Yatu tan preliminary program by Tulla Tan

FOLDING

SPACES

Activating the Communication Interface of Brumleby

Yatu Tan Preliminary Programme, 2017 Royal Danish Academy of Fine Arts Schools of Architecture, Design and Conservation Spatial Design

CONTENTS

INTRODUCTION

SCALE 1.1 Three layers of boundaries 1.2 Folding

12 17

2.1 Differential attributes of junctions contribute the variational characterization of the fence. 2.2 Ignorance central common green area and doubts at the aging tall trees 2.3 The active and inactive entrances 2.4 Users and stakeholders 2.5 Balance between collective sensation and individual awareness 2.6 Illusion 2.7 Simplicity

3.1 Interation exihibition about history experirence

4.1 Privacy conservation 4.2 Historical elements preservation

36 38

5.1 Presentation plan 5.2 List of deliverables 5.3 Schedule

42 43 44

CONTEXTS

22 24 26 28 30 32

STATE OF ART

CODE OF CONDUCT

PRESENTATION PLAN, LIST OF DELIVERABLES AND SCHEDULE

REFERENCES

I see Brumleby as a place of spirit in Copenhagen, a historical museum that embraced lives and communication. %\ UHĂ&#x20AC;JXULQJ WKH GLIIHUHQW FRPPXQLFDWLRQ LQWHUIDFHV LQ WKH FRPPXQLW\ WKH REVHUYLQJ DQG preserving the imprint of time and life, connecting the past with the future and creating new spatial narratives, it is hoped that the spiritual place of life will provide opportunities for both the residents in Brumleby and the other citizens to freely exchange ideas and to spark thought collision.

INTRODUCTION

At the outset, Brumleby's philanthropic housing, which was built for the working class to achieve the lower incidence of disease within the outskirts of the city in the 19th century has now become peaceful neighborhoods surrounded by a lively metropolis, still serving as social housing, administrated by KĂ¸benhavns Almindelige Boligselskab (KAB). The terraced social houses designed by Michael Gottlieb BindesbĂ¸ll had resolved the barrier between people at that time, revealed by the images of the parallel buildings, common bath houses, laundry houses, cooperative shops, shared spaces and the understated difference between the world of the superintendent and that of the indigent workers. In the meantime, a big proportion of common green area and the natural ventilation provided from the openings on both faĂ§ades had pulled into the distance between the residents and nature.

Left: Exsisting relationship image in "Bevarende Sanering I Brumleby"

Up to this day, Brumleby is still playing the role of social housing, yet the lifestyles and XUEDQ FKDQJHV LQÁXHQFH KDYH EHHQ FKDQJLQJ DQG VKDSLQJ WKH OLYLQJ VSDFHV RI WKH HQWLUH community in an unobtrusive manner. The fragmentization of people’s lives and the individualization of people’s needs are gradually making the gap between the people wider and wider. The original role of space as an interaction is being weakened, which has been implied by the sealed green wooden fences that separate the residents and the pedestrians of the streets, the “stylish” thresholds which in a way estranging from each other and the inactive shared green area in the center of the housing. Once these spaces for interaction languish, the entire community will be enervate, coming with ignorance the density living customs and cultural and the historical value.

I see Brumleby as a place of spirit in Copenhagen, a historical museum that embraced lives and communication. By refiguring the different communication interfaces in the community, the observing and preserving the imprint of time and life, connecting the past with the future and creating new spatial narratives, it is hoped that the spiritual place of life will provide opportunities for both the residents in Brumleby and the other citizens to freely exchange ideas and to spark thought collision. How to embody the hidden connotation and thickness in the community in these interfaces, thus revitalize the enthusiasm of public communication throughout the community. A physics concept named space fold hereby is being introduced. Folding space is a phenomenon in which space is distorted by a powerful gravitation. This phenomenon is real, therefore, in theory, space can be bended when achieving a certain degree of gravitation. To give an example of an image, the normal way to get to one HQG IURP DQRWKHU HQG RI D Ă DW SDSHU LV WR FURVV WKH VWUDLJKW LQ EHWZHHQ the two point, additionally it can also reach the end by directly stacking up the paper and bringing the two ends together. The possibility that the concept of space folding being realized on the actual spatial interface will be explored in this programme, in order to connect the inner and outer, the past and present, nature and life.

