ARCHITECTURAL
PORTFOLIO ANNE-KATHRINE DREIØE JØRGENSEN SELECTED PROJECTS 2012-2017
CONTENT ARCHITECTURE 5TH YEAR A PLACE TO STAY FOR THE YOUTH, THESIS PROJECT
1-6
ADHD AND SCHOOL ARCHITECTURE
7-15
4TH YEAR URBAN RENEWAL OF THE RED SQUARE, NØRREBRO
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3RD YEAR BACHELOR PROJECT : A SOCIAL HOUSE A HOUSE OF CULTURE
17-23
24-29
2ND YEAR AN ART GALLERY
30-37
A SPATIAL COURSE
38-41
A TEAHOUSE
42-47
GRAPHIC DESIGN 2ND YEAR GRAPHIC DETAIL & WAYFINDING : TEA HOUSE
48-55
ARCHITECTURE
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A PLACE TO STAY FOR THE YOUTH LOCATION : ARKADERNE, TINGBJERG CHRONOLOGI : 4TH SEMESTER (5TH YEAR) MENTOR : ANNE-MARIE KRUSE K
Kulturhus/Bibliotek
Fritidshjem + klubber
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Plejehjem
Detailhandel
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Bibliotek
Kollegie
S
Svømmehal
Tingbjerg Kirke
I
Idrætsanlæg, hal
Tingbjerg Kultur forening
Børnehave/vuggestue
Tingbjerg Pensionistklub
Arkad
erne
Skolesid en
P
K B
I
S Tingbjerg heldags skole
Rut en
P
P
P
P
I
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Seating arrangement in cafe area. The furniture is adapted to the rounding of the volume and is a folding that continues around the volume. My thesis project is an initiative to improve the situation in Denmark’s ghettos and how to can create visibility and safety in these kinds of areas., and support socialising. The project is also about creating study environment for children and young people that improve concentration and learning ability. The site I’ve chosen for this is Tingbjerg, which is in the outskirt of Copenhagen, Denmark. Here I designed a place for the kids in the area, that facilitates different activities and meeting points. I work with two phases in this project. The first is a superficial landscaping design with a redirection of infrastructure and addition of landscape elements that encourages stay, socialising and other kinds of activities. The second phase, which most of my focus has been on, is the transformation of the interior of the ground floor in Arkade block 24, which is currently used for apartments.
Approach to the cafe from “Arkaderne”
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CONCEPT The concept for this project was to work with transforming part of Arkade block 24 into the hang out place for the young people. This is done by removing the ground floor of the current apartment block, and placing volumes underneath with pathways in-between which allows a passage between the Northern and Southern outdoor areas. In the outdoor areas I am placing volumes such as the examples below, and by doing so I encourage stay in the outdoor area, thereby increasing safety for the users and creating a nicer place to stay in.
LANDSCAPE ELEMENTS
BEFORE
sitting under the trees
sitting by a pond
translucent study nische
table football
AFTER
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table tennis
Cafe
Activity space
Meeting room
Creative workshop
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Quiet study niche
Section of cafe area
Section of creative workshop
Section of study niche, with an open space for group work and smaller niches for individual work
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Southern facade and study niche
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ADHD AND SCHOOL ARCHITECTURE LOCATION : LUNDEHUSSKOLEN, BISBEBJERG CHRONOLOGI : 3RD SEMESTER (5TH YEAR) MENTOR : TOM MOSE PETERSEN, ANNE-MARIE KRUSE
This projekt is about developement of school architecture for the Danish school of inclusion, with specific consideration of the ADHD students.
The existing school that I am working with is Lundehusskolen which is placed in Bisbebjerg, Copenhagen. It has around 540 students and consists of a main building, a northern wing and a southern wing. My focus is on the nothern part of the main building, specifically on the 1st floor, as it represents a more classic type of school architecture, which I wanted to transform.
I worked on bringing in montessori principles, into the design of small spatial settings, on an existing school. The montessori principles are about how all children are not the same and need different areas for different levels of concentration. The classroom is considered a home base and children need this to have a safe “nest” and to feel a sense of belonging at the school.
I worked with redesigning 4 spatial settings on the school: the corridor, the classroom, the facade and the hall. For the corridor, I wanted to create a dual function for, so that instead of the strict “only walking” kind of corridor would instead be broken into one path for walking and then a more playfull and active path, that encourages climbing, swinging and speed. This is so the kids can recharge by getting energi to the brain through movement.
I also worked with bringing pedagogical principles concerning ADHD children into the design, such as clear structuring and clarity in workareas and movement areas to fill the need for energi to the brain by encouraging movement.
