AAA Afgang (Masters) Thesis

Old building Existing materials New forms An Investigation into Transformative Reuse

Liam Marosy-Weide Afgang - June 2017

ABSTRACT

This thesis is an investigation into the transformation of obsolete architecture. It looks to identify and renew the potential value of obsolete buildings.

The process will enact a holistic approach, identifying and evaluating the phenomenological, spatial and tectonic potentials of the obsolete as a foundation for an architectural intervention to renew the buildings significance in a sustainable manner.

CONTENTS

Problem

4

Hypothesis

5

Proposal

7

Stage 1 : The broader picture

8

Stage 2 : Collection and Investigation

20

Stage 3 : Programme

38

Stage 4 : Removal

46

Stage 5 : Intervention Foundations

54

Stage 6 : Design Development

71

References and Appendix

83

PROBLEM

The construction industry is responsible for approximately 40% of the total amount of waste materials generated 1. A contributing factor to this figure is the demolition of existing buildings to be replaced by new constructions which are more valuable to its cultural context.

In the present day these buildings which although still functional are valued as insignificant and demolished, raising the question what do we do when “an obsolete building is in place but out of time�?(Jacobs 2014, 103).

1

Scheer, 2002; see also: World Energy Council, 2004; Toepfer, 2007; IPCC, 2007, 2008

4

HYPOTHESIS

Is it possible to reuse a buildings materials in situ to reconcile cultural and environmental demands with the potential of the obsolete to form a functioning and sustainable new whole. “...retaining an existing buildings is far more efficient than demolishing and recycling its components because the energy already expended to build it will not be squandered�. (Bloszies 2012, 36) By approaching the transformation through holistic reuse, we can reduce the environmental impact of virgin resources in the construction industry.

We can renew its significance by engaging the building in a new time with a new function which reconciles the potentials of the existing and thus subverting its demolition and subsequent waste creation.

5

COMMERCIAL PROPOSAL Workplace Establishment and maintenance of workplace.

Kingo Karlsen Demolition proposal for the deconstruction of buildings as an alternative to demolition.

Source : Building a Circular Future, GXN.

Environmental decontamination Removing of decontaminants, if any.

Emptying Emptying and stripping all elements except the shell.

Dismantling Dismantling of reusable building elements.

Relocation Relocation of elements at new building or storage.

Recycling Crushing and recycling of materials to new elements.

Removal Removal of construction waste.

Re establishment Reestablishing the site to original terrain.

6

THESIS PROPOSAL Thesis proposal as an alternative to deconstruction / demolition through engaging a holistic reuse of the building and its tectonics to support a new transformation.

Removal 1 Transient additions which are not of the buildings original fabric, i.e partition walls, patched door ways.

Removal 2 Elements which exhibit significant decay and compromise the longevity of the building.

Removal 3 Selecting elements which in their removal would benefit the new proposed function of the buildings spaces.

Inventory Catalogue and prepare all reusable elements on site for new transformation elements.

Removal Materials not suitable for reuse are sent to recycling, i.e rotten chipboard panels.

Side cycling Apply prepared materials for new transformation in-situ.

Renewed significance The buildings structural integrity is restored and its significance for future use renewed through engaging a new optimized function.

7

STAGE 1 The broader picture

8

To begin to answer or solve the question what do we do when an obsolete building is in place but out of time? requires a more specific understanding of which buildings are likely to be seen as insignificant and why.

With this understanding and prior knowledge of displaced creative companies from StartUp City and Godsbanen Stage 1 seeks to Identify site and programmatic opportunities through 1:5000 mapping exercises and interviews.

9

STAGE 1

IDENTIFYING INSIGNIFICANCE

What determines a buildings value in the present day?

Value or significance can be attributed to a buildings perceived versatility, if it can perform its intended function or new function reliably. This can be influenced by economic and physical maintenance requirements or by the buildings phenomenological worth, evaluated by its cultural heritage, historical antiquity or iconic / symbolic status.

Early 20th Century

1900

Early 20th Century Architecture prior and during the early 20th Century is often valued as cultural and historical heritage indicative of the growth of the city and subsequently preserved or restored.

t War Era

Significant Post War Era Post war era modernist buildings which absorbed new influences while retaining traditional values continue to perform to current standards like Arne Jacobsons Munkegaard School at Gentofte (Fig .1) Their cultural significance is valued by an iconic status, protecting them from future obsolescence in light of presentday criteria (Fig .2)

Insignificant Post War Era The post-war era was characterised by industrialised construction which favored machine precision and mass production to express “the opportunities and optimism of a new age”. The use of new synthetic materials and innovations like prefabricated elements whose performance over time was not known has led to early decay, resulting in major and more frequent maintenance “within about half the time of more traditionally constructed buildings” (Macdonald) 2009).

The accessibility of new materials also saw architects lose control of the scale, quality and detail of projects, key attributes of traditional Danish design. This deteriorated the relationship between the craftsman and the architect. “Much of construction went to tract house manufacturers and general building contractors” (Lund 2008. 74), leading to a deskilling of the building industry and correspondingly “poor quality outcomes”(MacDonald 2009). The buildings poor quality is now valued as structurally insignificant.

Although they do represent a seminal change in Danish architecture their value lacks iconic and heritage status for protection (Fig .3)

10

Post War Traditional Construction In Denmark, the cultural value of architecture is assessed by its quality “due to an unbroken and close association with a functional, craft-dominated building tradition and its simple architectural expressions” (Faber 1968, 8).

STAGE 1

IDENTIFYING INSIGNIFICANCE

Today

1980

2017

2000

Restore

1950

Late 20th Century

Preserve

Post War Era

Sustainable values

Heritage Status

Iconic Status

Cultural Status

Late 20th Century Architecture of the late 20th Century maintains its physical performance in the present-day as it approaches its first stage of maintenance (Macdonald 2009), whilst its cultural heritage is too recent in valuing its significance through the lens of hindsight. (Sheridan 2017) 11

Evaluated with hindsight

STAGE 1

CASE STUDIES

Fig 1.

Fig 2.

Arne Jacobsen, Munkegaard School, Gentofte 1952-1956 “however strong the influence from abroad may have been, his buildings have always shown his personal hallmark and at the same time, retained a typically Danish character” (Faber 1968, 24)

Smithsons Hunstanton School 1949-1954 Peter and Alison Smithsons Hunstanton School maintains its significance afforded to its iconic status, despite its decaying structural integrity and energy inefficiency.1 http://www.bdonline.co.uk/revisiting-alisonand-peter-smithson’s-hunstanton-school/5001016. article 1

Fig 3.

6 Borggade, Aarhus 1955, 1986

12

CRITERIA FOR CHOOSING A SITE

STAGE 1

INSIGNIFICANT A building which is currently unoccupied, abandoned or proposed to be demolished for new development.

Potential : Does not perform its intended function, allowing new interpretations.

POST WAR A building constructed between 1950 -1970 utilising industrialised building techniques.

