Petersen Tegl 23 by Jesper Hauge

Bøler Church, which will be completed in 2011, has a heavy base of Kolumba K58.

N E W C H U R C H B U I LT WITH KOLUMBA BØLER CHURCH IS RISING FROM THE SOIL JUST OUTSIDE OSLO.

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The completed building will incorporate the landscape into the church-going experience.

An interesting new building, Bøler Church, is currently taking form after a 2008 design competition won by Hansen/Bjørndal Architects. The architects envisaged a futuristic yet solemn idiom. When the church is finished next year, a heavy section will shield the

building from the surrounding roads, but the church will still have an open and inviting exterior. It will also draw in the beautiful natural surroundings and integrate the landscape into the church-going experience. The church has a heavy base that cuts into the terrain and is built with Kolumba K58

bricks. The other materials are copper, concrete and wood. Petersen Tegl eagerly awaits the end product and looks forward to telling our readers all about the finished church.

K O L U M B A , PA R T O F T H E G A M E

PRIZES FOR BRICK BUILDINGS

Fans in Copenhagen turned out in their droves to watch this summer's World Cup matches together outdoors. The Royal Theatre entered into an agreement with TV2 to show all the big games from South Africa on a huge screen at Kvæsthusbroen. Several thousand guests converged upon the new beach bar Ofelia to watch the games and enjoy views of the Theatre – which was designed by Lundgaard & Tranberg and built from Kolumba brick.

Two of this year's RIBA prizes went to buildings made of brick by Petersen Tegl. Bateman's Row in London, a combined home and studio designed by Theis and Khan, received both the RIBA London Award 2010 and the RIBA London Building of the Year Award 2010. It is made of D71 in Hamburg format. The European Award 2010 went to the A.P. Møller School in Schleswig, designed by C.F. Møller architects (covered in Petersen no. 21). It is built with D70.

Football – an outdoor activity.

The A.P. Møller School in Schleswig.

Photo: Anders Sune Berg

Bateman's Row in London.

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It sounds somewhat improbable on the face of it. Brick has been produced in many different parts of the world for thousands of years. Usually, however, it has been – and still is – used close to the production site. With the steady hands of the seventh, eighth and ninth generations of the family on the tiller, Petersen Tegl – founded as a local brickworks in 1791 – has emerged as a highly specialised global export company, a position achieved by working closely together with some of the best architects in the world.

Petersen Tegl is of a size that allows for personal contact and dialogue with individual clients, the type of relationship that facilitates the development of special products for specific projects, and yet the brickworks also has the capacity to produce and export the requisite quantities – even for huge jobs – within the kind of strict deadlines set by modern construction projects. In terms of material, form, processing and firing, each and every brick that leaves the works is a unique product, which – when

incorporated into in a section of brickwork – creates a vibrant surface for the pleasure and benefit of present and future generations. So yes, it is possible to export brick. The uniquely high quality of its products mean that Petersen Tegl exports more and more of its products all over the world, including the USA, Japan, Russia and a large number of European countries. This edition of Petersen Magazine features articles about our partnerships with architects on a wide variety of projects, ranging from a

holiday home in Denmark, where the bricks are used for artistic decoration, to a museum extension using Kolumba in Düren, Germany, to a villa in Bergen aan Zee in the Netherlands, where the architects developed a special brick for the surface cladding. We hope the magazine will provide you with plenty of inspiring reading!

Tage Lyneborg originally envisaged an uncompromising construction for the house on the slope, and sketched a glass building with clean lines. Sculptor Bjørn Nørgaard responded with a sketch of a house with soft shapes, which they worked on together.

The house has no gutters, which accentuates the roundness. The copper-clad window niches are deep-set to protect them from rain.

DRAPED IN BRICK A NEW HOLIDAY HOME IN NORTH SEALAND HAS EMERGED FROM A COLLABORATIVE PROJECT INVOLVING ARCHITECT TAGE LYNEBORG AND SCULPTOR BJØRN NØRGAARD. THEY TALKED ABOUT THE HOUSE AND ITS CREATION ONE BEAUTIFUL DAY IN JUNE. Photos: Anders Sune Berg

Each section of the wall has its own brick pattern, using three different colours of coal-fired stone – D48, D54 and D72.