Match box inspiration

SCALE

1.1 THREE LAYERS OF BOUNDARIES The investigation will be conducted from three layers of boundaries, namely, fences with entrances which connecting external cities and internal community, shared green space between the residential buildings, space between residents' apartment entrances. These three borders serve as three different social spaces: the connection between outsiders and residents in Brumleby, different people in the community, and neighbors in relatively closer proximity. These layers of communication interfaces are the intersection of story lines where people can freely associating. FENCES WITH PRIMARY AND SECONDARY ENTRANCES The fences of Brumleby are ordinary dark green plank fences. By combining the vegetation surrounding the green fences, the inner environment is practically invisible. The height and density of the planks can be ascribed to the external space connected. The wooden fences facing the streets of Østerbrogade and Øster Alle are relatively sparse, while the fences facing the arena are very tall and have lush tree segregated inbetween. Additionally the fences on the side of the backyard adjoining the townhouse are fully enclosed, contributing to shared outdoor spaces for the immediate residence. The function of railings not only assure the privacy within the community, but also encourage residents to engage in more outdoor activities. However, the overly enclosed railings kept outside visitors from their doorsteps. 7KH UHGHÀQLWLRQ RI WKLV ERXQGDU\ DV SODWIRUPV IRU EHWZHHQ SURWHFWLRQ DQG H[FKDQJH KDYH been taken into account, with embodying Brumleby as a spiritual place of life, to enable more people to cognize the long historical standing and remained active communal life.

CENTRAL COMMON GREEN AREA In the centre of the entire community there is a spacious green shared area where two rows of tall lindens once gave the impression of a boulevard within the community. Although these two rows of linden trees have been accompanying by the growth of Brumleby, residents tend to choose more sunlight into the house when tall old trees collide with access to sunlight. As a result, some of the lindens has been proposed to be removed, leaving some palpable gap between the existing ones. This largest shared space in Brumleby should play the role of the most active space for interaction. With these disgraced tall old trees and the expansive green area reshaping the space of interacting, simultaneously trying to solve the problem of canopy sheltering too much sunlight, the relation of people and nature can be reconstructed.

THRESHOLD AREA The front door area of every home is an interspace between the private domesticity and exterior, which is the most exquisite chapter of the Brumleby community's story. The proprietary venue for outdoor activities dominantly occupies the threshold area, so as to convey the spectators a scenario of a living exhibition or alive museum, from WKH FOXVWHU RI FDUHIXOO\ PDQLFXUHG URVH WR WKH UDQGRPO\ VWDFNHG Ă RZHU SRWV $IWHU WKH retrofit in 1996, the restroom had been relocated to the interior where the position currently against the existing door. These doors, which lead to the toilet directly, need to be preserved on the premise of legacy conservation, albeit the function of the door has been erased. Therefore, most areas in front of these obsolete doors are used to DFFRPPRGDWH SLOHV RI VXQGULHV Ă RZHU SRWV IRU LQVWDQFH LQ D ZD\ WR LQFUHDVH WKH VHQVH of isolation. By concatenating the conscientious doors and the striking ones, to delineate a more sympathetic and tasteful communication space of narratives, in the context of balancing between privacy and commonality.

1.2 FOLDING The three interfaces, by means of introduction the concept of spatial folding, will attempt to describe the association space, intensifying the sense of collective and humanistic. INSIDE AND OUTSIDE THE FENCES: FOLDING THE TIME Brumleby possesses an image of the banner for the collective spirit throughout Copenhagen, thus its role as a historical symbol of the city can be demonstrated on this interface. With fragment extraction and embedding into the spatial, the representative traces of history or stories will be collaged on this layer of boundaries in an interactive way. ABOVE AND BELOW THE CANOPY: FOLDING THE NATURE The height of the old linden and the size of the canopy severely deter sunlight from entering the houses nearby, therefor hoping to give these trees a chance to recover and make up, by transforming this sun-blocking tree into a space that can absorb and magnify sunlight. In the meantime, this common area, as the center of the whole social housing, LV D VLJQLĂ&#x20AC;FDQW SODFH WR FRPPXQLFDWH ZLWK SHRSOH %\ UHFUHDWLQJ WKLV FHQWUDO WLH XS VSDFH it is going to make an attempt at engendering more possibilities for both residents and outsiders to exchange ideas. IN FRONT AND BEHIND THE DOORS: FOLDING THE LIFE Each door reflects the lives of people living in it, contributing the communication against the openings. Extraction and linking the multifarious personalities and essence of the inhabitance and creating a new space of narratives, the naturally and freely communication of the residents with residents, residents with pedestrians will emerge.

