Archiving thresholds modest specifications

Archiving_Thresholds_of Inner_Norrebro Modest_Interventions_of_Thresholds

Archiving Thresholds of Inner Norrebro Copenhagen {An Inquiry Into Design & Detailing of Inner Norrebro’s Social Housing & Traditional 18th Century Building} Scarlett Hessian

To Norrebro

“Can we look at things normally considered insignificant, only garbed with anonymous or trivial functions, or are we too humble to have any special form of contemplative interest.’

Steen Hammershoy Andersen

An Introduction To The Contemporary Concept Of The Detail,1

Archiving Thresholds

Of Inner Norrebro {An Inquiry Into Design & Materiality of Inner Norrebro’s Social Housing & Traditional 18th Century Building}

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CONTENT.

Archiving_Thresholds_of Inner_Norrebro Modest_Interventions_of_Thresholds

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Archiving_Thresholds_of Inner_Norrebro Modest_Interventions_of_Thresholds

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Content

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Programme

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Mapping Senses

124 132 136

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Narratives

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Contexts : Perceiving Thresholds

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Casting Physical Context

146 156 168

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Materiality

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Archiving 18th Century

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The Window The Door The Stair

Archiving Existing FSB The Window The Door The Stair Proposal The Window The Door The Stair

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PROGRAMME.

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Programme_Thresholds Exploration_Into_Thresholds_of_Norrebro Abstract

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Programme_Thresholds Exploration_Into_Thresholds_of_Norrebro Introduction

‘Even a banal event can be emotive’

1 - Rachel Whiteread

2 - Peter Zumthor

3 - Carlo Scarpa

4 - Do Ho Suh

5 - Rachel Whiteread

6 - Carlo Scarpa

7 - Gordon Matta Clarke

8 - Arturo Franco

9 - Carol Bove

Andre Breton Mical, 2005, 222

This project began as a study and investigation into ‘Threshold’ spaces of Inner Norrebro. Defining my position of ‘Thresholds’ began by exploring the physical context of the given site.

Archiving the area physically through drawing and casting but also later. Socially by initiating a dialogue with locals. This began a narrative with the local users to explore the multifaceted nature of thresholds, specifically thresholds in relation to transition and their ability to generate architectural experience and how it is that we can measure our perceptions of these spaces or alter human experience in these ‘non-spaces’ Some thresholds can be invisible, however, the way one locks, obstructs, opens, invites, extends or limits determines the accessibility of the spatial experience and therefore defines a threshold not as a space; but as an in-between space. A threshold is an action and experience.

A gate, door, lock or curtain people use in their homes, creates a boundary or threshold between space at a human scale.

Exploring the tactility of these spaces, and what humans interact with. I have catalogued and archived architectural elements, materials, patterns, physical objects in order to understand the environment in which these human experiences take place.

Trying to capture and highlight the beautiful details and phenomenological approach of ‘non-spaces’ local to Norrebro.

Always referring back to the understanding of banality and the mundaneness within these ‘non-spaces’; whilst trying to measure the potentials of experiences in these ‘nonspaces’. Each doorway, door handle or stair tread passed is a threshold into a future space.

We should start by understanding what it is that exists already as architects before we can start from scratch “It is interesting to reflect on the history of architecture and how most great architects truly found their voice after years of careful work.” (Stephen Bates)

My motivation to investigate thresholds was influenced from initial research of the area of mapping senses of sound, touch, smell and sight. This lead to looking very closely into the materiality and how people use the small everyday things of their lives in Norrebro. This zooming in of the space lead me to look closely at the use, scaring and impressions that are left in a space and on materials; developing an archive of thresholds in which haptic and phenomenological experiences take place lead me to chose to record the following thresholds:

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Windows Doors Stairwells

Exploring these spaces of tactility and thresholds with different mediums of casting, drawing an photography.

I have looked at the work of the following designers as an exploration of materiality, tactility, Phenomenology, non-space and space activation at a modest, human scale:

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Programme_Thresholds Exploration_Into_Thresholds_of_Norrebro Mission

Analysing Thresholds/ Non Spaces

“Between here and there.”

Jane Rendell Art and Architecture: a Place Between

My goal is to reach a level of emotional human engagement from buildings in those places where little or none exists today.

These places I have defined as ‘Thresholds’ specifically looking into windows, doors, ironmongery, stair hand rails and stairwells.

By studying a historical, classical building as a case study into the methods of traditional building I aim to understand the decisions made as the period of modernism came into the realm of architecture. This is given as a case study example in FSB housing in Norrebro. These are a very clumsy attempt at modernism; cheap designs from the 1970’s when the inner city was demolished and regenerated with a large mass of red brick. There is a “A tension between architects who believe in technological rational solutions, and those who believe in convention and some form of cultural continuity (this) is still prevalent in contemporary architectural discourse” (Stephen Bates) I believe I sit on the side of cultural continuity as a future strategy towards the designing of architecture. There are of

course economic considerations to address, and contemporary building practice demands; a lighter construction technique, which is thoroughly at odds with the tectonic structure one associates with conventional classicism.

By understanding traditional methods of creating emotive and memorable spaces by looking at the past and what exists today. from measuring architectural experience from traditional 18th century architecture through local narratives and physical recording of ornamentation and detail in building; there is a clearly different experience for those who live and use the FSB housing.

Throughout this project I have tried to remain neutral in order to understand the functional aspects of the FSB housing, and the understanding of the economical and social situation during the build compared to the climate of the 18th century. However I wish to challenge the methods of construction and design of the FSB focusing specifically in altering the before mentioned thresholds.

I have created this document in a fashion in which to challenge the existing British Standards Specification manual. This document is a standardisation of what information must be given to a contractor or builder, in order for them to proceed with building or creating the architectural element of information given.

1 - Frank Lloyd Wright

2 - Peter Zumthor

4 - Peter Zumthor

5 - Dan Karavan

3 - Peter Zumthor 6 - Carlo Scarpa

7 - Dan Graham

8 - Peter Zumthor

9 - Peter Zumthor

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I have archived windows, doors, ironmongery, stair handrails and balustrades of the existing of two building types, and a proposed.

Alongside these drawn elements there is a text of a traditional method of specification writing; However I have accompanied it with a more descriptive narrative about the context in which the detail sits. Experimenting with the idea of how design can be portrayed to the craftsmen involved in the work.

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Programme_Thresholds Exploration_Into_Thresholds_of_Norrebro Vision

Analysing Thresholds/ Non Spaces:

“To live is to leave traces” Walter Benjamin Colomina, 1992, 74

During initial research, the studying of the materiality and human and physical responses to these and how they are used to define thresholds became my main focus of interest. This level of depth in which I chose to look remained constant when moving into the recording of architectural detail.

I chose to focus on a very human scale after studying the area of Norrebro in very high level of detail during the research phase of the project. Using the senses to be what measures our perceptions of space; sound, smell, noise, touch and taste. This tactile way of measuring space held my interest the more local and personal the research became. Exploring how locals use the space, and studying how they have created new thresholds within the existing thresholds of residential blocks, both FSB and privately owned.

How can we as designers redefine people’s perceptions of thresholds, to either limit or expand the invitation to use public or private space? This then lead me to think in very small scales with banal, everyday life narratives.

What does one touch to unlock their front door? What is the handle made from? Does the rain soaked timber door remind him of a place he’s been before?

These banal, rather ignored moments that occur in everyday life, are taking place in what we would describe as a threshold. A doorway, an entrance, a passage, a stairwell or a corridor. They are very transient spaces, in which we would not describe to be a ‘place’ but an in-between space.

It is these areas of Norrebro, with site specific investigations I have archived and catalogued such details in order to better understand these, so to speak, ‘forgotten spaces’.

During site investigations into locals personal experiences of Norrebro, I met a man named Werner who has lived on the 5th floor of an 18th Century apartment on Blagards Plads for over forty years. He explained his kitchen has not been renovated since 1910; this triggered the thought of how many hands have touched this kitchen; how many people had been invited over for dinner a and made the journey from the large gate at the entrance, through the

stairwell and up into this apartment.

Walter Benjamin once said, “To live is to leave traces” (Colomina, 1992, 74).

Each doorway, door handle, stair tread they have passed is a threshold into a future space, however it is the activity and “Movements of bodies in space” (Tshcumi, Cresswell, 2012, 51). that create the memory and experience of an architectural space.

