Dorte Mandrup Arkitekter

ARVINIUS + ORFEUS

Edited by Tomas Lauri Art Direction by WAAITT With contributions by Christian Bundegaard, Kent Martinussen and Hans Ibelings

INTERVIEW

DORTE MANDRUP ARKITEKTER

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INTRODUCTION

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INTERVIEW

Edited by Tomas Lauri Art Direction by WAAITT With contributions by Christian Bundegaard Kent Martinussen Hans Ibelings

ARVINIUS & ORFEUS

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00 CONTENT

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CONTENT

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INTRODUCTION

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ADD / CHANGE

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Foreword by Kent Martinussen Dorte Mandrup in conversation with Christian Bundegaard Essay by Hans Ibelings Editor’s Note from Tomas Lauri

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Neighbourhood Centre Jemtelandsgade Sea Plane Hangar H53 Cultural Centre Sct. Nicolai Jægersborg Water Tower Munkegård School Bordings Independent School Valencia

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MOVE / PLAY

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Næstvedgade Day Care Centre Prismen Sports & Cultural Centre Skanderborggade Day Care Centre Gersonsvej Youth Centre Children’s Culture House Ama’r Herstedlund Community Centre Råå Pre School Vanløse School

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B - SIDES

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Jørlunde Summer House Ringsted Housing at the barracks Galgebakken Recycling XX Box 2.0 Read Nest LIVING Borders of Architecture Aarhus Harbour Landmark

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COMMUNITY/LIVE

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EPILOGUE

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Trekroner Housing Collective Living Lange Eng Z-House at Aarhus harbour IKEA Global Meeting Centre Ålesund Waterfront Mikkeli Masterplan Sundbyøster Urban Hybrid

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Contributors Distinctions & Nominations Exhibitions Staff 1999 – Work Chronology Imprint

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01 Unsentimental seduction A foreword by Kent Martinussen, CEO of the Danish Architecture Centre

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INTRODUCTION

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FOREWORD

Andy Warhol said that art is “what you can get away with”– a statement that is rather liberating and probably true. Architecture, however, does not work quite like that.

Architecture is an art form. It is also a science. When architecture reaches its highest goal, it is done through a consciousness that unites a profound practical knowledge with an extreme, artistic ability.

Dorte Mandrup possesses such a consciousness. Dorte Mandrup’s architecture exhibits an exceptional artistic endeavour. This is the reason why her buildings look “different” – they are different and can be distinguished from other architecture.

The architecture of Dorte Mandrup differentiates itself in two ways. Firstly, the designs coming from Mandrup constitute on an international level an independent, artistic expression within contemporary architecture. Secondly, every single building is unique, both in relation to its surroundings, and to Mandrup’s other buildings.

Every architect wishes to do the first. Very few dare to do the second – or are capable of doing it.

Philosophy claims that, first and foremost, art is created through composition. That which is not composed or designed is not art. Dorte Mandrup’s creations exhibit a radical compositional effort towards becoming art. Mandrup exposes the overall architectural material to an artistic volition, directed towards an expression, not yet manifest. In music, it is obvious that the material needs composition for it to become art.

Pure sound without any composition is plain sound, and in the best-case scenario, it is rhythm. But rhythm itself is not enough to be regarded as music. Buildings without composition are buildings. More than most architects, Dorte Mandrup is empowered with the desire and ability to create architecture as art.

Unlike free-spirited art, architecture is always created in cooperation with other people who always know more than the architect does about parts of the composition. And architecture will always be created for the benefit of other people rather than for the architect. These are decisive preconditions, and both need to be part of the calculations within the composition: the process and the beneficiaries of that process.

This is the reason why architecture is not entirely like art, at least not in the Warholian sense.

Dorte Mandrup is aware of this. In her own words, her method is ”based upon an in-depth analysis of every single parameter within the individual case.” This statement could sound banal, but it contains a greater truth than most architects understand and respect. The word ”architect” means the one ”who knows the principles of joining together.” Joining things coherently is composition, and Dorte Mandrup’s insight into the basic conditions of architecture, as well as her ability to benefit from the collaboration with specialists, clients and users, is absolutely critical to her artistic strength, and position.

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For Dorte Mandrup and her team each assignment offers a unique chance to create something exceptional. They are absorbed with the special potentials of each project – all for the sake of the art of architecture and the people who have commissioned the project and the inhabitant of the building. The parameters of the project are analysed, perceived, and interpreted over and again. This process creates the foundations for the birth of yet another unique building as an artistic composition. Everything has been considered. It is a demanding process. However, this is what makes every detail and unified whole look different.

The buildings of Dorte Mandrup are compositions of shapes, materials, colours, and space. A lot of good architecture is. Nevertheless, the architecture of Dorte Mandrup contains more. Her architecture is informal, it is inviting, and at the same time, it is playful, bright, light, and raw. With her unsurpassed and confident choice of material – heavy as well as light, bright as well as rusty – the buildings’ spaces that constantly create new visions, new experiences, and new sensory impressions. The buildings make you want more - you are seduced by the light, the wind, the sun reflected in the materials and the spaces that lift you seductively into the spheres of style.

Fashions fade, style is eternal, as Yves Saint Laurent said. Then he drew hundreds of thousands of pieces of clothing, which were parts of specific and thematised collections for a period of 50 years. Each one was different from the others – very different, indeed. Together they created a style; they became style icons.

The Yves Saint Laurent collections of Mondrian, Kosak and Tuxedo all changed our experience of women.

Through the clothes, she became stylish and thus independent. Yves Saint Laurent called attention to the true meaning of style, i.e. an idiom characterised by such distinct features that it distinguishes itself.

Style is not, as too often presumed, a slavish repetition of the same vocabulary of expression. Dorte Mandrup is the Yves Saint Laurent of architecture – her buildings are haute couture – composed and tailored as they are.

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The buildings of Dorte Mandrup become style icons, no two are alike, they never confirm a certain generic, architectural expression. They all distinguish themselves through strongly distinct, architectural features, and therefore they all turn into independent, architectural sensations, which continually add something new and different to our experience. This is art at its best – art that seduces its audience.

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Throughout history, architects have been searching for a so-called ”personalised” architectural expression, and consequently their buildings have resembled one another, partly in order to explore a certain architectural language and expression, partly to confirm an imaginary idea of what constitutes personal style. Thanks to Dorte Mandrup’s own willpower, she possesses the great quality that she does not succumb to such sentimental notions about what defines an architect, or architecture for that matter.

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INTERVIEW

Instead, Dorte Mandrup is preoccupied with solutions. Artistic solutions. How to meet the expectations of the project, how to fulfil the needs of her clients and the occupants of the building, and how to see the possibilities of a brief through an exceptionally artistic practice.

Thus, Dorte Mandrup is a genuine and authentic architect, absorbed with architecture as an artistic response to the world itself. She is occupied with architecture as art, with rediscovering the here and now, the detail and the unified whole.

In this way, Dorte Mandrup is part of that limited, but significant, historic number of fearless and style-creating architects, who constantly seize the opportunity to become seduced by a project’s architectural possibilities and thereby unfold a unique artistic style.

Only by doing so, can architecture offer its audience the intimate, personal and generous gift of the unsentimental seduction of art.

Kent Martinussen CEO Danish Architecture Centre

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Dorte Mandrup in conversation with Christian Bundegaard

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01 Creating Freedom

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Dorte Mandrup is one of the most aesthetically original and socially-committed Danish architects of her generation. Her buildings are experimental, sensible and empathic. Endowed with an untamed sense of humour, they represent the best of the Scandinavian tradition. Down to even the smallest details, her buildings communicate both with the people they are built for and with the public space that surrounds them. Dorte Mandrup does not build without taking a stand on design, and she is never boring. Her unique way of handling reality penetrates her projects from the most audacious play on spatiality and shapes, as in the Herstedlund Community House, to the gentle restoration of a Danish classic like Arne Jacobsen’s Munkegårdsskolen.

Why did you become an architect?

Actually, I became an architect because I wanted to become a sculptor. This specific experience of creating something, a clay figurine, a sculpture or even a piece of architecture – this feeling of doing something and consequently disappearing from yourself. I never drew very much, but I have always been preoccupied with the creation of shapes, especially when working with clay. After grammar school, I headed off to the US for a year to study ceramics at an American university.

However, there are architects within your family.

My grandfather was an architect, and so was my great-grandfather. My father was a graduate engineer and my mother was a qualified textile designer. However, she later trained as a Montessori Teacher, had children of her own, and as most women in her generation, gave up professional life.

But you did not return from the US to become a sculptor...

No, I did not. Actually, I began studying medicine. Feeling somewhat out of context, I later transferred to the Aarhus School of Architecture. In order to try out something different, I took a year off and went to Design Kolding, where they worked in a completely different way. It was less academic and I could just throw myself into the deep and experiment directly with the material.

And then you graduated as an architect in 1991. What did you do for your final project?

A mobile, foldable theatre. It was just after the fall of the Berlin Wall, and the theatre was supposed to drive around all over Europe. At the time, I was very interested in everything mechanic, and engrossed with the event character of mobility. By then, two architectural schools dominated the discussion: the dying twitches of postmodernism and a formalistic neomodernism. I really had difficulties relating to both, and guess I was a bit of a loner. Discovering some of the contemporary Japanese architects, like Toyo Ito, showed a third way of openness, lightness and ambiguity.

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After your studies, you started working for Merete Ahnfeldt-Mollerup and Thomas Wiesner, and soon they called from Henning Larsen Architects. I understand that these years were important to you.

At the time, everybody in Denmark – and I – regarded Henning Larsen’s office as the only place where you really wanted to be. It was fun, tolerant and liberal. Among other things, his office published a periodical magazine, and ran a gallery for architecture; in many ways it was very ambitious. Back then, we were no more than 20-25 employees and we entered a huge number of competitions. I found my professionalism at Henning Larsen’s office. It was a perfect place to mature.

Nevertheless, you eventually quit and started successfully doing your own projects, in the beginning in cooperation with Niels Fuglsang and later on your own. One of your first projects was the community house in Jemtelandsgade on Amager in 1999. This project still means a lot to you.

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It was a project which I was, and still am, very fond of. We wanted to create open possibilities – in a building that was too small to begin with – and miraculously we succeeded in getting all the different stakeholders to give up some of their space in order to make room for the multipurpose addition.

Looking at your website, there is a photograph of the addition standing on its lopsided matchstick-thin legs. Like a warmly shining box in the twilight, it seems extremely suggestive. It is poetic, a bit childish, and seems to stand insecurely on its staggering legs.

We were adamant that it should not be too posh or dissociated. Since the neighbourhood had a rough edge, the room was lifted up onto columns to become an open, elevated place, like a tree house in an abstract forest in the middle of the city.

Are the lopsided columns a kind of comment about the serious, functional architecture that is focused on solutions, but is less playful? Do we have both elements here – solutions and play in one?

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Yes, solutions and play in one. The crookedness of the columns props up the construction and is a way of mitigating the perfection of the building to create something more poetic.

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Luckily, the reception to the building has been very positive. Around the same time, we were assigned the alteration of the historic seaplane hangar in the neighbourhood of Holmen in Copenhagen for Mousehouse, a new IT-company experiencing acute growing pains. We had a very tight budget with which to nearly double the existing square metres. It was an amazing space, which would have been destroyed by adding a traditional deck. Instead, we added three simple constructions with different floor heights, to create as much diagonal contact between the levels as possible. Curtains covered the constructions,

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making it possible to rearrange the reciprocal delimitations of the rooms and maintain a kind of intimacy in the large space. So, it was rather simple. We had a moment to capture. We talked about the building as a blank canvas for the daylight to decorate. We decided on very few interferences and that everything should be white and lightweight. The former gate, which now makes up the entire façade, still opens; to preserve the place as a large coverage, which for limited means and within no time can be transformed into something else.

Have you become more pragmatic over the years?

Yes, I probably have. But when we made these two buildings, the entire pragmatic wave within Danish architecture, which is now labelled the Danish New Wave, had not even gotten started. I have never considered myself as belonging to either the Dutch or the Danish pragmatism, but in Denmark, we were the first to challenge the stringent, neomodernistic idiom that had been mainstream for a very long time.

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The direct experience 1:1 can be compared to the childhood experience of spatiality: a direct and physical adventure. If we are talking about the day care centre in Næstvedgade at Østerbro in Copenhagen, we have to go back to your childhood, right?

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I have a very precise memory about what it was like being a child. And the great thing about childhood – about my childhood – was the freedom. Running through the hedge to the twins next door. Running through the next hedge and down to the construction site where you were not really supposed to be.

Coming home after dark, even though you should have been home a long time ago... it was adventurous and secretive.

Children attending a day care centre cannot experience this sense of adventure as easily as we did, because they are kept under constant surveillance. So, this building is an attempt to create a space where the children can find their own secret passageways. We have created a long, narrow plot next to neighbours living closely to the boundary line. And finally there is this very beautiful, old garden with old trees.

Therefore, we placed the building on the edge, opposite the trees, and shaped the building according to the oblique height limitation plan.

By doing this, we created a room with double height towards the garden. Stairs lead you to the bathrooms of the wards, and downstairs to another ward etc., creating a secret passageway. Fabric ceilings create a sort of den; they diffuse the artificial light, and hide the pipes and the acoustic panels. On the roof of the common room, there is a small forest of bamboo where you can run and hide. We avoided long corridor spaces. Instead, we created shortcuts and optimised the building in order to create as much usable space for the children as possible.

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Shortly after this, you had an opportunity to build another day care centre at Østerbro in Copenhagen, in 2005 in Skanderborggade.

The local development plan made it clear that it had to be a one-storey building, and – again – we established the necessary outdoor area on top of the roof. We created a slope that the children could climb, and at strategic places we fastened permanent beanbags. This way, no matter how much the children would roll or throw themselves downwards, they could not be harmed. Actually, this simple idea turned out to affect the children’s motoric skills in a really positive way.

Your insistence on building for the childhood’s universe, that way of considering architecture, does it go for “adults’ houses” as well?

Spatial variation, porosity and transparency; the diagonal section that enables much more dynamic relationships between spaces; and the opportunity to choose a space that suits you should always be possible. At our office, this is definitely the fundamental attitude.

