured formaldehyde concentration is half of the cut-off value (DGNB System Denmark, 2016). If measured within 4 weeks of completing the building can receive 50 CLP in the measured VOC and formaldehyde, but if the measurements are conducted more than four weeks after completion it can maximum receive 25 CLP. The ventilation rates can be considered individually both for mechanical and natural ventilation and can each give a maximum of 50 CLP. The CLP limit is 35 in order to be considered for evaluation (DGNB System Denmark, 2016).

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Ill. 9

1.2

PRO 1.2 Integrated design process The criterion Design For All is also considered a knock-out criterion if the minimum requirement is not met. The accessibility of the complete built environment adds to the buildingâ&#x20AC;&#x2122;s utility and makes it possible for disabled people to participate equally in all aspects of life. If the entire building and the developed area surrounding it is barrier-free (from public transport to the entrance of the building), it makes it possible for people with disabilities to live an independent life without restrictions. The barrier-free use of buildings includes Publicly accessible areas, circulation spaces, and use-specific areas. The minimum requirement, for the criterion to be considered, is that access to publicly used areas complies with the building regulation. spaces which are considered as use-specific areas are not necessary by law to keep barrier-free but is evaluated positively if considered. These areas are Workrooms, circulation routes, supporting rooms, sanitary rooms, recreation, and staff room and first aid rooms (DGNB System Denmark, 2016). Evaluation If the minimum requirements are met for accessibility, allowing barrier-free entrance for visitors and staff entrance, a score of 10 Checklist Points (CLP) is given. Additional points are given accordingly to how many percentages of the buildingâ&#x20AC;&#x2122;s usable floor area (UA), circulation spaces and outdoor areas which are barrier-free. 25% gives 25 CLP, 50% gives 50 CLP, 75% gives 75 CLP and 95% gives 100 CLP (DGNB System Denmark, 2016).

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Air photography Ill. 10

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Roskilde Harbour

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ROSKILDE CITY THE HISTORY AND IMPORTANCE OF THE CITY Roskilde is located approx. 30 km west of Copenhagen and has a population of 50,781 (Jan. 2018). Denstoredanske.dk, 2019) Roskilde has since the Viking Age been a fertile agricultural area with good options for transportation by the fjord. The importance of the harbor has decreased in recent times since larger ships cannot pass through the complicated and shallow fjord. Roskilde was made into a religious center when Knud Den Store around 1020 AD created a bishopric in the city. During the 11th century, a large number of churches were erected and Roskilde became Zealandâ&#x20AC;&#x2122;s most important city. The cityâ&#x20AC;&#x2122;s biggest attraction besides the Viking Ship Museum is Roskilde Cathedral, which is a cemetery for a large number of Danish kings and queens. The church holds great importance for the city and was included on UNESCO World Heritage List in December 1995. Roskilde exudes history through its many medieval city quarters that characterize the atmosphere in the city. The city also consists of large areas of traffic infrastructure, many educational establishments and business and residential quarters which combined places Roskilde as a university and education city, modern traffic hub and industrial city with great connections to the Danish capital of Copenhagen. (Lund, 2011) 24

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Orthoimagery 1:10000

Ill. 11

Orthoimagery 1:5000

Ill. 12

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Lakes & sea, 1:10000

Ill. 13

Harbour, 1:10000

Ill. 14

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Ill. 15

Connectivity, 1:10000

Ill. 16

Buildings & typologies, 1:10000 27

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2 3 3

5 6

Plan 1 : 5000 1

IN THE AREA

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ROADS, PATHS, PARKING & BUS STOP Despriction: The map shows the infrastructure in the area around the site and provides information about arrival opportunities to the site. Bus connections & parking is marked on the map to create an overview of how to arrive at the site by public or private transport.

Bus stop Standengen, line 203 6 min from Roskilde station 4 min walk to the site Bus stop Sankt Clara Vej, line 204 5 min from Roskilde station 5 min walk to the site Bus stop Sankt Hans Gade, line 207 6 min from Roskilde station 12 min walk to the site

1 1 2 2 3 3

Parking area Vindeboder Long term parking, free parking 3 min walk to the site

Parking area Hedegade Long term parking, free parking 14 min walk to the site

Parking area Maglekildevej 3 hour parking limit, free parking 14 min walk to the site

Parking area Sankt Ols StrĂŚde 2 hour parking limit, free parking 15 min walk to the site

Parking area SortebrĂ¸dre Plads 3 hour parking limit, free parking 16 min walk to the site

Path Minor road Medium road Ill. 17

Main roads Site cadastral

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6 2

7 30

Plan 1 : 5000

IN THE AREA

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RECREATIONAL AREAS & ATTRACTIONS Despriction: The map shows which recreational areas, parks & attractions are located nearby or on the site. Roskilde City Park is the best usable park to go through when you as a cyclist or pedestrian go down to the site. The circles define the hierarchy in between the various attractions. Roskilde Fjord Close to the site

Vikingship Museums Park On the site

Roskilde Harbour 12 min walk to the site

Roskilde City Park 14 min walk to the site

Roskilde Folk Park 15 min walk to the site

Vikingship Museum 169 150 visitors per year

Roskilde Cathedral 168 640 visitors per year 15 min walk to the site The Cathedral Museum 2 460 visitors per year 15 min walk to the site The Art House PalĂŚflĂ¸jen 5 300 visitors per year 16 min walk to the site Roskilde Museum 39 130 visitors per year 17 min walk to the site

Ill. 18 Site cadastral

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Image of the city, 1:5000

Path

Ill. 19

Nodes

Landmarks

Edges

Districts

Minor road Medium road Main roads

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IMAGE OF THE CITY LANDMARKS, EDGES, PATHS, NODES, DISTRICTS In the publication “the Image of the city” theorist Kevin Lynch examines how urban architecture acts by using a guidance system that makes citizens and visitors in the area able to orient themselves. The objective of this analysis is to identify what helps to create the area’s image and character and what makes areas different from one another. Elements that describe the path and street, meeting places/spaces, landmarks, edges and districts/neighborhoods which are marked with icons on a map (Lynch, 1960). Path Paths refer to people’s movement patterns in the surrounding context. Paths that connect and give access to the site and adjacent areas have different properties and scales (Lynch, 1960). Paths and roads that provide access to the site are for example Sankt Clara Road, which is the busiest and comes from the east. This is a wide road with a sidewalk and bike lane on each side. The road curves around Roskilde City Park and the green area on the site. From west both pedestrians and cars can use the road Vindeboder when arriving at the Viking Ship Museum. Further to the west is Havnevej which has a side road that ends in a path for cyclists and pedestrians. This path gives direct access to the Museum Island and to the Viking Ship Museum. Also from the east, it is possible to use Strandengen where a path leads towards the Viking Ship Museum eastern façade. This road has significantly less traffic and has parking available for cars. Nodes Nodes are intersections, where paths and people converge, and where they encounter each other (Lynch, 1960). Through paths and roads, encounters are created and the most populated intersection is on the the Museum Island, where the two paths meet in the center of the village. Here, the majority of people cross paths with one another, as they are moving from the Viking Ship Museum or from the harbor. Many pedestrians cross in the roundabout which divides Sankt Clara Road and Vindeboder. People use the path in Roskilde City Park to go from the city and

down to the Harbor. At Strandengen there is another intersection, where a path to the west leads towards the Viking Ship Museum. This path is used by many cyclists and pedestrians as a link between the Harbor and the city. Landmarks Landmarks in this context must be understood as indicative points or driving forces in the area (Lynch, 1960). The main driving force in the area is Roskilde Fjord. This is where people come to enjoy the view and the fresh air. The Viking Ship Museum is number two on the list, and is the most visited attraction in the area. The Viking Ship Museum is a landmark on the Harbor. Edges Edges in the cityscape can be understood as barriers demarcates one area from another. These edges are characterized as difficult barriers to cross (Lynch, 1960). A natural barrier in the area is the waters edge, where streams run throughout the site. Bridges create links over to the Museum Island. Another edge that creates a barrier is the congested Sankt Clara road, where the only possible transition is through the roundabouts. Districts Districts can be understood as greater areas, consisting of various features that characterize the area. They can also be described as neighborhoods in the city, where the character differs from the surroundings (Lynch, 1960). The Viking Ship Museum is located at Roskilde Harbors waterfront. The districts are divided so that the Viking Ship Museum, with the green area and the Viking island, is its own district as it has its own character and function. Both the function of being a museum, but also the restored Viking ships in the harbor, gives the area a special character. This is also the most visited district in the area. The next district is Roskilde Harbor, which has its own character with the older buildings and sailing ships.

34 SITE ANALYSIS

SITE ANALYSIS

Roskilde Fjord Photo: Jakob Frost Dahl Ill. 20

SENSING THE PLACE A PHEMOMENOLOGICAL APPROACH This phenomenological analysis will be a description of the experience, one feels when strolling along the path “Tuttestien” from Roskilde Cathedral and down through Roskilde City Park ending up at the Viking Ship Museum. Through the analysis, it is revealed that people in the area, as well as tourists, see Roskilde Cathedral as one of the main attractions in Roskilde City. The car is therefore parked close to the Cathedral, after which a route towards to the Viking Ship Museum by foot through Roskilde City Park is the main mode of travel. The phenomenological approach has had a major influence on Nordic architecture. The Norwegian architect and theoretician Christian Norberg-Schulz argues for architecture with “A sense of place” which is examined through a phenomenological approach to the interpretation of a natural context. The analysis makes it possible to improve the visitor’s experience with the natural and cultural context in which the architecture derives it’s through form, space, and materials (Sheffield, 1997). The natural context is understood as being based on features of the topographical landscape, including a cosmological and temporal perspective, involving continuous changes of light and vegetation in the annual cycle. This is interesting and highly relevant in Nordic architecture, where the dramatic and distinctive rhythmic fluctuations of the climate changes the landscape and the experience at different seasons. This is genius loci as a place in nature that we must interpret when we change our built environment (Norberg-Schulz, 1980). The phenomenological analysis is important when you examine the elements in the natural context since it helps to create a distinctive environment. You feel the experience on your own body and will pursue a relationship with the feelings which you learn during a phenomenological approach to the site. These conditions will, therefore, be weighted highly in the future design processes, because the elements have great significance for the area. 35

SITE ANALYSIS

The Viking Museum & context Photo Jakob Frost Dahl Ill. 21

ARRIVING A PHENOMENOLOGICAL APPROACH It’s a cold and cloudy day in February when we experience an arrival at Roskilde Cathedral and the square in front of the Cathedral. The cathedral stands as a monumental fortress in the town and with its form and materials it dominates the rest of the surrounding buildings. It takes one back to a time when Christianity’s influence was enormous for the citizens in Roskilde City. The cathedral towers above all other buildings and creates a hierarchy in the area. Walking on foot, towards the Viking Ship Museum in Roskilde City Park, along the path “Tuttestien”, revealesa scenic area in the Centre of Roskilde City. Along the path runs one of Roskilde’s many streams and one of them is Sankt Hans, which provides a unique and tranquil experience of the sound from the flowing water. During this time of year, the trees are leafless and provide an unobstructed view through the park towards the horizon, where one can see the harbour. Here the masts from the ships can be spotted through the treetops. As one walks from the cathedral and through the City Park towards the harbor, the inclination drops, but if you turn around and look back, the Cathedral is soaring up and stands out in the surrounding context. At the end of the City Park, one reaches a roundabout which is in connection with one of the busiest roads in Roskilde. However, the availability is good for pedestrians and cyclists as it provides a satisfying reassurance when crossing the road. After crossing the road you arrive at the large car park in front of The Museum Island which has a direct connection to the Viking Ship Museum. Here you clearly see the many older buildings in the area which is a mix of detached houses and restored factory buildings. These buildings create a special atmosphere to the area as if taken back in time, as many of the buildings have retained their characteristics from the past. The buildings are built in yellow and

red bricks and some buildings are constructed with an old timber frame. Heading further away from the roundabout and along the road, “Vindeboder”, you see ships docked on land which really enforces the maritime atmosphere. A more open environment without buildings to protect from the wind allows the fresh wind from the fjord to bite into the cheeks, which gives a sense of freshness to the rest of the body. Further down the road, “Vindeboder”,you reach relatively new wood cladded buildings used for various functions on the Harbour. These buildings create a more modern, Nordic expression from the area’s otherwise classic style. At the end of the road, one reaches a bridge which has a direct connection to The Museum Island where wooden cladded buildings with pent roofs create a small village. The Museum Island looks appealing and urges you to inspect the many buildings and their various functions at a distance even before having crossed the bridge. Looking to the right, one will see the current Viking Ship Museum which lies as a contrast in the context. The building has a completely different character than all the other buildings. The gray concrete elements create a rigorous expression to the rest of the building and gives the building its own articulation. The building stands as a direct reference to the modernist era from the period 1900-1970 ‘s with its simple and distinctive idiom. Roskilde Fjord is now completely visible and the sound from the water pounding into the waterfront creates a maritime and appealing environment. The wide-open grass field in front of the Viking Ship Museum creates space and air between Roskilde City and the museum and it provides a natural separation between the City and the Museum but keeps a visual connection.

SITE ANALYSIS

38 SITE ANALYSIS

Photo Jakob Frost Dahl Ill. 22

SITE ANALYSIS

The Viking Museum & context

40 SITE ANALYSIS

SITE ANALYSIS

The Viking Ship Museum Photo: Jakob Frost Dahl Ill. 23

ENTERING THE SITE ATMOSPHERE, VISIBILITY & TOPOGRAPHY Walking along the road and over the bridge, onto the Museum Island,the route leads one between the characteristic wooden buildings which combined create a small village. This part of the Museum is free for all guests and gives people the possibility to inspect the area and the different functions. In the various buildings are cafes, packed lunch dining spots and toilet facilities for the visitors. As you walk further into the village, there is a completely different environment. The different shapes of buildings provide an almost windless and a calm environment especially in the winter period and probably even better during the summer. Here all senses are activated from the sound of the water and noise from the different workshops where employees invite you in to see a reconstruction of a Viking ship. The many odors from new planed timber and rope that will be merged in an old-fashioned way from sheepâ&#x20AC;&#x2122;s wool activates the sense of smell. A special atmosphere is created which forms the reference from the Viking era. When one is walking further into the village, you reach a path which leads directly towards the Viking Ship Museum. The path is public and is used by the citizens of Roskilde for walking and as a cycling route. The path is important for the citizens of Roskilde, as many use the path as a connection between the harbor and the city. Following the path you encounter a bridge which reaches the large green area in front of the Viking Ship Museum. Here lies the reconstructed Viking ships on shore in front of the Museum which contributes to a unique atmosphere. People have the opportunity to walk around and enjoy the ships and see and feel all the little subtleties. Arriving this way creates a special atmosphere for the visitors as it engages them in the activities of shipbuilding from the Viking age. An important thing is that visitors do not have to read a single word to be informed but can merely ask one of the many staff members. Standing in front of the stairs to the Viking Ship Museum one feels as drawn up the stairs. On the top of the stairs, the view of the fjord and the rest of the harbor greet one before entering the museum. A beautiful arrival which focuses on the construction of ships intrigues the senses. 41

SITE ANALYSIS

10 4

8 Route 3

Route 2

Route 1

Serial vision, 1:5000

SERIAL VISION

Ro ut e

Ill. 24 Walking path

CONTRASTING VISUAL IMPRESSIONS â&#x20AC;&#x153;Serial visionâ&#x20AC;? by Gordon Cullen is used as a phenomenological method of analysis to form an image of the visual impression, when a person moves towards the site from four selected routes. There will be a focus on the changing nature of the spaces from open to closed and scales and various textures 8 from the materials. The phenomenological analysis is understood by the sensation of a bodily and mental influence, while you feel the experience on your own body, when responding to the spatialities and effects one encounters in the movement through a series of 1 spaces (Cullen, 2015). Route 1: Along Havnevej (1) the urban space is characterized by the characteristic houses on your left while a stream runs on your right hand, which creates a barrier to the timber buildings. The space between the buildings is open. At point 2 you encounter the ships placed on land due to winter. Here the view of the water is clear and the buildings are lower. At the bridge to the Museum Island (3) you reach small timber buildings, which together create an intimate urban space. Through the small dense village (4), you reach a bridge that links to the Viking Ship Museum. The bridge towers up into the landscape and creates a gateway to the open landscape, where the Viking Ship Museum lies on the left hand towards the fjord. The character of the materials and form stands out from previously observed buildings and urban spaces.

Route 2: At Vindeboder (6) You reach a large parking area where ships are placed on land creating a maritime atmosphere to the area. On the left hand, there are a number of timber constructed buildings pulled back from the road, creating air in the urban space. In front of another bridge which connects to the Museum Island (5). The urban space is open and you can see the distance between the timber constructed building becoming narrower and more intimate.

6 5 Route 3: Along Strandengen the detached houses are represented with by a different idiom and choice of materials in the form of brick and plastered facades and this character continues (7)(8). The road is wide and hedges create privacy in the gardens. One stand in front of the wide open and green area (9), while the Viking Ship Museum lies on the left hand. One reach the front of the Museum and a reconstruction of the famous Viking ships lies on land on the right hand supporting the maritime and historic atmosphere (10). Route 4: further up in the city (11), the fjord can be seen in the horizon. The road is wide and very busy, creating noise and a bad environment for staying a prolonged amount of time. Heading down the road with a low inclination further down towards where the green area in front of the Viking Ship Museum is spotted in the horizon (12). The cityscape is unchanged.