CONTEXTS 2.1 DIFFERENTIAL ATTRIBUTES OF JUNCTIONS CONTRIBUTE THE VARIATIONAL CHARACTERIZATION OF THE FENCE The side connected to Ă&#x2DC;sterbrogade to the east of Brumleby is the residential complex of apartments and shops. This is the boundary of the most pedestrian volume, with the east fence containing the main entrance and three sub-entrances. The height of the fence is 1.5 meters and most of the fences can vaguely see the surroundings inside. In particular, the volume at the main entrance to the east is a renovated shophouse which was formerly used as public baths. In addition to the pedestrians who intend to detour or walk the dog, this border is exclusively for the residents living in Brumleby. The northeast side is near BĂ¸rnehuset Skt. Jokob, the children's house which originally named Princess Louise's Asylum was founded in 1886 as part of Brumleby. In 1997 the children house had been rededicated and renamed BĂ¸rnehuset Skt. Jokob and had been turned Into an integrated institution, apart from Brumleby. The fences where attached to the children's house is 1.8 meters high and had two layers of planks scattered from front to back. The children's house is barely visible from the Brumleby, simply hearing children's laughter and seeing the top of the building and the big tree inside. The boundary to the northwest is Telia Parken and B93 "Gamle" TennisanlĂŚg. Telia 3DUNHQ LV D ODUJH ODUJH VL]HG SDODHVWUD ZLWK D KXJH Ă RZ RI SHRSOH DW FHUWDLQ WLPHV VR there is a wide gap and a green belt between Telia Parken and the Brumleby. This part of the fences is completely seamless planks of wood with extra iron mesh above it. With the additional greenery of dense trees and the liana, the community has completely isolated from the gymnasium and. It is noteworthy that the fence at the junction of the north edge where next to the tennis court has become another form of - the dwarf iron mesh with a full line of sight. The northwestern edge of the community connecting with Ă&#x2DC;ster Alle, is opposite the Embassy of Belgium. The fence here is the same as the fence on the east, with four subentrances. On the western edge of the railings lies MĂ¸desal, part of Brumleby, which is a spaious and archaic hall available for the entire Copenhagen community. This shared rally spaceâ&#x20AC;&#x2122;s windows are facing the street while the gate is still inside the fences of Brumleby. Many people from time to time come to see this place where they are scheduled to hold D SDUW\ RU D PHHWLQJ 2Q WKH RWKHU VLGH RI WKH QRUWKZHVWHUQ IHQFH LV D VPDOO RIĂ&#x20AC;FH VHUYLQJ for Brumleby. The southeastern fence is connected to the rear garden of Olufsvej, a row of colored houses. The fence here is basically airtight, with green areas on both sides, exceptional of a six-storey block opposites the faĂ§ade interrupted the block D's main entrances.

The side connected to Ă&#x2DC;sterbrogade to the east of Brumleby is the residential complex of apartments and shops. The northeast side is near BĂ¸rnehuset Skt. Jokob

The boundary to the northwest is Telia Parken and B93 "Gamle". Fence at the junction of the north edge where next to the tennis court

The northwestern edge of the community connecting with Øster Alle, is opposite the Embassy of %HOJLXP 0¡GHVDO DQG D VPDOO RIÀFH VHUYLQJ IRU %UXPOHE\ ORFDWH DW HDFK HQG RI WKH IHQFH

The southeastern fence is connected to the rear garden of Olufsvej, exceptional of a six-storey block opposites the façade of block D

2.2 THE IGNORANCE CENTRAL COMMON GREEN AREA AND DOUBT AT THE AGING TALL TREES The shared green space in Brumleby is a manifestation of the welfare landscape at the time of formation. The open area of green and two rows of tall trees were placed in the middle of the buildings, and this image was also presented from the original manuscripts of Brumleby. Even though the common green area have been installed some playing facilities for children, it doesnâ&#x20AC;&#x2122;t play a role as an enclave. The tall lindens are continually being a criticized by the residents because the canopy blocks most of the sunlight. Compared with retaining the two rows of trees, people living besides prefer an adequate light for domestic life.