Your most recent project for children, Children’s Culture Centre Ama´r apparently expresses a similar ambition about creating these opportunities?

The starting point for Children’s Culture Centre Ama´r (Børnekulturhuset) was a number of workshops, done in cooperation with the visual artist Kerstin Bergendahl and a group of children aged 6-18. We discussed basic architectural conditions, and the children built models. These would later serve as a starting point for further discussions on spatial typologies and experiences, which we would reflect in the building itself. The result was a labyrinthine building where you can always find a hiding place, but which was still well-arranged, porous and transparent.

The windows in this building are a remarkable feature.

Yes, and they bear more than one function. The windowsills are deep enough to inhabit.

Your own sitting room in a windowsill. Different rooms – actually, it is an excellent cue for talking about one of your other works related to children and young people. Your extension – or should I say “downtension” – of the Arne Jacobsen classic, the school Munkegårdsskolen in Gentofte Municipality north of Copenhagen, from 1956. The Jacobsen building introduced a new type of school – which at the time was very innovative – with a structure of a comb with perpendicularly added corridors connecting the teeth descending from the shaft, and thus creating enclosed, green patios. With your extension you dug a huge hole in the ground. Why?

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Arne Jacobsen’s repetitive structure was intended for a certain way of learning that was predominant in the 1950s. However, this structure doesn’t fully facilitate recent developments in learning styles.

Unlike in the 50s, today there is an option of dividing the school day into smaller units, as opposed to having one classroom with one class listening to one teacher. Numerous methods are in use today, like cross-curricular classes, group work and individual teaching. This demands a diversity of rooms and possibilities, and the extension is intended to be a flexible supplement to the existing structure.

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The original building was listed, and adding supplementary spaces on the ground floor would blur the very clear and perfectly scaled and proportioned existing structure. Restoring or converting works from the golden age of modernism is really a very sensitive task. These works are entirely dependent on perfection. You cannot change a proportional relationship, or slightly change a detail, without creating imbalance.

The building structure lacked large rooms within which to create more spatial possibilities, allowing a connection between different activities and, consequently, planning with a greater flow in mind. The school was only connected lengthwise, not across. Besides, the gymnasiums were like satellites scattered around the area. So we suggested going underground, underneath the old schoolyard, while at the same time connecting both of the corridors, the two gymnasiums, and the sports/playground. This was the concept. The idea was that we were obliged to respect the ground surface, but as soon as we went underground, we no longer affected the listed buildings and the protected area.

Ha! Did the authorities agree that this was an acceptable interpretation?

Yes, but maybe this calls for an explanation. The municipality had made an earlier attempt to convert the school, which was too radical for the public and eventually failed. This time around, everyone involved in the project was eager to make it work, while at the same time protecting the cultural heritage site and keeping the school functioning.

When we proposed the idea of expanding the building below ground, everybody understandably feared that it might become a dark and murky basement. Naturally, we had to be very aware of ceiling heights in order to reflect daylight far back into the rooms. We achieved this with bright reflective surfaces and by placing the four courtyards correctly. Above ground, the shape of the courtyards repeats the structure of the existing school. Their size is half a schoolyard, and naturally the proportions are classic – all of Arne Jacobsen’s proportions are classic. Below ground, we have twisted and turned the four rectangles in different ways. So down there, the space has a much greater sense of flow.

At Gersonsvej in Gentofte, you have made another building complex which takes up more space above ground and visually changes the original concept.

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The project at Gersonsvej is a fun hybrid between an after-school centre and a sports centre, where an old school had been torn down. It is positioned on a very long and narrow lot in the middle of a residential neighbourhood in Hellerup, with noise coming from both sides from the road and the railway. The size of the sport centre was out of scale with the surrounding context. We addressed that by down-scaling it to a row of modern longhouses. That dissolved into a small village for the afterschool facilities. Then we were able to create functioning, intimate outdoor spaces that were protected against the noise. We wanted to create a place with a tortuous, domestic feeling, which could be discovered little by little.

Your point is that the projects in Gentofte are related, despite their exterior differences. Both of them have clear references to their original context.

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In a wider sense, I am indeed guided by the contextual situation. I imagine that we are pretty good at untying the knots that arise, for instance, where the programme contains a scaling problem, as in this project. Nobody asks us to solve it; we just think that we have to relate to it. This is what we do well. We are capable of turning the problems upside down. In that way, we are able to move the entire project to a new field of possibility, which comes to light precisely because we see things from another point of view. That is how we hopefully are able to create original solutions.

The Bording Skole school. Another problem of scale?

Exactly! You begin by having a problem to solve. Bording Skole is located right across the lakes and has a heavily trafficked road in front of it. It has a one-storey building to one side and a five-storey building to the other. So, the school was in need of as much space as possible, and local regulations only allow you to build two storeys above ground. We asked ourselves how we could make this work. In the end, we created a “sculpture” that is compositionally placed in order to distance itself from the tall side. In that way we created a small break – a statement instead of just a small jump between scales. Creating a wide stair and a courtyard enabled us to add 30% more daylit area to the building’s underground level.

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The building is sort of hidden behind a screen made in Corten steel, which matches the red tiles of the neighbouring buildings?

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Yes, they wanted to bring light into the classrooms, and you should be able to look outside. But at the same time, they needed a bit of protection against the busy street – a sense of peace and tranquillity. This screen manages to achieve both. To the back towards the schoolyard, we expanded with extra square metres within the height limit. A staircase leads down to the music room, and the staircase functions as a small, outdoor auditorium.

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The school has been built with recycled bricks?

Which the parents were cleaning by hand in cold November, yes. It was quite impressive. But, this was how we could manage financially. There had been a school there for a long time, and there was this tradition that the students carved their names in the bricks when they graduated. So we kept the bricks, and now all of those with names engraved are placed at eye level.

The school looks completely different than the one at Gersonsvej.

Yes, since it is situated at a completely different location.

The water tower in Jægersborg is also a very clear, contextually-sized project. The interesting thing about it is that it clearly shows how architecture in many ways is about prioritising.

Yes, and once again the starting point was a problem of scale. The water tower is a transformation assignment, where we had to preserve a landmark – which has one level of scale – and at the same time create a home for young people, with very tiny apartments on a completely different level of scale. In addition to this, the water tower is situated between three motorways and a railway, so its location is not the most attractive.

We thoroughly considered what we could do in order to maintain the scale. The other challenge was about floor planning. The circular floors had to be divided, which could have ended up in 28-square-metre small pie slices that would have been almost impossible to furnish. So we added huge bays, which created a more straightforward floor planning. We also prioritised inserting a functional box. One of the things that I find so miserable when you are building youth or senior apartments is that the apartment becomes a machine or feels like a hotel room, where you can only sleep, cook, or shower.

Where there is a bed and a cooker hood...

Moreover, a much too large bathroom. So we made a statement: Even though your home might be limited to 28 square metres, you ought to be able to invite someone home in a dignified manner. Your visitors should not sit upon an untidy bed. By assembling a small wardrobe, a small bathroom, a small kitchen, and a small work station inside this box, and by placing the bed on top of the box, we have maximised the free space in the apartment. Here (she points at a photograph from one of the apartments), this is one of the residents in his “sitting room” with a great view across the water toward Sweden.

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Several times, you have touched on the question of living with minimal space. You have both showcased this issue in an exhibition and you have created the project Læsely (Read-Nest).

It is interesting to minimise and prioritise, but we need to be able to see the sky and we need a high ceilinged room, etc. Therefore, this is about how you adapt your home architecturally to live above a subsistence level. Overall, Read-Nest expresses the dream of throwing everything away and living on just the essentials. In reality, this is a dream about freedom: The less I own, the more freedom I have. Besides, this kind of expression also fits into our current imaginations that if we are going to improve the cities and the suburbs, we need to live more closely to one another; that we do not need as much space as we have got now; and that this will actually let us spend more time together.

And if we are living this densely, how can we still feel that we have a good quality of life? The cities are full of three decades worth of bad social housing projects, where everything was removed – all of the positive qualities of the urban space – in favour of a few stacked boxes, one on top another. Here you go, this is your subsistence-level home!

But, what if you want to use the density of people and buildings to improve people’s quality of life? What does it take? This was the subject of my studies for the exhibition “Hjem til fremtiden” (Home for the future) [at the Danish Architecture Centre, 1999] where I created an installation measuring 2 x 22 square metres which was the scale of most of the small apartments in the Nørrebro neighbourhood in Copenhagen. My project concentrated on turning the apartments into spaces with many different functions, but still providing a spatial quality. Read-Nest only has nine square metres and it is without a kitchen or a bathroom, but you can sleep and work in it; you can see the sky and you are in the middle of nature, but still sheltered.

It also contains a diagonal in miniature, which is a recurrent figure in many of your projects.

We have been working a lot with splitting up the home diagonally. That is, instead of dividing for example the terraced houses horizontally, with rooms placed precisely next to one another, or the block building with storeys of flats stacked one upon another. A diagonal division gives you a completely different experience. The building seems bigger and the rooms become more interesting. This is something we are working on at the Ringsted Kaserne (military barracks) in Kristiansminde and in Trekroner.

Another thing with which you have been very preoccupied in terms of the home is the relationship between public space and the private sphere?

Absolutely. You might call it the question of how to create architecture which generates a positive tone of voice. How you meet your neighbour, whether or not you can see him, how you catch his eye, and

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what kind of contact you can achieve. On the other hand, no one should feel watched or unable to have their own peace and quiet.

When you get the chance, you are almost obliged to create those important, informal, public spaces.

Between the homes, naturally, but also between the buildings in general. As we did with Prismen (the Prism) which is “just” a sports centre, of course, but additionally, it has been made so open and informal that you can drag in people straight from the street.

It is lying there, shining as brightly as a greenhouse on a winter’s evening.

If we stick to the theme of public/private and raise a question about community spirits, we might involve Lange Eng in Albertslund?

Lange Eng is a community consisting of owner-occupied flats for 54 families, and all of them have given up living space for a 600-square-metre community house. The building is shaped like a long, big block.

The community house is situated in one of the corners, because we thought it would be a shame to place it in the middle of the courtyard, thus splitting up everything. The community house was built for DKK 8,000 per square metre, which is very cheap, and for that price you normally cannot afford rooms of double-height. We think that we succeeded in moving the community feeling even into the flats where the double-height rooms face the shared courtyard, and we are very proud of that. On that side, the façades are plated with bright polycarbonate panels that reflect the light and mirror the landscape. The residents dine together six times a week, and this has become a super-efficient and highly functioning community.

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It is dressed with polycarbonate panels, which we used in order to provide the sports centre with a bit of daylight. Normally, you abstain from using daylight inside sports centres because the strong light pouring in through the window can be blinding. However, if you abstain from placing a brightly shining window against a darker wall, you avoid the uncomfortable effect. You’re left with a diffuse light which shines from everywhere, allowing you to bring as much daylight into the sports centre as you like. We had many arguments with the badminton players about whether or not you could use the sports centre at all if there was any daylight; but the argument arose because people generally do not know very much about light and its effects. It ended up functioning excellently.

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01 Architecture that reduces its impact An essay by Hans Ibelings

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Much of Dorte Mandrup’s work is located in and around Copenhagen, a city which, for good reasons, is prominently present in several lists of best places to live. Architecture contributes substantially to Copenhagen’s high quality of life; simultaneously, the city offers beneficial conditions for architecture to flourish as well.

In Copenhagen, and Denmark as a whole, architects can often entertain a relaxed and even carefree attitude. Copenhagen as a city may have its flaws and shortcomings, but its problems shrink into insignificance compared to overwhelming issues of poverty, crime, pollution and congestion that beset many large cities elsewhere. Architecture can be an innocent diversion in a near perfect place, because there isn’t much at stake. Architecture may get the liberty to blossom here, but at the same time its role is fairly limited: in essence it is about making what’s already quite good a bit better.

These relatively unexacting conditions easily lead to complacency, a condition which is very recognisable for someone who has been embedded in an equally self-satisfied architectural culture once, that of the Netherlands in the late 1990s. Like back then and there, it is obvious to see how contemporary Danish architecture tends to deflect from a necessity to a dispensable option, from an urgent need to a possibility to experiment for not much more than the experiment’s sake. In recent years Danish architecture has developed a lightness that has had its effect as a healthy antidote for the all too earnest building and urban planning produced in Denmark before the turn of the century, but this lightness can be a disquieting sign of a lack of substance.

The new Danish architecture, represented by offices like Plot and its demergers BIG and JDS, and Cebra, Cobe, Adept, Effekt, Nord, Sleth and several others, has led to refreshing and cheerful projects, but similar to the Golden Age of Dutch architecture a couple of years before, it turns out that freshness often has an expiration date that is pretty near.

In certain ways Mandrup has been surfing on the recent new wave of Danish architecture, to paraphrase the title of the 2012 book by Kjeld Vindum and Kristoffer Weiss, but she has never really been part of it.

Her work possesses the down-to-earthness that fits in what Vindum and Weiss have called the pragmatic turn in Danish architecture, the title they used for the two thematic issues of the Arkitektur DK magazine they compiled which preceded the publication of their book. The work of Mandrup is neither included in the magazine issues, nor in the book (female architects are virtually invisible in Vindum’s and Weiss’ new wave, anyway). Mandrup’s absence is justified because in her work she displays a seriousness and engagement that is at odds with the sometimes rather frivolous new wavers. For her the significance of architecture indisputably lies in the power to bring people together. And many of her works – schools, sports facilities, collective housing – have first and foremost a social dimension.

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Yet there is an undeniable lightness in Mandrup’s work as well, even though it isn’t of the cheery kind that sometimes masks a lack of depth. In her case lightness seems motivated by a wish to tread lightly. Much of the architecture of Mandrup can be read as a search for reducing its physical impact, which stands in contrast with the ambition of many new wavers to make a mark and leave an impression.