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Mapping Senses

1:1000_@A1_Contextual_Map

Study of Materiality and sensory elements of Inner Norrebro

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Mapping_Sounds September_15 _October_15

Sounds

1. Child crying 2. Football hitting a wall 3. Children shouting 4. Children screaming 5. Leaves falling on the hard ground 6. The wind rustling the leaves in the trees 7. Crisp bag rustling 8. Cap on bottle being opened 9. Takeaway paper being wrapped up 10. Ceramic cup being put down on a wooden table 11. Cutlery scraping on plate 12. Foot-steps crunching on gravel 13. Running footsteps on the pavement and across sandy gravel 14. Pen writing on paper 15. Pages turning against the wind 16. Door shutting 17. High pitch female voices from around t he corner 18. Low toned male voices from the bench 19. Middle eastern music playing from top window 20. The sound of pots and pans clinging together coming through the window 21. Dog barking echoing down the street 22. Skateboard wheels going over granite stones 23. Glass smashing 24. Can opening 25. The hum of many voices in a shallow street 26. Lock hitting metal rack and bike 27. Electric door opening 28. Car speeding up 29. Car parking 30. Swing chain squeaking whilst going forth and back 31. Low thud of footsteps on grass 32. Bus engine slowing down at bus stop

Mapping_Scents September_15_October_15

Scents

32. Bus engine slowing down at bus stop 33. The rain falling on the hard pavement 34. Plastic back being thrown in bin 35. Door hinges creaking as it opens and slamming closed 36. Metal mud guards slapping the rubber bike wheel 37. Piano playing from inside a bar 38. Pop Music playing from a 4th floor window 39. Bike wheel splashing through a puddle 40. Birds chirping in the trees 41. Un-stacking metal chairs on pavement 42. Wind blowing leaves through the trees 43. Wind rustling through tarpaulin 44. Wood burring in a barrel 45. Moving wooden pieces on board game 46. Scooter speeding up 47. Low man voices from bench 48. Traffic passing by 49. Check-in-sound of a bus 50. Metal chair being pulled over the pavement 52. Phone ringing 53. Siren of the fire brigade passing by 54. Bee buzzing in the air 55. Rain falling on stone ground 56. Distant hum of voices 57. Distant engine of a lawnmower 58. Skateboard wheels rolling over granite stones 59. Electric door closing 60. Bicycle pump air chamber release

1. Fresh rain on the ground 2. Wet grass 3. Fried falafel kebab and fries 4. Coffee 5. Cigarette smoke 6. Beer 7. Eastern spices and onions cooking 8. Wet dog hair 9. Body odour 10. Sweet aromatic teas 11. Car fumes 12. Wet wood 13. (Flowers) 14. Strong perfume 15. Old material moth ball smell (record shop) 16. Fresh cut timber (frame shop) 17. Dog shit 18. Dog food 19. Stale cigarette smoke 20. Oranges 21. Swan shit 22. Plastic tarpaulin 23. Fresh paint 24. Burnt electrical wires 25. Piss 26. Bleach 27. Tomato Sauce 28. Garlic 29. Fire smoke 30. Scooter exhaustion 31. Sweaty person 32. Weed 33. Food 34. Fresh bread 35. Musty cellar 36. Washing powder 37. Soaked timber 38. Stale beer 39. Plastic sheeting 40. Lavender 41. Lilac 42. Rosemary 43. Oil

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NARRATIVES.

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Narrative_Local_Resident October_15_2015

‘Does Quietness Have A Sound?’

Summary

When we asked a local resident of Blågårds Plads what he sees when he looks out of his window; he replied, “I see these Linden trees… I feel this is really a garden… I’m not living in the centre of Copenhagen, I’m living in a garden”. He likes to enjoy Café Blågårds Apotek, which sits on the corner of the square for all of the singer songwriter and jazz nights, this he can observe quietly from the 5th floor of his apartment. We asked if there were any sounds characteristic of the area in which he replied after a long pause with, “Does Quietness have a sound?” This was a surprising response as we had perceived the area to be bustling with sounds from morning to night. However he seeks calmness and stress relief from walking around the lakes and parks regularly as he “likes quietness”. This lead us to ask if he utilizes the public courtyards that sit behind his apartment, as they seemed to us to be a quiet green retreat from the city, “I don’t like it because there’s windows all around you. I feel like I’m in an aquarium, or the zoo”. Asking him further about Blågårds Plads and Norrebro, he says it has changed a lot over 40 years; “there was more identity… ‘we are Norrebro, fight for our rights” was the feeling in the 1970’s but now people aren’t working class here, they are independent and self-sufficient, so “why should they integrate? There’s no need for it”. However, seeing groups of friends and locals gathering to drink Beers and smoke together on

the benches of Blågårds Plads he agreed that “they are peaceful, I am not intimidated by them, not intimidated at All”. We left the interview with the positive and humbling feeling that this area really is a community, despite calling it a “parallel society” the locals live side by side, and sometimes have much deeper Than we can observe as outsiders.

Narrative_Local_Resident October_15_2015

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Narrative_Local_Resident Tuesday_September_22_2015

‘Does Quietness Have A Sound?’

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Narrative_Local_Resident Tuesday_September_22_2015

‘Does Quietness Have A Sound?’

‘Does Quietness Have A Sound?’

Interview Transcript

Initial meeting: Monday 8:00 pm shooting 24 hour video; he approached us to ask what we were doing. We explained the purpose of our position to be a 24 hour exploration of Blågårds Plads and asked if he would be happy to arrange an interview; in which he explained he is a journalist and would be happy too.

Can you describe your home to us?

My apartment? You ask me about my apartment, how it is. An old apartment, with 4 different kind of floors because I’ve not yet renovated. Most people renovate these days, I haven’t.

Are they all timber?

Yes my kitchen is from 1910 and not renovated. (Laughs) Is it nice to look at?

Yes it is okay for me, I’m single now.

(Laughs) How long have you been there?

Since 1981, since before you were born.

It is a community in this building. We live as a community. There’s a specific English word for it. You share in the house.

So you also have responsibility?

Most of these buildings are like this way. I have a share in this community.

Then there is a board to decide what is to be renovated and how to.

So is every member of these flats a member of this board? How does it work? How do you come to conclusion?

Yes we have some struggles but price is quite low but we had a board and decided it should be cheap apartments.

Should not spend a lot of money. The value of the apartment is quite high.

Are your neighbours all in creative industries?

No, no. These are teachers, next one is… she’s also a teacher. She’s academic work. The next one is some young people I’m not so familiar with what they’re doing. I think these ones are pensioners… is this interesting?

Yes. The next question was going to be do you know your neighbours?

Yeah, yeah we know each other Do you bump into each other and hang out outside of the house?

No we do not hang out. Probably sometimes meet here at the café.

So is this bar a big part of the community?

For some people. I come here regularly. Tomorrow we have singer song evening.

What do you see when you look

out your window?

I see these linden trees. I think it’s wonderful to see these linden trees. I just read an article in the newspaper that to look at green colours is good for stress. To heal stress. If you have some green things to look at. I feel this is really a garden. So when I look out, I’m not living in the centre of Copenhagen I look out at a garden.

Are there any characteristic sounds of this area that are special to this place?

I think its. Does quietness have a sound? I think its quietness.

It’s like these squares you can meet in some cities there’s a little area with very little sounds. And I live on 5th floor. But I know my neighbours from below they complain about noises of the chairs from cafés. And the noise late in the evenings, sometimes it’s late and loud. And we have a lot of concerts here in the summer. It’s not always exactly my kind of music they are playing. But I’m a spectator from there. Sometimes it’s too much, a whole weekend, sometimes a whole week. This is a place when they have Labour Day they start it here. It’s a working class area so it’s a tradition.

They start here and talk about the capitalists and how we should fight for our rights and we will never surrender What about any smells? Very distinct smells in the area?

Just the restaurants. Café latte’s from these cafes. And of course we have this

Shawarma, spicy Shawarma.

Where do you feel most comfortable outside in this area? The lakes. I like to stroll round the lakes.

And I like Copenhagen because there are so many green (LAUGHS) areas.

Today I’m a little bit elderly but I like to go to the parks and around the lakes and quietness. I’m not used to town so much. No. I do not feel intimidated here.

Has it always felt this way?

There’s this group here that sell hash and they occupy this door over here.

And then I was thinking a little bit that if you get bad eye contact with them of misunderstanding ha t would happen?

Nothing ever happen?

No. They still come sometimes. But I do not feel intimidated by. Just think about it, you do not stare into their eyes.

Why do you like living here?

I would like to find another place Are there some public spaces here you don’t feel welcome? to live. Another place. Where there is more green areas here in Copenhagen.

I want to stay in Copenhagen. I am a Copenhagen. I must stay here Would you ever go to Frederiksberg?

Yes. There are so many parks there, you should go and see them.

Are there any reasons why you don’t like living here?

No! Anything on daily basis that bothers you?

I think it’s wonderful for one reason.

You can bike anywhere in 5 minutes.

To central station, to the universities.

My workplace, everything. 5 minutes.

It’s not like London Wondering what you think about the courtyards?

I don’t use it. I don’t like it because there’s windows all around you. I feel like I’m in an aquarium, or the zoo.

So I don’t use it. Even when I sit on my balcony I do not feel so comfortable because there’s windows everywhere.

Do you perceive it differently to Blågårds Plads.?

Yes, but you can be sure there looking at us. Thinking, two girls? There’s a lot of gossip here. It’s astonished sometimes when I talk with people and they say where your girlfriends is? How do you know who she is? A little provincial here. It has changed a lot here from when I came here. There we small shops, butchers bakers, small shops for ordinary people for people’s needs of everyday life. Now its shops, galleries, vets. It’s completely different.

Do you like the change?

I think it was nice when it was these small shops.

Do you notice the hipsters here?

The street is divided when you come up here you have the cafés with all these students and this area is more or less empty. You can see areas divided in these kinds of buildings. They teared down the slum in the 70’s and teared down here and rebuilt this courtyard.

This square has been an iron foundry.

That’s why we call it the black square because from that iron foundry the chimneys came up in this area.

I’m little bit tired of the summer and the music on this square. I am an old man What happens in the winter?

We have skating on the square. Not sure it happens any more. Not so much life on the sure in winter.

Do you have the feeling the community is still as important as it was 30 years ago?

No, it’s not the same, not the same time. anymore. People are different, there was more identity 40 years ago.

We are Norrebro, fight for our rights. It has changed. I Feel it. Someone might say differently.

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Narrative_Local_Resident Tuesday_September_22_2015

‘Does Quietness Have A Sound?’

Do you know why it’s not strong anymore?

I think people have become richer here.

It’s not working class area enough and they have a life of their own and they do not need other people. Their neighbours. They have their own apartments their own income. Why should they integrate? There’s no need for it. Maybe there are some there.

There is a big community here with a group drinking beers from the morning until the night. There’s a little group.