2.3 THE ACTIVE AND INACTIVE ENTRANCES Some entrances in the original two rows of buildings, after having the toilets embedding into the interior, became playing roles as windows. The spaces in front of them are allotted a wide variety of items because the occupation of the restroom requires no disturbing. Therewith a very intriguing scene appears, the real doors and the idle doors are juxtaposing, with the spatial changing in front.

Left: Interior portrait of 21C, 1:20 model

Up: The poster of Carsten Hagen's exhibition, one of the oldest resident in Brumleby and his stone sculptures collection. Down: The books from Carsten in a way indicate the thought of the expectation of him

2.4 USERS AND STAKEHOLDERS People associated with these three levels of the interface include: Residents living in Brumleby and outsider in the whole society. Both of these groups are expected to interact with each other in different ways at this three level of interface. At the fence's range, I hope pedestrians in the street can "read" about this historic neighborhood and to some extent interact with the essence inside the rim. On the interface of sharing green areas, the intention is to gather people from the entire community and spark their opinions rather than exchanging in a limited groupuscule. At the front of the doorway, the ambition does not only strive to bind with the people with their own blocks, but also generously to expose the most attractive interface to those who can be enthusiastic about the consensus and sympathetic feeling with the resident from exoteric. Bystanders are anticipated to communicate with the inhabitants in a humble and respecful manner.

Up: a page shows the sharing spaces in Brumleby's residential guidebook 'RZQ ULJKW WKH LGOH VWXII VWDWLRQ IRU UHXVLQJ OHIW WKH QRWLÃ&#x20AC;FDWLRQ DERXW D GLVFXVVLRQ RI RUJDQLVLQJ WKH VSDFHV

2.5 BALANCE BETWEEN COLLECTIVE SENSATION AND INDIVIDUAL AWARENESS $W WKH RXWVHW %UXPOHE\ FDQ EH FODVVLĂ&#x20AC;HG DV D OHYHO DSSURDFK WR XWRSLD WR VRPH H[WHQW with the satisfaction of the shared factors as well as personal privacy protection. They shared toilets, laundry rooms, bathrooms, and plenty of rooms for public events. In this program, I attempt to recover this balance in the new interface, with new interacting conducts. Comparing Brumleby with Nyboder (completed in 1795), the latterâ&#x20AC;&#x2122;s houses have no fences but there is a wall between every two blocks, enclosing a private garden for internal use only. The ground floor windows of Nyboder also has been added extra EDIĂ HV ZKLFK LV HTXLYDOHQW WR WKH UROH RI %UXPOHE\ V IHQFHV GLUHFWO\ DVVXULQJ WKH LQWHULRU privacy. In contrast, Brumleby is more open and willing to communicate with the outside world.

photos taken in Nyboder

2.6 ILLUSION The image of Brumleby's architectural entity gives a very simple and concise impression DW WKH ร UVW JODQFH EXW ZKHQ \RX REVHUYH LQ D FORVHU GLVWDQFH \RX ZRXOG EH VXUSULVHG about the emerging of the elaborate changes. For instance, the height of the string FRXUVH FUHDWHV WKH XSZDUG H[WHQVLRQ LOOXVLRQ RI WKH ODUJHU SURSRUWLRQ RI JURXQG ร RRU EXW DFWXDOO\ WKH DFWXDO OHYHO RI WKH VHFRQG ร RRU LV PXFK ORZHU )RU DQRWKHU H[DPSOH ORRNLQJ at windows with evenly distributed and uniform sizes on the faรงade, while suddenly you recognize the distribution of small openings and chimney positions, you would be amazed at the intricacies of the interior layout behind the faรงade. The "illusion" treatment could become a part of tectonics in the following design process, so as to achieve the sense of observation in a fall-rise pattern, enriching the rhythm of the spatial experiencing.