A case in point is one of Mandrup’s earliest works, the elevated glass box of the neighbourhood centre in Amager East. The box, which contains a small assembly hall, consists of little more than a wooden frame and glass façade, built on top of a concrete floor slab that is placed on concrete legs, so that it hardly touches the soil it stands on. In a similar way the sports centre she realised in the same district of Copenhagen minimises its imprint. It is plugged-in to the end walls of four parallel apartment buildings and morphs into a stretched low building, half the height of the five-storied housing. Roof and walls are covered by translucent polycarbonate sheets, on top of a structure of steel and wood. Inside the building there is a big sports court that seamlessly continues in the steps that can be used as stands.

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In this, and several other projects, Mandrup’s architecture is not an independent stand-alone, or a deliberate design statement. Rather it can be interpreted as the circumstantial result, in this case of the net force of two vectors, one determined by the shape and size of the four rows of housing and the available plot, the other by the programme of the sports centre and the constraints of the budget.

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In its material and spatial economy the sports centre brings to mind the early work of the now dissolved office of Ábalos & Herreros, which deliberately used the same industrial polycarbonate and other cheap materials that are cost-efficient but applied in a highly evocative, not to say, poetic way. Ten years after its completion Mandrup cannot hide an understandable vexation with the wear and tear, and the apparent limited durability of some of the unavoidable cheap solutions imposed by the budgetary constraints of this project, but the cheap and light materials provide for a gracefulness that, a decade after completion, still strikes as convincing.

These two projects, dating from the very first years of this century, contain themes and motives that recur in many others. The lightness, the reduction of the footprint, and the casualness are for instance also present in the restoration and extension of one of the highlights of an earlier wave of Danish architecture: Arne Jacobsen’s 1957 Munkegaard School in Gentofte. Here, Mandrup has carefully reestablished the elegant simplicity of Jacobsen’s school, while adding a new programme underground, again diminishing the impact of her architecture. The contrasting idiom of the extension reveals, though, that she isn’t inhibited by too much reverence for the master of Danish modernism.

The largely underground extension is an example of another recurrent theme in Mandrup’s architecture, which is her interest in and preference for a flowing continuous space. This flow enables her to make connections and relations both vertically and horizontally. Just as her work appears to blend effortlessly

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within a context of existing buildings, it manages to merge spatially, by creating an architecture that does not interrupt space. Sloping floors and roofs, stairs, split-levels, skylit central spaces and transparent or translucent walls forge a spatial unity and coherence that bind together the programme of a building, and the building to its site. The dazzling spatial complexity of the installation for the 2011 exhibition Living Frontiers of Architecture III-IV in the Louisiana Museum of Modern Art in Humlebæk can be read as a model for the spatial interconnections Mandrup is looking for, interconnections that in many ways prevail over the material manifestation of a building. Despite an obvious interest in detailing, colour and material, Mandrup’s architecture isn’t revelling in the decorative refinement that dominates so much recent architecture. The absence of niceties gives her architecture a casualness that is fitting for Danish culture, known for its informality, but at the same time allows it an edge, as it isn’t necessarily aiming to please everybody. (It is ironic that the most decoratively pleasing project she realised so far consists of a series of garbage container sheds, covered with a flower pattern.)

Like many other architects, Mandrup has witnessed a reverse effect of the immediate acclaim she received for her first works as an independent architect with her Dorte Mandrup Arkitekter office. This is, that she has been asked time and time again for the same kind of jobs, relatively small and relatively cheap public facilities, like neighbourhood centres, schools and kindergartens. Only in recent years has she managed to expand in different directions, both in scale and programme, with for instance two large buildings in the making in Malmö, Sweden, the Ikea Meeting Centre and an office complex. Another Swedish project is the School of Economics & Management of Lund University, expected to be completed in 2017. Moreover Mandrup is currently working on the Sundbyøsterhal II in Copenhagen, a combination of a supermarket, a sports hall and housing. With two second prizes in competitions for urban planning in Ålesund, Norway, and Mikkeli, Finland, she is also venturing into the field of masterplanning.

These and other larger projects which are now in the making mark the beginning of a what could be described as a second phase in the career of Mandrup. These buildings are too large not to make an impact, and too expansive to be only circumstantial. They cannot be simply grafted onto the existing surroundings, and because of their sheer size they will determine their context as much as they will be determined by it. This obviously needs different strategies, and judging by their design, those large projects are leading to a slightly different kind of architecture, even though signature features such as sharply angular shapes and saw-tooth roofs are seemingly here to stay. The upcoming large projects may be too big to assume the lightness in material respect, that has characterised Mandrup’s smaller work so far, but those larger projects promise to become an intriguing test case or if and how she will manage to elevate the casual qualities she has displayed in the first phase to a different stage.

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01 EDITOR’S NOTE

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By Tomas Lauri

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INTRODUCTION

Dorte Mandrup is one of the great innovators of Danish architecture. Her architecture is catalytic in nature.

Spaces in day care centres, school extensions and culture centres for children are shaped around children’s needs. It is architecture that leads up to specific and unexpected spatial experiences, encouraging the users rather than holding them back.

Her buildings are often unconventional in form and transform the city in a purely physical sense. One example is the sports and culture centre Prismen (The Prism, 2006) in Copenhagen. The centre forms an extension to three brick-built apartment blocks across an open space that fuses with the gym and draws in daylight for the gym’s users.

Despite the unconventional solutions, her buildings rarely dominate their surroundings. They have a poetic sensitivity. A sense of cultural recognition and a site-specific character. Building on a site implies a desire to change it, but successful change requires understanding the context and knowing what changes are needed, and why. This is reflected, not least, in her expansion of Arne Jacobsen’s school Munkegårdsskolen in Gentofte north of Copenhagen (2009).

The projects featured in the book summarise her architecture since the beginning in 1999 under four chapter headings. Move/Play, Community/Live and Add/Change are not about contrasts but rather about conditions. They are interlinked. Movement implies play, community means living, and what is added spells change. B-sides underscores Dorte Mandrup’s ability to experiment and look beyond the commonplace; the chapter looks into small projects with a high architectural significance.

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02 MOVE / PLAY Dorte Mandrup’s first day care centre at Østerbro in Copenhagen (2004) was a slight breach of tradition. Many day care centres were built based on sufficient space for the children – that is, for storing children. She shifted the focus to spaces that put the individual in motion, that activate.

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This has been interpreted literally, as a purely physical experience. And not without reason. Her day care centres encourage physical activity. There are inclines, ladders and climbing walls. Meanwhile, they are equally characterised by spaces for retreat, and children’s need for huts and intimate nooks. As a whole, it is rather open and multifaceted, full of options. The spaces encourage children to seek out and find their own place, their own relationship in and to the world.

Day care centres can be compared with tools. However, many tools are designed for a specific use. Dorte Mandrup shuns the all too clearly programmed. Her architecture is rather a stage on which the acting changes. Herstedlund Community Centre (2009) consists of spaces that can be used in many different ways. Climbing frames, ball courts or lectures depend on the occasion. It can all be traced to a functionalist Nordic tradition. But Dorte Mandrup writes a great deal about the tradition; function is not the goal but merely the means to experience and be touched.

Dorte Mandrup lets activity determine the expression. At the day care centre on Skanderborggade in Copenhagen (2005), education and design are closely knit. At Barnens Hus on Ama’r (2013), the boundary between play, movement and architecture has been rubbed out. Internally, the rooms and levels are stepped. Externally, there is no distinction between the walls and roof; all is of corrugated metal with large intakes of natural light where needed. The architecture is both liberated from its context and open for what is perhaps the innermost core of play and movement; to be one with a space, and for a few moments offer children a space in which they can completely dive into an activity and cease the day.

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In their context, the buildings are uncompromising and point to the subversive side of play. Play and motion find their way out into the urban space. Prismen in Copenhagen (2006) gets its shape from the short sides of four narrow tower blocks, and lands unexpectedly in a multisport arena. Even materially, the building, which is covered in corrugated plastic that gives the arena natural light, shifts its context of rendering and brick.

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INTERVIEW

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height room, kitchen, administration office and staff room. The roof of the frame is covered with tall grass that over time will grow into a dense jungle.

The aim of the project is to provide children with a varied experience of their physical surroundings.

The group rooms are placed side by side, and can either be used individually or be joined together by opening the sliding doors that separate them. The common room is a spacious heightened room connected directly to the terrace and kitchen. The strategically-placed swings, hammocks and cushions on the playground are designed to encourage children to pursue both tranquillity and wild motion without disturbing each other. The existing growth of the garden was preserved whenever possible to provide hiding places and caves for imaginative play.

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ENGINEER: MOE & BRØDSGAARD

LANDSCAPE ARCHITECT: MARIANNE LEVINSEN LANDSKAB

LOCATION: COPENHAGEN

AREA: 1,000 M2

CLIENT: CITY OF COPENHAGEN

DAY CARE CENTRE, NÆSTVEDGADE: 2003-2004

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Næstvedgade Day Care Centre

Nested in a green oasis within a densely populated district, Næstvedgade Day Care Centre uses the long, narrow site to its advantage. The triangular structure sits on the eastern part of the site, and opens up toward the garden to the west for optimal daylight. Old-growth lime trees provide shade in the summer to the southern half of the site.

The project presents two main design elements, the prism and the frame, which are tied together by the middle building and the roof terrace.

The prism shape minimises shadows in the outdoor areas of the neighbouring buildings while maximising the centre’s outdoor space. Inspired by greenhouses, the prism consists of two independent elements – the roof and the inner climate protection – to establish a precise yet transparent boundary between the structure and the garden. The frame contains shared facilities, a double-

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PROJECT TITLE

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The entrance of the day care centre doubles as outdoor seating and stairs leading to the roof

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terrace.

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Nร STVEDGADE DAY CARE CENTRE

The long and narrow site is nested within a dense district.

The galvanised steel faรงade requires minimal maintenance.

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Reminiscent of a greenhouse, the prism establishes a precise yet seamless boundary between

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structure and the garden.

The prism shape minimises shadows in the surrounding outdoor areas while providing access to the lime trees that provide

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shade in the summer.

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PROJECT TITLE

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MOVE / PLAY

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NÆSTVEDGADE DAY CARE CENTRE

The cloud-shaped balcony in the group rooms is both whimsical and functional.

The existing garden is preserved to provide hiding places for imaginative play.

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MOVE / PLAY

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ENGINEER: JØRGEN NIELSEN RÅDGIVENDE INGENIØRER

LANDSCAPE ARCHITECT: SCHØNHERR

ARCHITECT: DORTE MANDRUP ARKITEKTER IN COLLABORATION WITH B&K + BRANDLHUBER & CO.

LOCATION: COPENHAGEN

AREA: 3,500 M2

CLIENT: CITY OF COPENHAGEN & LOA FOUNDATION

SPORTSCENTRE HOLMBLADSGADE: 2003-2006

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PRISMEN Sports & Cultural Centre

The building’s structure is composed of steel and timber covered with opalescent polycarbonate panels with a low U-value. A large translucent membrane stretches between the sports arena and the four characteristic gables of the neighbouring housing scheme.

This cover provides excellent daylight conditions, while at night the structure looks like a glowing crystal. The dynamic interior landscape allows for various activities to take place on different levels in visual contact with each other.

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PRISMEN SPORTS & CULTURAL CENTRE

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The dynamic interior landscape allows various activities on different levels while retaining visual contact

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with each other.

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PRISMEN SPORTS & CULTURAL CENTRE

The steel and timber structure covered with opalescent polycarbonate panels allows ample sun to flood in during the day.

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MOVE / PLAY

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PRISMEN SPORTS & CULTURAL CENTRE

The large membrane stretches between the sports arena and the four characteristic gables of the neighbouring buildings.

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MOVE / PLAY

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PRISMEN SPORTS & CULTURAL CENTRE

The activity surface folds up to create seating, raised platforms and niches.

The building connects precisely with the adjoining buildings.

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The building’s light construction and translucent skin is empathetic to its surroundings, articulated by the iconic

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gabled form.

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PRISMEN SPORTS & CULTURAL CENTRE

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Skanderborggade Day Care Centre

The neighbourhood of Skanderborggade is characterised by a mix of commercial buildings and villas from the beginning of the 20th century, which together form a dense urban block. The client requested a three-unit day care centre, with the potential for conversion into kindergartens composed of three individual rooms for each group of children. Each of the rooms would need to be equipped with an accompanying changing room, a common room, cloakroom, kitchen, administration and secondary rooms. Access to safe outdoor areas was also essential.

ENGINEER: TÆKKER RÅDGIVENDE INGENIØRER

LOCATION: COPENHAGEN, DENMARK

AREA: 555 M2

CLIENT: CITY OF COPENHAGEN

DAY CARE CENTRE, SKANDERBORGGADE: 2003-2005

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To satisfy the zoning restriction that allows no more than one storey for institutional buildings, the design placed

the playground on the roof, incorporating an incline to allow play on the sloping surface. The layout also makes optimal use of solar orientation on the site. Two other courtyards are cut into the roof, ensuring air and daylight to all wards, and offering varied outdoor spaces for different activities. By combining the cloakroom and entrance, and minimising hallways through an ingenious placement of the common room, it was possible to make the shared space 80% larger than stipulated. The common room forms the heart of the institution and is directly connected to the kitchen, the play areas, cloakroom and staff areas.

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SKANDERBORGGADE DAY CARE CENTRE

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To satisfy the zoning laws that restrict institutions to a single storey, the design incorporated a playground on

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the sloping roof.

The play area on the roof is connected to the

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common space via a ramp.

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SKANDERBORGGADE DAY CARE CENTRE

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MOVE / PLAY

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SKANDERBORGGADE DAY CARE CENTRE

The low-rise volume allows light into the central courtyard.

Linoleum is used on the interior floors for easy maintenance and to withstand active use. The interior becomes part of the playground.

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Oversized pillows provide comfort and safety for children playing

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on the ramp.

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SKANDERBORGGADE DAY CARE CENTRE

The nylon parachute cloth used in the curtains allows for both light and privacy.

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of the programme under one roof, the building is shaped to the area, with a form that morphs to connect three different houses. There is a dynamic synergy between the villas – Sports, Café, Workshop and Music – where sports and leisure are directly intertwined, both physically and mentally. The merge between indoor and outdoor is also an important feature for the users and ground level activities all have direct access to the garden or courtyards.

