ARCHITECTURAL
PORTFOLIO ANNE-KATHRINE DREIØE JØRGENSEN SELECTED PROJECTS 2012-2017
CONTENT ARCHITECTURE 5TH YEAR A PLACE THE YOUTH IN TINGBJERG, THESIS PROJECT
1-6
ADHD AND SCHOOL ARCHITECTURE
7 - 13
3RD YEAR BACHELOR PROJECT : A SOCIAL HOUSE
14 - 19
2ND YEAR AN ART GALLERY
A SPATIAL COURSE
20 - 24 25 - 28
A PLACE FOR THE YOUTH IN TINGBJERG LOCATION : ARKADERNE, TINGBJERG CHRONOLOGY : 4TH SEMESTER (5TH YEAR) MENTOR : ANNE-MARIE KRUSE K
Kulturhus/Bibliotek
Fritidshjem + klubber
P
Plejehjem
Detailhandel
B
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 create visibility and safety in these kinds of areas., and support socializing. 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, socializing 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
4
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 CHRONOLOGY : 3RD SEMESTER (5TH YEAR) MENTOR : TOM MOSE PETERSEN, ANNE-MARIE KRUSE
This project is about the development 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 northern 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 energy 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 work areas and movement areas to fill the need for energy 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 work surface/or the facade. This was about creating an area where you can sit near the tall trees 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 entry point it presents a challenge acoustically, 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
New class “landscape�
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10
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12
“Træet”
“Paddehatten”
“Solen”
Elevation of the three proposals for the hall furniture
Section of the three proposals for the hall furniture
13
ABSALON : A SOCIAL HOUSE LOCATION : SØNDER BOULEVARD 73, 1720 COPENHAGEN V CHRONOLOGY : 6TH SEMESTER/BACHELOR (3RD YEAR) MENTOR : LISE JUEL GRØNBJERG, HENRIK INGEMANN NIELSEN
14
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 illuminate the surroundings diffusely through
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Ground floor plan
16
Section West
Section North
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Old entrance becomes a view into the creative workshop
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View from balcony to the creative workshop
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AN ART GALLERY LOCATION : MATRIKEL 38D, HOLMBLADSGADE 113, 2300 COPENHAGEN CHRONOLOGY : 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.
lengths 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 with 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 is in 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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21
PROCESS DIAGRAMS
1
2
3
Ground floor plan
22
Section West
Section South
Section East
Section North
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24
A SPARTIAL COURSE LOCATION : NONE CHRONOLOGY : 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 descend into a darker area which, in its 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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