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Elevation North
The zonal classroom is a project about creating a different classroom, where active children can chose to stand up and move in the background, when they find it trouble-some to stay focused and seated. The Facade is the extension of a worksurface/or the facade. This was about creating an area where you can sit near the tall tress and study, away from the busy corridor, and experience the outside, without having to go outside. The great hall part of this project is about creating a different kind of work area. As the hall in this school is also used as an entrypoint it presents a challenge acousticly, which is why I wanted to work with creating a furniture there, that specifically deals with the need for screening and seclusion.
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1.3 m free passage according to fire code
New additions/transformations
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New class “landscape”
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“Træet”
“Paddehatten”
“Solen”
Elevation of the three proposals for the hall furniture
Section of the three proposals for the hall furniture
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ing sites to smooth the transition between spaces and encourage the people who inhabit the other spaces to visit the site as well.
Plan of the Red Squares connectivity to the nearby public spaces 1:500
Eleva
URBAN RENEWAL OF THE RED SQUARE LOCATION : RED SQUARE IN BLÅGÅRDEN, NØRREBRO CHRONOLOGI : 1ST SEMESTER (4TH YEAR) MENTOR : HEIDI SVENNINGSEN KAJITA, ANGELA SPENCER Section of the Red Squares relation to Blågårds Plads and Korsgadehallen 1:100
This project takes place in Blågården, Nørrebro, and is about bringing life into the Red Square by dealing with the local issues and giving something back to the residents that live there. There are two phases in this design. One is the establishment of an cafe, by utilizing some of the passages underneath the building. The other phase is a design of elements for resting and hanging out in the courtyard, to populate the space and make it feel safer for people to stay in. Material for seating modules
Periwinkle
Proposal for plants for the square
Lavender
Membrane
Regular garden soil
untreated canadian cedar
Canadian cedar
Asarum - planter 1
Rocks for drainage Stainless steel frames
AT-connection between concrete elements
Reinforced nano coated concrete
From a design approach I chose to work from the existing patterns and systems to accentuate qualities in the existing space. In doing this, I chose to work with landscape elements that would bring life into the static environment in the form of plant life, seating and the establishing of a cafe. I have also been dealing with issues like a lack of screening of the residents windows from the pedestrian traffic, and utilizing the space to counter the plain empty feeling of the place. I have also redirected pedestrian traffic to create a calmer center for staying in, by using landscape elements and making these into physical boundaries.
Drainage
Detail of seating element, plant bed and connection between elements 1:10
Patinated canadian cedar
Hear tleaf Bergenia - planter 1
Furthermore, I have worked with creating a connection to the neighboring sites to smooth the transition between spaces and encourage the people who inhabit the other spaces to visit the site as well.
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ABSALON : A SOCIAL HOUSE LOCATION : SØNDER BOULEVARD 73, 1720 COPENHAGEN V CHRONOLOGI : 6TH SEMESTER/BACHELOR (3RD YEAR) MENTOR : LISE JUEL GRØNBJERG, HENRIK INGEMANN NIELSEN, ALI TABATABAI
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Elevation West
This project was a semi-transformation of the Absalon church in Vesterbro, Copenhagen.
the semi-translucent fabric. The light comes from holes in the roof and is further supported by LED light tubes. Under the roof, these light tubes become a new situation, where you can sit around a more intense light.
My approach was to incorporate the arches from the existing structure into the new additions, to visually connect the new organic universe with the old. In the former church hall, which I made into a creative workshop, I chose to work from the existing symmetry to further anchor the new furnishings. I also decided to work with a mobile quality in the furniture so the concrete tables could be used as a workspace with benches or an exhibition podium. Over the massive tables, the giant lamp-like fabric tubes conquer the space above and illuminates the surroundings diffusely through
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Ground floor plan
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Section West
Section North
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A HOUSE OF CULTURE LOCATION : MATRIKEL 11G, ØRESUNDSVEJ, 2300 COPENHAGEN CHRONOLOGI : 5TH SEMESTER (3RD YEAR) MENTOR : LISE JUEL GRØNBJERG, HENRIK INGEMANN NIELSEN, ALI TABATABAI
There are two possible approaches to the buildings. The first is from the small passage, near the outdoor lounge area, the second is from the main square. Both of the paths are oriented away from the traffic noise.
In this assignment, I wanted to promote certain features that I found relevant in the context, such as long passages that helped with orientation and the passing through tight areas to open spaces. I also found the outdoor lounge area important as it was already used by the locals, and I wanted to encourage further use. Furthermore, I felt that there was a need for screening from the busy traffic to allow a more peaceful quality to the area.