Art and architecture work best together when the borders between the two are fluid. In the Tisvilde holiday home jointly designed by sculptor Bjørn Nørgaard and architect Tage Lyneborg, the two art forms achieve a complementary synthesis – the architecture has been artistically processed, while the ornamentation is redolent with architectural merit. It is no surprise that the pair found it so easy to work together. Lyneborg's poetic approach to his profession is evident in all of his buildings, and Nørgaard's wide-ranging oeuvre encompasses several architectural

works, e.g. he conceived and designed the Bispebjerg Bakke housing development (for which Petersen supplied D32 and D34 bricks). They clearly enjoyed working together on the Tisvilde project, although Lyneborg did start the conversation with some funny memories of the early stages. “Bjørn Nørgaard and I know each other from the Royal Academy of Fine Arts’ Academy Council and appreciate each other's work. In 1967, I saw an exhibition by Bjørn, which has been one of my formative artistic experiences. When he asked me to draw a

The wall features a braided pattern and meanders around the west-facing terrace. The brickwork on the west façade is repeated in the fireplace and chimney.

house for one of his friends, I said yes right away, but insisted that we work on it together. We looked at the site, which had dramatic potential, and then I drew a sketch of a rectangular glass house on a plinth, which I sent to Bjørn. Some time passed before a large, coloured drawing arrived back. Suddenly, the house had round corners and looked like a pizza! “Wow!” I thought. It was the first time anybody had altered one of my drawings, but I took the idea with good grace and we went with it. That's where the rounded aspect of the design stems from.”

Nørgaard recalls that first sketch clearly: “I thought a glass house would stand out too much. The rounded shape means the house merges into the landscape. Tage introduced the idea of covering it with roofing felt, which helps highlight the round shape.” The holiday home is situated on a northfacing hillside in the beautiful, protected Tisvilde countryside. The rectangular house stands on a plateau and evens out the height difference on the site. To make the most of the incredible view over the hillside and across the valley, the house has large, north-facing win-

dows. It is closed to the south, where visitors go down the slope to reach to the house. “We considered a terrace along the north façade, but decided that the building and the landscape should meet directly, in order to emphasise the lumpy nature of the house. The roof and house together make up a softly rounded monolith, and the roof has no gutters, so its curves are uninterrupted. The windows, which are cut out as precise, deep holes, are therefore set as far into the wall as possible to protect them against the rain that runs down the façades,” Lyneborg explains.

The single-level house has one large room that embraces all four corners of the globe. The bedroom, bathroom, toilet and kitchen are dotted along the south façade, separated from the living room by a Nørgaard-designed wall. Part of it is a sliding wall and has a Japanese-inspired pattern of black latticework and frosted glass. The house is anchored to the site by the large wall section – the key feature of the house – that comprises the west façade. It encompasses the fireplace, chimney and west wall of the house, but extends beyond the

Bjørn Nørgaard

Tage Lyneborg

JANUS IN DÜREN THE NEW EXTENSION TO THE LEOPOLD-HOESCH MUSEUM IN DÜREN MASTERS THE DIFFICULT ART OF ADAPTING THE NEW TO THE OLD BY MEANS OF FEW BUT WELL-CHOSEN MATERIAL EFFECTS AND EXQUISITE SPATIAL COMPOSITION.

by Christoffer Harlang, architect MAA, professor Phd Photos: Anders Sune Berg In the Leopold-Hoesch Museum, built in K51, the meeting between the old building and the new is marked by a clear confrontation, created by deliberate material effects and proportioning.

Holidayhome in Tisvilde Client: Steen F. Lindbergh Architect: Tage Lyneborg Architectural artwork: Bjørn Nørgaard Engeneer: Erik Pedersen

North façade

A wall of frosted glass and black latticework, designed by Bjørn Nørgaard, separates the small room from the living room.

main structure and around the north-west corner to provide protection against wind, weather and prying eyes. The wall marks the house out as something highly unique in the landscape, but also unites the building with the location by virtue of its natural materials – including handmade bricks – and harmonic, earthy colours. The beautiful brickwork is by Petersen Tegl and combines three different colours (D48, D54 and D72) in a variety of different ways. The wall edges softly around the terrace, and each elevation has its own pattern. Up close,

the materiality of the stones and their richness of colour stand out. From a distance, the refined patterns stand out and the threedimensional effect generated by the interwoven, projecting bricks becomes visible. The projection follows a consistent pattern in which all of the grey bricks are on one level, while the red and yellow ones either protrude or retract, respectively, by 16 mm. Bjørn Nørgaard has worked with Petersen Tegl on a number of projects, and had no doubts about the choice of supplier: “Christian Petersen acknowledged long before

The four large, frameless windows offer spectacular views over the protected natural area to the north. The continuous, curved shape is also retained in the window recesses.

everybody else that the future of brick is mainly as facing walls. He rejigged his range to compete with other forms of cladding, e.g. metal, granite and various composites. Petersen products have unique colour effects and materiality – due to the slipping and coal firing. They'll also last for centuries and age gracefully, unlike a lot of other materials, such as concrete.” The building process was long, and the design and detailing were done under the developer's auspices, so the final result differs in some respects from the original drawings,

something that Lyneborg and Nørgaard accept pragmatically. “The house has the idiom we wanted and we had fun with the process,” says Nørgaard. “We both like the Academy Council as an institution. It's where what we call the free and the conventional art forms meet, and amusing and interesting exchanges of views often emerge. But it's nice that the political and theoretical discussions sometimes end up in us working together on actual, tangible projects – in this case, building a house. It is, of course, easy to let your imagination run free when it costs nothing...”