But in former days the whole area was filled with this. They used to have these huge dogs that barked. But they are peaceful. Not intimated by them and I do not feel intimated at all.

Do you describe this area as open minded?

I think it’s the most open minded area in Denmark. Very multi-cultural in this area. Yeah, yeah.

How do you experience that when different cultures live together in small places? Does this benefit the community in some way for you?

Benefit the community? Of course you get a lot for different new experience.

New culture. But they do not mix together. They have their shops. Maybe you go and buy a Shawarma but you do not mix up. There’s the Danes and yeah. The other cultures. I guess it could be the same in London. We stick to what you’re comfortable in. No deeper relationships with these guys.

So more like living side by side?

We call it parallel society. They have their society and our society.

And are you comfortable with it that way? Would you want it to be any different or does it work for you?

That’s a good question!

I talk with them but, it is a different culture. You can’t. I don’t like to say any negative. There’s something about that. There something about values that differ. But if you ask one of the, about a great writer, I don’t even mention the name. They look blankly. You ask them about rock music and they look blankly, you mention the Roskilde festival and they have no idea. Completely blank. This way something you cannot share. Would they come here, no never? Because you’re drinking alcohol. So and it’s not in a negative bad meaning. It just different interests.

It’s not because I’m negative it just something I cannot share.

Narrative_Local_Resident Tuesday_September_22_2015

‘Does Quietness Have A Sound?’

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Narratives_Norrebro Blagarsgade_12_Stariwell November_8_2015

“You Have A Very Beautiful Staircase”

I buzzed flat number 1 at Blågårdsgade 35 and politely said, “Hello I’m an architecture student from the art academy, I was wondering if it was okay for me to take some photographs of your staircase.” Dr A replied “Of course, I’ll let you in.” I thanked her and let myself in.

I began to unpack my strange green wax from its cosy box, praying it would still be warm enough to mould into the tiny crevasses of the stair balustrade. I still had some time, probably only 20 minutes, so I began to push the luke- warm wax into the painted iron stair post, hoping it would pick up the ornate detail of this post which has stood since 1810. Imagining how many hands have touched this post, to swing themselves up the first step, or landed on it whilst sliding down the sturdy mahogany hand rail. It still stood strong, and tall, undamaged and permanent. Something that cannot be said for the Netto store that stands opposite. Its thin grey metal cladding, with offset panels that’s only pattern is the repeated rhythm of the panels and offset windows, absorbing all light and reflecting nothing back.

I sensed someone hovering at the door, I wonder whether to let them in, but realised it’s not my home. The mail man arrived, looking baffled to see me standing with black Fimo and green wax in either hand. I smiled and explained I am trying to record details of the building, he removes one head phone and smiles, probably still clueless as to what it is I am doing. I smiled and carried on.

I successfully cast some of the metal newel post and timber hand rail with Fimo and wax but the wax has all hardened by now. So I moved onto wax paste, a much better casting material, which is traceless. I warmed it in my hands to make it as soft as possible and began to push it into the iron curls of the stair balustrade.

The detail in this staircase is as ornate as jewellery, tilting your head upright to look through to the top floor, it acts as a chandelier for the stairwell. Still feeling slightly like a trespasser, two more people entered the stairwell, pausing their conversation once they spotted me hanging out on a step. I smiled and said hello, they continued to walk past me smiling and said, “What are you going to make?” I explained that I am an architecture student once again, and that I am recording detail in thresholds for my project and that, “You have a very beautiful staircase”, the woman looked at her friend and said, “Yes, you really do, it’s really beautiful” They continued to ascend the stair case chatting, the sound silenced after a heavy, solid door slam.

I continued to cast, when the woman -an returned 5 minutes later, she wished me luck and said, “It’s great to see people showing appreciation for this kind of architecture, it’s so lost now.”

I explained that was also my shared point of view, and the point of the project is to demonstrate the loss between social housing buildings and 18th/19th Century housing.

She nodded, and agreed with most that I said, then interrupting me to point over the road to the Netto and apartments that sit above it. “This won’t last more than 30 years, this has been here for over 200 years, and look at it; It’s perfect still.” She continued by describing her house, around the corner, “It’s on the lakes, just one street from here, it’s not as rich as this building, as it was built when the city still had a forte. The building had to have the best fire escape route, in case the Swede’s attacked, you must come by and visit, it’s very interesting.” I gleefully accept her invitation and we exchange numbers.

Anette continues with, “I have lived here all of my life, and it is so sad to see that they got rid of everything in the 70’s. I know a lot if it had to go as it was too small, and it didn’t work, but I think if they tried harder they could have kept a lot of the old details, just some of it, but they didn’t. They just tore it all down. It’s all about money these days, they don’t care about what it looks like.” I explain how I believe there needs to be a new approach to social housing, within their budgets and the design process. She agrees with me, and we organise to meet in a weeks’ time for coffee at her house so we can talk about it more.

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CONTEXTUAL INVESTIGATION.

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Influenced by George Perec’s ‘Species of Spaces’ in which he challenged ways of recording a city. Choosing to record the ordinary and the everyday. He chose twelve locations of Paris which he was familiar with and wrote about them twice a year for twelve years. He also allowed himself to write about memory, not just the physical space. This combination of physical details and descriptions informed by a personal experience revealed the city to be a place of human experience, not architecture alone.

This is a technique I borrowed when investigating the site of Norrebro. This chapter demonstrates my personal experience of the neighbourhood through visual representation as well as written. Limiting the descriptions to a mere few words and allowing the scale of the simple line drawings to describe what I recalled from the place. The picture collages act as montages of memories, displaying a narrative through experience.

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Todesgade_8_Norrebro FSB_Residential_Block Collage_Threshold_1

Perceptions_Of_Experience_Narratively_Collaged

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Todesgade_8_Norrebro FSB_Residential_Block Detail_Sketches_Threshold_1

Cobbles Geometric Square Orderly Monotonous

Brick Timber Granite Concrete Linear

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Todesgade_2_Norrebro FSB_Residential_Block Collage_Threshold_2

Perceptions_Of_Experience_Narratively_Collaged

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Todesgade_2_Norrebro FSB_Residential_Block Detail_Sketches_Threshold_2

Cobbles Pipes Stone Door Lintels

Brick Intercom Framing Juxtaposed Sills

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Blagards_Plads_7_Norrebro Church Collage_Threshold_3

Perceptions_Of_Experience_Narratively_Collaged

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Blagards_Plads_7_Norrebroo Church Detail_Sketches_Threshold_3

Pattern Chevron Offset Keyholes Stone Laying

Brass Arches Timber Panelling Symbols

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Blagards_Plads_7_Norrebro Church Collage_Threshold_3

Perceptions_Of_Experience_Narratively_Collaged

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Blagards_Plads_7_Norrebro Church Detail_Sketches_Threshold_3

Pattern Chevron Offset Keyholes Stone Laying

Brass Arches Timber Panelling Symbols

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Baggesensgade_8_Norrebro FSB_Housing_Stairwell Collage_Threshold_6

Perceptions_Of_Experience_Narratively_Collaged

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Baggesensgade_8_Norrebro FSB_Housing_Stairwell Detail_Sketches_Threshold_6

Cladding Metal Sheet Timber Frame Bolts Vertical

Blue Metal Handrail Concrete Sterile Cold

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Blagardsgade_35_Norrebro C18th_Residential_Builiding Collage_Threshold_7

Perceptions_Of_Experience_Narratively_Collaged

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Blagardsgade_35_Norrebro C18th_Residential_Builiding Detail_Sketches_Threshold_7

Diamond Aztec Terrazzo Spiral Panelled

Brass Iron Ornamental Turned Timber Newel Post

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Wesselsgade_26_Norrebro Bodega_Diligengen Collage_Threshold_9

Perceptions_Of_Experience_Narratively_Collaged

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Wesselsgade_26_Norrebro Bodega_Diligengen Detail_Sketches_Threshold_9

Timber Relief Mullions Balustrades Cladding Brass

Metal Decoration Door Handle Skirting Patterns Cobbles

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Thorupsgade_6_Norrebro Residential_Block Collage_Threshold_11

Perceptions_Of_Experience_Narratively_Collaged

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Thorupsgade_6_Norrebro Residential_Block Detail_Sketches_Threshold_11

Linear Systematic Brick Grout Curb

Electrics Bed Edges Offset Brick Red Datums

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Aboulevard_30_Norrebro Social_Residential_Block Collage_Threshold_12

Perceptions_Of_Experience_Narratively_Collaged

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Aboulevard_30_Norrebro Social_Residential_Block Detail_Sketches_Threshold_12

Materiality Cobblestones Mosaics Grids

Extrusions Squares Linear Clean

50

Peblinge_Dossering_24_Norrebro C18th_Residential_Housing Collage_Threshold_13

Perceptions_Of_Experience_Narratively_Collaged

51

Peblinge_Dossering_24_Norrebro C18th_Residential_Housing Detail_Sketches_Threshold_13