As you venture upwards in the buildings, you will experience a subtle compression as the ceiling gets lower in the upper floors. This is an abstract interpretation of the surrounding area’s compression from open spaces to tight paths.
The shape of the culture house was created through experimentation with connections of the area, which created the split stone-like figure. I chose to work with the building from this concept of a split stone, which is why I decided to work in concrete to give the stone texture, and wood as the core of the stone, which would create a warmth to contrast the concrete and be an element of surprise. The building slightly tilts downward to the funnel-shaped main square to improve lighting in the square and to allow drainage.
On the main floor in the small building, there’s a children’s library. The main library is situated in the larger building, and facing the outdoor lounge area there is a café. On the 1st floor, there’s a space for various arrangements which can house around 60 people, as well as rooms for meetings and a personal area. At the 2nd floor, there’s a multiworkshop which can be used for other arrangement.
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Site photo : outdoor lounge area, and long passage
Process diagram : connections that inspired the figure
Ground floor plan
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Elevation East
Elevation West
Elevation South
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Section West
Section East
Section South
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AN ART GALLERY LOCATION : MATRIKEL 38D, HOLMBLADSGADE 113, 2300 COPENHAGEN CHRONOLOGI : 4TH SEMESTER (2ND YEAR) MENTOR : KEN NAMKA
This assignment to create an art gallery, where the rooms for the exhibitions would each have a new spatial experience.
lengthts and sizes. The spatial course is created from several oppositions in lighting and spaciousness.
I wanted to create a gallery for people who appreciated art, that would appeal on both a national and international scale, and generate more interest for the otherwise plain area.
The core of the building is made of concrete and forms the entrance hall and the enclosed garden. From the outside, you are able to see this core and the trees growing out from the enclosed garden, which is meant to arouse peoples curiosity and encourage them to explore.
To create a building that was more integrated into the area, I chose to work from a grid that had some kind of relation to the surrounding buildings. Then I divided the grid to create different spaces, and I pushed some of the volumes out to create a more dynamic structure and connection with the context, but also to create oppositions in the length of the volumes and create different spaces for exhibiting.
The enclosed garden is meant to be a place of peace and contemplation, where you can sit and enjoy the vegetation, which are themselves an exhibition.
One of my main intentions has been to create an environment that stimulates focus and concentration for the visitor, and therefore, I chose to work without any views and with toned windows for a more diffuse lighting and to create an attentiveness for the exhibition, rather than the surroundings. Another focus of mine was to integrate the building further into the context which is why I chose to work primarily in bricks with elements of concrete and wood. The building consists of 4 main exhibition rooms in different
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PROCESS DIAGRAMS
1
2
3
4
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Ground floor plan
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Elevation East
Elevation West
Elevation South
Elevation North
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Section West
Section South
Section East
Section North
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A SPARTIAL COURSE LOCATION : NONE CHRONOLOGI : 3 WEEKS, 4TH SEMESTER (2ND YEAR) MENTOR : KEN NAMKA
The assignment was to create a spatial narrative in a rectangular box (70m x 10m), with different visual experiences as you move through the various spaces of the interior. The exterior was not part of the project, and no site was relevant for the structure as the main focus was on the interior experience.
between the spaces, but also to give the final area a brighter and warmer experience, inviting you to make the journey. At the beginning of the course you are in a dark wooden space, where you get an overview of the different paths and the final space, and feel a sense of connection to the final space through the shared materiality.
My approach to this project was creating two paths with different experiences that would both start at the same point and eventually join in the final room.
The path to the right is smaller and has low lighting to accentuate the “pressured” feeling of the space. Further along the path, there is a balcony where you can walk out into the room beside you and experience the other path’s spaciousness. The balcony is brighter, lit from a giant window in the ceiling, defining a new space on the path.
I wanted to create an oppositional relationship between the two paths to accentuate the difference in experience and create tension between them. To support the tension element, I worked with a material contrast between wood and concrete to create tension and visible borders
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Following this space, the low-lit path continues until you reach steps that descends into a darker area which, in it’s contrasting darkness, highlights the open and bright area in the final space ahead of you. In this area, the light falls in a contradictory manner to the low side lighting. On the path to the left, you have a much taller space, where the ceiling light is used to illuminate the concrete texture on the wall and point out the tallness. Further along the path, you get to the balcony, where the two paths are joined. Here you get the feeling of the “pressured� path when you walk below the balcony. Like the other path the space continues until you reach the ascending stairs.