Potential : To address the question of how we approach insignificant modernist architecture sustainably which is reaching the end of its lifespan.

PREFABRICATED The building uses prefabricated elements.

Potential : Opportunity for removal and reuse of whole elements.

DIVERGENT A building which diverges from Danish craft-dominated tradition through the use of new materials and innovations, exhibiting less focus on detail and craftsmanship.

Potential : To improve the relevance of the building in a new era.

DECAYED The building exhibits signs of decay indicating material failure.

Potential : Provides a framework for necessary alterations.

RATIONALISED The building is characterised by repetition and homogeneity in plan and construction exhibiting an emphasis of function over form which neglects the relationship between physical form and socio-psychological need (Team X ,Cited

by Lund 2008, 89).

Potential : Opportunity to interperate new functions using the existing DNA of the building. This flexibility offers the transformation to utilise the existing logic as a control point which can be reflected upon and then evolved.

SCALE The buildings size will allow scope for varying investigations in multiple scales from 1:500 to 1:1.

Potential : Opportunity to investigate the entire building, strengthening the holistic approach.

13

STAGE 1

1

2

4

2000m

1500m 1250m

3

1000m

750m

500m

5 6 7

8 9

10 11

12

14

STAGE 1

AARHUS POTENTIALS Mapping potential sites in Aarhus on the basis of their proposed or scheduled demolition.

Mapping Aarhus’ creative environment to identify programmatic opportunities which would benefit the city.

LMW: “What benefits do you see Aarhus offering for new startups and Entrepreneurs? Rather than a bigger more global city like Copenhagen?

Based on experiences at Institute for X?” MPL: “Local proximity, closeness, people and power are close to each other.”

LMW: “Is there currently a shortage of spaces / buildings / areas in Aarhus for new startups and entrepreneurs?”

MPL: “There has been a shortage for some time, last two years has been ok. We started making space makers together with the municipality; it made new opportunities... Knudringsgade 5 got made free last week.”

AF: “We are literally running dry now on the final frontiers of vacant and cheap central space which is either being bulldozed or renovated to the extreme. So this is definitely a big problem for a project like ours in the future.

LMW : “Which is leading to areas like Godsbanen and buildings with amazing potential like Valdermarsgade and Knudringsgade to be demolished for new developments.

In this case do you see / predict startups and community orientated creative areas like institute for X being pushed out of the city?”

MPL: “YES, if there is no strategy this is bound to happen. This we call the Stavanger Syndrome (it kind of happened in Stavanger)… It is also starting to happen for Copenhagen slowly, but they have a few strategies and existing Oasis.

Valdemarsgade was found by me, made free by the municipality, executed by Culture works.”

Excerpts from interviews with Mads Peter-Laursen (MPL) of Institute for X and Adrian Fey (AF) of Culture Works (March, 2017)

Startup Spaces Music rehearsal spaces Artist studios

15

STAGE 1

EVALUATING POTENTIAL SITES

1

4

ADDRESS: TRØJBORGVEJ 72-74 1910 (FACTORY BUILDING) LOKAL PLAN NR. 1041 SAVE RATING: N/A

TAGE-HANSENS GADE 2 LOKAL PLAN NR. N/A SAVE RATING: N/A -UNIVERSITY HOSPITAL CAMPUS SOLD TO THE KOMMUNE FOR RE DEVELOPMENT -BUILDING LISTED AS POTENTIAL TRANSFORMATION VALUE

-PARTIALLY VACATED -ADJACENT 2 STOREY BUILDING CONTAINS RESEARCH FACILITIES FOR UNIVERSITY. -PROPOSED DEMOLITION

2

5

KNUDRISGADE 5 1962 LOKAL PLAN NR. 926 SAVE RATING: N/A

CARL BLOCHS GADE 37 1939 LOKAL PLAN NR. 1044 SAVE RATING: 3

-PROPOSED DEMOLITION -DEVELOPMENT PROPOSAL FOR AREA INCLUDING ADJACENT BUILDINGS. -NOW AVAILABLE FOR LEASE

- UNOCCUPIED 16/02/17 - PROPOSED RESTORATION OR DEMOLITION IN LOKAL PLAN FOR GODSBANEN

3

6

LATIN QUARTER - OOOJA BUILDING MEJLGADE 35C 1900 LOKAL PLAN NR. 973 SAVE RATING: 7

CARL BLOCHS GADE 39 1959 LOKAL PLAN NR. 1044 SAVE RATING: N/A - UNOCCUPIED 16/02/17 - PROPOSED DEMOLITION - STRUCTURAL AND AESTHETIC DEFECTS FOUND FROM SITE INSPECTION

-PROPOSED DEMOLITION -AREA PLAN TO PRESERVE INDUSTRIAL CHARACTER AND CREATE A GREEN ENVRIONMENT.

16

STAGE 1

7

10

H.C TVENGESVEJ AND SØREN FRICHS VEJ N/A LOKAL PLAN NR. 1047 SAVE RATING: N/A

63 SPANIEN 1920 LOKAL PLAN NR. 1038 SAVE RATING: 7

- PROPOSED FOR DEMOLITION AND NEW DEVELOPMENT

- PROPOSED DEMOLITION

8

11

VALDEMARSGADE 18E 1973 LOKAL PLAN NR. 1039 SAVE RATING: N/A

65 SPANIEN 1908 LOKAL PLAN NR. 1038 SAVE RATING: 5 (ORIGINALLY RATED AS 3)

- UNOCCUPIED 15/02/17 - PROPOSED FOR DEMOLITION AND NEW DEVELOPMENT

- PROPOSED DEMOLITION

9

12

VALDEMARSGADE 18B 1958 LOKAL PLAN NR. 1039 SAVE RATING: N/A

N.J. FJORDS GADE 9 (DALGAS AVE 6) 1986 LOKAL PLAN NR. 1065 SAVE RATING: N/A

-UNOCCUPIED 15/02/17 - PROPOSED FOR DEMOLITION

- PRIVATE OWNER REQUEST FOR DEMOLITION AND NEW DEVELOPMENT.

17

STAGE 1

IMMEDIATE SITE CONTEXT

1

6

2

4

5

1

Valdemarsgade 18

1880

2

Valdemarsgade 18

1940

3

Valdemarsgade 18

1972

4

Valdemarsgade 18b

1958

5

Valdemarsgade 18e

1973

6

Valdemarsgade 16

1954

18

3

STAGE 1

SITE

insignificant

Valdemarsgade 18b was constructed in 1958 and functioned as the Technology and Environment Ministry until being unoccupied in the 2000’s. In 2015 the building was occupied by displaced startup companies from StartUp City and was later that year sold to Casa Finans A / S. Schmidt Hammer Lassen architects have designed 106 new homes to replace the building and its adjacent 1973 addition ignoring the potential of the building itself with focus on the land as potential for new homes.

Demolition is scheduled in 2017.