Crafted Trellis Coves Ironmongery

Handrail Metalwork Detailing Patterns

52

Murergade_12_24_Norrebro Residential_Housing Collage_Threshold_14

Perceptions_Of_Experience_Narratively_Collaged

53

Murergade_12_24_Norrebro Residential_Housing Detail_Sketches_Threshold_14

Brick Homogeneous Aggressive Strong Gridded

Purposeful Utilitarian Postmodern Lifeless Modernist

54

Bl책g책rdsgade_40_Courtyard Church Collage_Threshold_15

Perceptions_Of_Experience_Narratively_Collaged

55

Bl책g책rdsgade_40_Courtyard Church Detail_Sketches_Threshold_15

Traditional Danish Brick Arches

Lintels Patterns Diagonals Framing

56

Bl책g책rdsgade_13 Church_Kidergarden_Residential Collage_Threshold_16

Perceptions_Of_Experience_Narratively_Collaged

57

Bl책g책rdsgade_13 Church_Kidergarden_Residential Detail_Sketches_Threshold_16

Religious Traceable Ornate Detailed

Timber Relief Ordered Inviting

58

Korsgade_21 Residential_Facade Collage_Threshold_17

Perceptions_Of_Experience_Narratively_Collaged

59

Korsgade_21 Residential_Facade Detail_Sketches_Threshold_17

Junctions Curves Frames Importance Grandeur

Historical Stone Porch Panels Sills

60

Peblinge_Dossering_18 Residential_Facade_Entrance Collage_Threshold_18

Perceptions_Of_Experience_Narratively_Collaged

61

Peblinge_Dossering_18 Residential_Facade_Entrance Detail_Sketches_Threshold_18

Traditional Diamonds Tiling Herringbone

Framing Panelling Capitals Ledges

62

Todesgade_9 FSB_Residential_Stairwell Collage_Threshold_19

Perceptions_Of_Experience_Narratively_Collaged

63

Todesgade_9 FSB_Residential_Stairwell Collage_Threshold_19

Terrazzo Ordinary Metal Hollow

Sole-less Grey Blue Rotting

64

Archiving_Thresholds Sketches_Of_Details

Cobblestones and paving around the perimeter of C.18th residential housing block.

Ornate Brick detailing and stone skirting surround the ground level of the structure.

Stone capitals sit either side of door architraves, framing and giving the threshold importance.

65

Archiving_Thresholds Sketches_Of_Details

Brick slips line the walls of the FSB. Trying to understand traditional wall build up, and options for sectional explorations of the existing structure. Timber detailing of a star in window panes in a bodega in inner Norrebro, Picking up details I was aiming to cast to record physical context.

66

67

Exploring staircase examples in both 18th Century site and FSB. The hollow, rigid and orthogonal hand rail detail makes a terrible aggressive echo throughout the stairwell when a metal ring or zip catches it. Chiming up the staircase as the only real visibility to physical activity in the space.

Sketches of lintel and arch details of the ground floor, capitals and stone mason detailing. Measuring the mortar distances, and brick divisions and spacing in order to model and explore detailing.

68

69

Casting_Physical_Space

Process _Plaster_Casting

Architectural_Details

Beginnings_of_Archive_Collection

70

Proccess_Casting Balustrade Blagarsgade_35

In Situ Proccess_Wax_Paste

71

Outcome_Casting Ballustrade Blagarsgade_35

Wax_Paste_Result

72

Proccess_Casting Ironmongery_Balustrades_Keyholes Norrebro

Wax_Fimo_Wax-paste_Casts

73

Proccess_Casting Pavement Todesgade_5

Plaster_Casting_Pavement_On_Site

74

75

What materials can me taken from the local context?

More common than not, social housing developments have a string of the same challenges from the outset.

Low finances, and a lack of time.

Having studied the history of the construction of the FSB in inner Norrebro, it became clear that this was also the case for Norrebro.

By posing the question of ‘what alternative materials could be used and how could we build them. The most relevant starting point was to explore what could be sourced locally.

What happens if you rebuild elements of the FSB blocks rather than tearing down the whole thing?

What If it is painted all white and given triple glazed windows, does it become stylish and desirable?

All steel ironmongery becomes solid brass? Is it perceived as individual or different?

What if the brick slips can be replaced with a ceramic tile for the same price?

What happens if all of the white LED Bulbs can be changed to lithium warm low level lighting?

What if the local Iron foundry becomes a source of influence for façade material and design of FSB housing?

What if the doors became cast iron?

Or all the door handles and hinges were ornate cast iron.

Perhaps the hollow metal hand rail and balustrades of the stairwells could

be replaced with a more classical, but rather than be made from turned solid timber, they are in fact cast with saw dust and glue? A modern, low cost design method.

What if you just painted all the elements different colours? Or glossed the hand rail?

The floor could be reclaimed tile/ stone off- cuts laid like large format terrazzo pieces. What if the Grout was a colour rather than grey or white?

Constantly ask WHY are these buildings built with the chosen materials?

It is almost always down to budget constraints and time. What materials can be used that could be cheaper than existing? Or how can we challenge the existing materials and design and build methods of the time.

Investigating into Denmark’s largest exports with the idea of the more local, the smaller the distance materials need to travel and the lack of tax would mean cheaper material. I discovered the following:

Fur skins and artificial fur. Ores, slag & ash, live animals, fish, sugar, feathers, and artificial flowers Carlsberg Beer, Lurpak butter.

Ideas of redesigning social housing with artificial flowers and fur skins, or beer bottled walls all jumped to mind.

However the chosen elements of redesign chosen; hand rails, balustrades, doors and windows need to be more robust.

76

Denmark_Largest_Exports Mink_Fur_Skins

77

Denmark_Largest_Exports Feathers_Artificual_Hair_Artificial_flowers

“ Every year Danish fur farmers raise almost 17.2 million mink. “

Fur farming is Denmark’s third largest type of animal farming.

Danish mink skins are the most expensive on the world market, which is due to the fact that Danish mink farmers produce a superior fur quality in high demand by consumers.

Every year Danish fur farmers raise almost 17.2 million mink.

1,500 Danish fur farmers own the cooperative company Kopenhagen Fur. Kopenhagen Fur is the world’s largest auction house for furs and the global centre of the fur trade.

Kopenhagen Fur has a turnover of 13,4 billion Danish kroner (2,48 billion USD) per year.

Fur skins are Denmark’s largest export commodity to the booming economy in Hong Kong/China.

The Ministry of Commerce in Denmark has selected the fur trade as one of 29 special competence clusters in Danish economic life.

Fur farming is a sustainable production that relieves the food industry of large quantities of waste cuts and by-products.

Feather exports from Denmark are up 52.1% in 2014, culminating in $11.8 million of revenue.

Artificial flowers are also a rising export of Denmark.

The precedents included to the left are design interventions using flowers and feathers.

Flower casts in concrete panels. Walls and ceilings covered in flowers for Dior Haute Couture fashion show in Paris.

Feather lamps, wall coverings and artworks.

These gave me initial inspiration to attempt making such things, however they are mostly very temporary.

78

Denmark_Largest_Exports Fly_Ash_Brick Wood_Ash _Glazing

Bricks made from Ash – Fly ash Brick - (FAB) is a building material, specifically masonry units, containing class C fly ash and water. Compressed at 28 MPa (272 atm) and cured for 24 hours in a 66 °C steam bath, then toughened with an air entrainment agent, the bricks last for more than 100 freezethaw cycles.

Slag cement is a by- product of an iron blast furnace, part of an integrated steel mill. When molten slag is separated from iron in a blast furnace, it can be rapidly quenched with water (“granulated”), dried and ground to a fine powder. At this point it becomes slag cement (or ground granulated blast furnace slag).

Slag cement is one of the most sustainable construction materials available because it: - Recovers an industrial by-product through beneficial use when incorporated into concrete or other construction applications.

- Avoids disposal of blast furnace slag, when beneficially utilized.

- Reduces portland cement in concrete, resulting in: -Decreased embodied energy -Decreased embodied greenhouse gas -Decreased use of virgin materials -Reduces the urban heat island effect by increasing the reflectivity of concrete.

-Increases structure life by improving the durability of concrete to various types of degradation such as corrosion of reinforcing steel, external and internal chemical attack, and cracking due to thermal stress.

79

Denmark_Largest_Exports Fly_Ash_Brick

Sugar is one of Denmark’s largest exports. One of the largest companies is called Nordic Sugar.

They produce close to 1 million tonnes of sugar annually at their own plants in Denmark, Sweden, Finland and Lithuania. The production is based on natural raw materials, primarily sugar beet, grown locally. After the sugar is extracted, it is manufactured in a line of high-energy animal feed from the beet. They have high ambitions for environmental, social and financial sustainability.

Looking further into the possibilities of sugar as a building material, the first thought was to make sugar panels, an alternative to glass. It can be pigmented to any colour, therefore could be used as a stained glass panel alternative if it was indoors.

The first precedent is from an artist William Lamsom. He made 162 windows toned in yellow to brown ranges by caramelizing sugar on different temperatures, pouring the fluid produced that way between two glass panes, which he first had to warm up in order to prevent them from breaking, after which they were sealed with silicone.

80

ARCHIVING C.18th.