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A TEAHOUSE LOCATION : BIRKELUNDEN, ØSTRE ANLÆG, 2100 COPENHAGEN CHRONOLOGI : 3RD SEMESTER (2ND YEAR) MENTOR : KEN NAMKA
The main objective of this project was to create a teahouse in Birkelunden in Østre Anlæg, a park in central Copenhagen, which had to contain both an interior and exterior space suitable for dwelling. The special trademark of the area is the many birch trees, which gives name to the place. This is a place people come to relax, dwell and do Tai Chi.
To achieve simplicity, the building elements is in square geometry in a kind of hierarchical composition to create a course of building elements that will inspire people to explore the architecture, and remain wherever they like it the most. The pockets between the building elements create areas for movement and views throughout the park as well as places to dwell.
Visiting the park, I discovered that the trees formed pockets between them that created ideal places to relax, especially in the section closest to the lake where you could get a nice elevated view. I wanted to promote these qualities and the calmness of the area and I felt that it would be wrong if the architecture here would be experienced as imposing for the visitors, so I decided that the building elements would remain in the smaller corner of the park close to the lake. In this project, I was mainly inspired by the Japanese tea culture, which is about simplicity and presence.
I have chosen to work primarily with wood and concrete because of the interesting material contrast; the warmth of the wood and the hard and cold feel of the concrete. I wanted to unite these materials in a way so there would be a connection between the inside which is wooden and the outside which is in concrete. Therefore, the concrete is cast in wooden frames to give the concrete a wooden texture and the wood a grayish tint, much like Sambuichi Architects’ store and studio in Hagi.
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As a beginning to the teahouse experience, the entrance to the tea kitchen and purchase area is marked with a small wooden pavillion. When you pass through you arrive at the outside pavillion which has a small pond in the center with a surrounding seating area. This place is meant as a meditative place, where you can stay when it rains and experience the raindrops drip into the center pond while enjoying your tea. As you arrive in the last building it is possible to sit downstairs where you have a view of the eastern end of the park, or you can go upstairs where you sit in an elevated view of the lake and trees.
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Ground floor plan
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North elevation
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West elevation
Section east
Section south
2nd Section south
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1st floor of the tallest tea hut
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GRAPHIC DESIGN
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GRAPHIC DETAIL & WAYFINDING : TEA HOUSE LOCATION : BIRKELUNDEN, ØSTRE ANLÆG, 2100 COPENHAGEN CHRONOLOGI : 3RD SEMESTER (2ND YEAR) MENTOR : TINE DAHL GRUE, STEEN EJLERS
In this assignment, I had to create a graphic identity and wayfinding for the Tea House project. This included the design of a logo, menu card, tea packaging, facade signage and wayfinding signage. I wanted to give the place a name that would sum up the identity of the architecture, and so I chose Trinitea as a fun spin on “the holy trinity”. I chose this name because the three main buildings create a “trinity” in themselves and because my architectural project was about presence and immersion which I paralleled with a kind of spirituality as well. To make it less serious and remove the spiritual connotation from the name, I made the end an underlined tea so people would know what the place was really about. I chose to work with the eurostile extended font through this project as it has a kind of square look that matched the tea house project’s identity, where I also worked with a square geometry.
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The facade sign is simple and only takes up little space, so that it doesn’t intrude on the architecture, or ends up hiding the buildings texture. It is protruded from the facade slightly to create a shadow effect to both enhance the sign and seperate it from the building.
Construction of facade sign
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Wayfinding signage, with map for the beginning of the park
Wayfinding signage, simple
For the wayfinding signage, I chose to work with the same wood the pavillions were made of to create a recognizable link between the buildings and the signage.
The signs are fastened on a concrete fundament with a stainless steel frame, that encloses the wooden sign. The Trinitea name is placed at the very top of the sign, which is taller than the average person, so that you can spot the name if someone else is standing in front of the sign.
The signs are devided in squares to link the esthetic of the sign to the architecture of the tea house as well, and in each square is a informative signature like a map, arrow and the name of the tea house.
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Models of the design of tea packaging, menu and carrier bag
For the tea packaging, I decided to work with tea leaves on the cover, and three kinds of covers with different colors to signify the kind of tea you’re buying; Sencha - green, Ceylon - brown and Silvery tip yellow. The menu card is the same colour as the Sencha tea, but has a steamy look, to mimic the feel and experience of tea.
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Design of tea packaging
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Design of the tea house menu, front
Design of the tea house menu, inside
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