Through conscious use of colour, light and surfaces, varying moods emerge as a series of rooms. Each is done with its own special character depending on their unique function.

TURN KEY CONTRACTER: NCC

LANDSCAPE: PETER HOLST ARKITEKTUR OG LANDSKAB

ARCHITECT DETAIL CONSTRUCTION: MANGOR & NAGEL ARKITEKTFIRMA

Cross-programming was developed through workshops and games with prospective users, both adults as well as children. To express the complexity

LOCATION: GENTOFTE

AREA: 1,100 M2 RECREATION AND CULTURE FACILITIES & 1,500 M2 SPORTS FACILITIES

CLIENT: CITY OF GENTOFTE

GERSONSVEJ SPORTS CENTRE: 2005-2007

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Gersonsvej Youth Centre

Situated in a residential area of a northern Copenhagen suburb, this programme is a mixed-use complex containing several different institutions for both community and individual users. The area consists predominately of large villas from the turn of the century. The long and narrow shape of the site – with one side bordering the railroad and the other a busy road – faced a potential noise concern. Elements such as a bunker and a transformer box were integrated into the landscape to counter the problem.

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GERSONSVEJ YOUTH CENTRE

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GERSONSVEJ YOUTH CENTRE

The top-lit space of the sports hall feels open and expansive.

The complexity of the programme is expressed through a morphing form that connects three different houses.

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The smaller houses all have access to the terraces and play areas in the

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garden.

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GERSONSVEJ YOUTH CENTRE

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is organised like a mountain village, wherein all spaces are visually connected by dynamic circulation. The building offers flexible spaces and customisable furniture to enhance children’s creativity and active participation. The spaces provide opportunities for various activities and can accommodate age groups from 0-18 years with changing needs.

ENGINEER: DOMINIA

ARCHITECT DETALING CONSTRUCTION: NØHR & SIGSGAARD ARKITEKTER

LOCATION: COPENHAGEN

AREA: 1,085 M2

CLIENT: CITY OF COPENHAGEN

CILDRENS CULTURAL HOUSE AMA’R: 2006-2013

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Children’s Culture House Ama’r

The Children’s Culture House is an innovative project developed with input from children, and offers a unique range of spatial experiences and cultural activities. The expression of the culture house is surprising and imaginative: The roof and façades are treated in the same materials, which strips the building of its traditional “start” and “end” points.

Children’s Culture House mediates the varying scales of the adjacent buildings by extruding and cutting their forms. The joint of the building, where the extended lines of the existing buildings meet, is lowered to allow maximum sunlight into the neighbouring courtyard. The interior

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Children’s Culture House Ama’r

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Developed with input from children, the space offers a range of spatial experiences and cultural

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activities.

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Children’s Culture House Ama’r

The corner where the extended lines of the existing buildings meet is lowered to allow maximum sunlight into the neighbouring courtyard.

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Openings create niches

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for play.

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Children’s Culture House Ama’r

Spaces are “hidden” throughout the building, to create a feeling of exploration and secret play for the children.

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The interior resembles a mountain village, where all spaces are visually connected with dynamic

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circulation.

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Children’s Culture House Ama’r

The centre provides opportunities for various activities and accommodates a wide range of ages with changing needs.

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Children’s Culture House Ama’r

The roof and façade are treated in the same materials, stripping the building of its traditional “start” and “end” points.

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JENS-PETER MADSEN, RÅDGIVENDE INGENIØRER

ENGINEER: JØRGEN NIELSEN, RÅDGIVENDE INGENIØRER;

LANDSCAPE ARCHITECT: SVEND KIERKEGAARD LANDSKAB

LOCATION: ALBERTSLUND, DENMARK

AREA: 408 M2

CLIENT: FREJA EJENDOMME

HERSTEDLUND COMMUNITY CENTRE: 2006-2009

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Herstedlund Community Centre

Herstedlund Community Centre is a user-driven cultural centre serving 600 local residents. The programme of the building is open and has the ability to grow to incorporate many different ages and interests over time, from informal meetings and communal dining, to summer festivals and sporting events.

A skateboarding ramp is built into a wall on one side, and a climbing wall on the other. Through a hatch in the wall, the indoor kitchen is connected to an outdoor barbecuing area and eating facilities. In the summer, the kitchen is the heart of outdoor events and during the colder months, it can be used as a satellite kitchen for private events. The façade is a combination of whole and perforated aluminium plates and wire mesh. The project has implemented clever environmental initiatives including solar panels on top of the staircases and soil heating, rainwater collection for toilets, and motion-controlled taps and lighting.

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HERSTEDLUND COMMUNITY CENTRE

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MOVE / PLAY

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The faรงade is clad in aluminium.

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HERSTEDLUND COMMUNITY CENTRE

The exterior of the building is fitted with a climbing wall.

Floor 3: Roof terrace and basketball court.

Floor 2: Multipurpose space with toilets and additional storage.

Floor 1: Performance space Ground floor: Kitchen and toilet facilities.

Staircase and lift provides access to the rest of the building. Built-in skateboard ramp.

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MOVE / PLAY

The multipurpose area is the largest common space in the building and can serve as a

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meeting room.

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HERSTEDLUND COMMUNITY CENTRE

The performance space extends the building’s layout by adding a staircase for the audience.

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MOVE / PLAY

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The faรงade is a combination of whole and perforated aluminium plates and wire mesh. The site will eventually be covered with trees.

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HERSTEDLUND COMMUNITY CENTRE

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MOVE / PLAY

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HERSTEDLUND COMMUNITY CENTRE

The rubber granule-covered roof terrace contains a small enclosed courtyard with a net to catch stray basketballs.

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MOVE / PLAY

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ENGINEER: TYRÉNS AB & RAMBÖLL SVERIGE AB

LANDSCAPE ARCHITECT: MARKLAGET AB

LOCATION: HELSINGBORG, SWEDEN

AREA: 525 M2

CLIENT: CITY OF HELSINGBORG

RÅÅ PRE-SCHOOL: 2006-2013

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Råå Pre School

This preschool is located in the scenic area between the beach and the old fishing town Råå, next to a local primary school. The building houses four groups of children and is designed as an interpretation of a village immersed in a sand dune. The sloping surfaces of the characteristic gables create the impression that the single-storey building emerges from the ground. The jagged timber form sits on a patch of grass in a contrast to the existing school building, which has a white rendered façade and orange-toned roof tiles. The exterior is covered in long strips of multi-tonal wood, creating a weathered appearance. Shallow steps run up the sides of the gently ramped roof, while triangular shards of glazing form windows that follow the angles of the walls and roof. The large windows in the façade and roof establish an intimate relationship with the sea and the surrounding landscape, and provide ideal daylight conditions.

To the rear of the building, a playground is sheltered from the sea breeze between the old and new schools, which are connected by an adjoining corridor.

Rectangular and circular sandpits with timber edging are sunk into the playground, while the strip of ground in front of the building has been planted with greenery native to the coastal region to invoke a fluent spatial experience, consistency, and transparency through the entire institution. Rooms inside the preschool are separated by plywood bookshelves, which are backed with panes of glass to create a display area visible from the corridors. The white interior walls are complemented with light green flooring and pale timber furniture.

A built-in playhouse behind the storage area is accessible by a wide wooden ladder with slim square-cut rungs, which ascends into a nook in the wall.

The triangle motif is repeated in the interior fittings to create a sense of unity.

A door inlaid with elongated triangles of wood is reminiscent of a backgammon board, while skylights set into the apexes of the gable roof cast triangular patches of sunlight on the floor.

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PROJECT TITLE

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MOVE / PLAY

The triangle motif creates

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unity throughout the building.

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The building’s sloping surfaces are reminiscent of a sandy dune and give the impression of emerging organically from the ground.

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RÅÅ PRESCHOOL

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MOVE / PLAY

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RÅÅ PRESCHOOL

The building’s form references small fishing huts sitting in the dunes.

The white interior walls are complemented with light green flooring and pale timber furniture. Generous skylights draw daylight into the shared playrooms.

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MOVE / PLAY

Strips of multi-tonal Robinia wood on the faรงade and roof

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create a weathered appearance.

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RÅÅ PRESCHOOL

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MOVE / PLAY

Built-in rows of wooden storage spaces line the walls of the cave-like tunnel connecting the new and old

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buildings.

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RÅÅ PRESCHOOL

Large windows provide ideal daylight conditions throughout the year.

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MOVE / PLAY

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RÅÅ PRESCHOOL

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MOVE / PLAY

ENGINEER: COWI

LANDSCAPE ARCHITECT: 1:1 LANDSKAB

LOCATION: COPENHAGEN, DENMARK

AREA: 1,200 M2

CLIENT: CITY OF COPENHAGEN

VANLØSE SCHOOL: 2010-2012

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VANLØSE SCHOOL

The building stands as a solitary four-storey tower block placed between an existing school and sports hall. Its design is based on the school’s environmental profile. Solar panels are integrated into the south façade and roof of the building to reduce energy consumption and environmental impact. The horizontal division of the façade at different heights results in spatial differentiation of each room and a uniform intake of daylight, while accentuating the scale relationship between children and adults. The building is rotated so that it does not close off the exterior courtyard from the adjacent street.

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VANLØSE SCHOOL

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MOVE / PLAY

The building was rotated in order to avoid closing off the exterior courtyard from the

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adjacent street.

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The building features an integrated schoolyard.

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PROJECT TITLE

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03 COMMUNITY / LIVE In Dorte Mandrup’s housing projects, the communal spaces are as important as the private. The city or an urban development is as much about spaces and gaps as buildings, as well as a bit of defining exactly what is private and communal.

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COMMUNITY / LIVE

In the neighbourhood Lange Eng in Albertslund outside Copenhagen (2009), the private and the communal have become a consistent part of the form. It is designed as a residential area. Towards the entrance side and the outside world, or the rest of the city, it is dark and slightly enclosed. Towards the park-like and well-planned gardens, the aspect is light with large inviting windows. The communal gardens and the actual dwellings are one unit, while at the same time being two poles where one moves between. There is no sharp boundary and all spaces are like a fluid scale between the more or less private or communal. The experience, or the degree of one or the other, is determined by how each individual moves between all the spaces.

Two of Dorte Mandrup’s urban plans, one in Finnish Mikkeli (2012-13) and one in Norwegian Ålesund (2011), give the two cities a welcomed new waterfront, much thanks to the quays, which are no longer being used for transport, having become suitable for recreation and housing. Both plans include what could be likened to a trend line. They start with a scale and form closely linked to the existing, but somewhere along the way to the water, the historically inherited is dissolved and transforms into something slightly freer. New activities are added. A mixed, varied city with many small intricate spaces emerges.

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Trekronor in Roskilde (2008) is one of Dorte Mandrup’s most ambitious housing projects. There, different types of flats and graphic white façades are mixed with a landscape of cherry blossoms, apple trees and magnolia. Outside and inside are intertwined. The transition between housing and gardens is fluid. The residents are as much a part of the communal space as they are of the private. Life is lived somewhere there between. It is never really completely one or the other.

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PROJECT TITLE

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COMMUNITY / LIVE

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Structured as stacked townhouses, the lower floor consists of single-storey townhouses with two-storey houses on top. Intricately patterned inner staircases connect to an offset floor, providing a double-height space in the relatively small residence. The building’s main construction consists of prefab concrete clad in white composite panels, and stainless steel rods on the façade support climbing white clematis vines. All floors are pine, and windows and doors are made of white aluminium and wood. Each housing unit can be individually accessed from the ground and most are staggered diagonally over an adjacent unit to provide a larger and more varied spatiality than a traditional duplex.

ENGINEER: LEMMMING & ERIKSSON

LANDSCAPE ARCHITECT: ARKITEKT KRISTINE JENSENS TEGNESTUE

LOCATION: ROSKILDE, DENMARK

AREA: 4,493 M2

CLIENT: BRAINSTONES DEVELOPMENT

TREKRONER: 2007-2008

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TREKRONER housing

The Trekroner Residential Housing Project is part of a large new residential development outside the city of Roskilde immediately adjacent to Roskilde University. In contrast to the large open spaces of the development, the two differently curved buildings embrace to form an intimate and wind-protected green space between them and suggest an organic connection between the landscape and the buildings. The complex is characterised by the crispness of the graphic wallpaper-like cladding on the façade, which is complemented by a tapestry of different flowering perennial plants such as cherry, star magnolia and apple trees.

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PROJECT TITLE

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TREKRONER HOUSING

Each housing unit can be reached independently from the street. Units on the lower level have access to small private gardens.

The lower level consists of single-storey townhouses, while two-storey homes sit on top with intricately patterned inner staircases.

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TREKRONER HOUSING

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COMMUNITY / LIVE

COLLECTIVE LIVING LANGE ENG

Lange Eng is a housing community situated near Herstedlund community centre in Albertslund, a less affluent suburb of Copenhagen. The collective living space, which includes 54 privately-owned units, is surrounded by other housing developments, small industrial buildings, trees, and a pond.

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ENGINEER: LEIF HANSEN INGENIØRER

LANDSCAPE ARCHITECT: MARIANNE LEVINSEN LANDSKAB

LOCATION: ALBERTSLUND, DENMARK

AREA: 6,400 M2 (54 HOUSING UNITS)

CLIENT: BOFÆLLESSKABET LANGE ENG

COLLECTIVE LIVING LANGEENG: 2007-2009

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The building was designed as a typical Danish block surrounding a large common courtyard. Photographs of residents line the hallways, further strengthening the sense of community for the 200 adults and children who reside there.

The collective living space also features a common house with a kitchen, dining room, movie theatre, DVD library, café room, and other recreational rooms. The outer perimeter of the block toward the forest is relatively closed, whereas the side facing the garden appears light and open. Every residence has access to the garden space and terraces along the façade, offering a convenient platform to bring life from the homes into the common space.

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COMMUNITY LIVING LANGEENG

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COMMUNITY / LIVE

Every unit has access to the garden and terraces along the faรงade, offering a platform to mix private and

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communal living.

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COLLECTIVE LIVING LANGE ENG

Placing private entrances along the shared open space minimises the circulation area.

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COMMUNITY / LIVE

Designed as a classic Danish block, the residences surround

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a large shared courtyard.