81

82

C.18th_Site_Subject_Of_Archive 11_13_Todesgade_Norrebro Residential_Commercial_Building

Project_Site

Northern_Elevation

C.18th_Site_Subject_Of_Archive 11_13_Todesgade_Norrebro Residential_Commercial_Building

83

Archiving_Threshold_details_of_18th_Century_Site

84

Paving Stones

C.18th_Site_Subject_Of_Archive 11_13_Todesgade_Norrebro Collaged_Perceptions_Threshold_Details

Architraves

Frames

Handles

Junctions

Masonry

85

C.18th_Site_Subject_Of_Archive 11_13_Todesgade_Norrebro Collaged_Perceptions_Threshold_Details

Voids

Balustrades

Materials

Handrail

Orientation

Ironmongery

86

C.18th_Site_Subject_Of_Archive 11_13_Todesgade_Norrebro Selecting_Architectural_Ornamentation

87

C.18th_Site_Subject_Of_Archive 11_13_Todesgade_Norrebro Selecting_Architectural_Ornamentation

Franeless window

Granite level signal

Curved Brick Arch

Stone Animal Faces

Keystone

Stone Lintel Timber frame

Timber Lintel

Croner Stone

Panelling

Rivetted architrave

Decorative Brick

Highlighting architectural elements on the facade of the chosen 18th Century site. I chose to archive and research further into this site as it is incredibly ornate and stood out in the neighbourhood. I visited the city archives to collect information on the building and discovered very little changes have been made since its construction. There are multiple types of windows, doors, brick patterns, stone work and timber work. It is a large block which sits neighbouring

a beautiful church situated just off from Blagards Plats.The detail’s I chose to archive are architectural elements This building is proportioned within the classical tradition, with string-courses and tall windows on the ground floor level, with progressively smaller windows on the upper course. The ground floor level window and openings are wider than those above. Their scale provides visual engagement with the pavement and street

88

C.18th_Site_Subject_Of_Archive 11_13_Todesgade_Norrebro Selecting_Architectural_Ornamentation

89

C.18th_Site_Subject_Of_Archive 11_13_Todesgade_Norrebro Selecting_Architectural_Ornamentation

Detail 2

Detail 1

Detail 3 Detail 2

90

Archiving_C.18th_Windows Todesgade_Norrebro

91

Archiving_C.18th_Windows Todesgade_Norrebro

The Window.

Windows sit in a middle ground of architectural priorities. They are essential to a building for purposes of light and ventilation but they also serve many more essential qualities of space.

The lack of attention to window design, is not the only architectural element which sits in the mundane of architecture. Doors, stairs, walls and ceilings often experience the same lack of attention. More time is spent on concept or the budget, or economic factors of a build and not necessarily the details which are all contextually relevant.

I believe these details need more attention and have to stop being overlooked as its crucial to the user of a residential apartment that the architecture they spend time is humanised.

That the basic need to look out of a window and feel they can look inside themselves is a basic human need.

We are humanised by our contexts, and by creating spaces that allow for growth of experience we can affect the everyday experience of a human.

Caspar David Friedrich Woman at the Window 1822

Simply adding a window sill, and a single panelled window to frame a larger uninterrupted image, that opens outwards to the exterior space. We can then invite the exterior atmosphere to the interior and vice versa.

92

Existing_Specification_Document_C.18th Threshold_1_Windows_Type_1 Contextualised_Perspective 11_13_Todesgade_Norrebro

93

Existing_Specification_Document_C.18th Threshold_1_Windows_Type_1 Elevation_Section_Detail 11_13_Todesgade_Norrebro 1730

60

10

95

510

95

230

340

10

60

20

60 25

985

1650

60

30

60

90

12

12

465

Window in context of old Copenhagen stock red brick

Section through basement to First floor

Section through window frame

Specification

The white paint, peels away at the corners of the very narrow exterior sill, the clink of the metal bracket falling from a hook as the window swings open into the street.

The view of Linden trees and the social housing block are soaked in the sunlight at midday, reflecting the red brick onto the window pane.

Dimensioned Elevation

Quantity

Traditional rectangular timber framed window split into a double swing opening at 180째 with 6 panes of glass.

Open outwards into the street which breaks the facade, metal external corner hinges. Flat ended screws painted white.

Brick lintel sits above the window and fans out to the corners at 25째

20 on Northern Facade

465

30

465

94

Existing_Specification_Document_C.18th Threshold_1_Windows_Type_2 Perspective 11_13_Todesgade_Norrebro

Specification

Neighbouring a ground floor door, this window has been replaced with a plastic triple glazed window system. However the original timber frame still stands, chipped and painted white.

The panes of glass are dirty and some filled with air pockets and condensation, it stands as the odd one out and the only window of its kind, baring the brunt of all passers by.

95

Existing_Specification_Document_C.18th Threshold_1_Windows_Type_2 Elevation 11_13_Todesgade_Norrebro

Quantity

Traditional timber framed window split vertically and horizontally, creating 2 opening options.

Exposed stainless steel L-Hinges on external side. Exposed butterfly hinges and levers.

Double glazed plastic window system.

Windows open to 180째.

1 on Northern facade

96

Existing_Specification_Document_C.18th Threshold_1_Windows_Type_3 Perspective 11_13_Todesgade_Norrebro

Specification

The ceramicist who works in the first three bays of ground floor displays her vases and jewellery in the glass wall that sits below the brick arch. The others have been frosted, but you can see remnants of stacked boxes, plaster moulds and dust. The arched lintel sits as a roof above the hidden story of the studio inside.

97

Existing_Specification_Document_C.18th Threshold_1_Windows_Type_3 Elevation 11_13_Todesgade_Norrebro

Quantity

Brick arched lintels above a curved window.

Ground floor window detail.

Timber batons between uneven glass panes are painted a racing green.

Red Copenhagen Brick with 5 keystones.

Cut brick on top of arch .

Variable width mortar between bricks.

4 on Northern Facade 6 on Western Facade 4 on Southern Facade 0 on Eastern Facade

98

Existing_Specification_Document_C.18th Threshold_1_Windows_Type_4 Perspective 11_13_Todesgade_Norrebro

Specification

These handsome traditional windows are what lights the stairwells into the building.

Timber framed, well kept and painted white. They include a brick lintel above, it seems just for decoration. The windows are split into 6 panes of glass, dividing the view externally into a multitude of frames, which work very beautifully with the view onto the very gridded and geometric pattern of the FSB building it faces onto.

99

Existing_Specification_Document_C.18th Threshold_1_Windows_Type_4 Elevation 11_13_Todesgade_Norrebro

Quantity

Traditional rectangular timber framed window split into a double swing opening at 180째 Open outwards into the street which breaks the facade.

Brick lintel sits above the window and fans out to the corners at 30째

6 on Northern Facade

100

Existing_Specification_Document_C.18th Threshold_1_Windows_Type_5 Perspective 11_13_Todesgade_Norrebro

Specification

Plainly styled and classically simplified as they sit in the dormer roof , following the traditional system of ornament; lessened the further up the facade they sit. Painted white with the optimum distanced view looking over the area of Norrebro.

101

Existing_Specification_Document_C.18th Threshold_1_Windows_Type_5 Elevation 11_13_Todesgade_Norrebro

Quantity

Fifth floor window detail Traditional square timber framed window with three split vertically, creating 9 glass panels.

Opens outwards with painted white hinges, and swing wall bracketed hooks.

Openings of 180째

5 on Northern Facade

102

Existing_Specification_Document_C.18th Threshold_1_Windows_Type_6 Perspective 11_13_Todesgade_Norrebro

Specification

The stone of the lintel has chipped and eroded, almost resembling wood grain.

Colours of green, blue, purple and orange draw you closer to see what the material really is.

The curls that the oval surround rest upon still stand strong with a few bruises.

They sit above all main residential doors giving the building pride.

103

Existing_Specification_Document_C.18th Threshold_1_Windows_Type_6 Elevation 11_13_Todesgade_Norrebro

Quantity

Oval stone window surround with four keystones resting above a stone lintel with masonry curled decoration.

Glass divided into eight pieces with timber baton construction painted white.

2 on Northern Facade

104

Existing_Specification_Document_C.18th Threshold_1_Windows_Type_7 Perspective 11_13_Todesgade_Norrebro

105

Existing_Specification_Document_C.18th Threshold_1_Windows_Type_7 Elevation 11_13_Todesgade_Norrebro

Specification

Quantity

“Two beds are dimly seen, at the back of the room a dormer window...The roof line of the house is one dimensional; under and over it we see the apartment buildings.�

Timber segmental dormer window.

Painted white window frames and lead sheeted sides.

Top floor windows of tiled sloped roof

Arthur Miller Death Of A Salesman

2 on Northern Facade

106

Existing_Specification_Document_C.18th Threshold_1_Windows_Type_8 Perspective 11_13_Todesgade_Norrebro

Specification

These two windows sit high up on the facade, Lighting the way to the top of the staircase. They symbolise the end of the journey up the stairs , flooding the landing with daylight , a little light at the end of the tunnel of eight flights of stairs. The stone has eroded only a little, but perfectly painted on the inside, a little portal into the outside world , peering over the rooftops of the FSB block opposite, catching glimpses of the trees in the park beyond the square.

107

Existing_Specification_Document_C.18th Threshold_1_Windows_Type_8 Elevation 11_13_Todesgade_Norrebro

Quantity

Oval stone window surround with four keystones.

Glass divided into eight pieces with timber baton construction painted white.

2 on Northern Facade

108

Archiving_C.18th_Doors Threshold_2 Todesgade_Norrebro

109

Archiving_C.18th_Doors Threshold_2 Todesgade_Norrebro

The Door.

“It is pleasurable to press a door handle shining from the thousand hands that have entered the door before us; the clean shimmer of ageless wear has turned into an image of welcome and hospitality. The door handle is the handshake of the building. The tactile sense connects us with time and tradition; through marks of touch we shake the hands of countless generations. “ Juhani Pallasmaa Architecture of the seven senses; the shape of touch, 33

Wesselsgade 26 Bodega’s Cast Metal Door Handle

By Author

110

Existing_Specification_Document_C.18th Threshold_2_Exterior_Door Contextualised_Perspective_Section 11_13_Todesgade_Norrebro

111

Existing_Specification_Document_C.18th Threshold_2_Exterior_Door Elevation_Plan 11_13_Todesgade_Norrebro

110

1200

25

400

25

Stone gargoyle

1290

Stone lintel arch

275

1170

Stone Capital

2740

Plan Detail

Brick 110

110

Pavement Detail

110

240

245

740

930

Granite

50 110

Door in Context

Section

980

Elevation

Specification

Sits below a stone porch detail with two stone wall mounted capital details to either side, with a column and capital in the centre of the double frame. The tip of the stone architraves their is a stone animal face, covered in years of rain, the eyes of the gargoyle are deep and dark with mould.