SITE ANALYSIS

Ill. 25

Route 1

Ill. 26

4 Route 2

Ill. 27

10 Route 3

11 Ill. 28

10 Route 4 43

SITE ANALYSIS

Existing museum

B-B

A-A

A-A B-B

Ill. 29

SURROUNDING CONTEXT RELATION TO THE SURROUNDINGS An analysis of the approximate context shows how the site and existing Viking Ship Museum is located in relation to its context. It also gives an idea of the scale of the area when it is compared with the surrounding areas. The ocean dominates the area by creating a strict edge towards the North while the main road separate the area from the city towards the south. Between the main road and the site lies an open park which allows the museum to be seen from the main road. The typologies in the area are primarily dominated by pitched detached residences towards the south and east and a pent roof with mixed-use located on the â&#x20AC;&#x153;Museum Islandâ&#x20AC;? towards West. The site is very flat and exposed to all elements as well as visually from all directions. The different edge conditions are to be examined further to gain an understanding of where and how people transfer from one location to another. 44

SITE ANALYSIS

Residential

Park

Existing museum

Roskilde fjord

Section A-A 1:2000 02

Ill. 30

Residential

Park Residential

Existing museum

Park

Existing museum

Museum island Roskilde fjord

Existing museum

Roskilde fjord Museum island

Section B-B Section A-A 1:2000 1:2000 02

Residential Section A-A Section B-B 1:2000 1:2000

ResidentialPark

Existing museum Park

Sankt Clara Vej 01

Park

Section 01 1:500

Residential

Park

Strandengen

Park

Ill. 31

Section 02 1:500

Park

Existing museum

Park

Museum island

Section B-B 1:2000 Sankt Clara Vej 01

Park

Section 01 1:500

Park

Strandengen

Park

Section 02 1:500

Sankt Clara Vej 01 Section 01 1:500

Strandengen

Park Section 02 1:500

Ill. 32

SITE ANALYSIS

Roskilde City

Roskilde Cathedral

Open field

Section A-A 1:4000

Residential Area Section B-B 1:5000

Park

Site

SITE ANALYSIS

100 m 75 m 50 m 25 m 0m

Roskilde City Park

Residential Area

Park

Site

Roskilde fjord

Ill. 33

100 m 75 m 50 m 25 m 0m

Park

Museum Island

Ship Yard

Residential Area Ill.. 34

SITE ANALYSIS

N 10

Dec

21:59

04:27

30 40 50

Nov

60 70 80

Oct

Sep 15:41

08:39

Aug

(110)

S Sun rose diagram Roskilde Sun

Ill. 35

Dec

SUN CONDITION

Nov

RELATION TO THE SURROUNDINGS The illustration shows the sun path and the angle of the sun for Roskilde during a year. At summer solstice the sun rises at 4:27 am and sets at 9:59 pm with the highest angle at 55Â° towards the south. At Winter solstice the sun rises at 8:39 am and sets at 15:41 pm with the highest angle at 10Â° towards the south (Gaisma, 2019). Natural daylight is important to consider when designing a museum, but the sun should also be considered for utilizing different passive and active solutions. 48

Oct

Sep

Aug

(110)

SITE ANALYSIS

12.00 12.00 21. dec 15.35

12.00 21. sep/mar 18.23

Intense Heat

21. dec 08.43

21. jun 20.54

All day sun

21. sep/mar 06.14

Minimal sun

Morning sun 21. jun 03.32

Ill. 36

12.00 21. jun

12.00 21. sep/mar

12.00 21. dec All day sun

All day sun

Residential Section A-A 1:2000

Park

Minimal sun

Existing museum

Roskilde fjord

Ill. 37

SITE ANALYSIS

N 0

Feb

20% 1 5%

30 0

Mar

25 c

20 c

60 1 0%

15 c

5% 10 c

Apr

Ă&#x2DC; 5c

May

0 -5 c Jan

Precipitation 2018 Precipitation normal

Jun

Wind

Feb

Mar

WIND CONDITION RELATION TO THE SURROUNDINGS Apr The illustration shows how the general wind blows in Roskilde. Having the

May

Jun 50

site placed between the fjord and an open field, it must be considered while designing to avoid unpleasant wind tunnels. The strongest winds are generally from west and south-west (Dmi.dk, 2019). The wind is especially important to consider when designing outdoor areas if these are desired to be as attractive as possible. If natural ventilation is to be utilized it can be an advantage to orientate openings which will give the highest Air change rate.

Pr ocent: > 1 1 . 0m/s 5. 0 - 1 1 . 0m/s 0. 2 - 5. 0m/s

Ill. .38

LOCAL ROSKILDE TEMPERATURE INDEX Data source: The Danish Meteorological Institute

Ill. .39

35 °C

SITE ANALYSIS

TEMPERATURE Temperature

32,5 °C

30 °C 25 °C 20 °C 15 °C 10 °C 5 °C 0 °C -5 °C Jan

Feb

Mar

Apr

May

Jun

Jul

Aug

Sep

Nov

Dec

Mediate temperature 2018

Mediate normal temperature

Max temperature 2018

Oct

The temperature is very much following the season which gives a long heating season between October and May. The need for cooling is not as important during the summer months as heating during winter, since the thermal envelope is effective, and solar shading and natural ventilation are utilized during these months. The illustration shows how the mediate temperature is throughout a normal year, which is the average value from 2006-2015 and the mediate temperature from 2018 (Dmi, 2019).

PRECIPITATION Precipitation LOCAL ROSKILDE PRECIPITATION INDEX Data source: The Danish Meteorological Institute

Ill. .40

150 125 100 75 50 25 0 Jan

Feb

Mar

Apr

May

Jun

Jul

Aug

Precipitation 2017

Sep

Oct

Nov

Dec

Precipitation 2018

The illustration shows the Precipitation in Roskilde for both the normal precipitation and the precipitation which occurred in 2018 in mm for each specific month (Dmi, 2019). It is during the summer and fall months, which has the most precipitation. The pressure from floods during storms is already a major risk in the area so handling rain during these periods can be a challenge. Used actively it can also contribute to transforming the area giving it different properties throughout the seasons.

52 SITE ANALYSIS

Ill. 41

SITE ANALYSIS

Roskilde Fjord Photo: Jakob Frost Dahl

SITE ANALYSIS

CLIMATE CHANGE GLOBAL AND LOCAL CLIMATE CONDITIONS The global climate is changing dramatically and the dramatic changes in weather threatens, e.g. food production and causes rising sea levels, which increases the risk of floods around the world. If we do not actively intervene, it will become increasingly difficult and expensive to handle in the future (Un.org, 2019). The main cause is believed to be the emission of greenhouse gases, which after half a century of increasing industrialization, deforestation and large scale agriculture is causing harm and climatic changes. In fact the amount of greenhouse gases in the atmosphere is the highest ever recorded. The global population is growing, which has a negative impact on the environment in relation to greenhouse gas emissions (Un.org, 2019). The concentration of greenhouse gases in the earth’s atmosphere is directly related to the temperature of the earth. Increase in temperature has caused a reduction of the ice caps in the Arctic. This melting of the polar ice caps causes sea levels to rise around the world - and the effect is is increasing every year. The greenhouse gas carbon dioxide (CO2) is a product of the combustion of fossil fuels, which originates from the burning of e.g. oil for heating buildings, fuel for transport, etc. This combustion of fossil fuels is harmful to the environment and therefore action must be taken (Un.org, 2019). Following this trail of thought climate change can be limited by limiting emissions. If we do not act the global temperature will rise approximately 2 degrees Celcius, but if we can limit this increase to just 1.5 degrees it would have an enormous impact on the climate. With a reduction to 1.5 degrees, the active ice in the summer will have melted once per century.

With an increase of 2 degrees, the active ice in the summer will have melted at least once per day and coral reefs will be extinct (Un.org, 2019). In Denmark, climate change will cause more rain during the winter period and less rain in the summer, which will cause droughts. These changes are of great importance to Denmark as a nation, because of the reliance on agriculture. The country will also experience stronger winds and storms with heavy rain, which results in more extreme and unpredictable weather (En.klimatilpasning.dk, 2019) Globally and locally, it will require significant changes converting from fossil fuels to green and renewable energy. These transitions must be included in the energy production, industrialization, construction and operation of buildings and transport. The human CO2 emissions will have to decrease by approximately 45% from the levels recorded in 2010 before 2030 and in 2050 an effort for net-zero standards must be achieved. To achieve these goals, 17 global goals have been adopted on September 25th, 2015, in New York by the United Nations. The global goals are meant to ensure united efforts for sustainable development globally. The goals came into force on January 1st, 2016 and are to be achieved by 2030. The global goals apply not only to energy and greenhouse gas emissions but also cover social improvements globally (World Goals - for sustainable development, 2019). As architects and engineers it is our responsibility to improve this development by creating sustainable solutions for buildings that will help us to achieve these goals. To help us improve, there are a number of different programmes and strategies for sustainable development. Some we wish to utilize in this project are DGNB as a holistic approach in relation to the global development goals.

Ill. 42

PROXY (INDIRECT) MEASUREMENTS Data source: Reconstruction from ice cores.

SITE ANALYSIS

CARBON CarbonDIOXIDE dioxide

2018

380

CO2 (parts per million)

340 300

HIGHEST HISTORICAL CO2 LEVEL

1950

260 220 180

RATE OF CHANGE

411 400

350 300 250 200 150 100 Thousands of years before today (0 = 1950)

ppm pr. year

TEMPERATURE Temperature

Ill. 43

GLOBAL LAND-OCEAN TEMPERATURE INDEX Data source: NASA's Goddard Institute for Space Studies (GISS) Temperature Anomaly (c)

1.0

2018

0.5

0.0 RATE OF CHANGE

-0.5

1,9 1880

1900

1920

1940 Year

1960

1980

2000

2020

F since 1880

SEA Sea LEVEL level

Ill. 44

SATELLITE DATA: 1993-PRESENT Data source: Satellite sea level observations Sea Height Variation (mm)

2018 80 60 40 20 0

RATE OF CHANGE

3,2 1995

2000

2005 Time

2010

2015

Millimeters pr. year

SITE ANALYSIS

Roskilde Vikings Ship Museum The storm “Bodil” 2014 Ill. 45

THE STATE OF THE MUSEUM TODAY CURRENT SITUATION The Viking Ship Hall is in a very special and unusual situation. The architectural style of the Viking Ship Hall, the choice of materials and its location next to Roskilde Fjord have strained the building to an extent which speeds up the building’s decay. It has proven not to live up to the current and future water level risings. During and after the storm Bodil, in December 2013, water levels in Roskilde Fjord rose by 2,06 meters above usual levels. The big glass facades of the Viking ship hall resisted the pressure from the water, but the waves caused great damages to the concrete, steelwork and water poured into the basement. The collateral damage to the building was enormous and has made the need for a refurbishment of the building acute (Weichel,2018). In 2016 the museum was reviewed by the Technological Institute in terms of how long the building could survive. During this valuation, it was the buildings glass facades and the concrete structure which showed signs of aggravation due to the many years of exposure to the harsh climate at Roskilde Fjord. The review was made for the most exposed structural elements which were facing towards the fjord. These parts were only set to last 8-10 years as long as there would be no further damages to the structural systems of the building (Jacobsen, Nielsen and Thomsen, 2016). A rapport shows that a renovation is possible, but that the building would have high operation costs afterward (Niras, 2018). In light of this, it is still unclear for Roskilde municipality if the conclusion will be to demolish or to refurbish the existing museum. 56

SITE ANALYSIS

We are affraid when a storm is coming. We have a need to find a long-term solution! - Tinna Damgård-Sørensen, director of the Viking Ship Museum

SITE ANALYSIS

0.5m

Rising sea levels 1:10000

RISING SEA LEVELS PROTECTION OF THE VIKING SHIPS A changing climate has caused global sea levels to rise in the past century and the rate has increased exponentially in the past decades. This is affecting the coastline and the people living along it, who must act to control the rising sea level. The illustration shows how the sea level will threaten the harbor area of Roskilde if no further precautions are taken. It illustrates how far in, the ocean reaches on land if the sea level rises 0,5m, 1m and 1,5m. Even though the forecasts seem like a thing of the future sea levels will rise by 1.5m permanently, and occasionally occurs with 100 and 50-year storms such as â&#x20AC;&#x153;Bodilâ&#x20AC;? in 2013. These extreme weather conditions are also becoming more frequent as the climate is changing - and when it occurs it causes serious damage to structures exposed (Klimatilpasning.dk, 2019). The illustration shows cross sections of the Viking Ship Hall, the actual state in 2018 and how it will look in 2100 according to forecasts for climate change and rising water levels. The illustrations show the location of the ships in relation to the water levels at normal and extreme weather, as well as in relation to the current temporary security requirements and the expected future security requirements from the National Museum (Vikingeskibsmuseet Roskilde, 2019). 58

1.0m

1.5m

Ill. 46

SITE ANALYSIS

2018: A cross-section of the Viking Ship Hall with the normal water level and extreme weather. It shows how the hall get problems to reach the demands from the National Museum’s requirements for security height.

Elevation + 2.06 Extreme water level

Elevation + 2.06 National Mueseum’s requirements for security height

Elevation + 2.1

National Mueseum’s requirements for temporary floor height security height

Elevation 0

Normal water level

Elevation . 0.1 Bottom of the hall

2018: Shows how much the ships must be lifted to reach the existing requirements of 2018

2100: A cross-section of the Viking Ship Hall with a drawn forecast for normal water level and extreme weather. It shows how the hall should reach the presumed requirements from the National Museum for a long term security height.

Elevation + 2.06 Extreme water level

Elevation 0

Normal water level

Elevation + 2.06

National Mueseum’s requirements for security height

Elevation + 2.1

National Mueseum’s requirements for temporary floor height security height

Elevation . 0.1 Bottom of the hall

2100: Here it shows how much the ships must be lifted if the Viking Ship Museum is rebuild to reach the security demands which the National Museum are presumed to demand for a long term solution.

Ill. 47 59

SITE ANALYSIS

CURRENT MASTERPLAN REFLECTIONS OF FUNCTIONS, FLOW & PROBLEMS 1 2 3 4 5 6 7 8 9 10 11 12

Lodsen, learning and activities Meetings and conferences Learning and activities office Summer Café, Café Knarr Special exhibition for re-constructions Tunet, The meeting place for the vikings Naustet, meeting point boat trips Boat yard Boat crafting (workshop) Storage sheds Restaurent Snekken External office area for the museum

Plan 1 : 1000

SITE ANALYSIS

Ill. 48

62 THE VIKING MUSEUM

Ill. 49

THE VIKING MUSEUM

Roskilde Viking Ship Museum Arch: Erik Christian SÃ¸rensen, 2010

THE VIKING MUSEUM

HISTORICAL TIMELINE A QUICK OVERVIEW

Hand sketch of the Viking hall Erik Christian Sørensen (1922–2011) Seen from the cafeteria ca.1960 Ill. 50

1969 jun.

MILESTONES OF THE CURRENT ROSKILDE VIKING SHIP MUSEUM

Erik Christian Sørensen. The Viking Ship Museum contains the

THE VIKING MUSEUM

THE VIKING SHIP MUSEUM OPENS

famous Skuldelevships. The museum’s permanent exhibitions are based on marine archaeological finds from 1962

1997 jun.

THE MUSEUM ISLAND OPENS & THE VIKING MUSEUM IS PRESERVED The museum island contains a large collection of traditional Nordic wooden boats and reconstructed

A REPORT SHOWS THAT THE VIKING SHIP HALL MUST AND CAN BE RENOVATED Technical studies of the concrete structure showed that the building needed maintenance, after having been in contact since 1969

2011 jun.

2013 dec.

with Roskilde fjord

Viking ships. Here you can step into an active shipyard and follow boat builders up close.

STORM SURGE CAUSES MAJOR DAMAGE TO THE VIKING SHIP HALL The storm “Bodil” hit

THE VIKING SHIP HALL’S LIFETIME ASSESSMENT IS ESTIMATED TO 8-10 YEARS

2016 may.

The Viking Ship Hall with violent force. The water level reached heights that threatened the glass facade towards the fjord. The condition afterwards of the building was dramatically deteriorated.

After the storm “Bodil”, further investigations of the Viking Hall’s construction were made. The latest report from the Danish Technological Institute concludes

2016 sep.

that the life of the building is now expected to be less than 10 years, if a thorough restoration is not carried out.

THE MINISTER OF CULTURE FINALLY TAKES THE DECISION AND ABOLISHES THE PROTECTION OF THE MUSEUM

2018 aug.

THE VIKING SHIP MUSEUM IS SEEKING ABOLISHES PROTECTION OF THE VIKING SHIP HALL

THE SITUATION TODAY The opportunity is now open to secure Denmark’s cultural heritage, with a proposal for a New Roskilde Vikings Ship

Ill. 51

Museum.

THE VIKING MUSEUM

Excavation of the Skulderlev findings Unknown photographer, 1962 Ill. 52

THE FINDINGS THE BEGINNING OF THINGS From about 800 until 1050 a.d. the Scandinavian countries had an important influence on Europe’s history. This period is later known as the “Viking Age”. The name “Viking” can be traced back to sagas and poems and the term describes a robber or pirate, who came from the sea. Most people in the Viking Age were farmers and traders. However, the minority who went out on raids are those who have received the most attention in the history books . During this period several big Danish cities, which still exist today, where founded e.g. Ribe, Aarhus, and Roskilde. One of the most important findings from the Viking Age is the ancient Skuldelev ships which were discovered close to Skuldelev in Roskilde Fjord. The finding was so significant that Roskilde built a museum with the sole purpose of displaying the ships: The Viking Ship Museum in Roskilde. The museum’s permanent exhibitions are based on the marine archaeological findings from 1962 which entails the five Skuldelev ships. The exhibition tells the story of the longships as well as stories from the Nordic maritime adventures from the Viking Age, including war, trade and travels to far regions. Many have heard of the Viking longships. But what is a longship and how do they differ from the other Viking ships? Archaeologically, we can define a longship as a vessel which made use of both oars and sail as a method of propulsion and has a width/length index of 0.2 or less, i.e. the ship is at least 5 times as long as it is wide. The Skuldelev ships provide a unique insight into the Vikings ability to build ships. They are characterized by being of very different types and have even been built in different places by different shipbuilders. The ships have been named after the numbers they gave them during the excavation. During the excavation in 1962, several different types of boats were found and were dated to the 11th century. Skuldelev 2 (Ill.xx) was relatively poorly preserved, but a very large ocean-going longship. Skuldelev 5 proved to be a significantly smaller ship for the use in inner Danish waters. The museum’s boat collection is constantly increasing and all Skuldelev ships which are exhibited in the Viking Ship Hall have been recreated. The museum has more than 40 different vessels, and several are built at the boatyard which is part of the Museum Island. Here, Viking ships are being reconstructed with traditional methods from the Viking age to give the visitors an idea of how the original ships looked 1.000 years ago (Vikingeskibsmuseet Roskilde). 66

THE VIKING MUSEUM

Roskilde Vikings Ship Museum Arch: Erik Christian Sørensen Opened in 1969 Ill. 53

THE CREATOR OF THE VIKING SHIP MUSEUM THE IDEAS BEHIND THE EXISTING MUSEUM The ideas behind the existing museum Erik Christian Sørensen (1922-2011), was one of the 20th century’s great Danish architects, educated at the Royal Academy of Fine Arts, School of Architecture in 1942-47. As a teacher at the Royal Academy of Fine Arts from 1949, Erik Christian Sørensen taught post-war architects the message of the international functionalism including “the total, dynamic space”. Inside and outside floated together as rooms could easily be changed and minimal construction was exposed. After the discovery of the five Viking ships from Skuldelev in Roskilde Fjord, it was decided to construct an exhibition building for the ships on the edge of the fjord. Erik Chr. Sørensen got the job after an architectural competition and the Viking Ship Hall opened to the public in 1969. Inspired by foreign architects, Erik Christian Sørensen used concrete in an unprecedented, free and rustic way, which resulted in a dynamic and raw architecture which was named brutalism. The Viking Ship Hall is considered as his masterpiece in modern Danish architecture and was deemed protected in 1998. The Viking Ship Hall, which is the oldest part of the Viking Ship Museum, is built as a large staging scene with five exhibited Viking ships. The water from Roskilde Fjord meets the museum’s large glass facade making the water, which was the natural element for the Viking ships, a part of the museum. The Building and the ships play together with common features and contrasts. The contrasts are in the sleek, dark ships’ curved shapes which contrasts with the sharp edges of the light concrete of the building. The common features appear as the formwork leaves imprints of wood in the casting of the concrete as a resemblance to the traces of axes in the wood of the ships. In the Viking Hall, you can see the ships from all directions. The walkways are at different levels and the ships are placed on sea-stones which makes railings unnecessary and allows a secluded view to the old ships. The light from the North-facing windows highlights the ship’s silhouette, while the skylight highlights the many details of the ships (Vikingeskibsmuseet Roskilde) An extract from Erik Christian Sørensen’s original drawings of Viking Ship’s hall can be found in the appendix.(A) 68

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70 THE VIKING MUSEUM

Ill. 54

THE VIKING MUSEUM

The Viking Ship Hall Photo: Jakob Frost Dahl

THE VIKING MUSEUM

The Viking Ship Hall - Tactility Photo: Jakob Frost Dahl Ill. 55

MUSEUM PRESEVATION VALUES & QUALITIES One of the conditions which characterize working with transformation architecture and restoration is, that there is always something existing which one must relate to - An urban context, existing structural systems and a historic legacy. It is important to figure out if there is anything of quality which is valuable to preserve, before one starts to design and make changes. Even though an existing building has no physical values worth preserving it might still possess strong architectural qualities which can lead to inspiration for new approaches. To specify which parts should be preserved the existing museum is analyzed to figure out which elements should be kept and how to enhance these qualities. The Academy of Arts and Architecture program for cultural heritage, transformation and restoration has, as a part of their research “Bygningskultur 2015”, developed a method of analysis to decide buildings historical, technical and architectural values. The method is simple but thorough, and a systematic method which can be used to evaluate all existing buildings - both protected and non-protected - before performing any changes (Harlang, et al.,2015). The method lists 5 questions which should be considered before making any changes on an existing building and can be used for both specific elements or entire buildings.