The existing building is 1968m2 providing scope for programmatic studies at 1:100, component studies at 1:50 and material studies at 1:10 - 1:1.

scale

The building is a strong example of modernist architecture in post war Aarhus, exemplifying an atypical construction for the area at the time.

An initial inspection indicates significant material failure on the facades structural concrete columns, window frames and concrete toe beams.

post-war

decayed

The facades structural concrete columns are pre-cast elements, while the toe beams express clear face joints at 5m intervals, indicating a modular construction.

The facade exhibits a clear architectural composition of bays at 1m centres. Its structural components are further expressed on the facade, while its plan strongly aligns to the rational 1m grid.

prefabricated

divergent

rationalised

The building is an iron and concrete construction from late functionlism in Aarhus.

Its materiality and formal language is directly juxtaposed with the traditional construction methods of the adjacent no.18 built in 1880.

19

STAGE 2 Collection investigation

20

Stage 2 holistically investigated the site, mapping its phenomenological, tectonic and spatial potentials. The data collected ranges in scales from 1:500 to 1:100 and includes: - Local site conditions - Building decay - Materiality - Spatial qualities - Programmatic potentials This data was evaluated to inform the process of transformation and to identify tectonic and programmatic opportunities which would renew the buildings significance.

21

STAGE 2

COLLECTION

Measure up Drafting the existing building with reference to 1958 drawings.

Decay Survey Identifying all areas of decay including cracks, holes and existing rectifications.

22

COLLECTION

Room Log

|

Valdemarsgade 18 b

Room no: Walls:

Plaster Board painted, rendered brick painted

Floor:

Lino

Ceiling:

Timber slats

Fixed Windows:

-

Operable Windows:

3

Light Fixtures:

3

Decay:

Rotting chipboard panels beneath window

G.21

Notes:

Room Log Survey of all accessible rooms in Valdemarsgade 18b for reference throughout the transformation: - Materiality - Fixtures - Photo Survey

Material

Timber Slats

Type

Ceiling element

Size

70 x 15 mm profile

Amount (m2)

12.5 m/m2 Ground 416m2 raw / 13m2 painted First Floor 126.5m2 raw / 314m2 painted first floor painted 314m2 (3925m) raw 126.5m2 (1581m)

Fixing

Nails / Screws

Condition

Very Good

Material Catalogue

Material Catalogue

Valdemarsgade 18 b

23

Survey of all material types in Valdemarsgade 18b for reference in material reuse stage.

STAGE 2

STAGE 2

SITE ANALYSIS

Context analysis

06

Identifying topography, access routes, parking, adjacent buildings, and green spaces.

,00 0

09,0 ,00 12

Potential: Arrangement of programme to benefit from view points, access routes etc.

15,00

N NNW

NNE 0

100

NW

NE 750

500

WNW

Wind analysis

ENE

250

W

The average wind direction is from the West to South West.

E

WSW

Potential: Influence tectonics of transformation to harness ventilation opportunities.

ESE

SW

SE

SSW

SSE S

N NNW

NNE

Sun analysis

21 Jun Solstice NE

NW

WNW

ENE

21 March E

W

WSW

Potential: Diverse lighting conditions across the site to benefit varying programmatic functions.

ESE

21 Dec Solstice SE

SW

SSW

SW - direct light all year.

NE - direct light during mornings around summer solstice.

NW - minimal direct light due to 1973 addition.

SSE S

24

STAGE 2

PROGRAMMATIC OPPORTUNITIES

LMW: “What were the benefits of Valdemarsgade for these entrepreneurs? Why did the building suit these startup companies? Was it successful?”

Mapping conditions which benefits the site as a creative institution.

AF: “We registered over 70 companies within one year so it was a huge success. through interviews we found out that three main parameters where crucial that being an attractive and central location, cheap and affordable rent and a cool startup environment to be a part of.”

Jægergaårdsgade Cafes, bars and restaurants

Community Daycare Centre

Community Communal green space with neighbours

Creative Displaced companies from Institute for X

Car parking

s es

to

n

ne

ba

s od

Creative Design and Architecture graduates

G

c

Site Close proximity to train station

Ac

Creative Aspiring musicians Cultural Education and knowledge sharing

Community Frederiksgade thoroughfare to downtown

25

MAPPING SPATIAL QUALITIES LEVEL 1

STAGE 2

To ascertain the programmatic potential of the site requires an understanding of the existing spatial qualities and weaknesses. Each area is mapped according to its phenomenological qualities, light qualities, existing function and adjacency. Creative functions which could benefit these qualities are suggested to inform a more holistic choice of programme. This sympathy to the existing DNA of the building will provide a foundation from which to tune and enhance the desired qualities in the proposed transformation.

DR

AM A LUD TIC ING WARM OPEN CT LIGHT

INC

ING

IG TL

G

D

EC

HT

LIB

ER

LIG

L RFU WE PO TRAST CON OPEN FLOWIN G EN DIR TICING EC T| IND IR

E

CT

L

AT IN

IC

SUA

FF

ITIN G CIRC STUD ULA IO TION

O

CA

E

US

IFF

INVITING

WR

DO

UT

O

PENSIVE UINE SANG OL CO NT SIE HT AN G TR L LI RA O P M TE |

HT

T EN AR SP AN AL TR ASU TIVE CEFLEC R AN CLE FORMAL DIR EC T| IND IRE

LM

CA

E FIC E OF AC SP R O

M O RO RE P A TU SHO C ARE LE ORK UNAL W MM CO

CIRCULAT

ION POTE

RY

STU DIO

LLE

GA

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A N SP CO AR E EC MIN NT T LIG G HT PAINTERS STU DIO DIO WRITERS STU DIR