2.7 SIMPLICITY The inhabitants' traces of life influence the atmosphere of the entire community with their experience and wisdom. Any imperfections will not be ill-treated or ignored. On the contrary, they have been turning into compensation and doohickey in the unassuming SODFHV $ VLPSOLFLW\ ZD\ WR DGMXVW WKH Ă DWQHVV RI WKH VHDW LV SODFLQJ D JUDYHO XQGHU WKH WZR front legs. Even a withered plant has its own role to play. Respect to the details, the further design is going to adopt this kind of plain but humane and storytelling materials, lingering the charm.

STATE OF ART

3.1 INTERATION EXIHIBITION ABOUT HISTORY EXPERIRENCE 0DULQD $EUDPRYLÃ¾ KDV FUHDWHG D QHZ ZD\ RI H[SORULQJ WKH WUHDVXUHV RI WKH 5R\DO 'DQLVK /LEUDU\Â³Â³$EUDPRYLÃ¾ 0HWKRG IRU 7UHDVXUHV 7KH VWDUWLQJ SRLQW ZDV WKH OLEUDU\Â·V SHUPDQHQW H[KLELWLRQ RI WUHDVXUHV ZKLFK $EUDPRYLÃ¾ ZDV LQYLWHG WR UHLQYHQW 7KH UHVXOW is a sensuous work that engages directly with its visitors, prompting them to interact with the shared cultural heritage in new ways. All the visitors will be asked to leave neither WKH FHOOSKRQHV QRU WKH ZDWFKHV DW WKH IURQW GHVN ZKLFK LV UHJDUGHG E\ $EUDPRYLÃ¾ DV a series of rituals for the exhibition, preparing mind and body for their encounter with the unique, irreplaceable and utterly precious treasures. Then the readers can start the journey of full interaction with the collection for one and half an hour. The usual frenetic pace of life is halted and slowed down. She placed these precious and fragile books in the middle of a circular space, showing to readers across a curve of the glass. The visitors can freely to choose their preference for recorded chapters which were carefully chosen by $EUDPRYLÃ¾ DQG DOVR FDQ FKRRVH WKH EHVW SRVLWLRQ DQG ZD\V WR OLVWHQ 7KH EHGV DQG FKDLUV are all suspended against the outer walls, and the visitors will find themselves actually performers, stepping onto the scene themselves in order to experience the work of art. In the process of reshaping the exchange boundaries, it could be very effective to assume and use this kind of experiential exhibition for reference. The interaction between the spectator and the authority can be easily transformed in such a way as to fully experience the process of conversation with the exhibits without disturbing the overall environment.

8S ULJKW GRRUEHOO QRWLÀFDLWRQ OHIW ODUJH ÁRZ RI WRXULVWV LQ IURQW RI WKH UHVLGHQWLDO IDFDGH Down: Hunterwasser Village

CODE OF CONDUCT

4.1 PRIVACY CONSERVATION While enhancing people-to-people communication, the privacy needs of the residents RI WKH FRPPXQLW\ VKRXOG Ă&#x20AC;UVW EH PHW +RZ WR KLJKOLJKW WKH HVVHQFH RI WKH VLWH RQ WKH premise of assurance of privacy consists one of the design principles in this context. The contradiction between the private space and the public is evidenced by the extremely large number of visitors to the Hundertwasserhaus in Vienna, Austria. There LV D QRWLĂ&#x20AC;FDWLRQ ZURWH LQ IRXU GLIIHUHQW ODQJXDJHV EHVLGH WKH DSDUWPHQWÂˇV GRRUEHOO GXH to the inability to accommodate a large number of tourists inside the apartment, so we FDQQRW OHW HYHU\RQH YLVLW VRUU\ 5HVLGHQWV LQVLGH KDYH WR IDFH D FRQVWDQW Ă RZ RI FDPHUDV and videos, which privacy are inevitably invaded. Hundertwasserhaus are not allowed to enter, the curious tourists can also alter the visit to Hunterwasser Village where opposite the Hundertwasserhaus. It is said that the interior design of the village imitates the architectural features of the interior apartments. The distraction undoubtedly protects WKH SULYDF\ RI UHVLGHQWV DQG UHOLYH WKH SUHVVXUH RI WKH Ă RZ RI SHRSOH WR D FHUWDLQ H[WHQW simultaneously enable to meet the needs of tourists and the business interests. The needs of residents will remain to dominate the priority in Brumleby, while the communication interface should be properly controlled and the transition spaces between the public and private should be taken comprehensive account of.