• • • • •

Why is the house special and therefore worth preserving? Where is the special preservation values located in the house? Which elements and building parts is specifically in focus? How should they be treated to develop the house with respect to the values worth preserving? What does the owner wish to be changed which can conflict with the values worth preserving?

Qualities & value In connection to the deprotection of the museum, many reports by Slots- og Kulturstyrelsen regarding the values worth preserving has been drafted and gives an indication of which qualities the future museum should retain.

Slots- og Kulturstyrelsen specified, in a dialog with the Viking Ship Museum, that the main exhibition room with the 5 Skuldelev ships and the visual connection to the fjord is one of the central values worth preserving. In a note from Slots- og Kulturstyrelsen it appears that: “In the interior, it is crucial that the main exhibition room is kept in its current shape and the communication between the ships and the fjord is preserved and enhanced. (…) The most valuable part is the shape and materiality in the main exhibition room where the displayed ships are well connected with the landscape of the fjord. (…) The areas surrounding the main exhibition room, the rooms located in the gable ends towards East and west, together with the buildings secondary rooms are open for reinterpretations both in terms of content and their boundaries towards the landscape (Fastholdelse af fredning af Vikingeskibshallen, 2017). After having experienced the museum, in connection with an interview regarding the needs from staff and visitors of the museum, the experience of the main exhibition room with the 5 Skuldelev ships left a strong impression. The architectural qualities of the Viking Ship Hall are undiscussable and it feels as if the museum acts as a treasure chest framing the invaluable Skuldelev ships, highlighting an important era of Danish history. Through analysis of the building 5 valuable qualities of the existing museum was defined and should be preserved and enhanced in a transformation of the Viking Ship Museum. 1. Transparency towards the fjord 2. Having the ships in the same exhibition room 3. Offer different views of the ships 4. Be able to get close to the ships 5. The existing construction The interpretation of the preservation qualities in the Viking Ship Hall makes it possible that the existing building can be expanded towards south, east, and north. With this expansion, the architectural quality can be fulfilled in synergy with the existing which enhances the preserved qualities.

THE VIKING MUSEUM

QUALITIES TO RETAIN WHAT & WHY? 1. Transparency towards the fjord The view towards the fjord is an important element in the staging of the Skuldelev ships. It creates a direct link not only between where the ships used to sail in past times but also where the ships were found and excavated. Views of the silhouette floating on the fjord bring the parts of the ancient wreck back to life and sparks the imagination of their glory days. The transparency also makes it possible to see the ships when one enters from the fjord to Roskilde city. This view is currently reserved for people arriving by boat which prohibits many visitors from seeing this welcoming view of the ships. The facade towards the north should not be preserved as it needs a renovation of the thermal envelope. The focus is to keep the same visual expression with a modern thermal envelope. 2. Having the ships in the same exhibition room The ships should be displayed in the same room as the main exhibition thus acting as a return point from other functions in the museum. The ships were also found in the same location and should, therefore, stay together to keep this relation. By having the ships in the same room also creates a flow amongst them, which can help leading one back and forth from other functions in the museum. The exact positioning of the ships should be free to interpret, and improve the experience of the individual ships. However, keeping them in relation to one another is important. 3. Offer different views of the ships Experiencing the ships from different levels also offers people, and especially children, an opportunity to investigate the ships. The elevated floor in front of the north facade also provides a more undisturbed view of the ships towards the fjord. The existing museum has a very controlled internal flow that guides one through the main exhibition which changes in levels. This differentiation of levels should be preserved as it gives a strong impression of the ships and could be made even stronger if it was not determined by a specific flow but gives the visitors the choice of freedom.. 4. Be able to get close to the ships The possibility of getting close to the ships which are only screened from the public with a bed of stones gives an interesting interaction with the ships. No glass casings disturb the view of the wood which still has marks from being processed by the Vikings in the past. It gives the possibility to get close to the details of the ship and improves the coherent impression of the ships located together by not separated them in glass boxes.

Ill. 56

5. The existing structure The structural system in the main exhibition room is responsible for a lot of the atmosphere which is experienced and is very valuable as a quality to be preserved. The system allows a great span minimizing the obstacles within the sight and gives as much attention to the ships as possible. However, it is difficult not to be mesmerized of the structure and the stacked system of beams which makes an otherwise very large system seem surprisingly light. The contrast between the linear concrete structural system and the curved boats, only related by the prints from the wooden formwork in the concrete and the natural grains in the wood of the boats, also enhances the boats as the center of attention. The starting point for the transformation is that the Viking Ship Halls original structural system from 1969 is respected in all visible solutions. The main characteristics of the transformation are to keep the structural system which is open towards expansions and modifications and should improve the qualities already experienced in the room. All the large columns are placed in a total of 12 pairs and only the structural stacked system within the perimeter of these columns should be retained

THE VIKING MUSEUM

Hand sketches

In the book, Construction Architecture, Andrea Deplazes states in the first chapter that form and architectural design, to him, is the same as constructing. But a construction principle does not make it on its own. According to Deplazes architecture is made when material through structure is given form in relation to the intentions of the architecture. Le Corbusier has a similar attitude depicted in “Vers une architecture” were he writes: “You use brick, wood, and concrete, and with these materials, you build houses and palaces. That is construction, engineering in praxis. But suddenly you touch my heart, you make me good, I am happy and I say: This is beautiful. This is Architecture. The art has shown itself” (harling et al., 2015). Rapports also show that the state of the structural system is still structurally reliable, and if given a new thermal envelope - together with a plan for coastal protection of the site, it would last as long as a new building. Keeping a great part of the original structure not only has an environmentally sustainable value but also pays respect to the architect who designed the museum originally. Since the building has also been protected the architectural qualities are indisputable and therefore important to address. 75

76 THE VIKING MUSEUM

Inside view towards the fjord Photo: Jakob Frost Dahl Ill. 57

THE VIKING MUSEUM

Roskilde Vikings Ship Museum

THE VIKING MUSEUM

VISITORS OF THE MUSEUM AN INCREASE IN THE NUMBER OF VISITORS The Viking Ship Museum is Denmark’s museum for the study of the Nordic Viking Ships and boat building culture with a focus on prehistoric and medieval times. The museum is one of the only ones in the Nordic region, which actively invite its visitors behind the scenes, where reconstructions of the Viking ships takes place. The Viking Ship Museum’s mission and vision are to create a visible institution locally, nationally and internationally. They want to create an inspiring teaching environment which provides the visitor with learning through actively involving in the many different activities. By engaging people actively in the museum’s exhibitions, it makes the exhibitions attractive to the younger audience. At the same time, they have exhibitions that are also suitable for the more observant and concentrated visitors. The Viking Ship Museum has a diversity of exhibition material that embraces a wide range of visitors. Within the last 10 years, the Viking Ship Museum has experienced an average increase for visitors of 5.4% 78

each year. The popularity of the Viking Ship Museum is increasing especially during the summer period which sees the largest number of visitors. The record for most visitors in a year is almost surpassed every year. In addition to the visitors to the Viking Ship Museum, a sensor has been placed to record how many visitors have visited the Museum Islan. This count shows that approximately half a million people in 2016 passed through the area within 24 hours, which is an increase of 13.5% from previous years. Visitors who have participated in various boat tours with the reconstructed ships have increased by 11%, which is the highest number for sailing guests in the museum’s history. A new museum with new exhibitions in the form of marine archeology will create yet another attraction, which increases the number of expected visitors. It is, therefore, an important factor for the future museum to make room for the many visitors, so future guests will still achieve a good experience during the visit (Vikingeskibsmuseet Roskilde, 2019).

THE VIKING MUSEUM

NUMBER OF VISITORS Number of visitors

Ill. 58

VISITOR PROGRESSION IN THE VIKING SHIP MUSEUM Data source: Denmark statistics

Number of visitors 200000

VISITOR PROGRESSION IN THE VIKING SHIP MUSEUM Data source: Denmark statistics

180000 160000 200000 140000 180000 120000 160000 100000 140000 80000 120000 60000 100000 40000

RATE OF CHANGE

7200 avg

80000 20000 60000 0 40000

2010

2011

2012

2013

2014

2015

2016

2017

people pr. year RATE OF CHANGE

2018

7200 avg

20000 0

Number of visitors pr. month 2010

2011

2012

2013

2014

2015

2016

2017

people pr. year

2018

ANNUAL VISITOR NUMBERS FLOW THROUGH THE MONTHS

source: The VikingPR. Ship Museum NUMBER OF Data VISITORS Number of visitors pr.MONTH month 35000

Ill. 59

ANNUAL VISITOR NUMBERS FLOW THROUGH THE MONTHS Data source: The Viking Ship Museum

30000

25000 35000

30000 20000

25000 15000

20000 10000

RATE OF CHANGE

15000 5000

11 times

10000 0 Jan

Feb

Mar

Apr

May

Jun

Jul

Aug

Sep

Oct

Nov

Dec

5000

more people in aug jan RATEthan OF CHANGE

11 times Top 25 most visited Museum in Denmark more people in 0

Jan

Feb

Mar

Apr

May

Jun

Jul

Aug

Sep

Oct

Nov

Dec

aug than jan

NUMBER VISITORS IN RELATION TO OTHER MUSEUMS Data source: Denmark statistics

Top 25 most visited Museum in Denmark 2.000.000 1.800.000

NUMBER VISITORS IN RELATION TO OTHER MUSEUMS Data source: Denmark statistics

1.600.000 2.000.000 1.400.000 1.800.000 1.200.000 1.600.000 1.000.000

THE VIKING MUSEUM

TYPES OF VISITORS DIVERSITY IN THE TYPES OF VISITORS The Viking Ship Museum addresses a wide spectrum of audiences both locally, nationally and internationally and caters to all ages. The diversity of visitors makes the Viking Ship Museum a versatile museum with a broad user group. This ability must be kept firmly in place, as it is important for the museumâ&#x20AC;&#x2122;s development. In order to maintain this development, it is also important to focus on modern trends in terms of technology, which can help activate visitors in a more modern way throughout their museum experience. The Viking Ship Museum has different types of visitors. People come by themselves, in small/large groups, school classes, students and some freeloaders. The museum has employees available to convey presentations of the museum, regardless of the type of visito. Approximately 20% of all visitors come in groups. Freeloaders are the visitors who only visit the Museum Island and all the museumâ&#x20AC;&#x2122;s attractions with free access. To ensure a higher number of paying visitors a system must be put in place to incentivise more customers to visit the entire area and not just the free parts of the Museum Island. 80

The Viking Ship Museum is the most visited tourist attraction in Roskilde and approximately 40% of all tourists in Roskilde come with the sole purpose of visiting the Viking Ship Museum. Approx. 20% of the tourist come to see Roskilde Cathedral and the remaining 40% come to visit Roskilde city. The Viking Ship Museum not only has a cultural-historical significance but also great importance for Roskilde city from an economic point of view. The international guide has awarded the Viking Ship Museum a top ranking in terms of places worth visiting in the world with 3 out of 3 stars. This particular mention is transmitted abroad, where people come from the whole world to visit the Museum. About 65% of all Viking Ship Museum visitors come from abroad, with most of the guests visiting from America and Europe, which correlates to about 100,000 visitors. According to statistics the Viking Ship Museum is at the same level of mention as Roskilde Cathedral and Roskilde Festival when tourist talks about Roskilde city (Vikingeskibsmuseet Roskilde, 2019).

THE VIKING MUSEUM

TYPES OF VISITORS

Ill. 60

DIVERSITY IN NATIONALITY OF VISITORS Data source: The Viking Ship Museum 100 90 80 70 60

44 % 50

35 % 40 30

15 %

RATE OF CHANGE

65 %

1% 0 South America

Denmark

Europe

Asia

USA & Canada

of the visitors is not from Denmark

VISITORS NATIONALITY

Ill. 61

DIVERSITY IN AGE AND TYPES OF VISITORS Data source: The Viking Ship Museum 100 90 80 70 60

49 %

50 40

26 %

30 20 10

12 %

School children

Adults associations

RATE OF CHANGE

20 %

0 Freeloaders

Young people

Adults

of the visitors comes in groups

THE VIKING MUSEUM

Ill. 62

THE USERS OF THE VIKING SHIP MUSEUM THE USERS POINT OF VIEW The current Viking Ship Museum has a wide range of different kinds of customers through a season. The audience ranges from young to elderly people, from individuals to larger groups, from national to international. In this context, two user groups are selected, which is in contrast to each other, group size and age-wise. The goal is to create an overview of which challenges and requirements a future museum must consider. To get a better understanding of each user group, each type of user will be defined on the following page.

School class, 20 students (10-11 years old) Many school classes and groups visit the museum. This user group is selected due to group size and age. As a group, the museum must embrace different size groups. In this case, 20 children of the age 11-12 years. In this example, this school class includes a teacher, who has arranged to spend a day at the Viking Ship Museum in cooperation with the Museum’s educational programme for schools and institutions. In this context, there are some logistical requirements that must be taken into account - especially how to deal with a great number of people at once, both inside as out. The teaching and education part must activate as many different senses as possible for the kids, as it leads to a higher learning rate.

Ill. 63

THE VIKING MUSEUM

Hand sketches

Timeline Arriving at the

Guided tour/

Museum by bus

education

10:30

11:00

Lunch break

Guided tour/

Hands on

Exploring by

education

experience

your own

12:00

13:00

14:30

Time to go home

15:30

15:00

Key issues Scale

Esay navigation

Be aware not to forget the scale for children,

It must be easy to find and orientate yourself

e.g. playgrounds

and in groups both in and outdoor of the museum.

A place to sit

Group meeting points

It is important that there is short distance bet-

The museum need to handle a larger amount

ween seating zones both in- and outside of

of people at once both inside and outside

the building.

Elderly tourist couple (+70 years old) In 2016, 65% of the guests came from abroad and this number is growing strongly. It is therefore important to consider the tourist segment. The Museum has the vision to focus more on international visitors in the future with selected exhibitions. Like children and young people, the elderly category has some specific needs which should be taken into consideration for a new museum. In order to respond to this way of thinking, an old tourist couple from Japan is chosen to cover this category. The couple is very interested in the historical aspect as well as the technical approach to boat building and handling of wood material. They are therefore very observing and aren’t participating in hands-on experiences. The couples pace is slow and there is a need for places to stay and pauses, both inside and outside.

Timeline

Arriving at the

Guided tour

Lunch break

Museum by car

Guided tour/

Vikingship sailing

Café Knarr

Time to go home

education

10:30

12:00

11:00

13:00

14:30

15:00

15:30

Key issues

Wheelchair/Walker

Easy navigation

Friendly surfaces, access road and toilets must

It must be easy to find and orientate yourself in

be able for wheelchair and walker users.

the museum and the serroundings with short distances.

A place to sit It is important that there is short distance between seating zones in the building.

THE VIKING MUSEUM

Ill. 64

THE MACHINERY BEHIND THE MUSEUM A STAFFâ&#x20AC;&#x2122;S POINT OF VIEW Roskilde Viking Ship Museum has a great diversity of employees with many different functions. Every employee has an important role in getting the museum to work. From cleaning to maritime archaeology studies, from booking to boatbuilding, from communication to research. The number of employees fluctuates because it is a seasonal cultural institution. The Museum consists of many focus areas and aspects and therefore have a lot of specific requirements for each area. In order to respond to these in a future museum, two staff departments are specifically chosen, due to the problems they experience today in the existing museum.

Exhibition staff The Museum has various special exhibitions throughout a season. The existing museum has a general lack of space and the current space and surroundings create problems and challenges for the exhibition staff. The exhibition team needs a workshop room with good working conditions where they can develop ideas and be creative. The goal of the Museum and exhibition employees is to have a museum which is a living organism. The problem today is when a new exhibition is under construction, the part of the Museum will be closed for the public and visitors for an extended period of time. It is important to have a sustainable way of thinking in connection with the forthcoming contemporary exhibition facilities

Ill. 65

THE VIKING MUSEUM

Hand sketches

Timeline

Off to work

Morning meeting

Exhibition research

Exhibition setup

Lunch break

Exhibition setup

Off from work

07:15

08:00

9:00

11:00

12:00

12:30

16:30

Key issues Workshop area

Flexibility

It is important to have a place for creative

Temporary exhibitions require flexibility and re-

thoughts and ideas in connection with the de-

quire the building to support this. an opportu-

velopment of exhibitions

nity to divide a room into two

Storage

Modern facilities

Storage of tools and materials in connection

Lager rooms permanent and temporary exhi-

with the workshop room

bitions. The exhibition rooms must have modern standards and facilities.

Communication and teaching staff Communication and teaching staff are the museumâ&#x20AC;&#x2122;s direct contact with the guests of the museum. Due to the seasonal activity of Viking Ship Museum, the need for these employees fluctuates. A communication and teaching employee requires flexibility and need to adapt since every day is different. They are manning the workshop outside and indoors in connection with the findings. The primary task is to guide and provide knowledge for the visitors. It is important to think small and large groups into the new museum, so the flow both inside as outside is not affected by logistical problems. In this context, the way of communicating should be taken into consideration in the architecture, so employees have the perfect framework to deliver and express themselves to the audience.