TR

EL

W

E|

FUS

DIF

E SPAC OOR SHOP OUTD RK OM WO RO G TIN EE M

M

M

O

C

RE

A

DIRECT LIGHT

A

L

B AN SP RIG A H ENT REN T ICIN T G

G IN AC BR EM RM WA Y AIR G CALMIN DIFFUSE | DIRECT LIGHT

L FU AY LERY GAL DIO ARTIST STU

TR

NTIAL

TABLEY FOR Z COM CO M AR W

PL

ING AG NG RO ST

UR

CO

EN

WAR DIF M A FU LA IRY SE ZY

A

| DIRE

UN

DIFFUSE

CY

EN

AR SP

N RA

T

INVITING

26

MAPPING SPATIAL QUALITIES GROUND LEVEL

ENC ITIN G CIRC STU ULA DIO TION

WR

UN

CT IRE IND IC AL | R BL PU PO TEM OFFICE COMPUTER STU DIO

C

ETI NG SP DIN G R ACE OO EDUCA M TION PAINTER STUDIO

G LUDIN SE TEN LD CO

CE

REHEARSAL SPA

LO

VE

REHEARSAL SPA CE

A

D

PL TEN A S W YFU E LIG L HT

LO

A

OPEN VAST IN P TERA COUBLI CTIVE M C M UN AL

CT IRE L IND O O T L| C UIE ORA Q MP TE WORKSHOP CERAMIC S STUDIO

G LUDIN US EXC RO D NTU OL E C DV

N TU PL RO A U W YFU S LIG L HT

EXC

CL

TENSE

VIDE

FO

LO CU NE S L PR SED Y IVA T DAR E K

T QUIE ED OS CL OLD C

PHOTO STUDIO UDIO ER ST ATRE APH OGR THE

INI

27

CA

L

C C LO O SE O D L

OUR AG ING BR IG H T WARM G INVITIN L YFU PLA OSY T C H IG TL

C C ON EX OL FINE D PO D SE D

SIENT TRAN OOLLE C B K A RT AR FO D M CO

RE

DI ME

REA

STAGE 2

ET UI LY Q ONE INED L ONF C IRECT LIGHT IND

CE G RAMIC STU DIO R AM W EHE E DEV O AR RK SA ELOPE R SH LS PA O CE P

MAPPING LIGHT QUALITIES AND CIRCULATION

STAGE 2

m

41

m

35

m

30

m

25

m

20

m

15

m

10

5m 1

l0

ve

Le

N

Direct light Diffuse light Indirect light Low light m

41

m

35

30 m

25 m

m

20

15 m

m

10

5m

0

l0

ve

Le

28

No light

STAGE 2

MAPPING DECAY The decay of the building is one factor responsible for the proposal of the buildings demolition due to the “physical and economic resources required in its structural and aesthetic maintenance�

(MacDonald 2003), which has been found to occur more frequently and significantly than traditionally constructed buildings. A survey of all decay was undertaken including all minor and significant instances.

Primary structure decay Brick walls, concrete slabs, concrete columns Secondary structure decay Brick walls Secondary structure decay Window components (chipboard panels Interior decay Stone tiles, ceiling panels

m

41

m

35

m

30

m

25

m

20

m

15

m

10

5m 1

l0

ve

Le

N

m 41

m

35

m 30

m 25

m

20

m 15

m

10

5m

0

l0

ve

Le

29

STAGE 2

PATTERNS OF DECAY

Mapping connections between ground and first floor areas which exhibit decay.

The collages evaluate patterns in the decay to determine the cause and significance, which elements are necessary for removal and how this would affect the existing tectonics. This ensures the process of removing decay is considered holistically and not as independent parts.

Large diagonal crack across wall.

Potential: Perforate wall to improve lighting conditions in existing bathroom or/ Removal of walls to open spaces into the corridor.

Parallel lateral cracks in brick walls.

Potential: Remove wall to improve size of existing bathroom for new function.

30

PATTERNS OF DECAY

Evidence of water leaching in ground floor corridor brick wall and drop ceiling. Possibly caused by eroded first floor courtyard windows.

Potential: Remove brick for resource mining and expose concrete retaining wall behind.

Apply bricks to removed courtyard windows as new screen.

Rust in drop ceiling panels, adjacent connection with lateral cracks in walls below. Existing plan indicates a service pipe embedded in wall. Possible water leaching causing integrity issues.

Potential: Remove both walls to open spaces into corridor providing connection opportunities.

Evidence of a ruptured service pipe in wall - suspected integrity issue of floor slab as a result.

Potential: Remove walls and floor to create a double height space and new connection between floors.

Water ingress through facade causing integrity issues.

Potential: New facade element which improves the amount of daylight received.

31

STAGE 2

STAGE 2

TESTING PROGRAMMATIC CONDITIONS

A 1:100 model was used to develop an initial investigation into the removal of decay.

The new spatial qualities created were then evaluated against the existing qualities to propose new programmatic opportunities that would benefit from the transformed space.

32

STAGE 2

DECAY REMOVAL

Ground Level

Removed decay

Level 1

Removed decay

33

STAGE 2

SPATIAL SKETCHING

SK. 1

SK. 2

SK. 3

34

STAGE 2

IDENTIFYING POTENTIALS #1

- harness direct light and ventialtion

dark qualities

7

8

7

9

3

3

- improve light

- utlise existing

2

ridor conditions in cor

1

6

- looks into courtyard - private space

3

4

5 - access to parking lot and ventilation

- open office space - views onto green -direct light - access to meeting

- maximise views and

- access to courtyard,

direct light

outdoor area and

- light corridor from ne to sw, strengthen

stairs

rooms

courtyard connection

1

SK. 1

- diffuse light - large space - welcoming

3

SK. 2

4

1. Wood Workshop 2. Metal Workshop 3. Office Space 4. Digital Tools 5. Mockup Area 6. Plant room / services 7. Ceramics / Wet area 8. Photo Studio 9. Dark Room

5

2 - new connection to stairs from courtyard

6

10 SK. 3

9

8

7

- diffuse light - open space

35

1. Common Workspace 2. Meeting Rooms 3. Outdoor terrace 4. Common Area 5. Office 6. Artist Studios 7. Private Office 8. Common Workspace 9. Private Office 10. Exhibition Space

STAGE 2

SPATIAL SKETCHING

SK. 1

SK. 3 SK. 2

SK. 3.1

SK. 4 36

STAGE 2

TESTING POTENTIALS #2

- improve green area access

1

1

1

1

2

3 4

production area, utlise poor light

9

8

4

SK. 2

conditions

4

SK. 1

10

7

6

1. Flexible Private Studios 2. Outdoor Area 3. Double Height Room 4. Digital Tools Room 5. Void 6. Metal Workshop 7. Wood Workshop 8. Dark Rooms 9. Ceramics/Wet Room 10. Plant Room / Services

5

- storage - pull light in

- close proximity of public and

- diversity of spaces, outdoor and

communal areas

double height

SK. 3

1

2

3

4 SK. 4

9

8

8

5

8

8

7

6 1.Seminar Space 2. Communal Area 3. Outdoor Terrace 4. Double Height Space 5. Artist Studio 6. Void 7. Communal Workspace 8. Meeting Rooms 9. Exhibition Space

- proximity to main entrance

37

STAGE 3 Programme

38

Stage 3 investigates a new programme for Valdemarsgade 18b informed by the testing in stage 2. It reflects its benefit to the Aarhus Cultural Community and evaluates existing examples, functional and spatial requirements and adjacency studies in relation to the existing.

39

STAGE 3

PROGRAMME REFLECTION

The 1:100 testing in stage 2 alongside earlier mappings and interviews has identified the potential of the building to serve as a Creative Incubator or Professional Maker space.

The programme not only reconciles with the potentials of the building but also the needs of the greater creative environment of Aarhus. Ensuring these are not mutually exclusive is an integral part in renewing the buildings significance holistically.

40

STAGE 3

PROGRAMME

The Professional Maker Space seeks to service a facilities gap in the Aarhus creative startup scene to foster professional growth.

Community Hobby Small Scale

From its hobby beginnings in the Godsbanen facilities, to its professional birth at Institute for X, the professional maker space will provide a facility in which Maker startups can upscale and mature.