Metal Grill

Quantity

Timber painted door Four recessed panels Timber Grooved architraves with plain timber capitals Timber kick-plate 1800 x 980mm

1 on Northern Facade

Stone

Granite

112

Existing_Specification_Document_C.18th Threshold_2_Interior_Door Perspective 11_13_Todesgade_Norrebro

Perspective

Elevation

Specification

Painted a pale grey blue, the ornate architrave is ribbed with square panelled stops half way down, the right hand side acts as a plinth for the rounded timber and ceramic door bell. The door has two panels, the lower part as a ribbed panel piece in the centre adding decoration and classicism

113

Existing_Specification_Document_C.18th Threshold_2_Interior_Door Elevation_Plan 11_13_Todesgade_Norrebro

Plan

Quantity

to the door. The top of the architrave has a triangular and circular carpentry detail, breaking the protruding edge into an ornate crown like fringe to the door opening.

Painted timber panelled door Door recessed into alcove Top panel protrudes from solid door Low level panel detail with central plaque.

Timber Door ringer Brass Door handle and letter box

12 to Each stairwell 20 on Northern side of building

114

Archiving_C.18th_Staircase Handrail_Balustrades Threshold_3 Todesgade_Norrebro

115

Archiving_C.18th_Staircase Handrail_Ballustrades Threshold_3 Todesgade_Norrebro

The Stair.

‘We don’t think enough about staircases.

Nothing was more beautiful in old houses than the staircases.

Nothing is uglier, colder, more hostile, meaner, in today’s apartment buildings.

We should learn to live more on staircases.

But how?’

Species of Space, 38 George Perec

Blagarsgade 35 Chandelier Of Cast Iron

By Author

116

Existing_Specification_C.18th_Staircase Threshold_3_Handrail_Ballustrades Perspective 13_Todesgade_Norrebro

Balustrade Turned Timber Painted white

Contextual perspective

Hand rail Timber turned Stained & Varnished

Specification

The timber newel post painted navy blue supports the curled, battered, aged and varnished oak hand rail. Curved by timber turning process, its split into several pieces with different grains and tones of wood, all harmonised by the same shiny varnish.

The first step Curving round the newel at

117

Existing_Specification_C.18th_Staircase Threshold_3_Handrail_Ballustrades Details 13_Todesgade_Norrebro

Quantity

ground level to hug tightly the support. It is grounded by red, blue green and white terrazzo floor

Timber turned handrail Simple C.18th timber balustrades, painted white Navy blue simple traditional C.18th stair nosing Brown lino laminate floor to treads

12 Flights 6 Turns 210 Balustrades 104 Steps 6 Landings

Balustrade support Turned timber Painted navy blue

Stair Nosing & Tread Timber nose, painted navy blue Brown Lino to tread

118

ARCHIVING EXISTING FSB.

119

“The architecture of past periods tended to lend melodies to the details; a column capital was a piece of sculpture in itself - a bit of art decoration independent of the building. Today, our details tend to exist solely for the service of the whole structure, and become inherent particles of the whole...So much so that details often fuse completely with the greater architectural form to the point where its difficult to separate them.�

The Architectural Detail, 21, Edward R Ford Marcel Breuer, Architectural Details, Architectural record, 135 Feb 1969, 121

120

FSB_Site_Subject_Of_Archive 5_Todesgade_Norrebro Residential_Social_Housing

Project_Site

Northern_Elevation

FSB_Site_Subject_Of_Archive 5_Todesgade_Norrebro Residential_Social_Housing

121

Archiving_Threshold_details_of_20th_Century_FSB_Site

122

FSB_Site_Subject_Of_Archive 5_Todesgade_Norrebro Selecting_Architectural_Ornamentation

Brick laying pattern. Systematic, repetitive and clean.

Threshold Space - Recording of threshold types within one context. The entrances, stairwell and the voided space it sits within.

The atmosphere of these communal thresholds are very bleak, cold and dehumanised by several elements. The material choices, severe white lighting and little visibility to human inhabitance.

Zooming in, understanding building method and materials within entrance construction.

Very linear, geometric, systematic and pre fabricated. The housing facade is made up of pre-fabricated elements which slot together on site with a minimal variety in building material and finish. The finishes are very raw and exposed. Brick is used consistently, giving these streets an overall identity.

123

FSB_Site_Subject_Of_Archive 5_Todesgade_Norrebro Selecting_Architectural_Ornamentation

Low level concrete block of facade wall - breaking up rhythm of facade - It runs the perimeter of all FSB blocks and looks unfinished

Entrance door architraves are concrete with pre-cast ribbed impressions, a decorative feature of doorway

Slip Concrete bricks as paving stones on ground at the borders of the housing block on the courtyard side. They are weathered and green with mould with weeds growing between the mortar.

Sprayed painted blue metal balustrade & bannisters in all communal stairwells

124

125

The Window.

I propose new window designs, in order to enhance the residents use of the window, as well as change the current perceptions of the FSB housing blocks from the exterior.

Currently, there is no sign of what takes place inside the interior of these residences. They are guarded, closed and fairly oppressive with large concrete frames and chunky painted timber and aluminium window frames.

They sit flush with the red brick slip facade, thus creating a very flat, monotonous facade with little ability to define themselves individually. I believe creating ownership within the home is one of many parts of ways to create a more enjoyable experience for the user and can alter the perceptions of the space both internally and externally.

There is also a fundamental issue with the design of the larger full height windows. Users are given the opportunity to open up their space with light and onto the public space, however this seems to not be what the users want by looking at the ways in which people have created their own ‘barriers’ with cardboard, wood or plastic sheeting.

Todesgade, 9 FSB Window & ‘Balustrade’ Norrebro

By Author

This instantly changes the way the building is perceived; by having rotting wood wedged between a window and a hollow metal painted fence; any viewer can see that this building does not function for the user.

The windows also open inwards, therefore not opening out into the exterior space or optimising interior space. This breaking between thresholds to invite the exterior in and vice versa is what I pose to change in order to change the experience of the interior user and the exterior passers by.

126

Existing_Specification_Document_FSB Threshold_1_Windows_Type_1 Contextualised_Perspective 5_Todesgade_Norrebro

127

Existing_Specification_Document_FSB Threshold_1_Windows_Type_1 Elevation_Section_Detail 5_Todesgade_Norrebro

1130

125

160

80

B

80

2480

1390

310

58

120 40

100

40

200

8

450

A

Ribbed concrete frame Green aluminium window frame

A 1330

Window Opening

140

925

40

1285

2630

Red brick slip

Concrete wall

120

Concrete facade panel Insulation

Elevation

B Section B

1130

125

160

80 80

Section A Specification

Repeated vertically 4 times up to 4 floors, sitting flush with the brick slip facade, above solid horizontal 300mm slabs, indicating a level change. It is very systematic, there is no evidence of personal living of interior space. There is no indication of individual possessions visible from the street level. Several satellite dishes and one hanging window box break the monotonous facade pattern. The aluminium window frames are painted a matte dark green and show little sign of age.

Quantity

Horizontal concrete frame:1390x140mm.

Vertical concrete frame 1390x120mm.

Brick slip facade fixed to pre-fabricated Concrete plate.

Green Aluminium casement window frames.

Current sill = 180mm

1285

16 on Northern Facade

128

129

Existing_Specification_Document_FSB Threshold_1_Windows_Type_2 Elevation_Section_Plan 5_Todesgade_Norrebro

B

Existing_Specification_Document_FSB Threshold_1_Windows_Type_2 Contextualised_Perspective 5_Todesgade_Norrebro

2480

3000

1130

1390

310 125

310

160

80

58

120

80

40

100

40

200

120 140

8

450

125

1330

Ribbed concrete frame140 160 925

40

40

A

A

480

40 40

80 80

2630

Green aluminium window frame

2630 1990

1590 40

Green aluminium balustrade

15

120

Red brick slip

1130

Concrete wall

1175 125

160

310

80 80

1046

1415

538

B

Section B 125

160

80 80

Section A Specification

Repeated vertically above one another in between a full height strip of window openings. These green metal balustrades sit flush with the brick slip facade in a concrete frame which wraps around the entire opening. The low level concrete slap sits in line with the internal floor slab. Rotting wet timber boards barricade the balustrade from the street. Residents creating their own barriers from the public gaze. The double doors sit closed on most occasions, there is no life from the interior

Quantity

spilling out into the street. The threshold between the two realms is identifiable as inefficient and creates a hostile, dilapidated perception of the housing block.

Horizontal concrete frame:1390x140mm.

Vertical concrete frame 1390x120mm.

Brick slip facade fixed to pre-fabricated Concrete plate.

Facade Panel overall dim: 1415 x 2630mm.

Hollow sprayed steel balustrade screwed to concrete surround.

16 on Northern Facade of 5 Todesgade

130

Existing_Specification_Document_FSB Threshold_1_Windows_Type_3 Contextualised_Perspective 5_Todesgade_Norrebro

131

Existing_Specification_Document_FSB Threshold_1_Windows_Type_3 Elevation_Section_Plan 5_Todesgade_Norrebro

1130

125

160

80

2480

B

80

3000

2065

340

1390

340

310

58

120 40

1390

100

40

200

120 140

8

120 140

40

40

40 40

450

450

480

925

40

A

A

1990

1590

40

1285

Window Opening

Green aluminium window frame

2630

1340

925

40

15

Red brick slip

120

Concrete wall

Concrete facade panel 1175

660

Insulation 310

1046

1415

538

310

B

140

Ribbed concrete frame

Section B 125

1130

160

80 80

Section A Specification

Repeated vertically 4 times up to 4 floors, sitting flush with the brick slip facade, above solid horizontal 300mm slabs, indicating a level change. It is very systematic, there is no evidence of personal living of interior space. There is no indication of individual possessions visible from the street level. Several satellite dishes and one hanging window box break the monotonous facade pattern. The aluminium window frames are painted a matte dark green and show little sign of age.