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COLLECTIVE LIVING LANGE ENG

The large opening toward the common garden keeps the residents connected.

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COMMUNITY / LIVE

The collective living space features a common building with a kitchen, dining room, movie theatre, DVD library

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and recreational rooms.

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COLLECTIVE LIVING LANGE ENG

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COMMUNITY / LIVE

LOCATION: AARHUS, DENMARK

AREA: 23,000 M2

CLIENT: MARSELIS EJENDOMME A/S & SØGAARD EJENDOMME A/S

Z-HOUSE AT AARHUS HARBOUR

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Z-house at aarhus harbour

This property’s unique position required striking and distinctive buildings to mark the end of the boulevard facing the bay, and to serve as a landmark visible from the water at the entrance to the marina.

Taking inspiration from the classic block, Z-house reimagined the idea of the courtyard framed by residences.

The complex is designed as a continuous shape, which forms two half-open courtyards. This Z-shape design allows the building’s three wings to open up onto two common spaces, while the terraces on consciously staggered levels ensure optimal sunlight and views for all homes. The sloping profile of the hanging gardens provides an open and friendly connection to the forest and port, while the business premises form a light base. The apartments are served by three diagonal spines containing inclined elevators, stairways and service shafts.

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Z-HOUSE AT AARHUS HARBOUR

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COMMUNITY / LIVE

The building is a striking landmark at the entrance to the marina.

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Z-HOUSE AT AARHUS HARBOUR

The sloping profile ensures optimal sunlight and views for all units.

The Z-shape reimagines the classic block. The shape forms two half-open courtyards.

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CHAPTER_03

IKEA global meeting centre

One of the key tasks in designing IKEA’s new Global Meeting Centre was to capture its innovative spirit and to highlight the port of Malmö in Svågertorp.

The centre includes the headquarters for IKEA services, offices and a hotel, and is planned as a building complex with ambitious goals for sustainability and functionality. With an integrated sustainable strategy developed in cooperation with the client and optimised through the design process, the aim was to build IKEA’s most green building to date. The large informal office building is fitted with skylights to minimise artificial

lighting. Office floors are arranged as open spaces with improved contact with each other through several staggered openings.

The architectural expression is simple and clean, with a nod to the iconic factory profile. The building complex consists of three volumes; the office and meeting centre are designed as two squares, connected diagonally. Daylight for all work stations is provided via a continuous atrium strategically located in the building.

The complex consists of three volumes which are connected diagonally. Dayatrium strategically placed to provide natural lighting conditions for all

LOCATION: AARHUS, DENMARK

work stations.

AREA: 23,000 M2

CLIENT: MARSELIS EJENDOMME A/S & SØGAARD EJENDOMME A/S

Z-HOUSE AT AARHUS HARBOUR

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light floods through a continuous

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IKEA GLOBAL MEETING CENTRE

The design expression is clean and simple with a nod to the iconic factory profile.

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COMMUNITY / LIVE

LOCATION: ÅLESUND, NORWAY

PROJECT: MASTERPLAN

CLIENT: ÅLESUND MUNICIPALITY

ÅLESUND WATERFRONT: 2011

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Ålesund Waterfront

Ålesund City receives many visitors throughout the year for its beautiful Art Nouveau district and waterfront. The two neighbourhoods named “The Pier” and “The Seafront” are woven as a dense city tapestry using “The Blue Path”, a new route focusing on the city’s various encounters with water. By inserting smaller, individual buildings into the city structure to emphasise existing features, new programmes are added and a series of urban spaces in a smaller scale are established in public buildings such as the theatre and the city hall.

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Ã…LESUND WATERFRONT

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Ã…LESUND WATERFRONT

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COMMUNITY / LIVE

LOCATION: MIKKELI, FINLAND

PROJECT: MASTERPLAN

CLIENT: MIKKELIN KAUPUNKI - CITY OF MIKKELI

MIKKELI: 2012-2013

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Mikkeli masterplan

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The idea behind the formation of Mikkeli-Satamalahti was to develop the area’s identity as an open “water city” by allowing as many people as possible to have daily interactions with water in their life, work and recreation. The masterplan consists of four areas with different characteristics and identities created by a mixture of specific landscape and architectural features.

The four areas are tied together by the “green loop,” a recreational/educational path that culminates at Festival Plaza and Science Centre. A dense and varied cityscape is planned to prioritise people and activities over parking lots and motorised traffic, thus ensuring a lively and safe street environment, even in the cold winter months. The resulting city experience, which includes natural elements, is carefully shaped through the understanding of human behaviour, solar orientation, wind protection, scale and distances in public spaces, and improved mobility. The cultural and social interaction encourages more diversity with construction of mixed housing – types and size determined by various funding models – providing opportunities for all, from large families to elderly people living alone, from the rich to the less fortunate.

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MIKKELI MASTERPLAN

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COMMUNITY / LIVE

Four areas with different characteristics and identities are established through a mixture of landscape and architectural features and are tied together by

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“the green loop”.

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MIKKELI MASTERPLAN

The urban experience is carefully shaped through a sensitivity to human behaviour and the natural environment.

Ensuring public access to water was one of the key ideas behind the project, to encourage daily interaction with water in both work and recreation.

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COMMUNITY / LIVE

CONSULTING ENGINEER: KLAUS NIELSEN, RÅDGIVENDE INGENIØRER

LOCATION: COPENHAGEN, DENMARK

AREA: 5,350 M2 (1.32 ACRES)

CLIENT: MUNICIPALITY OF COPENHAGEN

SUNDBYØSTER: 2012-2014

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Sundbyøster URBAN HYBRID

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This innovative solution for a high-density urban environment consists of three layers: shops on the lower floor, sports and activity space in the middle, and residences on the upper floor. The ground floor design is friendly and inviting, with a predominantly glass façade, and contains a café, convenience store, and an entrance lobby to the sports centre and residences. The entrance to the sports centre is located in “Lille Parmagade” and displays a large double-height glazing to allow direct visual connection to the hall’s activities from the street. After dark, the pleated wooden façade is illuminated by light from the vertical bands of windows, which in turn is reflected by the warm-toned wood panelling to produce a soft glow.

The residences on the building’s upper floor feature a number of large, slightly cantilevered crystalline bay windows from floor to ceiling. The twelve homes are designed as four-room apartments with front yards and access to the private inner courtyard.

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SUNDBY-ØSTER URBAN HYBRID

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COMMUNITY / LIVE

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SUNDBY-ร STER URBAN HYBRID

At night, the pleated wooden faรงade is illuminated by light that seeps from the vertical bands of windows, resulting in a soft welcoming glow.

The building consists of three layers: shops on the lower floor, sports and recreation space in the middle, and residences on the upper floor.

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04 ADD / CHANGE Several of Dorte Mandrup’s infill projects are about kick-starting societies, about awakening slumbering corners of the cities.

There is an artisanal and pragmatic basis to this: fix what is slumbering and not working. It is basically about adding an activity. But also equally about precisely creating the spatial conditions necessary, and giving the activity a context.

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ADD / CHANGE

The key is to mind what is functional and do what is necessary. Not more, not less. Her transformation of Jægersborgs water tower in Copenhagen (2006) is appealing. The character of the water tower, with its columns and giant water tank at the top, has been maintained. The student accommodations that have been added are only marked by protruding box windows. The interior is mostly sparse and simply kept, focus being on the bathroom and kitchen unit that make the dwelling a decent place to be in, aware that the views from the tower are what make it special.

There is consideration behind Dorte Mandrup’s proposals. When she was asked to extend one of the modernist classics of Danish architecture, the Arne Jacobsen designed Munkegårdsskolen in Copenhagen (2009), she chose to submerge the new spaces underground. The action gave Dorte Mandrup her own freedom. Down there in the light wells, she gave the windows their own free space and let her love for strong and vibrant colours speak for themselves. Instead of one creation, there are two. Dorte Mandrup’s and Arne Jacobsen’s, side by side, without competing for attention. A classic has thus been modernised, given a new life through a low-key approach and articulate expression.

The culture centre St. Nicolai (2008), housed in old school buildings, follows the same scheme. On scale, the extensions fit well. However, they differ in material and design by being slight additions of Corten steel. The aim is not to upstage the old, but to create an unquestionable new relationship. A fusion has occurred between the existing and the add-ons, a new context has been established. Everything has been set in motion, and with motion comes change.

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One of her earliest interventions was the neighbourhood centre on Jemtelandsgade in Copenhagen (2001).

Some old industrial buildings have been reclaimed to house a library, a café, meeting rooms and study areas. A three-storey high foyer has been created by removing some beams. In an empty corner between two buildings, a glass box with a wooden construction, raised up on a row of logs like a pier, has given the composition a symbolic marker.

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PROJECT TITLE

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Neighbourhood centre jemtElandsgade

Located in one of Holmbladsgade area’s former industrial buildings from 1880, the Neighbourhood Centre today houses a mixed-use programme that includes a local library, café, and office facilities on the upper floors. The aim of the conversion was to develop a connection between the building’s various activities, while ensuring openness and accessibility for the public. The structural changes to the building consist primarily of the partial removal of the existing floor decks in order to create a new triple-height foyer space running the length of the building. In addition, a new building was added to create a small assembly hall. The supporting structure in the hall features an exposed framework of plywood covered with thermal glazing panels in pine frames. The horizontal

slab effect in the building’s supporting structure is re-created by a steel truss system mounted on the façade. The interior walls are sided with maple veneer panels, while in some areas of the upper corridor, French-door openings are installed with glass panels as railings.

ENGINEER: DOMINIA

LOCATION: COPENHAGEN, DENMARK

AREA: 3,500 M2

CLIENT: THE CITY OF COPENHAGEN

NEIGHBOURHOOD CENTRE JEMTELANDSGADE: 1999-2001

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ADD / CHANGE

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NEIGHBOURHOOD CENTRE JEMTELANDSGADE

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The original window openings on the ground floor are transformed with larch-framed bay windows to create quiet

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moments.

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NEIGHBOURHOOD CENTRE JEMTELANDSGADE

The interior is a mix of glass, maple and pine, which combine to create a soft transition between the interior and exterior.

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NEIGHBOURHOOD CENTRE JEMTELANDSGADE

The spiral staircase leads to the youth club on the top floor and provides access to all floors.

The centre includes a library, café and office facilities.

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NEIGHBOURHOOD CENTRE JEMTELANDSGADE

A steel truss system is mounted on the faรงade of the new assembly hall. The building is reminiscent of an oversized shelving system.

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ENGINEER: TORBEN SEJERSEN RÅDG. INGENIØRER, DOMINIA

LOCATION: COPENHAGEN, DENMARK

AREA: 2,550 M2

CLIENT: THYLANDER & CO.

SEAPLANE HANGAR H53: 1999-2001

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SEA PLANE HANGAR H53

The hangar, originally designed in 1921 by architect Chr. Olrich, is one of the first pre-stressed concrete structures of its size in Denmark. The existing sliding walls were replaced with a glazed sliding façade. Three white steel structures form the framework of the office, and the common work areas are defined between them. Ranging from two to four storeys in height, each structure is “dressed” with large parachute-fabric curtains, allowing the inner spaces to be opened or closed from the rest of the office. On the upper decks, the shared spaces are furnished with large pillows and hammocks to provide a place for employees to relax.

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SEA PLANE HANGAR H53

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Large-scale pillows in the common area provide a place of relaxation for the employees.

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SEA PLANE HANGAR H53

Semi-transparent curtains of parachute cloth allow inner spaces to be opened or closed.

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The hammocks on top of the meeting tower support informal

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meetings and relaxation.

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SEA PLANE HANGAR H53

The design and the material selection provide openness and a visual connection throughout the space.

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ENGINEER: EKJ RÅDGIVENDE INGENIØRER

LANDSCAPE ARCHITECT: ARKITEKT KRISTINE JENSENS TEGNESTUE

LOCATION: KOLDING, DENMARK

AREA: 5,500 M2

CLIENT: CITY OF KOLDING

SCT. NICOLAI CULTURAL CENTRE: 2003-2008

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CUltural centre sct. niColai

The Cultural Centre is the result of a competition to transform an old, disused school complex into a new public space for the City of Kolding. Each of the previous five structures, two of which are listed as heritage sites, represents a different period of Danish school history spanning from 1856 to 1909. The idea for the conversion involved tying together the buildings, each unique in material and volume, by using weathered steel consistently throughout of the project to create a sense of unity. Today, the Cultural Centre consists of the five different buildings: Cinema House and Café, Heritage House, Children’s Culture House, Arts House and Music House.

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PROJECT TITLE

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Corten steel is used consistently throughout the building, to unify the varying

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structures.

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CULTURAL CENTRE SCT. NICOLAI

The centre today consists of five different programmes: Cinema House and Cafe, Heritage House, Children’s Culture House, Arts House, and Music House.

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The café in the

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cinema foyer.

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CULTURAL CENTRE SCT. NICOLAI

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ENGINEER: HANSEN, CARLSEN & FRØLUND

LANDSCAPE ARCHITECT: MARIANNE LEVINSEN LANDSKAB

LOCATION: GENTOFTE, DENMARK

AREA: 2,880 M2 (1,600 M2 STUDENT HOUSING AND 1,280 M2 CHILDREN’S LEISURE)

CLIENT: CITY OF GENTOFTE & DOMEA

JÆGERSBORG WATER TOWER: 2004-2006

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Jægersborg Water Tower

Jægersborg Water Tower originally consisted of two distinctive architectural components: twelve columns and a large circular water tank. Throughout the conversion process, the focus was on strengthening and maintaining the tower as a landmark by retaining the large-scale columns and the tank. On the upper floors, student housing units are arranged around the perimeter, and each unit is expressed by jutting crystal-like bay windows. These add a new layer to the living spaces in a smaller scale, while accentuating the building’s new function. A leisure centre spans from the ground level to the third floor, where a harmony of tall windows and coloured panels create a distinct pattern. Large garage-style doors on the ground floor open up, to diminish the threshold between the active indoor space and the outdoor playground.

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JÆGERSBORG WATER TOWER

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JÆGERSBORG WATER TOWER

Common balconies on each floor.