AF: “...our first edition in Valdemarsgade catered for the early startups our new version is more for the serious and pro startups with a couple of years on their back. I think it is important that there are possibilities for the whole range so that the startups can grow from one environment to another.�

Professional Birth

Professional Growth

41

NextFab, Philadelphia, US

Fælleskabet, Copenhagen, DK

Artisans Asylum, Massachusetts, US

STAGE 3

CASE STUDIES

42

PROGRAMME FUNCTIONS

STAGE 3 GALLERY

Education space

Exhibition space

Common workspace

meeting Meeting space

Communal space

Outdoor space

Computer room

2d Printing and Photography

Laser cutting and Engraving

3d Printing and scanning

CraftCraft Shop

Storage

assembly space

Wood workshop

Metal workshop

small assembly space Small assembly room

43

assembly space Large assembly room

STAGE 3

Private

Public

Exterior Access

Mechanical Ventilation

Artificial light

Diffuse light

Direct light

Mapping spatial conditions required for each function to inform programme planning.

Natural Ventilation

REQUIRED QUALITIES MATRIX

Education space

x x x x

Exhibition space

x x x

Common workspace

x x x x

Meeting space

x x x x

Communal space

x x x x

Outdoor space

x x

Computer room

x x x x

2d Printing and Photography

x x x x

Laser cutting and Engraving

x x x x x

Craft

x x x x x x

3d Printing and scanning

x x x x x

Storage

x x

Wood workshop

x x x x x x

Metal workshop

x x x x x x

Small assembly room

x x x x x x

Large assembly room

x x x x x x 44

STAGE 3

PROGRAMMATIC ADJACENCY Mapping programme adjacency in relation to resource sharing and circulation opportunities.

common area

outdoor area

public space

private space / meeting room

MAIN ENTRANCE

computer / printing

common workspace lobby

craft

NE access to carpark

photo studio

assembly room

wood shop

storage

assembly room

3D printing / scanning

metal shop

storage

45

lasercutting / engraving

STAGE 4 Removal

46

“When the potentials of the construction are exposed they can form the platform for the future use and the further development of the building�

(Madsen 2014, 150) Stage 4 instigates a 3 stage process of removal informed by investigations in previous stages. The removal of existing elements provides the new transformation with material resources, while also exposing opportunities and forming the foundation for a new architectural intervention to occur. The programme is developed simultaneously with each stage to ensure the transformation maintains a holistic focus.

47

STAGE 4

REMOVAL PHASE 1

Removing transient additions which are not of the buildings original 1958 fabric, i.e partition walls, patched door ways.

First Floor Ground floor

48

PROGRAMMING PHASE 1 Testing programme arrangement with opportunities created by the removal of partition walls.

49

STAGE 4

STAGE 4

REMOVAL PHASE 2

Removing elements which exhibit significant decay and compromise the integrity of the building.

First Floor Ground floor

50

PROGRAMMING PHASE 2 Testing programme with opportunities created by the removal of significant decay.

51

STAGE 4

STAGE 4

REMOVAL 3

Removal of: - Elements which contain existing service pipes and decay in close proximity.

- Selectively removing elements whose removal would benefit the optimization of the proposed function.

First Floor Ground floor

52

STAGE 4

FINAL PROGRAMME

COMMON WORKSPACE 105m2

MEETING SPACE 28m2

ENTRANCE LOBBY

PRINT ROOM 20m2

W/C

COMMON WORKSPACE 60m2

EDUCATION AND EXHIBITION SPACE 130m2

COURTYARD

W/C

VOID

OUTDOOR SPACE 40m2

LOUNGE 45m2

MEETING SPACE 20m2

COMMON WORKSPACE 60m2

Decay Potential zone for investigation Material Removal Proximity to circulation point Circulation

Adjacency

Direct light Diffuse light

Low light No light

STORAGE 20m2

CRAFT 120m2

PLANT ROOM

METAL SHOP 75m2

3D PRINT 30m2

W/C PHOTO STUDIO 30m2

STORAGE 20m2

LASER CUTTER / ENGRAVE 30m2

W/C

LARGE ASSEMBLY 74m2

WOOD SHOP 100m2

53

ASSEMBLY 25m2

STAGE 5 Intervention foundations

54

“The concept of tectonics never primarily describes an aspect of form. Instead it always describes the circumstances that create the form, its premise” (Christiansen 214, 52).

The proposed interventions are informed by a series of key steps.

These key steps determine the foundations or the ‘circumstances’ which informs the design of each element. These steps include 1. A holistic analysis of removed material resources to identify their tectonic potential.

2. Identifying new elements which will improve the new function of the building.

3. Reconciling new elements with the tectonic potentials of available resources.

4. Developing and engaging a set of foundation parameters for all architectural interventions to follow.

This process ensures each elements individual paramaters of form, material and assembly are considered concurrently and that together they are expressed as a symbiotic whole with the existing.

55

STAGE 5

MATERIAL ANALYSIS

Tectonic potential The tectonic potentials of each material is analysed to discover structural and compositional opportunities.

Performance potential The materials are analysed to discover how they could improve or benefit desired performance criteria of the buildings new function. This can include privacy, light distribution, thermal and acoustic properties.

Material expression The materials are assessed on their expression against the existing materiality of the building, including colour, texture and formal properties.

All new transformations should express a new formal and material language in contrast to the existing to emphasise the buildings evolution while remaining sympathetic to the existing tectonics use of 1-2 materials per element.

56

MATERIAL ANALYSIS

STAGE 5

Type and Quantity

Tectonic potential

Performance potential

Material expression

Brick 195m2 Brick

Modular load bearing element

Thermal mass

Re-interperate existing compositional logic

Concrete Columns 70 columns 14m2 surface area

Tessellating

Noise isolation and privacy

Expressive patina of decay, colour and texture contrast

Variate light and transparency

Strong contrast and texture variation

Slate 70.74m2

Panelling and stacking Vertical Horizontal

57

STAGE 5

MATERIAL ANALYSIS

Type and Quantity

Tectonic potential

Performance potential

Material expression

Timber slats 405m2 raw 327m2 painted

Cladding and flexible form

Load bearing when laminated

Contrasting vertical expression

Timber stud framing 1680m 560m2

Load bearing when laminated and support structure for new elements

Plasterboard

Modular removal and reuse

1120m2

Similar colour and texture expression against existing walls

Thermal and acoustic insulation

58

MATERIAL ANALYSIS

STAGE 5

Type and Quantity

Tectonic potential

Performance potential

Chipboard panel 63.5m2

Shredded

Acoustic insulation

Perforated Metal panel 573m2

Cladding and adaptable material qualities

Dust and particle absorbtion. Light reflecting.

Semi-transparent and contrasting

Window 107m2

Modular cladding element

Acoustic insulation and transparency

Re-interperate existing compositional logic

59

Material expression

STAGE 5

TRANSFORMATION

“The existing architecture will have to become a stimulating material for the new project, it will have to find the adequate tone that allows it to be at the disposal of what is new, to adapt to the new structures avoiding rupture or shock�

(Consuegra, 2005, 2)

60

TRANSFORMATION

The programme was analysed to ascertain the desired qualities and requirements for each space which would optimise the function of the building. A series of transformations are proposed, including facades, partitions, ceiling and floor elements.