Quantity

Horizontal concrete frame:1390x140mm.

Vertical concrete frame 1390x120mm.

Brick slip facade fixed to pre-fabricated Concrete plate.

Facade Panel overall dim =

125

16 on 80 Northern Facade 80

160

132

133

The Door.

In entrance contexts, weak contrasts of design motifs/ symbolic of its purpose causes disorientation for the user. Creating hierarchy within spatial thresholds helps the user to understand the function of the space, as well as how to utilise it.

Having explored a large area of Norrebro, looking specifically at entrances; there is a clear contrast between streets and between the traditional buildings on the outskirts and lake side of the area to the inner part where the FSB resides.

Along the lakes gave clear insight into different displays of entrances. They are clearly defined, set back from the public walk way and frames with either a green trellis in an arch, or a few steps up into the front door. These also have cobbled, or paved paths, architectural similar to the building it leads too, defining the threshold before you enter the interior space.

Todesgade, 9

FSB Main Door Handle

By Author

This is lacking the further into Norrebro you get, specifically around all FSB housing. There is no junction on the ground which indicates the change in thresholds. They feel ungrounded to their context. “I would argue that while many of the technological advances currently being made in the building industry allow greater freedom, they rarely produce better buildings that will last both in terms of technical performance and cultural integrity�

Papers 2 Stephen Bates

134

Existing_Specification_Document_FSB Threshold_2_Doors_Ironmongery_Type_1 Contextualised_Perspective 5_Todesgade_Norrebro

135

Existing_Specification_Document_FSB Threshold_2_Doors_Ironmongery_Type_1 Elevation_Detail 5_Todesgade_Norrebro

Ruko

Specification

The main entrance door sits in a very small timber frame, painted green but weathered to show the silvering of the timber beneath.

The area around the hollow brushed stainless steel door handle is chipped and worn. The floor is a continuation of the pavement, not defining or signalling an entrance until you see the small metal wall light and intercom system. There is a small very traditional blue and white plaque number of the building number sitting out of place next to the door.

Quantity

The Concrete frame around the door stops short and level with the concrete plinth the structure sits upon. Parts of this are chipped, exposing the wrought iron bars which hold the prefabricated panels together. The glass pane in the door is safety glass. There is a thin metal frame hiding the join between the frame and the glass; this has been cut to fit the plate of the door handle and key hole. Clearly a late addition to the door.

Exterior main door lever handle and lock Hollow brushed stainless steel finish Mounted onto door frame Ruko lock manufacturer

1 on Northern Facade of 5, Todesgade

136

137

The Stair.

Todesgade, FSB Terrazzo Stair

Norrebro

By Author

138

Existing_Specification_Document_FSB Threshold_4_Ironmongery_Type_1 Contextualised_Perspective 5_Todesgade_Norrebro

139

Introduction_To_FSB_Housing 5_Todesgade_Norrebro Threshold_Entrance_Stairwell Contextualised_Perspective

Painted very pale blue, almost grey.

Very cold.

Grey & white terrazzo finish to stairs and stairwell floors.

Window Type 1 repeated up facade Bright blue sprayed hollow metal balustrade

Small door architraves painted to match walls.

Main entrance to Todesgade, 5

SOUTH

NORTH

Elevation_Existing_Stairwell

Perspective_Existing_Stairwell

140

141

Hollow blue pre-fabricated steel balustrade and handrail Beautiful Terrazzo grey and white floor and stairs

Specification

The grey and white terrazzo stair sits juxtaposed to the cold blue sprayed metal hand rail and balustrade. Brutally screwed into the side of the pre-cast concrete step.

The clang of a ring on the cold hand rail echoes through the stairwell, chiming a harsh twang up through the space, the only sign of activity or life when passing up through the space. There are no signs of shoes, or personal ownership to the space, it feels very public.

Quantity

Step - 260 x 180mm.

White and grey terrazzo floor.

Concrete stairs.

Square blue metal tube handrail and balustrades.

Balustrade fixed into 1st and 2nd to last stair of each flight.

Prefabricated balustrade and steps.

8 flights of stairs.

8 Bannisters.

122 Balustrades.

8 Handrails.

54 steps.

6 Turns.

142

PROPOSAL.

143

144

FSB_Site_Subject_Of_Archive 5_Todesgade_Norrebro Residential_Social_Housing

Project_Site

Northern_Elevation

FSB_Site_Subject_Of_Archive 5_Todesgade_Norrebro Residential_Social_Housing

145

Proposed_Threshold_Interventions_FSB_Todesgade_5_Norrebro

146

Design_Proposal Window_Interventions 5_Todesgade_Norrebro

147

Design_Proposal Window_Interventions 5_Todesgade_Norrebro

The Window.

“The difference in sameness makes possible greater connections to the natural phenomena of the everyday and it engages with the notion that repetition is perceived rather than realised.�

Papers 2 Stephen Bates

St. Petri Church Window Sigurd Lewerentz

148

Specification_Document_FSB Threshold_4_Ironmongery_Type_1 Contextualised_Perspective 7_9_Todesgade_Norrebro

149

Specification_Document_FSB Threshold_4_Ironmongery_Type_1 Elevation_Section_Detail 7_9_Todesgade_Norrebro

1260 1370

Closed Window Plan

300

1260

150

300

70

27

27 70

30 27

54

70

54

1200

54

1200

Black Aluminium frame casement window

1260

1330

500

500mm Hot rolled steel sill Open Window Plan

1310

150

500

150

250

500

250

30mm Hot rolled steel frame

1310

250

1200

1310

300

30

30

Elevation

Section B

Specification

The window opens outwards, opening up the interior to the exterior surroundings.

This breaks the facade as each resident opens their windows between 0 °- 90 °.

Exposing their personal interiors into the public realm ever so slightly. With every plant, book lamp of telephone placed on the new sill the user occupies the window space, giving a glimpse of private life to those looking from the exterior.

Quantity

“In traditional architecture, there were visible elements to accomplish these tasks: coping’s, sills, mullions and applied trim.

In the practice of non-detail, these elements are, for the most part, present, but not as discernible parts.”

The Architectural Detail

Edward R Ford, 21

30mm thick hot rolled steel frame to window opening at a 150mm extrusion from facade.

Black patina aluminium casement windows.

250mm Internall Sill 150mm External Sill 1310mm Window opening

16 on Northern Facade Todesgade 5

150

Proposed_FSB_Window_Type_2 Threshold_1_Window Exerior_View_Material_Perspective 5_Todesgade_Norrebro

Hot rolled steel sheeting. Variable patina from roll machine.

Exterior Perspective

151

Proposed_FSB_Window_Type_2 Threshold_1_Window Material_Palette 5_Todesgade_Norrebro

Material Palette

Existing concrete brushed

Metal frame and alcove cladding precedents

152

Proposed_FSB_Window_Type_2 Threshold_1_Double_Door_Balcony Perspective_Section 5_Todesgade_Norrebro

153

Proposed_FSB_Window_Type_2 Threshold_1_Double_Door_Balcony Elevations_Plans 5_Todesgade_Norrebro

30

660

30

30

660

30

150

30 50

2000

30 50

800

960

560

2000

880

880

30mm Hot rolled steel frame

800

560

7050

7050

Triple glazed window panels

Open Window Perspective

30

660

30

1415

Open Window Elevation

150

Closed Window Elevation 1415

880

900

960

320

Fixed Solid hot rolled steel low level panels

900

30 50

2000

320

800

100

560

Closed Window Perspective

7050

100

Steel sheeting wraps around existing concrete floor slab.

Section

Closed Window Plan 1415

Specification

The double height doors give an industrial look to the facade as well as internally.

The black patina metal lines the window alcove, sides, bottom and top. Giving it a seamless metal edge that sits flush with the internal walls, ceiling and floor edge.

The top half of the double height doors is glazed, opening out into the street-scape.

Offering a place to gaze out of with still low level privacy. This low level panel is de signed as a proposed solution to the current boarding up of the low level double height

Open Window Plan

windows, a want for privacy. The Fixed low level panel help is also what acts as the balustrade, still leaving 900mm tall windows above.

Bent hot rolled metal external and internal frame. 30mm thick.

150mm extrusion from brick facade.

Variable black patina to hot rolled metal.

Split panelled double height doors.

Low level panel solid faced with steel plate to match frame.

Upper level double casement window.

Open to exterior at 90 째.

Quantity

7 on Northern Facade Todesgade, 5

154

Proposed_FSB_Window_Type_2 Threshold_1_Double_Door_Balcony Material_Perspectives 5_Todesgade_Norrebro

Traditional metal framed and panelled door with glazing

Exterior Perspective

Interior Perspective

155

Proposed_FSB_Window_Type_2 Threshold_1_Double_Door_Balcony Material_Palette 5_Todesgade_Norrebro

Material Palette

Existing concrete brushed & hot rolled steel samples

Split metal glazed panel door precedents

156

Design_Proposal Door_Interventions 5_Todesgade_Norrebro

157

Design_Proposal Door_Interventions 5_Todesgade_Norrebro

The Door.

“Circulation space as a volume/ a space within a space – a place for activity. A movement space is characterised by its function as a transitional space; in other words a passage space, which distributes & redirects, viewed as we stroll through it, as opposed to a ‘place space’ which serves to rest/ stay.”