Timeline

Off to work

Morning meeting

Guided tour

Lunch break

Guided tour

Help station for visitors

Off from work

09:15

10:00

11:00

12:00

13:00

14:00

16:30

Key issues

Meeting/Preparation room

Esay flow

It is important to have meeting rooms accor-

It is important to generate a easy and undistur-

ding to organize and distribution tasks among

bed flow as a communicator through guided

the employees

tours

Group meeting points The museum need to handle a larger amount of people at once both inside and outside

THE VIKING MUSEUM

Roskilde Vikings Ship Museum Skuldelev 3 Found in 1962 Ill. 66

TOWARDS A NEW HARBOUR THE VIKING SHIP MUSEUM’S VISION The Viking Ship Museum has through many years worked on developing a project for the refurbishment, modernization and expansion of the Viking Ship Hall and a plan for the museum area. After the deprotection of the Viking Ship Museum in August 2018, the museum now got a new starting point. In this relation, the museum has developed a new vision and master plan for the future of the museum. The vision contains a refurbishment and modernization of the Viking Ship Hall, which at the same time preserve the architectural values of the building while creating a better space for exhibition activities. The Viking Ship Museum wants to place the existing or a new Viking ship hall in a central location as the museum experience. To meet the public’s demand for modern access, information and audience facilities, there is a need for a new arrival and visitor center, which creates a unique arrival at the museum with an information desk that welcomes and introduces visitors to the museum. As a result of the Danish Ministry of Culture assessments and recommendations, the Viking Ship Museum was given the judicial responsibility for marine archaeology in the waters East of the Store Bælt bridge from 2015. Thus, the museum’s focus is expanded from marine technology to the broader cultural-historical focus. In the future focus will continue to address the maritime, its special competence in ships, shipping and boat building culture. An extension of the area of responsibility has resulted in humans and their actions becoming a new focus of the exhibition - as the Viking Ship Museum will in the future be a communication center for man, ship and sea. This creates a need for larger exhibition spaces. These new exhibition spaces will add to the areas architectural and landscape qualities which enforce openness, visibility and public access to the water. At the same time increasing the museum’s possibility of earning an income through changed access conditions, adding attractiveness in the payment area and utilizing the business potential among the many free experiences outside the payment zone on the Museum Island. The new initiatives will clarify the museum’s profile and develop the potential of the existing museum’s commercial activities with other professional cultural providers, Roskilde city, organizations and volunteers. (Damgård-Sørensen and Kunckel, 2015) 86

THE VIKING MUSEUM

NEW FUNCTIONS & RESPONSIBILITY INTENTIONS & VISION FOR A NEW MUSEUM Visitor center One of the major problems the museum is facing today is the visitor’s understanding of the connection between the Museum Island and the Viking Ship Hall, which in reality is the same museum. The entire museum complex lacks an overall concept for this particular issue. In 2015 the museum had intended to place an arrival hall/visitor center in connection with the parking lot South of the museum island. The need to create a visible common entrance to the museum is still valid today. The arrival hall/visitor center should work as an information center, but at the same time set the stage for the visitor’s further movement into the museum area. This feedback comes from the visitors who find it confusing, but also from the museum’s own experience. The idea of one common access is intended to clarify and inform the visitors of the museum what is the payment zone and which area is free.

Permanent exhibition area The permanent exhibition area currently consists of the 5 Skuldelev Ships which is the focal point in the existing Viking ship hall. The Museum wants to keep this mindset in a new building, where the Ships are kept together in a single and strict space with an undisturbed minimalistic aesthetic. The Ships must be positioned so they can be viewed from different levels, with a view out to the Fjord and landscape to offer an authentic view. The Ships require 1500 m2 of space and specific temperature and humidity, which is constantly measured in the Museum. The room temperature must be consistently between 19 and 23 degrees & humidity between 50-60% RH to be a suitable exhibition space for the ships. The current Viking Ship Hall is built so the audience can get close to the ships without a physical barrier keeping them separate. Foyer & entrance In connection with the new museum, a new foyer must define a clear entrance which should be accessible by all users. The entrance must accommodate and invite visitors to the new museum building. In connection with the entrance, a foyer must contain the basic public facilities such as information, ticket sales, wardrobe, toilet, café, shop, but at the same time set the stage for one’s further movement in the new museum. 88

Hand sketches Ill. 67

THE VIKING MUSEUM

New responsibility area - The Sunken World In 2015, the museum got the marine archaeological responsibility east of Storebælt. Everything that is reported and excavated in the waters east of Denmark and around Bornholm is the museum’s responsibility. This responsibility has caused the museum to have external storage which is not an optimal solution. The museum’s new maritime focus is not only relate to the Viking era but contains findings throughout the entire history of man with many special objects. The museum wants new facilities to inform and involve the visitors of the museum in observations and ongoing surveys of new findings. The Sunken World will act as a workplace for marine archaeologists while being open to visitors to get a close view of the processes of a marine archaeologist.

Special exhibition area In connection with the permanent exhibition, galleries and special exhibition rooms are needed. The premises for the special exhibitions must be flexible, so there is a possibility for change if the Museum acquires a new find which they want to exhibit. The Museum wishes to have 2 or 3 special exhibitions at the time. The best scenario is a exhibition space between 125-225m2 with the flexibility to create a room inside the special exhibition with 50-200m2 depending on each exhibition. This exhibition can extend from a movie or a major scenography and contains the objects the Museum do not have space to exhibit, including some fairly significant ships - finds which require a lot of space.

The Journey The journey is a permanent exhibitions based on the narrative of the Vikings’ technical ship design methods and its significance in the history of sailing. The journey describes the entire development of the boat - from boats carved of tree trunks to modern warships with the 5 Skulderlev ships as the focal point. The journey must be placed so that when you move into the exhibition you are in visual contact with the Skulderlev ships.

Auditorium The auditorium must function as a flexible space and provide a framework for many different events, educational use and temporary exhibitions. Today, the museum has many different types of guests and size groups, including school classes and other large gatherings. The museum needs this function to house this target group as an integral part of the new museum. 89

THE VIKING MUSEUM

NEW FUNCTIONS & RESPONSIBILITY INTENTIONS & VISION FOR A NEW MUSEUM Workshop area (staff) In the new museum, new workshop areas and workspaces are desired where the museum’s staff can work creatively and produce exhibits for their various special exhibitions. The workshop area must contain metal-, wood- and paint workshops with adequate space and storage possibilities. The various workshop areas must be designed so that the museum’s staff have flexibility in relation to different work processes with good access to exhibition space, delivery of goods, warehouses and other staff facilities.

Office area (staff) In relation to the office space and administrative functions, the current situation results in the employees being spread across the Museum area due to too little space in the existing Viking ship hall. It creates challenges in terms of daily dialogue between employees as they sit in different locations of the museum. A future wish from the Museum’s administrative functions is to place these employees together for better communication. The remaining employees, including boat builders and teachers, should not be included here, but should instead be associated with their departmental area.

The experimental area The museum would like to include the visitors in interactive exhibitions. The experimental area is an indoor environment that connects the Skuldelev ships and the experimental archaeological method that takes place outside on the museum island, where the boat builders build reconstructions of the findings. This means that the processes that take place at the yard with boat building, sail- and rope production etc. becomes a part of the functionalities of the new museum. The experimental area should be placed in close relation to the Museum island with the possibility of drawing the work processes into the museum. Here, guests of the museum can use their senses through various methods and thereby learn actively the processes which the Vikings used.

Hand sketches Ill. 68

INTENTIONS FOR A NEW MUSEUM Function

Area (m2)

Properties

Public areas - Foyer & entrance

1767

Entrance & Foyer

355

Open and bright space, with reception, info & tickets

Foyer mezzanine

150

Views to the city

Museums shop

167

In connection with foyer & storage room

Café

277

View to urban areas, outdoor seating

Auditorium

308

Film screenings and educational use, furniture storage

Toilets

150

Easy access from foyer, auditorium, café and The Sunken World, disability freindly

Wardrobe

Easy access from foyer, lockers,

The experimental area

300

Activates outdoor space, interaction with visitiors, storage room

Permanent exhibition areas

2413

Main exhibition

1540

Focus on the Skulderlev ships, connects with the fjord, different views to the ships, no direct sunlight, RH 50-60%, temp. 19-23

Main exhibtion mezzanine

240

Views to the ships & fjord

The journey

253

In connection with the main exhibition

Special exhibition 2 & 3

380

Flexible exhibition space, in connection with the workshops & main exhibition

The Sunken World

877

Entrance portal

Gives the impression of going below water, disability freindly

Denmark’s maritime cultural history

447

Underwater atmosphere, well defined flow,

In the Field

275

Marine archealogists work, view to urban garden

Magazine and knowledge center

101

Open storage of finds, in connection with In the Field & urban garden

Staff area

1798

Goods delivery

Connected with the workshops, office & goods elevator

Storage

597

Workshop- Exhibition- & Labatory storage, no daylight

Labatory dry & wet

106

View to urban garden, connection with storage,

Workshop spaces

404

Views to outside, connection to Special exhibition, min 2% daylight

Office spaces

329

Views to outside, single offices, meeting rooms, min 2% daylight

Kitchen

View to outside, connected to café, storage, freezer & cold room

Toilets & showers

Easy access for staff facilities & Disability freindly

Lounge & Hallway

145

Staff relaxing area, connects staff functions, different views to outside

Various

1403

Technical rooms & ventilation shafts

938

Located in relation to the areas they serve

Distribution areas

465

Hallways, elevators & staitcases.

Sum

THE VIKING MUSEUM

ROOM PROGRAMME

8258

THE VIKING MUSEUM

ROOM PROGRAMME DIAGRAMATIC OVERVIEW PLAN PROCESS

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THE VIKING MUSEUM

Hand sketches

THE VIKING MUSEUM

NEW FUNCTIONS & CONSIDERATIONS ORIENTATION & PLACEMENT OF FUNCTIONS

Plan 1 : 1000

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THE VIKING MUSEUM

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96 THE VIKING MUSEUM

Photo: Jakob Frost Dahl Ill. 71

THE VIKING MUSEUM

Roskilde Vikings Ship Museum

THEME ANALYSIS

Collage showing the different identity Photo: National Pavilions absorbing modernity 1914-2014 Ill. 72

IDENTITY HOW DOES LIGHT INFLUENCE THE PERCEPTION OF SPACES & MATERIALS? Architectural identity is very often reflected through the culture of a region. The illustration shows that the identity of regions has become increasingly homogenous. This is not only reflected in the architecture but also in the culture. Buildings are also a statement from the political, social and cultural environments from where they are produced, making architecture influenced directly by changes in these environments. Trends of urbanization along with the industrial boom has created a more pragmatic approach to construction which led regionalism blending into a more global universal style of building and way of thinking architecture. The international style became a tendency which served as a functional and neutral style creating skyscrapers to serve the needs of modern society, without any or only little consideration for context or history. Through the 20th century, the planet has changed more than ever making the international style a direct reaction to these changes (EVS Translations Blog, 2017). The trend seems to be changing back to the different regional identities by bringing in ornamentation and relating the architecture back to history and culture (EVS Translations Blog, 2017). This new interpretation of considering regional individuality is known as Quasi-vernacular buildings which reflect old traditions in form and materiality but also addresses the needs of modern society. A reason for this is that people need to feel like they belong to a specific place and a specific culture instead of being part of a global homogenous culture (Mackenzie, 2014). Sustainability and architectural identity Sustainability and identity within architecture is an intercorrelation between materials, building techniques, relation to physical context and culture. Sustainable architecture relates to regionalism, vernacu-

lar methods and materials since it provides a whole lot of principles which preserve local identity while responding to the environment. However, it does not insist that everything should return to the old ways, but rather inspire to interpreting features from vernacular architecture (Salman, 2019). A sustainable design philosophy should honor the difference between places where the goal is to create the optimal relationship between people, building and the surrounding environment. Identity in architecture and for a people is also in correlation with each other as Winston Churchill said in his speech: “We shape our buildings, and afterward, our buildings shape us.” (Winston Churchill). Identity in cultural museums The term “identity” is defined as the characteristics determining who or what a person or thing is (Oxford Dictionaries | English, 2019). Identity is expressed as a very individual set of characteristics but if you identify to someone or something you get a strong connection to it. This might seem to contradict that through individuality one can find a place in a group with equals. In architecture, this relation is important because when people find a building relatable, one has an easier time identifying with it and therefore be excited about it. A natural historic, cultural building such as a museum has to identify not only to its context but also how it identifies with the objects it is displaying. Sverre Fehn describes the loneliness of an ancient Egyptian mummy placed in the fluorescent light in a glass box in London and how displaced such an artifact is since it has no relation to this context (Fehn, 1985). By making the building a part of the exhibition it can enhance the experience of the artifacts displayed.

THEME ANALYSIS

Sancaklar Mosque, Istanbul, Turkey. Arch: Emre Arolat Architects Photo: Özgün Öztürkçine, 2012 Ill. 73

PERCEPTION OF ARCHITECTURE LIGHT & ATMOSPHERE The perception of light throughout time Light has throughout time had a heightened value in how architecture and the perception of spaces has changed. In early times safety and heat were the most important measures in a house, which only contained the necessary openings in the roof for smoke and peepholes to the outside activities. The main source of light was the open fire which caused these spaces to be dynamic as colors and the use of space adjusted to the living flame of the open fire. The interiors in these spaces were richly decorated to maximize contrasts and reflections which created a variety within the spaces. Later in the 20th century when artificial light became available it changed how shadows were perceived as they changed from dynamic to static. Windows also grew bigger letting in more daylight since the small peepholes for safety reasons no longer were necessary, and the tendency to see changed to be seen. In addition to daylight was artificial lighting which made the light more evenly distributed. An ideal situation was created between the positioning and sizing of windows, between the size of the room. This meant that shadows, as a powerful tool in defining interior space, were no longer as active and vibrant as early days (Sørensen et al. 1, 2011). Nordic light Daylight is perceived differently from geographic regions such as the burning vertical light of equatorial areas and the melancholic horizontal light of the northern regions. Northern light is characterized by its slow transition of dusk and dawn which allows a change in the landscape throughout not only the seasons but also the single days. This shadowless melancholy light gives a chance for surfaces, such as snow, to reflect the slightest scant of light from a starry night as if the light itself emits from below. The low angle of the northern sun also allows reflections on horizontal surfaces to enter buildings from below (Sørensen et al. 2, 2011). 100

“We are born of light. The seasons are felt through light. We only know the world as it is evoked by light, and from this comes the thought that material is spent light. To me natural light is the only light because it has mood – it provides a common agreement for man – it puts us in touch with the eternal. Natural light is the only light that makes architecture architecture” (Sørensen et al., 2011, p.24) Light as an atmosphere Light and its accompanying shadow is the most powerful tool to evoke any kind of emotion in architecture. It changes over time and impacts any other architectural mediums such as form, geometry, materiality, proportion, color or detail. It also connects our materialistic world with nature on a cosmic level since the dynamic light is eternal. Light can also create sub-spaces within spaces that create different levels of intimacy and hierarchy. For this purpose, light can be manipulated in different ways to express tactility in materiality and light itself by making it visible for people to touch or sounds like an echo, can be used to enhance darkness to be expressed even darker (Sørensen et al. 3, 2011). Tanizaki describes the importance of shadows as an atmospheric enforcer in his book “In Praise of Shadows”. Here the focus is about how the dimness in a room only reflects the beauty and how excessive use of light persist of showing ugliness. This idea is reflected in the thought of “The unseen for us does not exist”. A degree of dimness, absolute cleanliness and quiet also leads one to a sense of meditation and contemplation. Tanizaki describes how the relation between pauses in conversation is equivalent to shadows in architecture in order to understand it (Tanizaki, 1977).

THEME ANALYSIS

Light acquires a heightened value and emotive power in relation to shadow and darkness. In the pich-black primordial smoke hut of the Finnish peasant, the light of a single tiny window feels like a shining jewel, a gracious gift presented to the inhabitant in the form of a radiant diamond of light, set on a dark matt background blackended by decades of smoke - Peter Zumthor

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THEME ANALYSIS

Vadehavscenteret, Denmark. Arch: Dorthe Mandrup Photo: Adam MĂ¸rk Ill. 75

MODERN NORDIC ARCHITECTURE THE CHARACTERISTIC ABOUT NORDIC ARCHITECTURE Nordic architecture is characteristic in its style and evident in its unique way of combining nature and the surroundings with the architecture. This makes parts from both the architectural aesthetic and the practicality from nature interesting.

references to the Arctic climate. The light nuance creates a natural contrast to the changing mood of the seasons and at the same time ties the snow-covered landscapes to the material, which creates a beautiful harmony to nature.

The Nordic light and dramatic climate are special and Nordic architecture is trying to utilize this to describe identity and as inspiration in the architecture. The weatherâ&#x20AC;&#x2122;s dramatic changes from summer to winter with high to low angled sun, creates different moods and shadows in the landscape. This relates to how the architecture reproduces the natural moods and references from nature. The Nordic architecture is significantly influenced by these dramatic changes in light from summer to winter. People from the north appreciate the daylight and thereby develop architectural forms which are constantly striving to capture the light in the rooms where it is most necessary.

The use of natural materials in architecture and design draws references of primitive memories from the forest and its role in the Nordic building style. The forest was where people lived and worked, where they found the materials that helped create homes, furniture and boats. As a human being from these areas, you have a special relationship with these natural materials

In connection with the light, the illumination of materials and selection of natural materials, and how it relates to nature, is of importance. In order not to generalize what Nordic architecture is, there is a difference between which elements are present in nature. e.g. in parts of the north mountains and rocks create a different character, than what can be found in Denmark. This is reflected in the architecture, where the actual material selection often re-interprets the area in which the building is built. Norway redefines the use of light materials in the architecture and forms a close relationship with nature and makes

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Wood is a living material where the properties are different for each species, which is clearly seen in the structure of the wood. Wood can be treated and developed, which makes it an interesting material to process. The properties of natural materials in their changing structure and patination are interesting as the material is influenced by the changes in the environment. This is shaping and adapting the material to the environment in which the material is used. These properties are reflected in the Nordic architecture and make the architecture unique to its location. In a time of technology and the word sustainability resounding in the ears, these properties in the Nordic architecture are important to highlight, as the use of these natural phenomena contributes to creating a sustainable approach to the Nordic architecture of the future. (Burgess Ă&#x2DC;yehaug, n.d.)