These elements are catalogued into ‘typologies’, to which an appropriate material resource can be applied. As a ‘type’ they can be adjusted parametrically to address the needs for each space while maintaining their material qualities. This ensures all interventions are expressed as a set rather than bespoke designs fragmenting the building as a whole.

61

STAGE 5

STAGE 5

ELEMENT TYPOLOGIES

MEETING ROOM 15m2

MEETING ROOM 15m2

EXHIBITION AND EDUCATION 130m2

COMMON WORKSPACE 105m2

COURTYARD

PRINT ROOM 20m2

W

/C

W

/C

COMMON WORKSPACE 60m2

MEETING ROOM 20m2

OUTDOOR SPACE 40m2

LOUNGE 45m2

V

O

ID

COMMON WORKSPACE 60m2

PLANT ROOM

STORAGE 20m2 3D PRINT ROOM 30m2

LASER CUTTER 30m2

CRAFT ROOM 120m2

PHOTO STUDIO 30m2

STORAGE 20m2 ASSEMBLY ROOM 25m2

W

/C

W

METAL SHOP 75m2

/C

WOODSHOP 100m2

LARGE ASSEMBLY 75m2

62

STAGE 5

ELEMENT TYPOLOGIES

Open Partition wall

- 148m2 required - Allow daylight transfer - Privacy screen - Variate parametrically Facade

-206m2 required - Structural requirement -Emphasise connection to surrounding area - Variate parametrically

Solid Partition wall

-60m2 required - Privacy - Isolate noise

Ceiling

- 335m2 required - Dust and particle collection - Acoustic reduction

63

Transparent Partition wall

- 94m2 required - Isolate noise - Maintain transparency and connection

Floor

- 306m2 required -Improve thermal efficiency - Improve acoustic insulation

STAGE 5

APPLYING MATERIALS TO ELEMENTS

Reconciling the resource opportunities with the requirements of new elements to ensure holistic reuse and intervention.

Element

Material

Why

Brick Structural Weatherproof Modular Appropriate quantity

Facade 206m2 195m2

Slate

Solid composition Ability to isolate noise Flexibility for custom sizes Appropriate quantity

Solid Partition Wall 60m2

71m2

Timber slats

Dimensions suitable for parametric variations.

Flexibility for custom sizes Appropriate quantity

Open Partition Wall 130m2

405m2 raw

64

STAGE 5

APPLYING MATERIALS TO ELEMENTS Element

Material

Why

Window

Ability to isolate noise Ability to transfer light and maintain visual connection Appropriate quantity

Transparent Partition Wall 94m2

107m2

Metal panel

Perforations suitable for dust collection Standard dimensions Appropriate quantity

Ceiling panels 300m2

573m2

Concrete Columns

Weatherproof Standard dimensions Appropriate quantity

Floor tiles 14m2

70 columns

Timber stud framing

Office Floor 306m2

Plasterboard

+

1680m

Timber slats

+

1120m2

327m2 painted Suitable for structural framing Good acoustic and thermal properties Appropriate quantity

65

STAGE 5

DESIGN APPROACH

All interventions should follow a set of overarching design parameters. These rules seek to maintain continuity between all new architectural interventions while also seeking to mitigate rupture or shock with the existing.

66

DESIGN RULES

STAGE 5

1. Datum Line - The facades composition is divided into a horizontal ratio of 1/3.

All new interventions should maintain the datum line to compliment the existing ensuring a symbiotic formal relationship between new and old.

900mm

2. Verticality The facades 1m centred concrete columns imparts a strong vertical language. All designs should express verticality in their formal composition to reflect the facade condition and also emphasise a greater sense of height in the interior spaces.

3. Sympathetic expression The interventions should express of the buildings evolution by contrasting its tectonic intersection with the existing. This meeting should be enforced by a light touch in opposition to the hard connections of the existing elements.

The connection should also be sympathetic to areas where the new intervention overlaps with the removal of the existing. Further enforcing the evolution and changes of the building and its significance.

67

STAGE 5

TYPOLOGY INTENTIONS

Open Partition wall

Solid Partition wall

The open partition wall should serve as a privacy screen between circulatory spaces and inhabitable space such as offices, lounge and public areas. The wall should allow natural light to penetrate into the corridor spaces improving the existing lighting conditions.

The amount of privacy should vary parametrically according to the space it partitions. It should also perform a secondary function by activating the corridor spaces by re-interpreting an existing design element of benches in the corridor spaces.

The solid partition wall seeks to create a flexible barrier between office spaces, limiting noise and visual connection. Slate will be applied as panels similar to their arrangement on the facade, ensuring their full height at 900mm will be maintained to reflect the datum line. Their width will be adjusted to express a stronger vertical composition. The structure for the partition walls will be flexible and designed for dissassembly as partition walls commonly change in a buildings lifespan every 5 - 10 years. Althought slate is best suited in compression, the quanitity available is insufficient to accommodate all required square meters.

Transparent Partition wall

Facade

The transparent partition wall seeks to promote connection between facility spaces while also reducing noise pollution between them. The removed windows will be rotated 90 degrees to maintain the datum line parameter and stacked to encompass the required wall. In places where the partition bisects a circulatory space, new doors will be proposed. The structural frame will be designed for dissassembly, allowing individual windows or the entire wall to be replaced if required. The frame will also help enhance a vertical composition which cannot be achived with the standard dimensions of the windows.

The new facade panels will perform a structural function in place of the removed columns and be able to vary paramterically according to the requirements of the space. Brick module elements will be stacked with a variation in overlaps. The overlapping ensures load forces can be directed evenly into the primary structure, while their variation also allows control of the openings sizes.

In office and communal areas, openings should be larger to facilitate a connection to the outdoor green areas. In workshop facilities the openings should be smaller to minimise strong shadows and enhance diffuse lighting conditions.

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STAGE 5

TYPOLOGY INTENTIONS

Ceiling The ceiling panels will reinterperate the removed perforated drop ceiling metal panels from the existing corridors.

These will be applied to all workshop facility spaces. The panels will be divided in 2, lengthways and mounted as fins with minimal spacing. The gaps between the panels will allow dust and other particles to be trapped within the micro perforations. Blocks of foam will be sandwiched between alternating sections to help reduce acoustic reverberation.

Floor

Floor tiles

The floor component will seek to improve the acoustic barrier between office spaces on level 1 while also improving the thermal performance of the office spaces.

Using the flooring as an acoustic barrier enables the workshop facilities below to utilise the full height of the spaces without need for extra acoustic insulation.

The floor tiles will seek to engage a material opportunity found in the concrete columns. Due to the columns significant decay on their faces and particular shape, they have the potential to be sliced and layered as new floor tiles in outdoor or wet areas.

The component will reuse the partition timber stud framing as floor joists with removed plasterboard layered between.