Combined kitchen and sleeping furniture.

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The bay window breathes life and light into compact living in the new student housing

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units.

Each unit is tailored to fit

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within the existing structure.

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JÆGERSBORG WATER TOWER

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to bring back some missing details.

A wide range of materials, products and built-in furniture originally used in the construction were still available; however, an upgrade was necessary to meet modern building and safety requirements. To accommodate the school’s desire to implement interdisciplinary programmes and modern Danish teaching principles, an extension was established below ground – an innovative solution with minimal alterations and minor reorganisation of the functions in the listed building mass. The sub-ground extension, placed under the existing schoolyard, connects to the original school via staircases and links the different buildings of the original school.

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ENGINEER: GRONTMIJ & COWI

LANDSCAPE ARCHITECT: MARIANNE LEVINSEN LANDSKAB

The restoration project included both preservation and renovation according to Arne Jacobsen’s old detail drawings

LOCATION: GENTOFTE, DENMARK

AREA: 8,500 M2 ORIGINAL SCHOOL (1,600 M2 EXTENSION, PARTERRE)

CLIENT: CITY OF GENTOFTE

MUNKEGÅRD SCHOOL: 2005-2009

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Munkegård School

The original Munkegårdsskolen, built in 1957, is designed by Arne Jacobsen and is considered to be one of his most important works. The building became listed in 1995, the Building Preservations Council had halted two previous renovation attempts before the assignment landed at DMA in 2005. The toughest challenge was to extend an “untouchable structure” to accommodate interdisciplinary courses and differentiated teaching. Through spatial and programmatic analyses, the answer to the challenge was a reprogramming of the school’s functions, supplementing new access and distribution structures, as well as an extension offering new technology to support curricula.

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MUNKEGÃ…RD SCHOOL

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MUNKEGĂ…RD SCHOOL

The project faced restrictions due to the school’s listed status. Building the extension below ground proved to be an innovative solution with minimal alterations.

The sub-ground extension can accommodate interdisciplinary programmes and modern Danish teaching principles.

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MUNKEGÃ…RD SCHOOL

Though the building is situated below ground, a clever placement of windows provides ample natural light.

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An Arne Jacobsen watercolour is printed on the bathroom floors and walls.

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MUNKEGÃ…RD SCHOOL

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The above-ground geometry is

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kept strictly orthogonal.

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MUNKEGÃ…RD SCHOOL

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ENGINEER: LEMMING & ERIKSSON

LOCATION: COPENHAGEN, DENMARK

AREA: 330 M2

CLIENT: BORDING INDEPENDENT SCHOOL

BORDINGS INDEPENDENT SCHOOL: 2008-2009

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BordingS IndepenDent School

This school building is a separate element – a sculptural composition – nested between a traditional block structure and the two-storey row houses along the lakes in Copenhagen. The building consists of three architectural elements: the imprint of the terrain, volume and screen. Towards east and west, the façades are fully glazed for optimal light transmission and feature recycled bricks preserved from the demolished building.

These bricks still bear inscriptions left behind by the alumni.

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PROJECT TITLE

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BORDINGS INDEPENDENT SCHOOL

A courtyard was established by excavating an area larger than the footprint of the building, opening the lower storey to light. The simple concrete structure is clad in recycled bricks.

The perforated Corten steel screen is folded around the corner and the new balcony to form a faรงade parallel to the exiting gym. The material will become beautifully patinated over time and requires minimal maintenance.

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VALENCIA

The dance pavilion Valencia, designed

by H.S. Stilling, represents a significant moment in the history of Copenhagen’s nightlife and a unique space in the dense neighbourhood of Vesterbro.

Originally built in 1861 as a free-standing structure, the building gradually became immersed in the expanding city and hidden from public view. The goal of the conversion was to re-establish the pavilion as an independent building and raise its profile within the city of Copenhagen.

ENGINEER: JØRGEN NIELSEN A/S, JJ BYG A/S

LOCATION: COPENHAGEN, DENMARK

AREA: 2,420 M2

CLIENT: THE DREYER FOUNDATION

VALENCIA: 2008-2014

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With its generous space and continuous skylight, the triple-height hall is the building’s central space and the site of lectures and conference activities. The hall is connected to the front building

through a fairytale-like garden passage that stages a spatial shift between the distinct architectural profiles of the front building, hall and rear building.

The existing walls of the hall have been preserved and renovated as gently as possible. Interiors have special aluminium profiles over acoustic-damping textile. The floors and ceiling of the hall are designed in neutral concrete and acoustic plaster. Interior surfaces are painted yellow to highlight the new spaciousness and create a readable spatial hierarchy. The high-ceilinged entrance has been transformed into a modern, minimalist and transparent ground floor with continuous glass façades.

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VALENCIA

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VALENCIA

Interior surfaces are painted yellow to create a readable spatial hierarchy.

The hall functions as the building’s central space and can accommodate various activities. The floating meeting box maintains visual connection with the hall.

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The floors and ceiling of the hall are kept as neutral as possible in concrete and acoustic plaster.

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Originally a dance pavilion from the 19th century, the building was once hidden from the

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public realm.

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large space.

Stripped of its additions, the building is once again perceived as

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free-standing.

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VALENCIA

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05 B-SIDES Dorte Mandrup has explored new spaces in her small projects and exhibitions. From this perspective, the leisure house in Joerlunde (2004) and the Read Nest (2008) are two of her most interesting residential projects.

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The latter can be seen as an homage to Le Corbusier’s Le Cabanon, a cabin in which life’s greatest necessities share an area of less than ten square metres. But for Dorte Mandrup, it is less a question of function and more about experiences. Conceptually, Read Nest is strict. One room, one window, one door, one shelf, one table, one bed, one skylight. With each function comes a different aspect of the environment.

This is most clear when lying in bed, watching the sky glide past the dormer above.

Despite the material uniformity - only birch plywood internally and thuja strips externally - the diversity of spaces is striking, the rooms within the room.

The summer house in Joerlunde works similarly. The rooms face a private courtyard. Thanks to sliding doors of fabric, the courtyard can convert to be more or less part of the outside world. In this way, the summer house works as sort of an animated spatial sequence that shifts with the weather, the winds, the time of day, and the residents’ desire for exposure.

One of Dorte Mandrup’s most poetic works is her contribution to the large exhibition Living Frontiers of Architecture III-IV at Louisiana (2011). A series of fantasies, utopias and practical solutions were exhibited in order to answer the question of how we ought to live. Dorte Mandrup’s contribution was the installation Trädet (The Tree). A winding experience amongst the branches. Up in the tree, you are protected and able to create your own image of the world without being seen. The essence of having a private space that is only yours, no one else’s.

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There is a strong sense of entitlement to one’s own space. Architecture is like a tool to help find that private space.

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PROJECT TITLE

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ENGINEER: MOE & BRØDSGAARD

LOCATION: JOERLUNDE, DENMARK

AREA: 200 M2

CLIENT: PRIVATE

SUMMER HOUSE JØRLUNDE: 2004

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Jørlunde Summer House

Positioned atop an expansive landscape, the Jørlunde summer house is designed with an open plan to allow the residents and their guests to experience the natural environment both inside and outside. Raised above the ground by concrete pillars, the house extends over the sloping terrain. The movable fabric screens stretching along the perimeter allow the interior spaces and terraces to be filtered from the outer landscape.

The free composition allows the house to open up and close itself, yet always maintain a sense of tranquillity and connection to nature. When open, the large windows and sliding doors let the house dissolve into the landscape. When closed, inner terraces bring continual daylight into the house and allow the inhabitants to enjoy the outside in their own privacy.

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JØRLUNDE SUMMER HOUSE

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The open plan encourages the residents and their guests to embrace the natural environment

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both inside and outside.

The sliding faรงade allows the house to either dissolve into the landscape or create a tranquil haven within.

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JØRLUNDE SUMMER HOUSE

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The sliding textile faรงade

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element creates a range of possibilities for openness or intimacy and offers varied views from within.

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JØRLUNDE SUMMER HOUSE

The kitchen extends out seamlessly to the east terrace.

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JØRLUNDE SUMMER HOUSE

Movable fabric screens let the users decide the function of the home based on their needs.

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ENGINEER: LEMMMING & ERIKSSON

LANDSCAPE ARCHITECT: MARIANNE LEVINSEN LANDSKAB

LOCATION: GENTOFTE, DENMARK

AREA: 790 M2

CLIENT: BRAINSTONES DEVELOPMENT

CLIENT: CITY OF GENTOFTE & DOMEA

RINGSTED: 2005-2006

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Ringsted HOUSING AT the barracks

The Ringsted Housing development consists of seven townhouses organised into two rows. Built in connection with the official exhibition “Living 2006+” in Ringsted, the two floors of the terrace houses are split-levelled around a midzone that ensures an optimised utilisation of the spaces. At the same time, the split levels provide an interesting spatial sequence and openness in the relatively small accommodations. The top floors are offset from the ground floors, providing a logical and functional distribution in the home and a double-height space. The construction, both in the horizontal and vertical arrangements, emphasises the landscape’s sloping form towards the open, plain-like terrain in a sculptural expression. Between the houses are semi-private outdoor spaces that encourage informal interactions between the residents.

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RINGSTED HOUSING AT THE BARRACKS

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RINGSTED HOUSING AT THE BARRACKS

The seven townhouses are organised in two rows.

Faรงades are covered with veneered plates in a warm reddish-brown tone.

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ENGINEER: OLE VANGGAARD

LOCATION: ALBERTSLUND, DENMARK

AREA: 10 RECYCLING STATIONS

CLIENT: VRIDSLØSELILLE ANDELSFORENING

GALGEBAKKEN RECYCLING: 2005

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Galgebakken recycling

Next to the structural housing project “Galgebakken” from the 1970s are ten small pavilions that contain waste containers. They provide a contrast to the somewhat gloomy raw concrete buildings. Over the years, the green areas have softened the appearance of the buildings and the pavilions add to this with overgrown bases and colourful floral acrylic roofs.

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The floral motif on the acrylic roofs brings whimsy and colour to an otherwise overlooked structure.

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GALGEBAKKEN RECYCLING

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a frame web has been arranged, consequently creating a musical-artistic composition. Surfaces mounted on the framework are static interventions, but at the same time they are catalysts to experiencing a room in motion and rotation.

COLLABORATORS: MICHAEL MØRK & CLAUS EGEMOSE

LOCATION: COPENHAGEN, DENMARK

PROJECT: EXHIBITION

XX BOX 2.0: 2004

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XX Box 2.0

Upon the initial observation, XX consists of white skeletal elements that are both supporting and supported, and which create a logical architectural structure. However, on closer inspection the construction of the room unfolds as an ambiguous entity which – when it is subjected to a number of effects – is destabilised, constantly disturbing the room’s balance and orientation. Thus, the spatial hierarchy has been transformed into a changeable manifestation of the observer’s position and movement. In a deviant, repetitive sequence,

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XX BOX 2.0

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The installation fills the entire

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exhibition hall.

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Visitors are encouraged to interact with the structure.

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XX BOX 2.0

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AREA: 9,7 M2

CLIENT: PRIVATE

READ NEST: 2007

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Read nest

Read Nest is a small prefabricated studio box designed as a detached unit in connection with a private holiday home in Northern Sealand. Despite its small size, the Read Nest is designed for both sleeping and working. One door, one window, one ceiling light, one bed, one shelf, one table – everything a person needs, with nothing extraneous added.

Inside the box, everything is clad in waxed-birch plywood. Façades are clad in oiled Thuja.

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READ NEST

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Faรงades are clad in vertical

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strips of oiled wood.

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READ NEST

The compact 9.9 m2 house is designed to fulfil all basic needs. It contains a work space, a bed, a view to the garden and sky, and a covered outdoor space.

Read Nest contains everything needed for living in one small box.

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B-SIDES

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READ NEST

Read Nest arrives fully fitted to the site.

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And why. Examining the relationship between architecture and human beings in an age influenced by new structures, new media, and new ways of communicating and thinking resulted in a complex and diverse exhibition populated by dreamers, settlers, nouveau riche, exiles, suburbanites, and many more.

PROJECT: EXHIBITION

LOUISIANA TREE INSTALLATION: 2011

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LIVING BORDERS OF ARCHITECTURE

In 2011, the Louisiana Museum of Modern Art examined the concept of “living” in the widest possible sense. The subject spurred fantasies and utopian ideas; practical solutions and raw realities; wild visions and parallel worlds; singletons and new communities. The result was a vivid and thought-provoking mosaic of impressions and insights into the way we relate to and live in the world of today. Where we live. How. With whom.

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LIVING BORDERS OF ARCHITECTURE

The interior of the cube is clad in mirrors.

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Aarhus Harbour Landmark

The jury characterised this winning project as an “architecturally-superior solution”. The tower is shaped like a sharp origami cut – an urban sculpture with a significant architectural expression.

The white steel tower stands out as a glowing landmark that acts as a point of reference in this new part of the city.

The tower creates a lively route from the quayside to the viewing platform 7.5 metres above.

Visitors are lead below the expressive cantilevered body of the tower, to a position hovering above the reflective water surface of the harbour. The movement continues upwards via a spacious staircase fitted for seating, offering magnificent panoramic views of the harbour and the bay. The journey culminates in a spacious and sheltered viewing platform above the treetops of the boulevard. The structure is made of welded steel plates, produced in a shipyard and sailed to the site.

Steps double as

ENGINEER: SØREN JENSEN, RÅDGIVENDE INGENIØRER

LOCATION: AARHUS, DENMARK

FOUNDATION: SALLING FONDEN

CLIENT: CITY OF AARHUS

AARHUS HARBOUR LANDMARK: 2005

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seating.

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AARHUS HARBOUR LANDMARK

The viewing platform hovers above the water.

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EPILOGUE

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06 EPILOGUE

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EPILOGUE

is the CEO of the Danish Architecture Centre (DAC), a publicprivate partnership that serves as the Danish Gorvernment’s primary agent in the development and promotion of architecture and urban planning. He has been in charge of producing several independent architectural projects, all exhibited abroad, including the International Architecture Biennale in Venice and architectural triennials in Japan and the Middle East. He also serves as a member of various national and international committees and boards including the steering committee of the Mies Van der Rohe Award.