THEME ANALYSIS

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THEME ANALYSIS

Hand sketches Ill. 75

1 / Frontal

2 / Obligue

3 / Spiral

PRECEDENT STUDIES APPROACH

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The approach towards the entrance of a building decides how you perceive the external expression of the facade. Different approaches evoke different emotions and should be considered, together with the context in relation to where people are approaching from. This first introduction to the overall experience is very important, the same way as the first impression in a job interview.

perpendicular to the primary facade of a building or be oblique to it. The nature of the approach may contrast with what is confronted at its termination, or it may be continued on into the buildingâ&#x20AC;&#x2122;s interior sequence of spaces, obscuring the distinction between inside and outside. This experience of arrival can be divided into 3 different approaches; frontal, oblique and spiral (Ching, 1979)

Prior to actually passing into the interior of a building, we approach its entrance along a path. This is the first phase of the circulation system, during which we are prepared to see, experience and use the spaces within a building. The approach to a building and its entrance may vary in duration from a few paces through a compressed space, to a lengthy and circuitous route. It may be

The three methods of approach each represent a different way of approaching a museum which has created an impact on how the architecture influence the experience. These studies are made to gain an understanding of how an approach is designed, and the three methods are analyzed to achieve a set of tools which can be considered when designing the approach

THEME ANALYSIS

The Viking Ship Museum, Roskilde, 1969 If one follows the path around the big open grass field, the Viking ship Museum entrance is approached with an oblique angle allowing one to experience the building in perspective which creates an impression of the building size. This approach does not make the entrance a focus point but gives you an understanding of the tactility of the facade before reaching the entrance.

Ill. 76

Museet for Søfart, BIG 2013 With the spiral approach, it is possible to design an experience of the building before reaching the entrance. At Museet for Søfart the entrance is hidden from the visitor and only reveals itself as you descend the old dry-dock. The spiral approach often gives a better expression of the total form which in the case for Museet for Søfart is necessary since the majority of the building is below ground level.

Ill. 77 Ill. 78

Moesgaard, Henning Larsen Architects, 1970 The entrance at Moesgaard museum is frontal from the direction which the visitor approaches. It indicates clearly which path to use to reach the entrance and only leaves one facade visible. In this case, the direct approach is very intriguing since the form of the building is telling that more is to be discovered beyond the point of entry and the first impression of the building is only perceived as 2-dimensional. The context surrounding the path of approach is very exposed leaving one only to focus towards the museum.

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THEME ANALYSIS

Hand sketches Ill. 79

1 / Flush

2 / Projected

PRECEDENT STUDIES ENTRANCE By penetrating through a vertical plane by entering a building, a space within a building or a defined exterior space, an entrance is used to distinguish one space from another. The approach climates as it is leading towards the entrance and is most significant as a perpendicular meeting between the two. An entrance or a transition between spaces can be grouped into 3 different categories: flush, projected and recessed (Ching, 1979). Each type has different attributes which can be utilized to improve the experience of entering a new space. The form of these types can also create a similarity to the space which is entered as a contrast (Ching, 1979). The choices when making an entrance should follow the emotions which one wish to establish from the very beginning since the entrance also has a great influence on the path beyond the threshold. 106

3 / Recessed

THEME ANALYSIS

Ningbo Museum, Wang Shu, amateur Architect, 2008 A flush entrance can blend in with the facade which can keep the integrity of continuation if desired. If the entrance is meant to be obscured a flush entrance is more easily hidden since it would need a different expression to be recognizable. The entrance can also be visually elaborated by making it wider than necessary. The entrance at Ningbo Museum is flush with the facade but is created as an elaborate opening which allows a view straight through before entering.

Ill. 80

Moesgaard, Henning Larsen Architects, 1970 A projected entrance creates a zone before entering which in many cases are used as a shelter. It can also be used to enhance the visibility of an entrance and create a more welcoming feeling before entering. The projected entrance at Moesgaard allows one to enter a covered zone before reaching the main building. This transition space reaches out and welcomes visitors while also making a clear definition of where to enter.

Ill. 81 Ill. 82

Ragnarok Museum, COBE og MVRDV, 2016 A recessed entrance is also creating a shelter but is usually within the footprint of the building. This entrance can be less recognizable if the approach is not directly frontal. At Ragnarok Museum a large overhang is projected out creating a covered space in front of the entrance. The entrance itself is recessed into the volume of the building and exposing a different color which gives a hint of what to be expected in the interior.

107

THEME ANALYSIS

Flow illustrations Ill. 83

PRECEDENT STUDIES FLOW, ORIENTATION & COMMUNICATION It is important, from a museums point of view, to create the best conditions for both customers and the objects on display. The Museum is intended to create an interaction between guest and object. The architecture must in this connection be the link and create synergy. A flow in a museum can be described or be designed in many different ways, depending on the Museumâ&#x20AC;&#x2122;s focus. A Museum building is designed to disseminate and display selected objects. In the interaction with the architecture, these objects can tell a story or communicate a message. When moving through a cultural building, like a museum, there are different ways of navigating and orienting through the use of architectural spaces. In this context, there are some important aspects of how to make the configuration of a path, which we need to consider. All paths of movement are linear in nature. Paths have a starting point, from which we are taken through a sequence of spaces to our destination. The intersection or crossing of paths is always a point of decision-making for the person approaching it. The continuity and scale of each path at an intersection can help us distinguish between major routes leading to major spaces and secondary paths leading to lesser spaces. When the paths at a crossing are 108

equivalent to one another, sufficient space should be provided to allow people to pause and orient themselves (Ching, 2007). The flow has a lot to say in relation to a museum and how you as a visitor understand and move through the exhibition. To explain this principle three different flows and movement patterns in three different buildings have been chosen; The Viking Age Museum in Oslo by AART architects, The current Viking Ship Museum in Roskilde and Den BlĂĽ Planet by 3XN. Common for these buildings is that all museums have a mandate to communicate a specific focus area.

The main focus of this building is the permanent exhibition of Viking ships. The ships have a clear central location in the building and are surrounded by secondary exhibitions and functions. The interesting thing is the movement pattern you experience as a visitor while observing the old ships. From the entrance, an overview is created of the permanent ships and through a snake-shaped flow, you can observe the ships from different heights while moving around in the Museum. The flow is designed in such a way that there is no need to take decisions through the journey since the level differences guides and creates a natural flow in the building.

THEME ANALYSIS

The Viking Ship Museum in Roskilde by Erik Christian Sørensen

Ill. 84

The Viking Age Museum in Oslo by AART architects As the Viking Ship Museum in Roskilde, the Museum in Oslo also has a story to tell visitors. The thoughts behind the flow in this building, have been to create a circular flow from start to finish in connection with the existing building from 1926. The exhibition is passed through a circle, geometric shape, which helps and guides the visitor through the exhibition. After each exhibition, the visitor will be guided back to the inner circle which is in direct contact with the inner courtyard. This creates a central visual meeting place for guests of the Museum.

Ill. 85

Ill. 86 Den Blå Planet by 3XN Den Blå Planet is inspired by the whirlpool of the sea, shoals of fish and swirling starlings turning the sky black. Inspired by the sea, the Danish National Aquarium is shaped like a gigantic whirlpool. The five arms of the building arise from a center that is used as a focal and meeting point for the entire building. Each arm has its own special exhibition and starts and ends in this Centre. This flow does not give a directional experience, but rather the feeling to go exploring. It gives the opportunity to create your own path as a visitor through the building. 109

THEME ANALYSIS

PRECEDENT STUDIES MATERIAL, LIGHT, SOUND & TEMPERATURE IN ATMOSPHERE The first impression of anything is very much dependent on the atmosphere. The atmosphere is expressed through different elements such as materials, light, temperature and sound. Designing a cultural-historical museum one has to be aware of the specific atmosphere in order to achieve the showcasing desired. This section is to enlighten different elements which have a great influence on the desired atmosphere and how this can be achieved. It is important to consider how different materials change with time, and how this might conflict with the desired atmosphere. Materials change over time as they patinate which also makes the perception different throughout time. The grain from wood as an example becomes more subtle with time making the surface smoother and calmer (Tanizaki, 1977). Materials react to one another and have their radiance so that the material composition gives rise to something unique. The material is endless. Take a stone: you can saw it, grind it, drill into it, split it or polish it - it will become a different thing each time. Then take tiny amounts of the same stone or huge amounts, and it will turn into something else again. Then hold it up into the light - different again (Zumthor, 2006). Thereâ&#x20AC;&#x2122;s critical proximity between materials, depending on the type of material and its weight. You can 110

combine different materials in a building, and thereâ&#x20AC;&#x2122;s a certain point where you will find they are too far away from each other to react, and there is a point where they are too close together, and that kills them (Zumthor, 2006). Interiors are like large instruments - collecting sound, amplifying it, transmitting it elsewhere. That has to do with the shape unique to each room and with the surfaces of the materials they contain, and the way those materials have been applied (Zumthor, 2006). The temperature of a space is very much in relation to the materials. It is well known that different materials extract the warmth from our bodies. Steel, for instance, is cold and drags the temperature down. Temperature is in this sense a physical feeling but can also be experienced psychological (Zumthor, 2006). Different materials also have different abilities to absorb and reflect light. Zumthor explains two different approaches on how to work with light in a building. The first is to plan the building as a pure mass of shadow and then hollow out the darkness as if the light was a new mass seeping in. The second is a more practical approach to how different materials reflect and absorb light and to fit everything together on the basis of that knowledge (Zumthor, 2006).

THEME ANALYSIS

Jewish Museum, Copenhagen, Denmark The materials from the old brick vault ceiling and new wooden panels are in contrast with each other making the ceiling more focused than the relation between the wooden walls and floor. The old vault ceiling is also different throughout, due to a different level of patination of the bricks. This creates a sense of mystery, which is also enhanced since the ceiling bends behind the walls without revealing how and where it ends.

Ill. 87

Jewish Museum, Berlin, Germany The echo of the clinging metal slices through the atmosphere, this is to symbolize the crying and screaming from the Jewish people and their pain during the Holocaust. The sound bounces between the concrete walls even by the slightest touch of the metal making talking almost impossible. This sound travels through the halls of the museum drawing peopleâ&#x20AC;&#x2122;s attention and the echo seems to continue into the eternal darkness at the end of the corridor.

Ill. 88 Ill. 89

Therme Vals, Vals, Switzerland In the baths at Therme Vals, the choice of materials reflects the cold context in the Swiss mountains. The blue stones, with a splash of water on top to mirror the diffuse sky, seems too cold to even touch with your bare feet or hands. The railings are made from stainless steel which only amplifies the feeling of the cold environment, In contrast to this is the warmth which radiates from the baths itself creating a unique experience.

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112 DESIGN BASIS & PROCES

Photo: Jakob Frost Dahl Ill. 90

DESIGN BASIS & PROCES

Roskilde Vikings Ship Museum

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DESIGN BASIS & PROCES 114

DESIGN CONSIDERATIONS

Ill. 91

DESIGN BASIS & PROCES

Hand sketches

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DESIGN BASIS & PROCES

VISION FOR A NEW MUSEUM The main goal is to offer Roskilde City a museum with an international character which includes a wide range of facilities to ensure future development for communication, flexibility, and conservation. Furthermore, an improvement of the master plan focuses on creating a better flow between the city and the museum by improving the various possibilities available for the users in the area. The museum should be accessible physically while having visual transparency outwards to the city, meanwhile, keeping the visibility from the city to the fjord through an open area promoting public access to the fjord. The museum must ensure a sustainable development technologically, socially, and environmentally not only reacting to the climate at Roskilde Fjord but also responding to the relating context.

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FOCUS AREA

As a result of the analysis, different design considerations have been established to gain an understanding of each element which can be processed to reach the goals of the vision. 4 of the most crucial considerations have been chosen as the main design criteria, which throughout the process have had the main influence on the design.

Hand sketches Ill. 93

DESIGN BASIS & PROCES

DESIGN CRITERIA

Secure coast & museum area The main argument of rebuilding the museum is based on the damages it has incurred due to the changing climate and storm surges, which undoubtedly will cause damage to the findings in the future if no precautions are made. A coastal protection which encloses the museum area creating a barrier against rising waters will secure the museum in the future and should also function as a recreational area attracting the citizens of Roskilde. Improved connection Giving back the museum to the citizens of Roskilde while keeping the connection to the fjord is crucial as the existing museum have people divided in whether they like the museum or not. The visual and physical connection is important to improve not just for the citizens but also to connect the museum with the identity of the town to function in synergy with the context instead of being a secluded stronghold. Preservation of qualities: To keep respect towards the existing museum one of the main focuses is to enhance the qualities which are worth preserving. These qualities are mainly related to the main exhibition room where the 5 Skulderlev ships are displayed. Some of the qualities should be utilized throughout the museum to create a relation between the existing and the new functions of the museum.

Accessibility for all Offer equal access for everyone in all aspects of the experience throughout the museum making it a natural integrated part of the flow. The flow which surrounds the museum should also be considered not to create any disturbance for the people commuting through the area on an everyday basis and should also be equally accessible. 117

DESIGN BASIS & PROCES

ADAPTATION DEFINING NEW VOLUMES TO THE MUSEUM The new functions are placed due to how they relate to the context and how visitors approach the museum. The building is divided into several boxes to make it seem less monumental and creates a better relation to the museum island. The building also allows the landscape to integrate better with the building as small pockets of nature helps soften up the relation between inside and outside. As one walks around the building it is understood as a complex of different volumes making it more interesting, but also attracts people to get closer to it, to get a better understanding of the building. These functions are then adapted within the grid of the existing structure and then individually defined in height as to which function they serve. This principle of adaptation creates a uniform coherent expression throughout the entire museum making many of the same technical and spatial qualities able to be utilized. By adapting the new functions to the existing structure it also allows for adaptation within the individual spaces to fulfill the changing needs of the museum.

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DIFFERENT FORM ITERATIONS THE SHAPE OF LIGHT Different shapes have been investigated throughout the process to gain an understanding of how the expressions creates different atmospheres within the building but also externally. The shape helps the building relate to the context in which it is placed and the outdoor approximate it creates. These areas should be enhanced by the shape of the building making the one dependent on the other. In this project the form is in relation to the structural system and focusing on keeping the existing structural system. Making a variety of different reinterpretations of the existing structure made it possible to investigate how altering the angle of the roof influenced the impression of the structure, and how it changed the influence of sunlight in the room. These iterations were made with the intentions of improving the daylight in the functions which has a specific requirement to daylight. The main consideration was in relation to how the existing structure could be interpreted. The orientation of openings in the roof was tested to turn inwards or open outwards but was finally designed with a flat roof as attaching a new structure on top of the existing structure would lose many of qualities which is desired to be retained.

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DESIGN BASIS & PROCES

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DESIGN BASIS & PROCES

TRANSFORMATION STRUCTURAL PRINCIPLES

The transformation of the museum is with respect towards the existing construction in the main exhibition room. The gables are removed as the conservational and functional values does not obtain the new intentions and demands from the Viking Ship Museum. The structural principle is expanded throughout the new functions which are dominantly towards east, west, and south keeping the interaction with the fjord towards the north undisturbed. The transformation is taken its starting point from the qualities worth preserving and then utilizing and enhancing them in the rest of the museum fitted to the individual functions. The flow between the new functions and the main exhibition hall is also getting more free. A direct link between the new exhibition rooms and the main exhibition ensures that the relationship between the ships and the rest of the exhibitions are well kept, but keeps the ships as the main attraction. The museum was built because of the ships and is the main reason why it should be rebuilt to fulfill modern standards and the increased interest from visitors. The main turning point should always be the ancient shipwrecks, and the transformation must ensure that they are well preserved and displayed.

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THE CONCEPT DEFINING EACH LAYER OF THE STRUCTURE

The structure is built up by 4 different elements which are a column and 3 different beams placed dislocated in relation to each other. The large columns stand in pairs which are placed along the same lines throughout the museum. The distance between the existing columns and the new ones are only fixed in the south and north direction, with the same consistent pattern as the existing structure. Towards east and west, the distance between the columns is more dependent on the function and which expression is intended in the room - and will vary compared to the distance between the columns in the existing structure. The first layer of beams running directly on top of the columns are spanning from south to north throughout each function. The span of this beam is consistent to the span in the existing structure as it runs from column to column. The second layer is running from east to west and is dislocated in relation to the columns which makes the structure seem lighter, as the system is not stacked directly on top of each other. Structurally this might not be the most efficient method, but it allows for more beams to be placed than there are columns. The third and final layer consists of the most beams and is running from south to north again dislocated in relation to the columns. This beam is also visible in the areas where the ceiling is lowered to keep the reference from the structure throughout the museum, thus helping people understand the relation between the existing structure and the new as they move in-between the functions. Overall the structure consists of 4 different interpretations. 1. The existing concrete structure in the main exhibition hall. 2. The continuation of the existing structure in the foyer with the exact same placement of elements and outline of dimensions, but constructed in glulam. 3. The reinterpreted structure in the new functions with the placement of elements within the grid, placed in the center of where the existing elements are placed due to an optimization of dimensions. 4. The hallway areas which only consists of the top layer to keep the reference throughout the building.

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“...You use brick, wood, and concrete, and with these materials, you build houses and palaces. That is construction, engineering in praxis. But suddenly you touch my heart, you make me good, I am happy and I say: This is beautiful. This is Architecture. The art has shown itself...” - Le Corbusier

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INTERPRETATION & DISCLOSURE OPTIMIZING THE STRUCTURE Various alterations have been investigated spatially and structurally to achieve an expression which could be used in different functions. Parameters, which was set to create a functional room, was the distance from the columns to the walls. This had to be 2 meters to keep a good flow around the structure no matter the function intended. The height of the rooms could also vary according to the function only having the horizontal placement fixed by the grid. The walls are independent of loads from the roof, so the facade could also vary according to which function it serves. The dimensions, number of elements and gaps in between the elements has been the key parameters, which could be tested to gain the expression intended. This process shows 3 alterations which have been investigated, that have different performance and expression.

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Structure 1 Element

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Column Sections

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1st cross beam

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DESIGN BASIS & PROCES

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Structure 2

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Structure 3

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Width (mm)

Height (mm)

Gap (mm)

Column

100

500

1st cross beam

100

500

2nd cross beam

400

3rd cross beam

300

Sections

Column

1st cross beam

2nd cross beam

3rd cross beam

Ill. 108 129

DESIGN BASIS & PROCES

INTERPRETATION & DISCLOSURE OPTIMIZING THE STRUCTURE Different dimensions have been analyzed with Robot Structural Analysis which is done with a focus to optimize the structure to fit the individual rooms. The structure had to have the same structural expression as the existing structure to keep the comparison, but also give the feeling of a levitating roof. The goal was to achieve as high an average utilization ratio as possible to optimize the use of materials. This balance between utilization ratio and architectural expression was carefully investigated throughout the process and balanced equally. A valuation between dimensions and type of glulam was made to ensure the structure was not unnecessary over-dimensioned. After the alterations and the right dimensions were found, these dimensions were tested with lower strength types until the ultimate limit state (ULS) of the elements was found.

130

DESIGN BASIS & PROCES

Structure 1

Utilization ratio 1.0 0.9 0.8 0.7 0.6 0.5 0.4 0.3 0.2 0.1 0

Column

Ill. 109

1st Cross beam Min ratio

2nd Cross beam 3rd Cross beam

Max ratio

Avg ratio

Structure 2

Utilization ratio 1.0 0.9 0.8 0.7 0.6 0.5 0.4 0.3 0.2 0.1 0

Column

Ill. 110

1st Cross beam Min ratio

2nd Cross beam 3rd Cross beam

Max ratio

Avg ratio

Structure 3

Utilization ratio 1.0 0.9 0.8 0.7 0.6 0.5 0.4 0.3 0.2 0.1 0

Ill. 111

Column

1st Cross beam Min ratio

2nd Cross beam 3rd Cross beam

Max ratio

Avg ratio

131

DESIGN BASIS & PROCES

GWP Data source: LCA BYG 50000 45000 40000 35000

The chosen one!