The painted timber slats removed from the ceiling will be used as floor boards, taking advantage of their painted finish to promote internally reflected light in the office spaces.

69

70

STAGE 6 Design development

71

STAGE 6

DESIGN PARAMETERS

Allow light to transfer into the existing corridor to improve overall lighting conditions of circulation spaces.

Create a privacy screen between circulation spaces and workspaces

Privacy

Activate corridor spaces through re-interpreting original benches.

activate circulation space

72

OPEN PARTITION DESIGN Testing compositional arrangements to vary privacy while maintaining adequate transparency for daylight transfer.

1800mm 1500mm 1230mm

73

STAGE 6

STAGE 6

BENCH STUDIES

Testing assembly solutions, light conditions and formal expression against the existing corridor and proposed facade design.

Locating bench support brace in the corridor and including a new member as a coat rack inlayed into the privacy screen. * The support brace gives a heaviness to the bench and detracts from the light appearance of the partition in the corridor.

Incorporarting a diagonal brace member which performs a second function as a coat rack. *New angular dimension to the corridor alienates and contrasts to heavily with the existing and reduces habitable bench space.

74

PARAMETRIC ITERATIONS Parametric iterations for different light and privacy requirements.

Minimum density Suitable for lounge area / partition areas requiring more transparency.

Medium density Suitable for Education and Exhibition space.

Privacy screen central slats can be shifted off-centre according to angle of vision, required light etc.

Bench elevation Highest permissible density to allow adequate light transfer.

Bench component at 450mm with higher density below for structural support.

75

STAGE 6

STAGE 6

QUANTITY STUDY

Each design element following initial testing undergoes a quantity study to ensure the maximum amount of the resources are used and to mitigate waste. This is a key step in the holistic reuse of resources to sustainably transform the building.

Timber slats available

Open partition wall required

405m2 130m2

76

QUANTITY STUDY

Maximum density for sufficient light transfer

Maximum quantity used 364m2

2.8m2 Timber slats per 1m2 wall

Minimum leftover 41m2

77

STAGE 6

STAGE 6

FACADE SECTION

80

OPEN PARTITION SECTION

81

STAGE 6

82

References and Appendix

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REFERENCES

UN. Our Common Future, Chapter 2: Towards Sustainable Development. UN DOCUMENTS, 1987.

Venturi, Robert. Complexity and Contradiction in Architecture. The Museum of Moden Art, 1977.

Viollet-le-Duc. The architectural Theory of Viollet-le-Duc: Readings and Commentry. Edited by M.F. Hearn.

Massachusetts: Massachusetts Institute of Technology, 1990.

Abramson, Daniel M. Obsolescence. Chicago: The University of Chicago Press, 2016.

Arets, Wiel. The Architecture of Freedom. 1989. http://www.wielaretsarchitects.com/en/academia/theory/ the_architecture_of_freedom (accessed 2016).

Baum, Martina, and Kees Christiaanse. City as Loft. Zurich: GTA Verlag, 2014.

Beim, Anne, Ulrik Stylsvig Madsen, and Claus Bech-Danielsen. Towards an Ecology of Tectonics. Stuttgart: Axel Menges, 2014.

Bloszies, Charles. Old Buildings, New Designs. New York: Princeton Architectural Press, 2012.

Bollack, Francois Astorg. Old Buildings, New Forms. NYC: Monacelli Press, 2013.

Consuegra, Guillermo V. “Introduction.” In Spain Architects: Rehabilitation 2, by Marta Alvarez. Barcelona: Manel Padura, 2005.

Cramer, Johannes, and Stephan Breitling. Architecture in Existing Fabric. Berlin: Birkhauser Verlag AG, 2007.

Crosby, Theo. The Heroic Period of Conservation, Twentieth-Century Architecture 7. London: Paul Holberton Publishing, 2004.

Earl, John. Building Conservation Philosophy. Reading: College of Estate Management, 1997.

Faber, Tobias. New Danish Architecture. London: The Architectural Press London, 1968.

Franco, Arturo. “Slaughterhouse of Madrid: Warehouse 8B.” In Remodeling, Renovation, Reform, Renewal, Recycling, by Seonwook Kim, 219. Seoul: DAMDI Publishing Co, 2011.

Guldager Jense, Kasper, and John Sommer. Building a Circular Future. Copenhagen: GXN Innovation, 2016.

Hegger, Manfred, and Thorsten Rosenkranz. Construction Materials Manual. Basel: De Gruyter, 2013.

Jacobus, John. Twentieth Century Architecture: The Middle Years 1940-65. London: Thames and Hudson, 1966.

Jacobs, Jane M., and Stephen Cairns. Buildings Must Die: A perverse view of Architecture. Cambridge: MIT Press, 2014.

Keiding, Martin. Transformation. Copenhagen: Arkitektens Forlag, 2011.

Khan, Hasan-Uddin, and Philip Jodidio. International Style. Koln: Taschen, 2009.

Lund, Niles-Ole. Nordic Architecture. Copenhagen: Arkitektens Forlag, 2008.

Normandin, Kyle C, Bob Kindred, and Susan Macdonald. Conservation of Modern Architecture. London: Routledge, 2015.

Macdonald, Susan. “20th Century Heritage: Recognition, protection and practical challenges.” Icomos. 2003.

84

REFERENCES

https://www.icomos.org/risk/2002/20th2002.htm (accessed 02 09, 2017).

Malo, Alvaro. The Hand: Organ of Knowledge, On Making. NYC: School of Architecture, Pratt Institute, 1992.

McDonough, William. Cradle to Cradle. NYC: North Point Press, 2002.

Ockman, Joan. Architecture Culture 1943-1968. New York City: Rizzoli International Publications, 1993.

Pallasmaa, Juhani. The Eyes of the Skin: Architecture and the Senses. John Wiley and Sons, 2005.

Pallasmaa, Juhani. The Thinking Hand: Existential and Embodied Wisdom in Architecture. Chichester: Wiley, 2010.

Schittich, Christian. Building in Existing Fabric. Basel: Birkhauser, 2003.

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APPENDIX

INTERVIEW #1

MADS PETER LARSEN – INSTITUE FOR X LMW: What will happen to Institute for X and all the companies, people there when Godsbanen is redeveloped, Where will they go, are there plans and strategies ?

Mads : - - - o o o

Creative Free zones Gun School , as semi official department of AAA a more dence X // Yemen Tower + Wolff Office + A2 Yemen Towers : next evolve City situation : Towers W.O : The small E house with 2 or 3 stories on top 2: A proper building in and on the A house

- - -

P house dream // Campus P influence the municipality to work for X on large scale , Kommune Plan at directors level New 300m2 light building in Aarhus

LMW: Is there a specific type of startup / entrepreneur that you see more often or is more prolific in Aarhus (I.e Creative startups, artists, workshop faelleskabe / IT startups / Technology startups etc?)

MPL: - - - - -

Music and related to Music Design / architecture Live, work situation Project to project, people doing projects in a wide range of areas Youngsters not fitting in, wanting to do something on their own terms.