Hans Ibelings

is an architectural critic and historian. He founded the magazine A10, new European architecture, together with Arjan Groot in 2004 and has previously overseen the launch of a new architectural media The Architecture Observer, a multiplatform tool for architectural criticism. As a curator he has worked for several years in the Netherlands Architecture Institute in Rotterdam. His sharp and astute essays have contributed to many books on Nordic architecture, including the Dark Arkitekter and Tham & Videgård Arkitekter monographs with A+O.

Christian Bundegaard

is an author and has studied architecture at the School of Architecture in Aarhus. His previously held positions include editor at Gyldendal publishing and head of communications at 3XN Arkitekter. He has written numerous books, articles and contributions to anthologies about philosophy, architecture, design, literature and film.

Tomas Lauri

is a partner at Arklab, a design and architecture practice based in Stockholm. As an editor, he has lent his keen eye to several books on contemporary architecture such as FRESH: The Irresistible Appeal of Gert Wingårdh’s Architecture and the Tham & Videgård monograph. He is also a writer/editor for various periodicals including Arkitektur Magazine.

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CONTRIBUTORS

Kent Martinussen

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PROJECT TITLE

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EPILOGUE

DISTINCTIONS AND NOMINATIONS

2013

Copenhagen Cultural Foundation, Ama’r Children’s Culture House

2011

Ministry of Culture: Award of the year for the contribution to the development of architecture for sport and cultural events.

2011

Nominated for Mies Van Der Rohe Award 2011 with Herstedlund Community Centre

2010

Nominated for WAF (World Architecture Festival) 2010, with Munkegårdsskolen & Herstedlund Fælleshus (category: ‘New and old’ &

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‘Civic and community’) 2010

Copenhagen Cultural Foundation, Bordings Independent School

2010

“Store Arne” Academic Architect Association Prize for building of the year (Munkegårdsskolen)

2009

Nominated for WAF (World Architecture Festival) 2009, “Read Nest” (category: House) & Nominated for WAF (World Architecture Festival) 2009, “Sct Nicolai Cultural Centre”

2009

IPC/IAKS DISTINCTION 2009, Sports- and Culture Centre in Holmbladsgade

2009

Bolig magasinet, (Home magazine) ”Architect of the year”

2008

The C.F. Hansen medal 2008

2007

Copenhagen Cultural Foundation, Sports- and Culture Centre in Holm-

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bladsgade 2007

Ringsted municipality Architect Prize, Living 2006 + Ringsted Barracks

2007

The terrace houses at the official exhibition Living 2006 + Ringsted Barracks

2007

Nykredit Main Architectural Award

2006

Copenhagen Cultural Foundation, Day-care centre Skanderborggade

2006

The Association for Beautification of the Capital, Sports and Culture Centre, Holmbladsgade

2006

AR Award 2006, Honourable Mention Jægersborg Vandtårn

2006

Nominated for Mies Van der Rohe Award, Sports- and Culture Centre in

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Holmbladsgade

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2006

Nominated for Europa Nostra Award, Seaplane Hangar H53

2004

His Royal Highness Prince Henrik Foundation - Award

2004

Co-operation Prize 2004, the City of Århus and the City of Copenhagen

2004

The Eckersberg Medal 2004

2004

General Manager N. Bang and Wife Camilla Bangs Grant - Award

2004

Margot & Thorvald Dreyers Foundation, Honorable Mention

2003

Bauweltpreis 2003

2003

Nominated for Mies Van der Rohe Award 2003, for Seaplane Hangar H53

2003

Nominated for Mies Van der Rohe Award 2003, for Neighborhood Centre in Jemtelandsgade

2002

Henning Larsen Foundation Grant

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DISTINCTIONS AND NOMINATIONS

2002

Copenhagen Cultural Foundation, Vandflyverhangar H53

2002

National Wood Association Award 2002

2002

The Municipality of Copenhagen’s Culture Foundation Award, for Seaplane Hangar H53

2001

Nominated for Mies Van der Rohe Award, for Tårnby Courthouse

2001

Copenhagen Cultural Foundation, Neighbourhood Centre in Jemtelandsgade GRANTS & FOUNDATIONS

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2002

Margot & Thorvald Dreyers Foundation - Travel grant

2002

National Bank of Denmark’s Jubilee Foundation - Travel grant

2000

The Danish Arts Foundation - One-year working grant

1999

The Danish Arts Foundation - One-year working grant

1999

The Danish Arts Foundation - Travel grant

1998

The Danish Arts Foundation - Subsidy for project

1998

National Bank of Denmark’s Jubilee Foundation - Award

1996

The Danish Arts Foundation - Subsidy for project

1995

The Danish Arts Foundation - Subsidy for project

1993

The Danish Arts Foundation - Subsidy for project

1991

Knud Højgaard Foundation - Award

1981

Gorgia Rotary Scholarship

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EPILOGUE

EXHIBITIONS

2013

Tallinn Architecture Biennale 2013: Recycling Socialism, Exhibition in Tallinn, Estonia

2012 2012 2012

Show me your model, The Danish Architecture Centre Nordic ID, 3:rd Moscow Architecture Biennale Decoration of ‘The Irish Corner’ - Justus Libsius-building in connection with the Danish Presidency of the Council of the EU, Brussels, Belgium

2012

Drawing by Drawing, Center for Architecture, New York & Danish

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Architecture Centre

2011 2011 2010 2010 2010

What makes a livable city, The Danish Architecture Centre Louisiana, Frontiers of Architecture III - IV Lisbon Architecture Triennale 2010, Portugal Venice Biennale 2010, Italy Danish representative “Nordic architecture” Stockholm Furniture Fair, Sweden

2010

Instants of Architecture, travelling exhibition: Paris, Prag, Moskva, Berlin

2009 2009 2007 2006

It’s a small world Dansk Arkitektur Center (sustainability) Nykredits Arkitekturpris 2007 (award from Nykredit) Aalvar Aalto Symposium 2006 XX, installation, Box 2.0, Copenhagen, (with Claus Egemose & Michael

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Mørk)

2004

Nordic Cool, Hot Women Designers, National Museum of Women in the Arts, Washington, DC

2004

New Trends of Architecture in Europe and Japan, 2002, Tokyo, Bordeaux, Salamanca, Lisbon, Brügge

2002 2002 1998 1997-1998

Copenhagen X, Kongens Bryghus, Copenhagen What’s Design, Danish Design Centre, Associate Curator Fuglsang & Mandrup-Poulsen Works, Danish Architecture Centre Home for the Future, Ministry of Housing 50 year Anniversary Exhibit, Danish Architecture Centre

1996 -1997

Finnish Wood Innovation, travelling exhibit in Finland, in collaboration with Jimmy Richter Lassen

1996

The Kinetic Box, Spring Exhibition at The Charlottenborg Foundation, in collaboration with Jimmy Richter Lassen

1995

The Danish Arts Foundation Triennial Exhibition, in collaboration with

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Niels Fuglsang and Christoffer Harlang

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1993

Chair for Conversation - Museum 2093, Autumn Exhibition at The Charlottenborg Foundation

1992

Theatre on the edge of Town, Spring Exhibition at The Charlottenborg Foundation, in collaboration with B.N. Jørgensen

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STAFF 1999 -

staff 1999 -

A

L

Lars Haarup Petersen Lars Lindeberg Leena Lammassaari Vuust Lone Scavenius

M

Camilla Bundgaard Christina Prip Christina Kvisthøj

Marcel Schwarz Maria Sommer Marianne Hansen Mark Kjellman Hansen Mette Borup Mette Lysgaard Nielsen

N

Noel Justesen Wibrand

D

Dorte Mandrup

P

E

Eva Seo Andersen

G

Gudrun Gustafsdottir

Patrick Kogler Paul Erik Thrane Per Lundgaard Christensen Pernille Svendsen

C

Agnes Nilsson Allan Beck Olsen Allan Brinch Anders Brink Petersen Andreas Olrik Ann Christine Ravn Anne Carlsen Dam Anne Møller Sørensen Ariel Norback Wallner Asbjørn Severin Lütken

S J

K

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Jamie Meunier Jens Bonnesen Jens Christian Leth Pasgaard Jens Fugl Jens Michael Sørensen Jens Riise Kristensen Jesper Henriksson Jimmy Richter Lassen John Pries Jensen Julia Bienhaus

Snorre Nash Jørgensen Steffan Iwersen Susanne Hansen Søren Haugsted Søren Lystlund T Torben Pedersen Trine Lundager Iversen

Kasper Boetius Hertz Kasper Pilemand Kasper Spaabæk Kyndesen Kathrine Schjerup Hansen Katrine Daugaard Jørgensen Kirsten Helene Markworth Kristoffer Bitsch Nejsum Kristoffer Norrinder

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EPILOGUE

Name: Antvorskov church Year: 1998 Building area: 1,200 sqm Location: Slagelse, Dk Type: New building Status: 1st prize, not completed

Name: Tårnby Courthouse Year: 2000 Building area: 1,300 sqm Location: Tårnby, Dk Type: New building Status: Completed 2000

Name: Home for the future Year: 1997 Building area: 22+22 sqm Location: Copenhagen Type: Exhibition at DAC Status: Completed 1997

Name: Bookstore, Danish Architecture Centre Year: 2001 Building area: 300 sqm Location: Copenhagen Type: Interior Status: Completed 2000

Name: Neighbourhood Centre Jemtelandsgade Year: 2001 Building area: 3,500 sqm Location: Copenhagen Type: New building and conversion Status: Completed 2001

Name: Sea Plane Hangar H53 Year: 2001 Building area: 2,500 sqm Location: Copenhagen Type: Adaptive reuse of listed building Status: Completed 2001

Name: The exhibition Mare Balticum Year: 2002 Building area: 2,000 sqm Location: The National Museum, Copenhagen Type: Exhibition Status: Completed 2002

Name: Jørlunde Summer House Year: 2004 Building area: 200 sqm Location: Jørlunde, Dk Type: New building Status: Completed 2004

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WORK CHRONOLOGY

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Name: Næstvedgade Day Care Centre Year: 2004 Building area: 1,000 sqm Location: Copenhagen Type: New building Status: Completed 2004

Name: The Administration Building Year: 2005 Building area: 3,500 sqm Location: Copenhagen Type: Conversion Status: Completed 2005

Name: Galgebakken Recycling Year: 2005 Building area: 10 x 26 sqm Location: Albertslund, Dk Type: 10 pavillons Status: Completed 2005

Name: Prismen Sports & Cultural Centre Year: 2003-2006 Building area: 3,400 sqm Location: Copenhagen Type: New building Status: Completed 2006

Name: Skanderborggade Day Care Centre Year: 2003-2005 Building area: 555 sqm Location: Copenhagen Type: New building Status: Completed 2005

Name: Cultural Centre Sct. Nicolai Year: 2003 Building area: 5,500 sqm Location: Kolding, Dk Type: New building and conversion Status: Completed 2006-2008

Name: Housing at Næstved Barracks Year: 2004 Building area: 5,000 sqm Location: Næstved, Dk Type: New buildings Status: Competition 1st prize, not completed

Name: Henne Strand Food House Year: 2004 Building area: 180 sqm Location: Henne Strand, Dk Type: New building Status: Competition

Name: Allerød Civic Centre Year: 2005 Building area: 2,800 sqm Location: Allerød, Dk Type: New building and conversion Status: Not completed

Name: Music Dormitory (Music Student Residences) Year: 2005 Building area: 4,200 sqm Location: Copenhagen Type: New buildings Status: Not completed

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Name: Herlev Masterplan / Housing Year: 2006 Building area: 28,000 sqm Location: Herlev, Dk Type: New building Status: Not completed

Name: Royal Theatre Backdrop Workshop Year: 2004-2005 Building area: 10,600 sqm Location: Copenhagen Type: Conversion Status: Completed 2005

Name: Jægersborg Water Tower Mixed Use Year: 2004-2006 Building area: 2,880 sqm Location: Gentofte, Dk Type: Conversion Status: Completed 2006

Name: Hirtshals Masterplan Year: 2004 Building area: – Location: Hirtshals, Dk Type: Masterplan Status: Competition 1st prize

Name: Box 2.0 Year: 2005 Building area: – Location: Copenhagen Type: Temporary installation Status: Completed 2005

Name: VKR Holding HQ Year: 2005 Building area: 3,800 sqm Location: Hørsholm, Dk Type: New building Status: Competition 2nd prize

Name: Munkegård School Year: 2005-2009 Building area: 6,000 sqm Location: Gentofte, Dk Type: Restoration & extension Status: Completed 2009

Name: Museum of Childhood Year: 2006 Building area: 300 sqm Location: Aarhus, Dk Type: Permanent exhibition Status: Completed 2006

Name: Bordings Independent School Year: 2005-2009 Building area: 360 sqm Location: Copenhagen Type: New building Status: Completed 2009

Name: Gersonsvej Youth Centre Year: 2005-2008 Building area: 2,600 sqm Location: Gentofte, Dk Type: New building Status: Completed 2008

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Name: The HT Plot Year: 2005 Building area: 21,000 sqm Location: Copenhagen Type: New buildings Status: Not completed

Name: Children’s Culture House Ama’r Year: 2006-2013 Building area: 1,085 sqm Location: Copenhagen Type: New building Status: Completed 2013

Name: Kristiansminde Rowhouses Year: 2005-2007 Building area: 2,890 sqm Location: Roskilde, Dk Type: New buildings Status: Completed 2007

Name: Light on the move Year: 2005 Building area: 15 sqm Location: Valby, Dk Type: Temporary exhibition Status: Completed 2005

Name: Islands Brygge South Year: 2005-2007 Building area: 26,300 sqm Location: Copenhagen Type: New buildings Status: Not completed

Name: Værløse Shelters Year: 2005 Building area: 5,580 sqm Location: Værløse, Dk Type: Conversion Status: Not completed

Name: Trekroner Housing Year: 2005-2008 Building area: 4,500 sqm Location: Roskilde, Dk Type: New buildings Status: Completed 2008

Name: Fornebu-Hundsund Masterplan Year: 2005 Building area: 49,900 sqm Location: Oslo, Norway Type: Masterplan Status: Competition