30000 25000 20000 15000 10000 5000 0

Structure 1

Structure 2

Glulam

Construction wood

Structure 3

Ill. 112

INTERPRETATION & DISCLOSURE OPTIMIZING THE STRUCTURE Dimensioning the structure accordingly was also with the intention of reducing the overall carbon footprint of the new structural system. An LCA analysis was made from the amount of wood which was used for these 3 different structures and then compared to each other on their global warming potential (GWP). The potential of using construction wood was also included in the LCA to compare how big an impact it has compared to glulam on the GWP. It was also structurally verified in Robot Structural Analysis to handle the same conditions as the glulam, but due to the dimensioning, it is not possible to obtain construction wood, which is something to keep in mind doing the LCA and Robot analysis, which cannot differentiate between these parameters. The LCA analysis was again measured against the architectural expression. The final structure which ended up fulfilling most of the criteria was structure 3. Even though it is not the best system compared to the LCA or has the highest utilization rate for all the elements its spatial qualities gave a better possibility for flexibility in the different functions.

132

Structure 1

DESIGN BASIS & PROCES

Structure 1

Ill. 113

Structure 2

Ill. 114

Structure 3

Ill. 115 133

DESIGN BASIS & PROCES

INDOOR ENVIROMENT LIGHT, TEMPERATURE & ATMOSPHERE With the continuation of the existing construction, an adaptation of the spatial and physical aspects has been an important element for the interpreted constructionâ&#x20AC;&#x2122;s influence on space and experience. Here, the natural light has been important for highlighting the contrast between new and old and not least the atmosphere and the staging of the construction in the spaces. The heavy and distinctive dimensions of the existing design give a sense of robustness, but also a floating effect by stacking the elements differently. This effect is to be continued in the interpreted construction, which has been an important element in the process in regards to the effect from natural light. Various window sizes have been tested in the design in terms of securing adequate daylight, since the concept for the construction also is implemented in the office and workshops spaces where a daylight factor of 2% is a legal requirement. The amount of daylight has been calculated with Velux Visualizer. Simulations also provide an understanding of how the light can be projected and reflected. On the conceptual illustrations to the right, three different dimensions of windows are shown, where the direct sunlight is displayed for different seasons. In the exhibition rooms, it is important that the rays from the sun do not interfere when the visitor are studying the exhibition hanging on the wall. It has therefore been desired to reduce the direct sunlight and focus more on the reflected light, which also highlights the floating effect of the roof. In the center of the rooms is the main exhibition space which is embraced by the construction and highlighted by the natural light. Overheating in these spaces can also be prevented by reducing the window area. Multiple scenarios have been tested in BSIM for the three different proposals. On the next page, daylight simulations and the atmosphere in the room is illustrated.

134

Direct sunlight summer 12.00

DESIGN BASIS & PROCES

Direct sunlight equinox 12.00 Direct sunlight winter 12.00

Ill. 116

Direct sunlight summer 12.00

Direct sunlight equinox 12.00 Direct sunlight winter 12.00

Ill. 117

Direct sunlight summer 12.00

Direct sunlight equinox 12.00 Direct sunlight winter 12.00

Diffuse light

d cte fle Re

Diffuse light

t ligh

Ill. 118 135

DESIGN BASIS & PROCES

Window size: 2500 mm height Temperature 443 hours > 26 oC 5,7 % of the time > 26 oC

Daylight factor %

Ill. 119

Window size: 1300 mm height

Temperature 152 hours > 26 oC 1,7 % of the time > 26 oC

Daylight factor %

3% 2%

Ill. 120

Window size: 800 mm height Temperature 77 hours > 26 oC 0,9 % of the time > 26 oC

Ill. 121 136

Daylight factor %

DESIGN BASIS & PROCES

Ill. 122

Ill. 123

Ill. 124 137

DESIGN BASIS & PROCES

eV ikin gS

hip

Ha ll

ial exh i

bit ion 1

Au dit ori u

Mu seu

ms S

ho p

eE xpe

rim

en tal A

rea

138

ho pf aci litie

Ill. 125 s

DESIGN BASIS & PROCES

Wo rks

ial exh i

bit ion 2

Offi ce a

rea

Ca fé K

itch

Mu seu

ms Ca fé

En tra

nc e&

Fo yer

139

DESIGN BASIS & PROCES

NEW MASTERPLAN WHY THE CIRCLE? With the circular stroke as the main architectural element, a coastal protection promenade is created which defends both against future storms and becomes a new recreational experience for the museum area. The circular form has been chosen due to many parameters & qualities, that we and Roskilde Viking Ship museum have for the future area. The circular form is chosen on the basis of investigations that have focused on an integrated solution, and how the coastal protection can give the museum area improved qualities for the museum and people of Roskilde. By using the circular path one understands the idea behind a coherent museums area. It becomes possible from the fjord to get an overview and new views towards the new museum while moving on the perimeter of the circular coastal protection Today the citizens are using the museum area throughout the whole year due to the contact with the fjord. The extension of the new museum will cause parts of the view and visual contact from the city towards the fjord to decrease, but is gained in other recreational areas which are offered with the circle. The circle offers various opportunities for accessibility in the area. It enhances Roskilde harborâ&#x20AC;&#x2122;s infrastructure, as the urban circular grip creates connections to the city and at the same time provides citizens and visitors of the museum with the opportunity to meet Roskilde fjord in a different way than before. As part of the circular form, the stream from the city and museum harbor are expanded to strengthen the museum experience and the relationship with Roskilde city 140

WHY THE CIRCLE?

Historically, the circle is a symbol of protection from danger.

Use the circle to create a flow around the new musums building.

Overview and new angles to discover.

Natural curved flow for humans. Improved infrastructure.

The circle creates a focus towards the museum area.

DESIGN BASIS & PROCES

ay r w a lk w C irc u la 300m

90m

Bri

Co m

tio

to ea

Connects to public path

B r id g e

Connects to public road

ed Extend habour

Brid

Connects to public road

Ill. 126

1:2000 141

DESIGN BASIS & PROCES

NEW MASTERPLAN COASTAL PROTECTION The circular stroke contains a new integrated and future coastal protection which protects against general seawater increases and storm surges. The new Viking Ship Museum is located 1.3 meters above the water and is flooded at 1.4 meters. By establishing a 1,5 meter high fixed coastal protection, which is curving in the landscape, the museum and museum island are secured. During storm surges, an automatic high-water wall will rise from the fixed coastal protection and shield from waves and debris crashing into the facade. The coastal protection works in the way, that in case Roskilde fjord rises 1 meter above sea level, the coastal protection system will automatically activate due to the increased water level. The principle and idea behind this solution can be seen on the illustration and requires no human interaction. The principle is used today in connection with underground parking systems to resist flooding. When the water level rises above 1 meter, the water will flood parts of the urban walkway. The water will fill the water collection grates, located in front of the 0,5 m height fixed protection wall. The water will be led down into a water tank, and the pressure from the water will force the fixed protection wall up. The protection wall will be up as long the water level is above 1 meter of the usual waters and will then gradually fall back to its original state as the water drops back until the fjord reaches its normal water level again. Here, a water drain from the coastal technical installation will drain the water tank and transfer the water back to the fjord. The storm Bodil was registered in December 2013, with the highest waves in Roskilde fjord measuring at 2,3 meters. For safety reasons, 25% is added to the height of the protection wall so that the maximum coastal protection will reach 2,9 meters and will in future be able to resist similar storm surges even with increased sea levels. The coastal technical system is used along the circleâ&#x20AC;&#x2122;s 300-meter long path towards the fjord. Along this route, visitors of the museum and citizens of Roskilde will have the opportunity to experience different meetings with the water on both sides of the circle. This requires the coastal technical system will be divided into smaller segments which function independently of each other.

142

DESIGN BASIS & PROCES

300m

90m

Ill. 127

1:2000 143

DESIGN BASIS & PROCES

NEW MASTERPLAN NEW RECREATIONAL FUNCTIONS The circular shape invites visitors and citizens to get a special experience around the museumsâ&#x20AC;&#x2122; area. Along the circular path, there are opportunities to observe the new museum from the fjord and allows new recreational installations to pop up. The curved path creates an interesting flow for the users compared to a straight path which easily can feel long and uninteresting (9)(11). Along the route, there are various sized plateaus with steps down to the water on both sides of the path. Large and small groups of people can meet and enjoy the surroundings and the view towards the fjord with their toes dipped in the water (8). East of the museum along the water, the citizens use the opportunity to get close to the water during the summer period. This need is considered in the new master plan in the form of recreational areas with contact to water (7). The area around the new museum has the same terms as on the museum island. The outdoor areas towards South will be dominantly characterized by hard surfaces with elements of untouched nature to enhance the Nordic and maritime atmosphere (6)(4). The inner harbor located south of the museum island is now being expanded south of the new museum. This creates more opportunities to exhibit the reconstructions in their natural environment and at the same time creates a better connection of the museum area (3). The extended harbor area will have a strict meeting to the new museum and a natural meeting towards the green area to the south (5). Along the green area, the meeting with the water is kept natural as a soft connection with the water. People can interact with the reconstructions of the Viking ships from the wooden piers hidden amongst grass reed (2). To create a better flow for guests and users of the museumsâ&#x20AC;&#x2122; area, a new bridge is located between the green area and the parking area to the south (1). From the bridge, the new museum can be observed and one can get an overview of the entire museum area.

144

DESIGN BASIS & PROCES

8 10

5 4

Ill. 128

1:2000 145

DESIGN BASIS & PROCES

NEW MASTERPLAN THE MEETING WITH THE WATER The Viking Ship Museum and the museum area have already different places of contact with the water in the current master plan, with a maritime atmosphere along the fjord. West of the museum area Roskilde’s yacht harbor with piers and jetties is located. The same solutions and tendencies are already being used in the current museum area. As part of the new master plan, investigations have been made of how the new museum and its surroundings meet the water in order to create a better overall experience of the entire museum area. The museum island today uses a modern maritime harbor front that forms an angular and rigorous meeting with the water (5). This meeting will be continued in the surroundings around the new museum to create a better connection between the museum’s island and the new museum.

Different used principles

Constructed

Natural

Stabilized

Along the coast, east of the site and around the parking area south of the museum island, the meeting with the water is defined by urban stone dikes, which together with pristine vegetation provide a contrast in relation to the meeting with the water (3).

Floating

The large circular element that protects and defines the museum area, is a circular walkway with integrated coastal protection that helps to make contact with the fjord in a whole new way. Herein lies the opportunity for various accommodation options along the route, including jetties and lookouts (1)

Solid

In connection with the various outdoor workshops and boatyards on the museum’s island, moles with wooden posts are constructed for the various reconstructions (4). This expression will be continued in the new part of the museum. Towards the south of the new museum, the harbor area has been expanded and through a natural intervention in the green area, new opportunities with contact to the water has been developed. In order to reinforce the narrative around the Viking ships, this meeting point is a naturally untouched element that stages the reconstructions in their proper environment (2).

146

DESIGN BASIS & PROCES

1 3

3 1

5 5

5 2 5

2 5 3

Ill. 129

1:2000 147

PRESENTATION

MASTERPLAN CONCEPT MAIN FEATURES An isometric overview of the museumâ&#x20AC;&#x2122;s area shows the important axis which runs through the area and is necessary to address in regards to the intentions of the project. The harbor area is expanded and ties together the museum area.

148

PRESENTATION

Ill. 129

149

PRESENTATION

NEW MASTERPLAN HARBOUR OVERVIEW

Ill. 130 150

PRESENTATION

151

PRESENTATION

300

NEW MASTERPLAN FUNCTION OVERVIEW

Bri dg e

16 9 8

Bridge

ath Public p

34 3

6 7

1 12

MASTERPLAN

FINAL MATERIAL

Ill. 131 Brid ge

152

PRESENTATION

32 33

90m

31 P

28 25

21 17 22 20

27 26

blic Pu

th pa

1 Visitor Center, Tickets, Information 2 Lodsen, learning and activities 3 Learning and activities office 4 Summer Café, Café Knarr 5 Meetings and conferences 6 Tunet, The meeting place for the vikings 7 Naustet, meeting point boat trips 8 Boat yard 9 Boat collection 10 Boat crafting (workshop) 11 Special exhibition for re-constructions 12 Restaurant Snekken 13 Sagafjord 14 Experimental area (outside) 15 Experimental area (Indside) 16 Auditorium 17 Permanent exhibition: The Journy18

Museums shop 19 Entrance to Museum 20 Museums foyer, information, tickets 21 The Viking Ship Hall - Skulderlev Ships 22 Café Skulderlev 23 Outdoor Café area 24 Entrance to The Sunken world 25 Special Exhibitions 26 Kitchen, Staff facilities 27 Museums adminstration 28 Staff Workshop area 29 Staff entrance 30 Goods delivery 31 Public Playground 32 Public walk path + coast protection 33 Stay opputunities 34 Slipway for viking ships 1:1000

153

PRESENTATION

THE VIKING SHIP MUSEUM VIEW OF THE SOUTH FACADE

Ill. 133 154

PRESENTATION

155

PRESENTATION

ELEVATIONS EAST, WEST & NORTH FACADE

ELEVATION EAST 1:400

156

ELEVATION NORTH 1:400

PRESENTATION

Ill. 132

ELEVATION WEST 1:400

157

PRESENTATION

MATERIALITY SURFACES & TACTILTY

ZINC CLADDING

TIMBER CLADDING

CONCRETE TILE

CONCRETE SCREED

WHITE RENDER

ASPHALT ROOFING

Ill. 134

158

ELEVATION SOUTH 1:400

Ill. 135

PRESENTATION

Ill. 136

159

PRESENTATION 160

Concrete - Existing structure

Concrete - Interior flooring

Larch - Facade cladding

Glulam - New structure

Polycarbonat - Interior windows

Zinc - Roof ends cladding

PRESENTATION

MATERIALITY SURFACES & TACTILTY â&#x20AC;&#x153;...Materials, color, rhythm and illumination are strongly atmospheric, probably because of their embodied, haptic and enveloping nature...â&#x20AC;? - Juhani Pallasmaa The New Viking Ship Museum is a modern cultural institution, where stories are told and experiences made through visual, auditive, graphic and tactile impressions. Besides the museum experience, there are technical, logistical and administrative challenges which define the machinery behind the museum. All these parameters have an influence on the material chosen materials. To ensure a sustainable future design, a combination of natural durable materials is chosen to secure and give the museum the best conditions to exhibit existing and new findings. The used materials in the new museum have a neutral expression which respects the surroundings in relation to the preserved construction and the entire museum area. The existing construction already uses in-situ cast concrete with prints from the wood boards formwork. The concrete gets a slightly varying and uneven texture that is noticed when you move along and one can feel the tactility. The floors are made in simple polished concrete that create a connection but also a contrast to the old construction. The meeting between the existing building and the continuation of a reinterpreted structural version expressed in glulam. The glulam expresses like the original construction the feeling of tactility and gives at the same time a good contrast to the hard solid concrete elements. Especially in the meeting between the Viking Ship Hall and the foyer area this contrast really comes to expression. Different translucent materials have been used to create transparency and lightness in the new museum. Aerogel glazing is one type and is used in connection with the skylights in the building and acts as a light diffuser. In the transition between the new and old building polycarbonate is used to create a semi-transparent view into the Viking ship hall and at the same time shields against possible sun rays. The museum exudes of modern trends in its facade solution. Here, vertical wooden lamellas in larch are used to create a Nordic relation. In the facade, the lamellas are terminated by a horizontal transparent strip of windows which has the flashings made by a matte zinc plate. With this solution, the exterior of the building refers to the remaining museum buildings and surroundings in its use of its materials.

Ill. 137 161

PRESENTATION

B-B

1 Entrance area 2 Foyer 3 Information & Tickets. 4 Stair to basement 5 Balkony, Mezzanin 6 Museums shop 7 Museum shop storage 8 Experimental area

9 Experimental area 10 Storage room 11 Tecnical piping room 1 12 Museum niche 13 Toilet facilities 14 Auditorium 15 Permanent exhibition: The Journy 16 Skulderlev 1 (The ocean trader)

17 18 19 20 21 22 23 24

Skulderlev 2 (The great longship) Skulderlev 3 (The coastal trader) Skulderlev 5 (The small longship) Skulderlev 6 (The fishing vessel) Entrance to The Sunken World Special exhibition 1 Special exhibition 2 CafĂŠ Skulderlev

18 10 A-A

16 5

10 11 10 9

4 6

7 2 10 1

PLAN FLOOR PLAN 1:400 B-B

162

32 Staircase 33 Freight elevator 34 Staff Office 35 Individual office 36 Print room 37 Workshop area 38 Metal room 39 Painting room

40 41 42 43 44

PRESENTATION

25 Outdoor CafÃ© area 26 Kitchen 27 Freezer 28 Cooler 29 Staff meeting room 29 Staff entrance 30 Tecnical piping room 3 31 Staff hallway

Workshop materials Staff facilities Tecnical piping room 4 Staff entrance Goods delivery

12 22

40 39

A-A

35 41

43 33

36 35

32 26

10 30 27 28

12 29

35 35 35 35

Ill. 138 163

PRESENTATION

B-B

A-A

PLAN BASEMENT 1:400 B-B

164

PRESENTATION

1 Entrance to The Sunken World 2 Denmarks Maritime History 3 Archaeological workshop. Work table 4 Archaeological workshop. Water trough 5 Open storage 6 Staff hallway 7 Tecnical room 4 8 Storage for finds 9 Staircase

10 Tecnical room 3 11 Laboratory wet 12 Laboratory dry 13 Cold storage room for finds 14 Wardrobe 15 Toilet facilities 16 Tecnical room 2 17 Tecnical room 1

2 1

A-A

2 6

Ill. 139 165

PRESENTATION

SECTIONS SECTION A-A & B-B

SECTION B-B 1:400

SECTION A-A 1:400 166

PRESENTATION

Ill. 140

167

PRESENTATION

ENTRANCE & FOYER VIEW FROM THE STAIR 168

Ill. 141

ROOF : IN-OUT

1. 500mm primary construction 2. 2×12.5mm drywall 3. 25mm plank 4. 100mm insulation 5. 440mm I-beams 6. Vapour barrier 7. 390mm insulation, 390mm I-beams 8. 20mm plywood 9. 2x asphalt roofing

EXTERIOR WALL: IN-OUT

1. 2×12,5mm drywall 2. 70mm insulation, 45×75mm timber battens 3. Vapour barrier 4. 245mm insulation, 100×245mm construction 5. 15mm wind barrier 6. 22×45mm horisontal timber battens 7. Timber cladding 3

PRESENTATION

1 1

GLAZING

3 layer glazing U-value: 0,86 G-value: 0,40 4

MAIN COLUMN

1. 600mm width 2. 100mm depth 5

1st CROSS BEAM 1. 1100mm width 2. 100mm depth

2nd CROSS BEAM 1. 1450mm width 2. 100mm depth

2nd CROSS BEAM 1. 500mm width 2. 75mm depth

Ill. 142

2 3 1

INSIDE

OUTSIDE

THERMAL ENVELOPE

MAIN COLUMN

1st CROSS BEAM

2nd CROSS BEAM 6

Ill. 143

2nd CROSS BEAM

169

PRESENTATION 170

ENTRANCE & FOYER VIEW FROM THE MEZZANINE

PRESENTATION

Ill. 144

171

PRESENTATION

THE VIKING SHIP HALL VIEW FROM THE MEZZANINE 172

PRESENTATION

Ill. 145

173

PRESENTATION

Diffuse sunlight

Roskilde Fjord

THE VIKING SHIP HALL PASSIVE STRATEGIES The existing construction in concrete re-stages the five Skulderlev ships and is greeted by a new glulam construction that draws the spatial qualities further and forms the room for the foyer and arrival area. From the arrival area, the construction principle continues further and forms a covered outdoor space which at the same time defines the entrance to the new museum. The overhang is a passive sunshade for the large windows in the foyer which faces towards South. This solution avoids overheating in the museum during the summer months. On the other hand, the sun in winter months will reach in and add free energy to the museum. The large glass section towards the south creates a relation to the buildingâ&#x20AC;&#x2122;s transparent north facade. The two glass facades creates a visual contact in the form of a line of sight

174

between the town and fjord. This can be experienced within the museum from the mezzanine level which, in addition to connecting the Viking Ship Hall and the foyer, creates an overview of the old Viking ships. The mezzanine is used as a link and softens the transition between the new and old. From the mezzanine, the old ships can be admired while diffuse daylight is reflected on surface of the concrete structure and illuminates the Viking ship hall. The skylight is diffuse as the Viking ships can not be exposed to direct sunlight. The large window openings in the Viking Ship Hall, together with the skylight and the narrows window along the top of the walls makes the solid concrete and roof construction to appear light and elegant. The Viking ship hall has been revitalized and is again staging an important element of Denmarkâ&#x20AC;&#x2122;s cultural heritage.