LMW : “Would you say these are in order of prevalence, more musicians / music spaces wanted? Or is it equal measure between them all?

MPL : “I am not sure, it is based on a feeling not data, but yes order of prevalence” LMW: What are the sort of spaces / conditions that people moving into Institute for X are generally look for or are appealing?

MPL: - Cheap Rent - Freedom to do / act / interact with the architecture - Nice people next door - People doing other stuff, so teams can be made from local heroes, community and interaction between disciplines, companies and individuals.

LMW: “What benefits do you see Aarhus offering for new startups and Entrepreneurs? Rather than a bigger more global city like Copenhagen? Based on experiences at Institute for X?” - Local proximity, closeness, people and power are close to each other.

LMW:” “Is there currently a shortage of spaces / buildings / areas in Aarhus for new startups and entrepreneurs?”

MPL: - There has been a shortage from some time, last two years I has been ok.

- We started making space makers together with the municipality; it made new opportunities, building O+U+H+T+ O : Culture workspace in Valdemarsgade 86

APPENDIX

U : UKH : youth Culture house H : Culture work space 2 Space Makers is still here, inside the municipality, Knudringsgade 5 got made free last week. There are 2/3 persons within the municipality to contact about who might be moving in and other things.

- The municipality is being made aware that they need a strategy to maintain the positive development for the start up scence.

- SUPER GENTRIFICATION : The whole city is being refurbished by market oriented city development.

LMW : “Which is leading to areas like Godsbanen and buildings with amazing potential like Valdermarsgade and Knudringsgade to be demolished for new developments.

In this case do you see / predict startups and community orientated creative areas like institute for X being pushed out of the city?”

MPL: “YES, if there is no strategy this is bound to happen. This we call the Stavanger Syndrome (it kind of happened in Stavanger)… It is also starting to happen for Copenhagen slowly, but they have a few strategies and existing Oasis. Valdemarsgade was found by me, made free by the municipality, executed by Culture works.

LMW: “Were you looking for new spaces or did you notice Valdemarsgade as an opportunity? In either case who did you contact first to begin the process?”

MPL: “Both, looking and it was a good opportunity. Plus I knew StartUp City at Ceres was closing down… so ‘the move’ situation was a good opportunity to start / kick off SPACE MAKERS. Culture department - it is a political strategy that they have to work for and facilitate creative startups.

Together with Real-Estate, but they didn’t so we made them work together. Then we added the mayors department of business to the pot.

LMW: “Do you feel the increasing development of Aarhus is changing the cultural environment of the city for better or worse? Do creative startups and places like Institute for X benefit this new environment?”

MPL: Yes and no. Yes, the municipality has realised that they need a strategy because the development is roaring. No, because Oasis spaces are being made flat. Yes, Oasis spaces are bing made visible in all the fresh concrete landscapes. Yes, architecture and development is being made critical, lifting the self censure in the ‘stand’/ Yes, there is more ‘work’ / projects to interact with. Yes, the development system knows they need help to produce the good city. Yes, a door has been opened to the most inner and sacred parts of the development engine inside the big city building monster, so the small and wild city building office (Bydelskontor) can slip inside and make a constructive mess. Which will lead to new ways (hopefully).

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APPENDIX

INTERVIEW #2

ADRIAN FEY – CULTUREWORKS LMW: “How did you first here of Valdemarsgade, and what process did you go through to make the move? (i.e Did the Kommune contact you as part of a new initiative or did you contact them?)”

AF: “I actually remember it being Mads Peter from Institut for X, who had created Spacemakers project with the kommune to find vacant buildings and how they could be used temporarily”.

LMW: “Did the building have to be altered in anyway for the new entrepreneurs moving in?”

AF: “It was literally a crazy case of lost potential with 4000 m2 in the dead center of town, you could literally toss a stone over to city hall, and when we moved in the only resident was a dead bat hanging from the ceiling. The building was old but working and we could move in straight away. We, Culture Works, did at lot of hacks and improvements to cater for the startup crowd and office needs with washing machines, refrigerators, canteen element and so on.”

LMW: “What were the benefits of Valdemarsgade for these entrepreneurs? Why did the building suit these startup companies? Was it successful?”

AF: “We registered over 70 companies within one year so it was a huge success. through interviews we found out that three main parameters where crucial that being an attractive and central location, cheap and affordable rent and a cool startup environment to be a part of.”

LMW: “If the companies were allowed to stay in the building on a long term contract, are there any things you would change? (I.e, the ground level corridors are very dark, some spaces are quite small etc..)”

AF: “We often joke that Valdemarsgade was like the first chapter of a typical startup book entrepreneur story.

So Valdemarsgade was the startup basement where every project begins it life and can start to develop and grow from there. If Valdemarsgade was going to be interesting in the longer run some investments had to be made so that the quality level and pro-facilities could be developed. In our new location in Sverigesgade 6 we have done a lot of investments and improvement so that the startup environment now has a cool quality vibe and importantly hereby co-branding every company unde its roof as a startup thats ready to scale, not the basement startup no longer.”

LMW: “What benefits does Aarhus offer for new startups and Entrepreneurs? Rather than a bigger more global city like Copenhagen?”

AF: “Read the book Startup Guide Aarhus :) Definitely the intimate feel, and that everybody knows each other. Furthermore companies are really into the whole startup scene and meetings, pitches etc. is easy to set up.”

LMW: “Is there currently a shortage of cheaper rent spaces / buildings in Aarhus for new startups and entrepreneurs?”

AF: “We are literally running dry now a the final frontiers of vacant and cheap central space is either being bulldozed or renovated to the extreme. So this is definitely a big problem for a project like ours in the future.

We have to have access to large building with a central address for affordable rent.”

LMW : “What kind of buildings / spaces do new startups and entrepreneurs look for? (low rent, abandoned, location, size etc.)”

AF: “Its definitely different, where our first edition in Valdemarsgade catered for the early startups our new version is more for the serious and pro startups with a couple of years on their back. I think it is important that there are possibilities for the whole range so that the startups can grow from on environment to another.”

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LMW: “From your experience is there a specific type of startup / entrepreneur that you see more often or is more prolific in Aarhus (I.e Creative startups, artists, workshop faelleskabe / IT startups / Technology startups etc?)”

AF: You definitely see a lot of the genre startups pop up like tech, fintech, medical and so on but I think the most common startup is actually just the development of a good and sound business. Maybe not the most scalable crazy going to be the next airbnb tech-startup but more the next small movie production house LMW: “If there is a specific type more common in Aarhus, what are the ideal conditions / services of a building which would benefit them? (i.e open spaces, common areas, outdoor areas, communal kitchens, separate offices or segregated areas, specialty spaces like workshops, music rooms etc)” AF: Its clear to us that we need to offer closed and open spaces, where companies with more than 2 employees tend to want a closed office within the environment and consultants or one man startups are interested in the open but fixed desks.

89