Till Boetteger

Shelter for Roman Archaeology Extruded Entrance

Peter Zumthor

158

Proposed_Specification_Document_FSB Threshold_4_Ironmongery_Type_1 Contextualised_Perspective 5_Todesgade_Norrebro

159

Proposed_Specification_Document_FSB Threshold_4_Ironmongery_Type_1 Elevation_Section_Detail 5_Todesgade_Norrebro

R15.00

R24.00

140.52

R10.00 25.00

850

180

R5.00

30.00

50

R5.00

Ruko

Ruko

R5.00

105.00

124.00

Closed Door Elevation

Open Door Elevation Door Handle Detail

850

1030

Solid piece of red elm timber carved on a lathe and sanded and oiled. This will take distress and mark over time but can be re-oiled and trap the scars into the material, preserving them over time.

180

R15.00

R24.00

140.52

R10.00 25.00

R5.00

Closed Door Section

Open Pivot Door Plan

Specification

105.00

30.00

50

R5.00

R5.00

124.00

Closed Pivot Door Plan

Quantity 1030

The tall weighted elm door pull sits snugly into the black patina frame that marks the entrance of the building. Curling around with a smooth, polished edge. Flat and simple looking from the outside, but there is a little groove and curved nosing which helps to grasp the heavy steel pivot door and pull it close towards you. The door splits, and breaks the threshold between the public and private realm. The piece of timber gives the door importance and strength

in individuality and a beautiful piece of carpentry, independent to FSB.

Main entrance steel and glazed pivot door.

Blackened steel triple glazed door with integrated metal kick-plate.

Full height timber carved and polished elm pull handle.

150mm x 30mm hot rolled steel sheet frame around door opening.

Door opening = 1030mm Pivot Hinge break- 850mm/180mm

1 on Northern Facade Todesgade 5

R5.00

160

Proposed_Specification_Document_FSB Threshold_4_Door Material_Perspectives 5_Todesgade_Norrebro

Pivot hinged main door. Simple clean frame, breaking threshold between inside and outside

Exterior Perspective

Interior Perspective

161

Proposed_Specification_Document_FSB Precents_Materiality_Door 5_Todesgade_Norrebro

Metal clad opening frames the threshold and connects joining spaces

Metal frame extended from wall surface, framing entrance and acting as signal for door

162

163

Exterior Street-scape

The threshold between the street and the apartments interior is being interrupted by the action of opening the windows outwards. The black metal glazed frames swing into the street inviting people to look in, and for them to see out. The new, larger sill is flush with the extruded metal frame creating one continuous surface. The entire casement frame is relieved from the frame once opened. This is intended to be ornamental in its clean, minimalistic design.

Exterior view of Sill

Facade intervention

Material renders to display the large window sill and frame addition to the windows.

164

Proposed_Specification_Document_FSB Threshold_3_Interior_Doors Contextualised_Material_Perspective 5_Todesgade_Norrebro

165

Proposed_Specification_Document_FSB Threshold_3_Interior_Doors Elevation_Section_Detail 5_Todesgade_Norrebro

820

145 225

80

20 55

30.00

35

300

Closed Door Plan

Open Door Plan

Door Open Material Perspective

Door Closed Material Elevation

Material

Open Door Elevation

Closed Door Elevation

Specification

The internal doors guard the private space behind. They sit flush to the re-plastered and fresh painted off white walls. The slim black steel frame lines the alcove of the private doorway, creating a contemporary architrave for the heavy oak veneered door to sit within. The door handle is a sturdy solid cylindrical lever, polished and varnished to give a smooth shiny sensation to the hands that touch it. This also allows for ageing over time, to make each handle individual to the apartments resident. A

Quantity

little piece of personal ownership attached to each apartment door.

Material render of door handle. Solid cylindrical door lever is proportionate to the scale and weight of the door. The lever can take the weight of a human leaning against it to open the door for moments of full hands.

Warm, neutral Oak Veneer finish with matte oil finish to new weighted timber doors.

20mm square Red Elm stair rods.

50x20mm Red Elm integrated fixing at foot of balustrade.

Recessed screw fixing into side of existing concrete riser.

Sawdust, glue and resin mixture pre cast hand rail.

Dimensions of Handrail Radius on drawing. Main dims : 60mm Diam.

8 flights of stairs.

180 Balustrades.

8 Handrail lengths 6 Handrail turns 54 steps.

6 Turns.

3 Newel posts

166

Proposed_Specification_Document_FSB Threshold_4_Door Material_Perspectives 5_Todesgade_Norrebro

Material render. Oiled red elm timber balustrades. Sawdust, glue and resin cast hand rail.

Oak veneer heavy doors with Red elm sold timber door lever. Flush blackened steel door frame.

167

Proposed_Specification_Document_FSB Threshold_4_Door Precents_Materiality_Door 5_Todesgade_Norrebro

Warm natural materials allocated for places where most human contact occurs.

Ironmongery seen as an additional architectural part of the whole.

Engaging with the material and scale.

Clean, flush detailing of materials in door frame give it importance and earn respect.

168

Design_Proposal Stair_Interventions Handrail_Balustrades 5_Todesgade_Norrebro

169

Design_Proposal Stair_Interventions Handrail_Balustrades 5_Todesgade_Norrebro

The Stair.

-Handrail -Balustrades

“The architect who does not conceive of a staircase as something fantastic is not an artist�

Gio Ponti

Csasqa de Conto,Private Staircase Steel & concrete Pedra Liqiuida

170

Proposed_Specification_Document_FSB Threshold_4_Stairwell Handrail_Balustrade 5_Todesgade_Norrebro

171

Proposed_Specification_Document_FSB Threshold_4_Handrail_Balustrade Spatial_Perspective 5_Todesgade_Norrebro

To be painted off white, washable commercial use paint, eggshell finish.

Existing grey & white terrazzo finish to stairs and landing floors.

Doors to be 80mm thick with pale oak veneer finish to both sides and edges.

Oiled Elm timber balustrades fixed into the side of the concrete step with hidden fixing.

New solid polished Elm door lever handles with black steel hidden fixing into door. Black steel key hole and lock to match.

Handrail to be made of compressed sawdust, glue and resin. This is to be made from pre-cast mould off site.

New newel post to be continuation of sawdust, glue and resin handrail with black metal floor fixing.

SOUTH

NORTH

Elevation_Stairwell

Perspective_Detail_Stairwell

172

Proposed_Specification_Document_FSB Threshold_4_Stairwell Handrail_Balustrade_Elevation 5_Todesgade_Norrebro

173

Proposed_Specification_Document_FSB Threshold_4_Handrail_Balustrade Section_Internal_Side_Elevation 5_Todesgade_Norrebro

I am proposing a new material to be explored to make the hand rails of FSB. Challenging the current materials used.

These materials are very cheap and widely available, therefore the cost would be in manufacturing. The purpose of the tactile material is to engage the users with the everyday objects they touch and transforming non, dead spaces in communal thresholds. This material may also have the capability of recording history and creating its own personality for the residents.

60 75

7

Sawdust mixture cast hand rail

20

790

20mm square solid red elm balustrades

Elevation

Material

Section

Balustrade Setting Out

Quantity

staircase. The shiny polished handrail glides up the stairwell in one sweeping motion, each piece seeming different to the next with the way the sawdust falls and settles into the glue and resin.

The shape of the balustrades as you gaze up the central atrium of the stair create a timber chandelier to the space, absorbing any sounds and enduring scars and battle wounds from people stumbling up and down the stairwell.

825

50mm horizontal timber balustrade offset from step edge

Specification

Balustrade to be made from sawdust, glue and resin mixture. This is a pre-cast element. The form work would be made as a cast, then the sawdust mixture is compressed, air is sucked out of it to prevent from weak junctions.

The form work is shaped as a traditional timber lathe turned hand rail with a subtle indentation tilted towards the right hand side of the cylindrical pipe, enough space for a ring or tail of a little finger gliding beside you as you ascend or descend the

180

50

95 2030

Timber balustrade fixed into the side of the existing concrete with hidden fixing.

770

Existing white and grey terrazzo steps

720

50

20mm square Red Elm stair rods.

50x20mm Red Elm integrated fixing at foot of balustrade.

Recessed screw fixing into side of existing concrete riser.

Sawdust, glue and resin mixture pre cast hand rail.

Dimensions of Handrail Radius on drawing. Main dims : 60mm Diam.

8 flights of stairs.

180 Balustrades.

8 Handrail lengths 6 Handrail turns 54 steps.

6 Turns.

3 Newel posts

80

174

175

Timber lathe turned handrails.

Separate piece for stair turn.

Bruised and marked timber

Material renders of balustrade and handrail.

The material palette is intended to be calming, natural, adding a sophistication to the space.

Complimenting the beautiful existing grey and white terrazzo. These materials will also collect a layer of history as the space is used. Allowing the space to develop as a better threshold for the residents.

Continuous curve of stair hand rail is harmonious

Metal capping at points of highest interaction. A change in temperature and material engages the user

176

177

The understanding that building details may be found within the architectural strategy, and that strategy may be found in the detail’s, is recognition that a building may carry certain resonance of a wider context. The relationship between strategy and detail necessitates the making of rules for the design of the building and its construction. These rules act as data against which to measure the appropriateness of the detail and also sustain the strategy.

The Architectural Detail, 22 Edward R Ford.

Peter Salter - Robin Middleton, ed.,Architectural Associations; The Idea of the City (Cambridge Mass:MIT Press, 1996, 200

KADK Scarlett Hessian Spatial Design, Perceptions & Details Design In Context 2015 - 2016