Name: Royal Copenhagen Year: 2005-2006 Building area: 900 sqm Location: Copenhagen Type: Refurbishment Status: Completed 2006

Name: Agnes Masterplan Year:2005 Building area: 110,000 sqm Location: Stavern, Norway Type: Masterplan & housing Status: Competition 1st prize

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Name: Assens Multihall Year: 2005 Building area: 4,500 sqm Location: Assens, Dk Type: New building Status: Competition 1st prize

Name: Ringsted Housing at the barracks Year: 2005-2006 Building area: 790 sqm Location: Ringsted, Dk Type: New building Status: Completed 2006

Name: New Media & Culture House Year: 2006 Building area: 3,000 sqm Location: Hurup, Dk Type: New building Status: Competition

Name: Steps Year: 2006 Building area: 144 sqm Location: – Type: Typehouse Status: Not completed

Name: Platform Year: 2006 Building area: 150 sqm Location: – Type: Typehouse Status: Not completed

Name: Atelier House Year: 2006-2007 Building area: 154 sqm Location: Mårslet, Dk Type: Typehouse Status: Completed 2007

Name: Ørestad City Block Year: 2006 Building area: 44.780 sqm Location: Copenhagen Type: New building Status: Competition

Name: Read Nest Year: 2006-2008 Building area: 9,8 sqm Location: – Type: New building Status: Completed 2008

Name: Herstedlund Community Centre Year: 2006-2009 Building area: 400 sqm Location: Albertslund, Dk Type: New building Status: Completed 2009

Name: AAB Activityhouse Year: 2008-2009 Building area: 895 sqm Location: Copenhagen Type: New building Status: Not completed

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Name: Community-living Langeeng Year: 2007-2009 Building area: 6,400 sqm Location: Albertslund, Dk Type: New building Status: Completed 2009

Name: Agnes Housing Year: 2006-2007 Building area: 35,000 sqm Location: Stavern, Norway Type: New building Status: Competition 1st prize, not completed

Name: Z-House at Aarhus Harbour Year: 2006-2008 Building area: 25,000 sqm Location: Aarhus, Dk Type: New building Status: Competition 1st prize, not completed

Name: Råå Pre School Year: 2007-2013 Building area: 525 sqm Location: Råå, Sweden Type: New building (extension) Status: Completed 2013

Name: The Danish Maritime Museum Year: 2007 Building area: 4,110 sqm Location: Helsingør, Dk Type: New building Status: Competition 2nd prize

Name: Gilleleje Holiday Homes Year: 2008 Building area: 2,800 sqm Location: Gilleleje, Dk Type: New buildings & restauration Status: Not completed

Name: Gl. Køge Landevej Year: 2007-2010 Building area: 35,200 sqm Location: Valby, Dk Type: New building Status: Not completed

Name: Ringstorpsvägen Housing Year: 2009-2013 Building area: 15,000 sqm Location: Helsingborg, Sweden Type: New buildings Status: Not completed

Name: Vestgrunden Year: 2007 Building area: 14,960 sqm Location: Aarhus, Dk Type: New building Status: Competition

Name: Sct. Olaiparken Year: 2008-2009 Building area: 425 sqm Location: Kalundborg, Dk Type: New building Status: Not completed

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Name: LOA Changing Rooms Year: 2008-2009 Building area: 135 sqm Location: Valby, Dk Type: New building Status: Completed 2009

Name: Valencia Year: 2008-2014 Building area: 2,420 sqm Location: Copenhagen Type: Conversion Status: Completed 2014

Name: Gyngemose Sportshall Year: 2008-2009 Building area: 3,460 sqm Location: Gladsaxe, Dk Type: New building Status: Competition

Name: DGI Multisport Complex Year: 2008 Building area: 20,000 sqm Location: Holbæk, Dk Type: New building Status: Competition

Name: House of Denmark Year: 2008-2011 Building area: 265 sqm Location: Paris, France Type: Refurbishment Status: Completed 2011

Name: Mariager Harbour Year: 2008 Building area: – Location: Mariager, Dk Type: Masterplan Status: Competition

Name: Ängelholm Bath Year: 2008 Building area: 5,450 sqm Location: Ängelholm, Sweden Type: New building Status: Competition, 3rd prize

Name: Sorø Artmuseum Year: 2009 Building area: 1,300 sqm Location: Sorø, Dk Type: New building / extension Status: Competition

Name: Hyllie Sustainable Offices Year: 2009 Building area: 20,000 sqm Location: Malmö, Sweden Type: New buildings Status: Competition 2nd prize

Name: Media house for Gota Media Year: 2009-2013 Building area: 3,000 sqm Location: Kalmar, Sweden Type: New building Status: Competition 1st prize, not completed

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Name: Møntergaarden Year: 2009 Building area: 2,200 sqm Location: Odense, Dk Type: New building Status: Competition 2nd prize

Name: Spøttrup Castle Visitor Centre Year: 2009 Building area: 686 sqm Location: Spøttrup, Dk Type: New building Status: Competition

Name: Ku.Be House for Movement & Culture Year: 2009-2010 Building area: 11,200 sqm Location: Frederiksberg, Dk Type: New building Status: Competition

Name: Sønderparken Activityhouse Year: 2010-2015 Building area: 658 sqm Location: Fredericia, Dk Type: New building Status: Completion 2015

Name: Roskilde Technical School Year: 2010 Building area: 15.850 sqm Location: Roskilde, Dk Type: New building Status: Competition

Name: Hyllie Trade Fair Year: 2010 Building area: 58.285 sqm Location: Malmö, Sweden Type: New building Status: Competition 2nd prize

Name: Rong Multipurpose Hall Year: 2010 Building area: 5,100 sqm Location: Rong, Norway Type: New building Status: Competition (cancelled)

Name: I Love You - Aros Art Museum Year: 2010-2011 Building area: – Location: Aarhus, Dk Type: Exhibition design Status: Completed 2011

Name: Mariehøj Culture Centre Year: 2010 Building area: 650 sqm Location: Holte, Dk Type: New building / extension Status: Competition

Name: Aurehøj Music Building Year: 2011-2014 Building area: 750 sqm Location: Gentofte, Dk Type: New building / extension Status: Completed 2014

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Name: Lidköping Harbourcity Year: 2010 Building area: – Location: Lidköping, Sweden Type: Masterplan Status: Competition

Name: Vanløse School Year: 2010-2012 Building area: 1,200 sqm Location: Vanløse, Dk Type: New building / extension Status: Completed 2012

Name: Kalmar Central Station Year: 2010 Building area: – Location: Kalmar, Sweden Type: Masterplan Status: Competition

Name: Haslev New School Year: 2010 Building area: 7,800 sqm Location: Haslev, Dk Type: New building Status: Competition

Name: Haveje Day care Centre & Sports Hall Year: 2010-2012 Building area: 3,790 sqm Location: Copenhagen Type: New building Status: Completed 2012

Name: Skagen Skipper School Year: 2010 Building area: 2,370 sqm Location: Skagen, Dk Type: New building Status: Competition

Name: Odense Cathedral School Year: 2010 Building area: 1,976 sqm Location: Odense, Dk Type: New building / extension Status: Competition

Name: Norrviken Housing & Conference Centre Year: 2011 Building area: 49,200 sqm Location: Båstad, Sweden Type: New buildings Status: Idea

Name: Borås Pallas Year: 2011 Building area: 16,440 sqm Location: Borås, Sweden Type: New building / extension Status: Competition

Name: Kalmar Bergagården Year: 2010-2011 Building area: 23,400 sqm Location: Kalmar, Sweden Type: New buildings Status: Competition 1st prize

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Name: Gulatinget Visitors Centre Year: 2011 Building area: 1,030 sqm Location: Gulen, Norway Type: New building Status: Competition 2nd prize

Name: IKEA HUBHULT Year: 2011-2015 Building area: 25,000 sqm Location: Malmö, Sweden Type: New building Status: Completion 2015

Name: Lofoten Hotel Year: 2011 Building area: 4,000 sqm Location: Lofoten, Norway Type: New building Status: Competition

Name: LIVING Borders of Architecture Year: 2011 Building area: 4 sqm Location: Louisiana Museum of Modern Art Type: Installation Status: Completed 2011

Name: Marthagården Day care Centre Year: 2011-2012 Building area: 350 sqm Location: Frederiksberg, Dk Type: New building Status: Competition 1st prize

Name: Bremen Beachhouses Year: 2011-2013 Building area: 4,760 sqm Location: Bremen, Germany Type: New buildings Status: Completed 2013

Name: Røldal Pilgrimage Centre Year: 2011 Building area: 3,820 sqm Location: Røldal, Norway Type: New building Status: Competition

Name: Ålesund Seaside Masterplan Year: 2011 Building area: – Location: Ålesund, Norway Type: Masterplan Status: Competition 2nd prize

Name: Malmö Live Year: 2011-2015 Building area: 12,000 sqm Location: Malmö, Sweden Type: New building Status: Completion 2015

Name: Snäckan 8 Year: 2012 Building area: 24,520 sqm Location: Stockholm, Sweden Type: New building Status: Competition

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Name: Helsinki Central Library Year: 2012 Building area: 10,000 sqm Location: Helsinki, Finland Type: New building Status: Competition

Name: Finnoo Marina City Year: 2012 Building area: – Location: Espoo, Finland Type: Masterplan Status: Competition

Name: Forfatterhuset Day care Centre Year: 2012 Building area: 1,680 sqm Location: Copenhagen Type: New building Status: Competition

Name: Mikkeli Year: 2012-2013 Building area: 314,000 sqm Location: Mikkeli, Finland Type: Masterplan Status: Competition 2nd prize

Name: Sundbyøsterhal 2 Year: 2012-2015 Building area: 5,350 sqm Location: Copenhagen Type: New building Status: Completion 2015

Name: Rødovre High School Year: 2012 Building area: 1,900 sqm Location: Rødovre, Dk Type: New building / extension Status: Competition

Name: Housing Am Listholze 82 Year: 2012 Building area: 18,600 sqm Location: Hannover, Germany Type: New buildings Status: Competition

Name: Køge Culture House Year: 2013 Building area: 4,400 sqm Location: Køge, Dk Type: New building Status: Competition

Name: Kiruna New Town Hall Year: 2013 Building area: 11,200 sqm Location: Kiruna, Sweden Type: New building Status: Competition

Name: Lund Schol of Economics and Management Year: 2013 Building area: 16,000 sqm Location: Lund, Sweden Type: New building / extension Status: Competition 1st prize / ongiong

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Name: Aarhus New Landmark Year: 2013-2015 Building area: 80 sqm Location: Aarhus, Dk Type: New building Status: Completion 2015

Name: Hørsholm City Mixed Use Year: 2013-2015 Building area: 5,150 sqm Location: Hørsholm, Dk Type: New building Status: Completion 2016

Name: Tekniska Nämndhuset Year: 2013 Building area: 40,000 sqm Location: Stockholm, Sweden Type: New building Status: Competition

Name: Beitostølen Mountain Cabins Year: 2014 Building area: 6,600 sqm Location: Beitostølen, Norway Type: New buildings Status: Not completed

Name: Fredericia C Housing Year: 2014 Building area: 7,800 sqm Location: Fredeicia, Dk Type: New building Status: Ongoing

Name: Egevænge Housing Year: 2014-2016 Building area: 5,100 sqm Location: Ølstykke, Dk Type: New building Status: Competition 1st prize / ongoing

Name: Wadden Sea Centre Year: 2014-2016 Building area: 1,380 sqm Location: Ribe, Dk Type: New building / extension Status: Competition 1st prize / ongoing

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IMPRINT

IMPRINT

Text: Christian Bundegaard, Hans Ibelings, Tomas Lauri, Kent Martinussen Art Direction & Graphic Design: WAAITT (We Are All In This Together) Editor: Tomas Lauri Translation: Charlotte Lindhardt, Dorte Silver, Gabriella Carlsson Publisher: Marie Arvinius Print and Binding: Livonia Print SIA, 2015 Latvia Photographers: STAMERS KONTOR: p.13, 17, 20, 23, 27, 115, 116, 117, 118, 119, 120, 121, JENS MARKUS LINDHE: p.37, 38, 39, 41, 42, 43, 55, 57, 58, 59, 60, 61, 69, 76, 112, 145, 146, 147, 148, 149, 150, 153, 154, 155, 156, 157, 158, 167, 168, 169, MICHAEL REISCH: p.45 TORBEN ESKEROD: p.46(1), 47, 48, 50, 51, 53, 70, 71, 72, 73, 75, 170, 171, 183, 184, 185, 187, 188, 189, 190, 192, 193, 199, 201, 202, 203, 204, 213, 214, 215, 217, 218(1), 220, 221 KONTRAFRAME: p.46(2) ADAM MøRK:: p.63, 64, 66, 79, 80, 81, 82, 83, 85, 86, 89, 90, 91, 92, 93, 94, 95, 96, 97, 101, 102, 103, 109, 110, 161, 162, 163, 164, 173, 174, 176, 177, 178, 179, 181, 207, 208, 209, 210, 211, 222, 223, BO BOLTHER: p.74 HELENE HøYER MIKKELSEN: p.165 THOMAS MANDRUP-POULSEN: p. 218(2), 219 Thanks to the photographers above for their permission to reproduce the images in this book.

Production of this book has been financially supported by Dreyers Fond, the Danish Arts Foundation and Danmarks Nationalbanks Jubilæumsfond.

ISBN 978-91-856896-2-0 Published in 2015 by Arvinius + Orfeus Publishing AB Olivecronas väg 4 113 61 Stockholm Sweden Phone +46 8 32 00 15 info@ao-publishing.com www.ao-publishing.com © 2015 Arvinius + Orfeus Publishing © 2015 Dorte Mandrup All rights reserved This books is protected by the copyright law and international treaties. All rights are reserved by the copyright owners. No part of the book may be reproduced in any form by any electronic or mechanical means (including photocopying, recording or information storage and retrieval) without the prior written permission of Arvinius+Orfeus Publishing AB.

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DORTE MANDRUP

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248

248

CHAPTER_01

INTRODUCTION

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