4.2 HISTORICAL ELEMENTS PRESERVATION Brumleby, originally designed by the famous architect Bindesbøll, has revolutionary hisWRULFDO VLJQLÀFDQFH DQG KDYH EHHQ DVFULEHG DV D FUXFLDO VWXG\ REMHFW LQ WKH ÀHOG RI VRFLDO housing. When dipicting this historically valuable legacy, the new language should show respect for the predecessors.

Left: the small hole on the wall original for the refrigerating chamber

PRESENTATION PLAN LIST OF DELIVERABLES SCHEDULE

5.1 PRESENTATION PLAN

1:500

Site Mapping 1:500

Brief

Programme

Analysis for three layers of boundraries

Log book

1:20

Folding Time

Brief

Folding nature Brief

Folding life Brief

Interior portrait

Model 1 1:20

Design analysis and drawings

Model 2 1:20

Visualization

Model 3 1:20

1:1or 1:5

Details

Material samples

Details

Material samples

Details

Material samples

5.2 LIST OF DELIVERABLES

1.Site plan 1:500 X1 2.Longitudinal or cross section(s) of the scales of study 1:200/1:500 X2 3.Diagrams of analysis of three layers of boundraries X3

Technic drawings mix diagrams

4.Exolanatory design methods X3 5.Design process diagrams X3 6.Plan drawings X3 7.Elevations with Visual connection of its surroundings X3 8.Visualization X3

Technical drawings

9.Detail and material analysis 10.Models: a site model in 1:400/1:500 to conduct volumetric studies X1 11.Models for each folding spaces 1:20 X3 12.Models for details 1:1/1:5 X3

Models and materials samples

13.Material samples 14 Program 15 Log books

Design process information

5.3 SCHEDULE

46 Program Site study the fences Site study the common green Site study thresholds area Throry+Technic Analytical sketches Site analysis graphic/diagram/illustration Designing and experiment Material and detail study

3D modeling Plans, sections drawings Physical Modeling

Detail drawing Visualization Diagrams

Final project arrangement Printing Preparing the Presentation

52*

BIBLIOGRAPHY: 1.Existence,Space and Architecture -Christian Norberg-Schulz 2. Genius Loci: Towards a Phenomenology of Architecture-Christian Norberg-Schulz 3. La Poétique de l'Espace-Gaston Bachelard 4. Atmospheres-Peter Zumthor 5. architecture as metaphor-Kojin Karatani 6.Thinking of Architecture-Peter Zumthor 7.Between Silence and Light Spirit in the Architecture of Louis I. Kahn-John Lobell 8.Complexity and Contradiction in Architecture-Robert Charles Venturi 9.Designing Design-Kenya Hara 10 Life Between Buildings-Jan Gehl 11.Design with Nature-Ian McHarg 12.The Aesthetic Townscape-Yoshinobu Ashihara 13.Collage City-Colin Rowe 14.The Image of City-Kevin Lynch 15.What Time is This Place-Kevin Lynch 16.Critique of Everyday Life, Volume III From Modernity to Modernism (Towards a Metaphilosophy of Daily Life)-Henri Lefebvre 17.The Production of Space-Henri Lefebvre 18 For Space-Doreen B Massey 19.A City is Not a Tree-Christopher Alexander 20.The Nature of Order-Christopher Alexander 21.Gottlieb Bindesbøll-Peter Thule Kristensen

REFERENCES

PICTURES SOURCES: picture on page 21: scanning the picture from Gottlieb BindesbĂ¸ll picture (up) on page 32: http://politiken.dk/kultur/kunst/art6015319/%C2%BBJeg-vedikke-om-jeg-kom-i-en-meditativ-tilstand.-Men-det-var-vidunderligt%C2%AB picture (down) on page 32: http://www.kb.dk/en/dia/udstillinger/abramovic.html pictures on page 34: http://blog.xuite.net/kevinyu928/twblog/146169077-%E5%A5%A 7%E5%9C%B0%E5%88%A9(Austria)--%E7%B6%AD%E4%B9%9F%E7%B4%8D %E7%99%BE%E6%B0%B4%E5%85%AC%E5%AF%93+(Hundertwasserhaus+Wi en+%2F+The+Hundertwasser+House+Vienna+)