Diffuse sunlight

REL HUMIDITY- VIKING SHIP HALL Data source: BSIM Simulation

PRESENTATION

Summer 21.06 12.00

Equinox 21.03 / 21.09 12.00

80 70 60

Winter 21.12 12.00

50 40 30 20

Roskilde City

10 0 -10 -20 -30 10 %

20 %

30 %

40 %

50 %

60 %

70 %

80 %

90 %

100 %

Ill. 146

TOP TEMPERATURE FOYER & VIKING SHIP HALL Data source: BSIM Simulation 30

Temperature oC

5 0 10 %

20 %

30 %

40 %

50 %

60 %

70 %

80 %

90 %

100 %

Percent below % The Viking Ship Hall

Foyer & Entrance

Ill. 147 175

PRESENTATION

THE VIKING SHIP HALL VIEW TO THE MUSEUMS ISLAND 176

Ill. 148

PRESENTATION

Ill. 149

Supply

Exhaust 8 Top roof 7 Roof layer, Supply 6 Existing construction

MIXING VENTILATION The Viking Ship Hall has specific requirements for the room where the ships are displayed. The humidity level must be consistently between 50-60% with a temperature between 19-23Â° celcius. To maintain these requirements a mechanical ventilation system is installed to control this. Supply Air from the roof mixes the air. The contaminated air is exhausted under the ships, where the air can go through a layer of stone into the exhaust system.

5 Skulderlev boat 4 Sea stones 3 Perforated metal grid 2

Ground floor, Walking area

Fundation, Exhaust

177

PRESENTATION

The Viking Ship Hall Supply

Exhaust

THE VIKING SHIP HALL MECHANICAL VENTILATION The Viking Ship Hall must be seen as one large showcase that protects the precious old ships. The entrances to the hall are able to be closed to maintain the specific thermal requirements of the ships. In this connection, a semi-transparent polycarbonate is used between the new foyer and the main exhibition room. On the mezzanine the same principle has been used, however, the section is fully transparent due to the lines of sight between the city and fjord. In order to maintain the optimal conditions for the old Viking ships, a ventilation principle has been developed for the Viking Ship Hall and the foyer. Because of the construction, both rooms do not have the opportunity to get supply air from vertical surfaces due to the buildingâ&#x20AC;&#x2122;s layout and transparency.

178

There are two elevator cores located in the foyer that connects the basement and the mezzanine level. The elevator core is expanded so that piping for technical installations, including supply to the Viking ship hall and the foyer, can run from the ventilation room (2) in the basement and up into the roof. From here, the fresh air is distributed to the rooms which, through mixed ventilation, ensure a good indoor climate in both zones. All extraction is done in the floor level through an integrated solution in the Viking Ship Hall and foyer.

PRESENTATION

Covered outdoor area

Foyer Supply

Elevator shaft

Exhaust

Tec

Ill. 150

REL HUMIDITY- VIKING SHIP HALL Data source: BSIM Simulation 80 70 60

Temperature oC

50 40 30 20 10 0 -10 -20 -30 10 %

20 %

30 %

40 %

50 %

60 %

70 %

80 %

90 %

100 %

Percent below % The Viking Ship Hall

Humidifier

Heating Coil

Cooling Coil

Ill. 151 179

PRESENTATION

THE VIKING SHIP HALL VIEW INSIDE THE VIKING SHIP HALL 180

PRESENTATION

Ill. 152

181

Ill. 153

182 PRESENTATION

PRESENTATION

EXHIBITION 1 VIEW INSIDE THE JOURNEY 183

PRESENTATION

v = 0,25

m/s

v > 0,25 m/s

Occupied zone

2,0 m

Ill. 154

EXHIBITION 1 INTEGRATION OF TECHNICAL SOLUTIONS The Viking Ship Museumâ&#x20AC;&#x2122;s new exhibition spaces utilizes several technical integrated solutions which are also used in the administration area, workshop area, auditorium and the experimental area. Common for these rooms is that they use the same structural principle as the existing structure but as a reinterpretation. The wooden construction continues the feel of a light space space with a narrow window along the top of the wall and diffuse skylights that illuminate the space from all corners and creates a well balanced light. There are several new exhibition rooms in the new museum. These rooms contain both permanent and temporary exhibitions which require flexibility. The positioning of the permanent columns and the dimensions of the room leads to different exhibition layouts 184

and gives the museum many opportunities to communicate current and future stories. To maintain a good indoor climate in these spaces the ventilation system is integrated as a continuous element along the walls. The supply air and the extraction are located so that mixed ventilation can be utilized in the rooms. The pipes are hidden in the suspended ceilings in the hallways. The ventilation element consists of discrete perforated panels which breaks the space, like the windows on the top of the walls, and break the verticality of the walls in the exhibition. This brings back the room to a human scale and at the same time hides the technical installations. Along the ventilation an installation rail can be used for hanging exhibitions as well as artificial lighting.

ROOF : IN-OUT

1. 300mm primary construction 2. 2×12.5mm drywall 3. 25mm plank 4. 100mm insulation 5. 550mm I-beams 6. Vapour barrier 7. 390mm insulation, 390mm I-beams 8. 20mm plywood 9. 2x asphalt roofing 3

EXTERIOR WALL: IN-OUT

1. 2×12,5mm drywall 2. 70mm insulation, 45×75mm timber battens 3. Vapour barrier 4. 245mm insulation, 100×245mm construction 5. 45mm insualation, 45×45mm timber battens 6. 15mm wind barrier 7. 22×45mm horisontal timber battens 8. Timber cladding

2 ROOF : IN-OUT 1. 300mm primary construction 2. 2×12.5mm drywall 3. 45mm insulation, 45×45mm timber battens 4. Vapour barrier 5. 390mm insulation, 390mm I-beams 6. 20mm plywood 7. 2x Asphalt roofing

4 INTERIOR WALL: IN-OUT 1. 2×12,5mm drywall 2. 70mm insulation, 45×75mm timber battens 3. 245mm insulation, 100×245mm construction 4. 2×12,5mm drywall

Ill. 155

MAIN COLUMN

1st CROSS BEAM

2nd CROSS BEAM

1. 500mm width 2. 100mm depth

PRESENTATION

1. 400mm width 2. 75mm depth 8

2nd CROSS BEAM 1. 300mm width 2. 50mm depth

GROUND DECK: UP-DOWN

1. 50mm screed 2. 3mm step absorbing layer 3. 120mm concrete 4. Vapour barrier 5. 75mm XPS insulation 6. 300mm drainage 7. 500mm concrete 8. 350mm XPS insulation 9. Sand 10. Earth

EXHIBITION ROOM

HALLWAY

185

PRESENTATION

EXHIBITION 2 & 3 FLEXIBLE EXHIBITION FOR ARCHAEOLOGICAL FINDS ALTERNATIVE PLAN SOLUTIONS

186

PRESENTATION

Ill. 156

Ill. 157

187

PRESENTATION

Ill. 158

EXTERIOR WALL: IN-OUT

BASEMENT WALL: IN-OUT

1. 60mm concrete 2. 120mm XPS insulation 3. 210mm concrete 4. Vapour barrier 5. 120mm XPS insulation 6. 2×12,5mm drywall

188

FLOOR DECK : UP-DOWN

GROUND DECK: UP-DOWN

1. 50mm screed 2 3mm step absorbing layer 3. 200mm concrete 4. Hanging ceiling 5 2×12.5mm drywall

1. 50mm screed 2. 3mm step absorbing layer 3. 120mm concrete 4. Vapour barrier 5. 75mm XPS insulation 6. 300mm drainage 7. 500mm concrete 8. 350mm XPS insulation 9. Sand 10. Earth

PRESENTATION

THE SUNKEN WORLD Ill. 159

A JOURNEY THROUGH ARCHAEOLOGICAL FINDS 189

PRESENTATION

v = 0,25 0

0,2

m/s

v > 0,25 m/s

v = 0,25

Occupied zone

0,2

m/s

v > 0,25 m/s

2,0 m

Occupied zone

2,0 m

Ill. 160

Funiture storage

HC Toilet

Toilet

Hallway & Lounge

Auditorium

Toilet

Entrance to Auditorium

HC Toilet

Toilet

Special Exhibition 1

The Viking Ship Hall

Hallway

Toilet

Furniture storage

Section C-C

Tool storage

TEC 1 Elevator

Material storage

The Experimental area

Museums shop storage

Museums Shop

Entrance & Foyer

Furniture storage

VENTILATION STRATEGY CONCEPTUAL VENTILATION PRINCIPLES

For the new Viking Ship Museum, an integration of a conceptual ventilation principle for the entire complex has been developed. To ensure a satisfying indoor climate in the building, air volumes have been calculated for all rooms in the building based on the experienced air quality. In addition, the supply fittings have been conceptually dimensioned considering the throw lengths and the necessary air volume for each room, by reading the data sheets from the manufacturer Tronx. These calculations and conceptual considerations are to ensure that the structural elements are not disturbed by visual piping.

v = 0,25 m/s

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Occupied zone

190

2,0 m

The plan shows the concept of piping for the entire buildingâ&#x20AC;&#x2122;s ground floor and for the basement plan on the next page. The blue hatch indicate where the piping runs horizontally, and the red hatch indicate the where the piping runs vertically to the technical rooms in the basement. The red lines indicate exhaust and the blue lines indicate supply air.

0,2

The ventilation type for the entire building is mixing ventilation where air velocities, air temperature, and humidity are equally distributed and in principle, the air quality will be uniform in the entire room. In the

TEC 2

PRESENTATION

v = 0,25 m/s

v > 0,25 m/s

0,2

v = 0,25 m/s

v > 0,25 m/s

0,2

Occupied zone

TEC 4

2,0 m

Occupied zone

2,0 m

Section C-C

Storage workshop Storage

Changing room

Workshop area Toilet & Bath

Tool storage

Toilet & Bath Material storage

Workspace behind exhibition

Special Exhibition 2 & 3

Metal

Toilet & Bath

Painting

Office

Toilet & Bath

Elevator Office

Changing room

4 m²

TEC 4

4 Office

Entrance & Goods delivery 63 m² Courtyard Print & Archieve Goods elevator

Office Hallway & Lounge

Staircase & hallway

Toilets

Storage kitchen Museums Café

Café Kitchen

Hallway & Lounge

Elevator

Office

Open Office

TEC 3 3

Office

Meeting room

Freezer

Office

Cold room Meeting room Office

Workshop room

Ground floor

case of mixed ventilation, the fresh air is blown in from the wall or ceiling, respectively, with an air velocity that decreases as it mixes with the air in the room. In order to avoid draft, the calculated throw length must ensure that the air velocity of the dimensioned luminaires does not become too high towards the occupied zone. The occupied zone is where people stay and are therefore important to the atmosphere and the experience of the room (Pomianowski, M. 2014).

1:400

The section shows where and how the supply and exhaust luminaires are located. In the Auditorium, Special Exhibition Rooms, The Experimental Environment, Café, Kitchen, Office, and Workshops it is intended to supply and extract air in the wall. Where in the remaining areas it is intended to supply air and extract air from the ceiling. For further information regarding calculation, please refer to Appendix (B). Larger plans can be found in the drawing folder v = 0,25 m/s

v > 0,25 m/s

0,2

Occupied zone

2,0 m

191

PRESENTATION

v = 0,25 m/s

v > 0,25 m/s

0,2

Occupied zone

2,0 m

TEC 2

Ill. 161

Hallway

Elevator

TEC 2

TEC 1 2

Section D-D Toilets

Toilets

Wardrobe

VENTILATION AIR VOLUMES - GROUND FLOOR

TEC

21208 m3/h

Museum Shop Museum Shop

TEC

Foyer / Entrance

25645 m3/h 8095 m3/h

2303 m3/h

TEC

Museums Café

13722 m3/h 6092 m3/h

TEC

Exhibtion 2 &3

29116 m3/h 6334 m3/h

storage The Viking Ship Hall

12443 m3/h

Café Kitchen

Experimental Area

Kitchen storage

Tool storage

Material storage

3875 m3/h

Workshop Room

Furniture storage

TEC Room

TEC Room Toilets

Auditorium Furniture storage Exhibition 1

7470 m3/h

3875 m3/h

Hallways

934 m3/h

- Workshop Area - Tool storage - Material storage

730 m3/h

- Workshop offices 1219 m3/h

- Hallways - Toilets

Hallways

192

2613 m3/h

1785 m3/h

- TEC Room - Office Area - Meeting rooms

Entrance & Toilets

2660 m3/h

- Workshop storage

- Single offices

5270 m3/h

PRESENTATION

v = 0,25 m/s

v > 0,25 m/s

0,2

Occupied zone

2,0 m

Section D-D

Denmark Maritime Exhibition

Entrance to The Sunken World

TEC 4 Denmark Maritime Exhibition

Workshop storage

Obejct handling & Water bassin

Hallway

Open Magasin

Courtyard

Denmark Maritime Exhibition

Goods elevator

Labarotory dry

Labarotory wet

Exit from The Sunken World Staircase

Exhibition storage

Elevator

Exhibition storage

Equipment & Articles

3 Toilets

Toilets

TEC 3

Labarotory storage

Cold Labarotory Storage Wardrobe

Basement

1:400

VENTILATION AIR VOLUMES - BASEMENT

TEC

21208 m3/h

Wardrobe & Hallways

1075 m3/h

TEC 2 Toilets

TEC

25645 m3/h

TEC 2 Wardrobe & Hallways

TEC

TEC 3 5107 m3/h

Exhibition storage

13722 m3/h

880 m3/h

TEC

TEC 4 Workshop storage

29116 m3/h

2300 m3/h

Toilets Labarotory dry Labarotory wet

DKâ&#x20AC;&#x2122;s Maritime 2166 m3/h

Exhibtion

3762 m3/h

Labarotory storage Obejct handling Exhibition area Open Magasin

3837 m3/h

3168 m3/h

193

PRESENTATION

THE VIKING SHIP MUSEUM VIEW FROM THE CIRCLE 194

PRESENTATION

Ill. 162

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EPILOGUE

CONCLUSION This project deals with the design of a New Viking Ship Museum in Roskilde. In relation to this various site analysis was made, in order to gain an understanding of the museum’s area and the surrounding context, local climate and historical background. The existing museum is located towards the fjord, in one of Denmark’s oldest towns, Roskilde. The town exudes history from the old buildings and the famous Roskilde Cathedral. The existing museum also stores Danish cultural history, the five Skulderlevs ships, that have been guarded and protected by the existing museum building since 1969. Due to many years of exposure with the fjord, the existing building has incurred a great amount of damage which is why a new museum is required. The museum has throughout many years struggled with the Ministry of Culture regarding the deprotection of the building so the ships could be secured in the future. This finally happened in the summer of 2018. Analysis was made to understand the existing building’s qualities, possible preservations, and thoughts of the architect. In this connection, contact was established with the staff of the Viking Ship Museum to gain an understanding of their specific needs. The museum has for many years been wanting an expansion and now that the building has been de-protected this will become a reality. The collaboration with the staff made it possible to try out their thoughts and ideas to what needs they might have in the future. An interview in February gave answers to many of the issues and questions which emerged in connection with developing the new museum. The vision for the new Viking ship museum was to create a museum with an international character including a wide range of facilities to ensure future development for communication, flexibility, and conservation. The new Viking Ship Museum should be visible and create a better connection to the surrounding museum area creating a better flow with the context. It should express openness towards the fjord and the city meanwhile having a humble and respectful relation towards both sides. The proposed construction design erupts from the existing construction that the Viking Ship Hall has today. Technical condition reports have shown that the inner construction elements are not in the same bad condition as the external structural parts and thermal envelope. Due to the analysis of preservational values and architectural qualities, selected elements of the

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internal construction was preserved. The choice of keeping elements of the inner construction gave the design process a specific turn and turned the project into a transformation project. New museum functions are distributed around the preserved structure on the basis of a space program with wishes and needs of the museum. The existing construction in the Viking Ship Hall became a focal point and led to a structural grid with the idea of continuing the structural principle into the new functions. Studies of this transformation and the meeting between the existing hall and the new features were investigated to enhance the architectural qualities and preservation values. Through these studies, various constructive principles were tested and an optimization of the new interpreted structural principle was made using digital and analog models. The new museum contains many different functions with many different needs. In the detailing phase of the new functions, various daylight studies, ventilation strategies, spatiality and atmosphere have been investigated. One of the museum’s new areas of responsibility, marine archeology, has had a great influence on the design of the new museum. The transition of not only exhibiting the old ships but also a new area of responsibility has been worked out in relation to the atmosphere intended. Roskilde fjord has through the project been an important element that has been used actively in the design of the new museum. Solutions on how the museum should respect the fjord and the forces of nature which previously caused the problems was integrated. In order to secure the new museum in the future a master plan containing the new museum, the museum island and the outdoor areas surrounding the museum is proposed. In order to avoid flooding from rising water levels and storm surges in the future, permanent coastal protection is integrated which ensures the museum against damage from the fjord. This coastal protection also adds urban qualities to the museum area and Roskilde city. A circular urban installation connects the city and the museum’s various functions together with a better flow. New recreational areas around the museum buildings and along the fjord provide new opportunities and qualities for visitors and residents of the city.

