DUNESIDE CLIMATE CENTRE
07.09 m a t e r i a l i t y . contemplating
PRELIMINARY
MATERIALS
FLOOR,
WOODEN
CEILING,
CLAY
The first iteration features the use of clay as a plaster and flooring combined with wood on the ceiling. The use of clay on the floor provides depth and acoustical properties to the room together with the clay plaster which is painted white on the walls. Clay also has high thermal mass, which is useful with passive heating in the building. The clay on the floor needs a lot of maintenance due to lack of durability and the color of it makes the distribution of the light difficult. LCA
FLOOR,
WOODEN
CEILING,
CLAY
WALLS
Similar to the first iteration, the second composition combines wooden flooring and ceiling with clay plastered walls. The substituted wooden flooring provides direction, leading the visitor through the exhibition space to the end of the room with the view out to the dunes. The acoustics of the wooden flooring provide a more haptic experience, relating to the traditional Danish houses.
LCA
FIG. 74- Material composition 03 WOODEN
FLOOR,
WOODEN
CEILING,
WOODEN
WALLS
The third iteration includes wood on all surfaces, creating an eminently warm environment. The wood on the ceiling provides extra height to the room through sense of scale, adding texture. In terms of design for disassembly the wood panels provide easy access and can be replaced. There is however not great contrast in materiality, and therefore does not accentuate where walls begin and end, leaving the atmosphere monotonous. LCA
FIG. 75- Material composition 04 WOODEN FLOOR, WHITE CLAY WHITE CLAY RENDER WALLS
TACTILITY
HIGH
TACTILITY
MED.
TACTILITY
LOW
TACTILITY
HIGH
LIGHT REFLECTIVITY
MED.
LIGHT REFLECTIVITY
HIGH
LIGHT REFLECTIVITY
MED.
CEILING,
LCA
LIGHT
DESIGN PROCESS
RENDER
Inviting in an extensive amount of daylight, the last iteration consists of light wooden flooring and white clay render ceiling and walls. Having such light surfaces does create a vast contrast to the warm exterior, however does not benefit the interior atmosphere, generating a more clinical perception, rather than a natural, raw one.
REFLECTIVITY
LOW
138
WOODEN
LOW
CLAY PLASTER WALLS
FIG. 73- Material composition 02
affects the overall life cycle of the building, and therefore both the aesthetic and environmental aspects have been used as the main validating factors. Hence, various material compositions have been examined through collages in photoshop, whilst the sustainable properties have been calculated in LCA and can be seen on page 70-71.
HIGH
FIG. 72- Material composition 01
compositions
MED.
INTERIOR
Materiality encourages engagement through various senses and contributes immensely to the experience of a building. The activity in a room and the size of it have a high impact on the acoustics. Natural materials often have a tactility that absorbs sounds well, making it easier to have uninterrupted communication (Indeklimaportalen.dk, 2020). Simultaneously the appropriate choice of materials
material
LOW
CHOSEN
varied
DESIGN PROCESS
139