EPILOGUE

REFLECTION Reflecting on an ongoing project is often problematic due to the lack of perspective. But If we take a look back on the vision to see if it has been fulfilled, reflections can be made. This project solves the demands and criteria developed through the project and still have a lot of significant parameters that could influence the design. By achieving some solutions leads to compromises in other solutions. This demands us to know which values and parameters are the most important, through various analysis and investigations. At the beginning the main focus was a holistic sustainable approach where the focus was to implement a holistic way of designing sustainable. Due to analysis of the existing building many qualities and preservational values was found, which led to a change in the main focus to become a transformation project. This change in focus led to a turning point as the main design criteria was found in the preservational values of the existing structure. This turning point have let to certain limitations as the positioning of the main exhibition hall was fixed. Making the project has been highly motivated due to the actuality of the project with a relation to a client. This has also had some major influences in designing the layout as their needs and wishes should be fulfilled as the main users of the building. Having a client have been a controlling factor in the development of the museum. The economical aspect has not been a deciding factor but could have had a great influence as the project is as relevant as it is. The sustainable approach became a way of implementing as many sustainable solutions in relation to the preservation of the existing structural system. These main points was a coastal protection, improved thermal envelope, integrated technical requirements for exhibition rooms, equal accessibility, new urban recreational areas to improve the area and its relation to the city and re-use of the existing structural system. The continuing of the existing structural system became a main design criteria and was implemented in the entire complex. This led to a reinterpretation of the system which could have been translated in many different ways. The interpretation of the structural system has many similarities to the existing, but might not have been the most efficient solution to implement in all of the functions. But by continuing the structural system it becomes a complete element in the complex

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EPILOGUE

REFERENCES LITTERATURE & WEBSITES Burgess Øyehaug, T. (n.d.). More or Less: Architectural Theory from Modern to Contemporary. Tale Catherine Burgess Øyehaug Prof. Joseph Forte. Byggeriet 2035 - En Foresight Analyse. (2018). 1st ed. [ebook] Rambøll Management Consulting A/S for Foreningen af Rådgivende Ingeniører, FRI. Available at: http://www.frinet.dk/media/1064834/fri_rapport_byggeriet_2035_web.pdf [Accessed 13 Feb. 2019]. Ching, F. (2007). Architecture: Form, Space, & Order, 3rd Edition Set. 3rd ed. John Wiley & Sons, p.264. Cosgrove, D. (1999). Mappings. London: Reaktion books, pp.231-252. Cullen, G. (2012). Concise Townscape. Hoboken: Taylor and Francis. Dac.dk. (2017). [online] Available at: https://dac.dk/wp-content/uploads/2017/10/Brundtland-rapporten.pdf [Accessed 13 Feb. 2019]. Damgård-Sørensen, T. and Kunckel, A. (2015). Vision og helhedsplan - Mennesket, skibet og havet. [ebook] Vikingeskibsmuseet i Roskilde. Available at: https://roskilde.dk/sites/default/files/fics/DAG/2453/Bilag/vikingeskibsmuseet_-_vision_og_helhedsplan_01-2015.pdf [Accessed 28 Feb. 2019]. Denstoredanske.dk. (2019). Roskilde | Gyldendal - Den Store Danske. [online] Available at: http://denstoredanske.dk/Danmarks_geografi_og_ historie/Danmarks_geografi/K%C3%B8benhavn/Roskilde [Accessed 12 Feb. 2019]. Dgnb-system.de. (2019). DGNB System - Sustainable building and urban development. [online] Available at: https://www.dgnb-system.de/en/ system/dgnb-sustainability_concept/ [Accessed 24 Feb. 2019]. Dmi.dk. (2019). DMI: Vejrarkiv. [online] Available at: https://dmi.dk/vejrarkiv/ [Accessed 18 Feb. 2019]. Dmi.dk. (2019). [online] Available at: https://www.dmi.dk/fileadmin/user_upload/Rapporter/TR/1999/tr99-13.pdf [Accessed 18 Feb. 2019]. En.klimatilpasning.dk. (2019). Denmark’s future climate. [online] Available at: https://en.klimatilpasning.dk/knowledge/climate/denmarksfutureclimate/ [Accessed 27 Feb. 2019]. EVS Translations Blog. (2019). The Role of Architecture in Preserving Cultural Identity - EVS Translations. [online] Available at: https://www. evs-translations.com/blog/architecture-cultural-identity/ [Accessed 20 Feb. 2019]. Fastholdelse af fredningen af Vikingeskibshallen. (2017). [ebook] Slots- og Kulturstyrelsen. Available at: https://slks.dk/fileadmin/user_upload/0_SLKS/Dokumenter/Bygningsfredning/WEB_Afgoerelse_Vikingeskibshallen_Roskilde.pdf [Accessed 17 Mar. 2019]. Fehn, S. (1985). THREE MUSEUMS. Architectural Association School of Architecture, p.10. Flow Defence. (2019). Flood Barrier - Flow Defence Australia: Hidden and Self Activating. [online] Available at: https://flowdefence.com.au/ [Accessed 19 Apr. 2019]. FNs verdensmål og DGNB. (2019). Green Building Council Denmark. [online] Available at: http://www.dk-gbc.dk/publikationer/fns-verdensmaal-og-dgnb/ Gaisma. (2019). Roskilde, Denmark - Sunrise, sunset, dawn and dusk times for the whole year. [online] Available at: https://www.gaisma.com/ en/location/roskilde.html [Accessed 18 Feb. 2019]. Guide til DGNB for bygninger. (2019). Green Building Council Denmark. [online] Available at: http://www.dk-gbc.dk/publikationer/guide-tildgnb-for-bygninger/ Harlang, C., Mortensen, L., Jørgensen, M., Andersen, N., Vadstrup, S. and Kampmann, T. (2015). Om Bygningskulturens transformation. 1st ed. Realdanía, GEKKO, p.28, 38, 42, 68. Hawkes D., McDonald J. and Steemers K. 2002, The Selective Environment – An approach to environmentally responsive architecture, Spon press, London, U.K. Jacobsen, T., Nielsen, C. and Thomsen, M. (2016). Vikingeskibsmuseet, Roskilde Havn - Vurdering af levetiden for udsatte konstruktioner. [ebook] Teknologisk Institut. Available at: https://www.vikingeskibsmuseet.dk/frontend/Dokumenter/Vurdering_af_levetiden_for_udsatte_konstruktioner-Teknologisk_Institut_rapport_31.5.2016.pdf [Accessed 22 Nov. 2018]. Johnsen, J. (2016). Risikovurdering af Skuldelevskibenes fremtid i forskellige scenarier. Nationalmuseet. Juhani Pallasmaa, Space, Place And Atmosphere (2014) pp. 241-42 Klimatilpasning.dk. (2019). Se Havvand på land. [online] Available at: https://www.klimatilpasning.dk/vaerktoejer/havvandpaaland/havvandpaa-land [Accessed 18 Feb. 2019]. Knudstrup, M-A 2004, Integrated Design Process in Problem-Based Learning: Integrated Design Process in PBL. i Kolmos, Anette : Fink, Flemming K. : Krogh, Lone (eds.) (red.), The Aalborg PBL Model : Progress, Diversity and Challenges. Aalborg Universitetsforlag, Aalborg, s. 221-234. Lcabyg.dk. (2019). LCAbyg. [online] Available at: https://www.lcabyg.dk/ [Accessed 14 Feb. 2019].

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Lund, N. (2011). Roskilde - historie | Gyldendal - Den Store Danske. [online] Denstoredanske.dk. Available at: http://denstoredanske.dk/Danmarks_geografi_og_historie/Danmarks_geografi/K%C3%B8benhavn/Roskilde/Roskilde_(Historie) [Accessed 12 Feb. 2019]. Lynch, K. (1960). The image of the city. Cambridge: The MIT Press. Mackenzie, A. (2014). Rem Koolhaas: National identity in architecture. [online] ArchitectureAU. Available at: https://architectureau.com/articles/national-identity-in-architecture-an-interview-with-rem-koolhaas/ [Accessed 22 Feb. 2019]. Niras, N. (2018). Tilstandsvurdering af Vikingeskibsmuseets vikingeskibshal - rapport. [ebook] Kulturministeriet. Available at: https://www. vikingeskibsmuseet.dk/frontend/Dokumenter/NIRAS_06.2018_Tilstandsvurdering_af_Vikingeskibsmuseets_vikingeskibshal.pdf [Accessed 23 Nov. 2018]. Norberg-Schulz, C. (1980). Genius loci. London: Academy. Oxford Dictionaries | English. (2019). identity | Definition of identity in English by Oxford Dictionaries. [online] Available at: https://en.oxforddictionaries.com/definition/identity [Accessed 21 Feb. 2019]. Pomianowski,M. (2014,28,02). Ventialtions teknik, Kursusgang 2, [Slides] Aalborg Universitet. Retrieved form https://www.moodle.aau.dk/mod/ folder/view.php?id=549780 Salman, M. (2019). Sustainability and Vernacular Architecture: Rethinking What Identity Is. [ebook] Available at: https://www.intechopen.com/ online-first/sustainability-and-vernacular-architecture-rethinking-what-identity-is [Accessed 21 Feb. 2019] Sheffield, C. (1997). Nightlands: Nordic Building. Christian Norberg-Schulz , Thomas McQuillan. Studies in the Decorative Arts, 5(1), pp.151-155. Spejlborg, M. (2012). Knud den Store, ca. 995-1035. [online] Danmarkshistorien.dk. Available at: http://danmarkshistorien.dk/leksikon-ogkilder/vis/materiale/knud-den-store-ca-995-1035/ [Accessed 13 Feb. 2019]. 1, Sørensen, N., Haug, P., Garnert, J., Fjeld, P. and Pallasmaa, J. (2011). Nordic light. [Stenløse]: Dansk Center for Lys, pp.15-19. 2, Sørensen, N., Haug, P., Garnert, J., Fjeld, P. and Pallasmaa, J. (2011). Nordic light. [Stenløse]: Dansk Center for Lys, pp.24-26. 3, Sørensen, N., Haug, P., Garnert, J., Fjeld, P. and Pallasmaa, J. (2011). Nordic light. [Stenløse]: Dansk Center for Lys, pp.23-33. Tanizaki, J. (1977). In Praise of Shadows. Un.org. (2019). Climate Change. [online] Available at: http://www.un.org/en/sections/issues-depth/climate-change/index.html [Accessed 27 Feb. 2019]. Verdensmålene - for bæredygtig udvikling. (2016). Verdensmålene. [online] Available at: https://www.verdensmaalene.dk/fakta/verdensmaalene [Accessed 14 Feb. 2019]. Vikingeskibsmuseet Roskilde. (2019). Affredning af Vikingeskibshallen. [online] Available at: https://www.vikingeskibsmuseet.dk/om-museet/ nyt-vikingeskibsmuseum/baggrund/vikingeskibshallen/affredning-af-vikingeskibshallen/?fbclid=IwAR1RuRwzSIAFj1nP4W8CWP_1xvSxqoTcLgW-OR6q_CUNcBB0_VSZ0eUGip8 [Accessed 20 Feb. 2019]. Vikingeskibsmuseet Roskilde 2. Viden om vikingetiden. [online] Available at: https://www.vikingeskibsmuseet.dk/fagligt/e-laering/viden-om-vikingetiden/ [Accessed 30 Jan. 2019]. Vikingeskibsmuseet Roskilde 3. (2019). Vikingeskibsmuseets skaber, arkitekten Erik Christian Sørensen, er død, 88 år.. [online] Available at: https://www.vikingeskibsmuseet.dk/nyheder/article/vikingeskibsmuseets-skaber-arkitekten-erik-christian-soerensen-er-doed-88-aar/ [Accessed 5 Feb. 2019]. Vikingeskibsmuseet Roskilde 4. (2019). Årsberetninger. [online] Available at: https://www.vikingeskibsmuseet.dk/om-museet/aarsberetninger/ [Accessed 28 Feb. 2019]. Weichel, L. (2018). Vikingeskibshallen. [online] Vikingeskibsmuseet Roskilde. Available at: https://www.vikingeskibsmuseet.dk/om-museet/vikingeskibshallen/ [Accessed 23 Nov. 2018]. Zumthor, P. (2006). Atmospheres.

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ILLUSTRATIONSLIST PHOTOGRAPHIES, DIAGRAMS, RENDERS ETC. Ill. 1 Photography of Skulderlev 1,2 & 6. Ill. 2 Summerday at Roskilde fjord, L.A Ring

www.almanak.dk

Ill. 3 IDP ill. 4-9 DGNB ikoner FN goals

www.verdensmaalene.dk

Ill. 10 Air photography webkort.roskilde.dk/ Ill. 11 Air photography (1:10000)

Kortforsyningen.dk

Ill. 12 Air photography (1:5000)

Kortforsyningen.dk

Ill. 17 Own production / Roads, paths, parking & bus stop

Kortforsyningen.dk

Ill. 18 Own production / Recreational areas & attractions

Kortforsyningen.dk

Ill. 13 Own production / Lakes & sea Ill. 14 Own production / Harbor Ill. 15 Own production / Connectivity Ill. 16 Own production / Building & typologies

Ill. 19 Own production / Image of the city Ill. 20 Photography / Roskilde fjord, Jakob Frost Dahl Ill. 21 Photography / Arriving, Jakob Frost Dahl Ill. 22 Photography / The Viking museum & context, Jakob Frost Dahl Ill. 23 Photography / The Viking museum, Jakob Frost Dahl Ill. 24 Own production / Serial vision

Ill. 25-28 Photography / Serial vision, Jakob Frost Dahl

Kortforsyningen.dk

Ill. 29 Own production / Surrounding context Ill. 30-34 Own production / Cross sections Ill. 35 Own production / Sun condition -

Dmi.dk

Ill. 36 Own production / Sun condition Ill. 37 Own production / Sun condition Ill. 38 Own production / Wind condition

Dmi.dk

Ill. 39 Own production / Temperature

Dmi.dk

Ill. 40 Own production / Precipitation

Dmi.dk

Ill. 42 Own production / Carbon dioxide

https://climate.nasa.gov/

Ill. 43 Own production / Temperature

https://climate.nasa.gov/

Ill. 41 Photography / Roskilde fjord, Jakob Frost Dahl

Ill. 44 Own production / Sea level

Ill. 45 Photography / Roskilde viking ship museum

Ill. 46 Own production / Sea level

Ill. 47 Own production / Sea level

Ill. 48 Own production / Current masterplan

Kortforsyningen.dk Vikingeskibsmuseet.dk

Ill. 49 Photography / Roskilde Viking ship museum

Ill. 50 Drawing / Hand sketch of the Viking ship hall

Ill. 51 Own production / Historical timeline

Ill. 52 Photography / Excavation of the skulderlev findings

Vikingeskibsmuseet.dk

Kortforsyningen.dk Vikingeskibsmuseet.dk kunstbib.dk

Vikingeskibsmuseet.dk Vikingeskibsmuseet.dk

Ill. 53 Photography / Roskilde viking ship museum Ill. 54 Photography / Viking ship hall, Jakob Frost Dahl Ill. 55 Photography / Viking ship hall, Jakob Frost Dahl Ill. 56 Own production / Hand sketches Ill. 57 Photography / Viking ship hall, Jakob Frost Dahl Ill. 58 Own production / Number of visitors

www.vikingeskibsmuseet.dk

Ill. 59 Own production / Number of visitors pr. month

www.vikingeskibsmuseet.dk

Ill. 60 Own production / Types of visitors

www.vikingeskibsmuseet.dk

Ill. 61 Own production / Visitors nationality

www.vikingeskibsmuseet.dk

Ill. 62 Photography / The users of the viking ship museum

www.vikingeskibsmuseet.dk

Ill. 63 Own production / Hand sketches Ill. 64 Photography / The machinery behind viking ship museum

www.vikingeskibsmuseet.dk

Ill. 65 Own production / Hand sketches Ill. 66 Photography / Skulderlev 3 www.vikingeskibsmuseet.dk Ill. 67-70 Own production / Hand sketches

Kortforsyningen.dk

Ill. 71 Photography / Roskilde viking ship museum, Jakob frost dahl Ill. 72 Picture / Identity www.archdaily.com Ill. 73 Picture / Perception of architecture

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Ill. 74 Picture / Modern nordic architecture

www.vadehavscentret.dk

Ill. 75 Own production / Hand sketches Ill. 76 Picture / The viking ship museum

erik.dk

Ill. 77 Picture / Museum for søfart miesarch.com Ill. 78 Picture / Moesgaard moesgaardmuseum.dk Ill. 79 Own production / Hand sketches Ill. 80 Picture / Ningbo museum www.archdaily.com Ill. 81 Picture / Moesgaard www.moesgaardmuseum.dk Ill. 82 Picture / Ragnarok museum www.archdaily.com Ill. 83-86 Own production / Flow illustrations Ill 87 Picture / Det jødiske museum

libeskind.com

Ill 88 Picture / Jewish museum Berlin libeskind.com Ill 89 Picture / Therme vals flickr.com Ill.90 Photography / Viking ship muesem, Jakob frost dahl Ill.91 Own production / Hand sketches Ill. 92 Own production / Hand sketches Ill. 93-125 Own production / Diagrams Ill. 126 Own production / Hand sketches Ill. 127 Own production / Hand sketches Ill. 128 Own production / Hand sketches / Pictures

pinterest.dk

Ill. 129 Own production / Diagram Ill. 130 Render /Photography webkort.roskilde.dk Ill. 131 Own production / Master plan Ill. 132 Own production / Elevations Ill. 133 Own production / Render Ill. 134 Own production / Technical section Ill. 135 Own production / Elevation Ill. 136 Own production / Render Ill. 137 Pictures Textures.com Ill. 138 Own production / Floor plan Ill. 139 Own production / Basement Ill. 140 Own production / Sections Ill. 141 Own production / Render Ill. 142 Own production / Technical section Ill. 143 Own production / Technical iso Ill. 144 Own production / Render Ill. 145 Own production / Render Ill. 146 Own production / Section Ill. 147 Own production / Bsim graph Ill. 148 Own production / Render Ill. 149 Own production / Exploded iso Ill. 150 Own production / Section Ill. 151 Own production / Bsim graph Ill. 152 Own production / Render Ill. 153 Own production / Render Ill. 154 Own production / Section Ill. 155 Own production / Technical section Ill. 156 Own production / Render Ill. 157 Own production / Diagrams Ill. 158 Own production / Technical section Ill. 159 Own production / Render Ill. 160 Own production / Ventilation plan Ill. 161 Own production / Ventilation basement plan Ill. 162 Own production / Render

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