Brick is constrained by the human hand, its size and weight determined by our ability to lift and accurately position the material. Hardly surprising, then, that the Greek term for brick is pentadoron, since doron means both palm and gift. Before brick and mortar, we only had natural stones, piled together. Cut or whole, they were used to form walls and spaces. But the advent of brick heralded opportunities for unprecedented new effects and opportunities – and not just in parts of the world where stone was scarce but everywhere. For more than 4,000 years, stones and mortar have combined to provide masonry, enabling us to create curved or arched surfaces and planes, as well as shapes and patterns, in fragments or as larger pieces. Regional customs and materials used to act as the stones' intermediaries. The colour and quality of the clay, and local practices and traditions influenced the production and use of brick, leaving subtle traces in the masonry, endowing structures with depth and richness, embedding them in the local culture. Times have changed. Globalisation has more or less removed all restrictions on the range of available building components. Nowadays, good architects are not acclaimed for their ability to generate diversity in terms of materials, but rather for the way in which they selectively identify and assemble a few materials into a meaningful whole – i.e. cre-

Plan of the original museum, including the addition from 2010.

The overall construction can be read both as a cohesive whole and as two buildings engaged in reciprocal dialogue.

ate more with less. Only in this way do buildings have bestowed upon them the cohesive nature they used to possess, and which is still a prerequisite for us accepting them, liking them and looking after them. Only in this way do contemporary buildings dare to aspire to the silent craftmanship of the past, so mindful of both regional cultures and universal values. This places extremely high demands on architects, of course, higher than ever before. Fortunately, we are constantly reminded that it is possible, using few but very wellchosen effects, to create overwhelming structures that compare well with those of bygone eras. One of the most notable examples in

recent years is surely Peter Zumthor's Kolumba Museum in Cologne – built with K51 – its character quiet and vibrant, close and generous. However, Zumthor is not alone in taking exceptional care in the design of his buildings. Not far from Cologne, in the town of Düren, Peter Kulka's grand extension to the Leopold-Hoesch Museum has just been inaugurated. Here we have a building that truly does master the difficult art of adapting the new to the old by means of few but well-chosen material effects and exquisite spatial composition. The town of Düren has a long history dating back to the Celts and the Romans but was destroyed by Allied bombs in 1944. Some

The original late-Baroque façades, rich in figurative touches and details, are offset by the tensions inherent in the highly abstract composition of the new extension.

The fine play of colours in the grey shades of the Kolumba used in the extension beautifully matches the original museum's sandstone façade. The architects wanted a slightly taller brick, so Petersen supplied them with a version of Kolumba that is 45 mm thick, – 5 mm more than the standard measurement.

roads survived but most of the town dates from the 1950s. This makes the original museum, a neo-baroque building from 1905, something special in Düren – not only because it, quite remarkably, survived the war, but because it is the sole remaining relic of the town circa 1900, when it was a centre for the lucrative paper industry. Any changes to the building's interior or exterior have a duty to live up to this unique history, and Kulka's radical new extension focuses on this narrative. It maintains a dialogue with the city's historic spaces and buildings by training a sharp eye on three particular aspects. Firstly, the proportions of the new building are such that the overall site

can be perceived both as an inter-connected system and as two buildings engaged in a mutual dialogue. The original late-baroque façades are rich in figurative touches and details, offset by the tensions inherent in the highly abstract composition of the new extension. The new building's steel and glass detailing – especially the calm surfaces of the Kolumba bricks – also finely complement the solid physicality of the original sandstone. To achieve equilibrium, both heaviness and lightness are needed – and there's plenty of both here, in precisely measured amounts. The materiality of the façades incorporates a theme seen elsewhere in Düren's sparse historic structures – including in the city walls

and in the church tower at St Marienkirche – i.e. the juxtaposition of brick and stone. Finally, the actual meeting between old and new is elegantly handled. The original building's dark base is extended to form the base of the extension. A neutral seam, comprising a series of very simple steel details, marks the transition between the figurative sandstone façades and the abstraction. While Zumthor allowed Kolumba's new building physically to weave itself into the old one, Kulka has a different strategy: direct confrontation between new and old, with coordinated material effects and careful proportions. The Leopold-Hoesch Museum also possesses a Janus-like duality in its character,

the other face of which is found in the complex interior. Here, the transition between the new and the old takes place in two doubleheight, white rooms that the architect himself calls “light fugues” (Lichtfugen). They bestow upon the interior of the building a vital spatial neutrality, which creates a transition between the late-baroque's dynamic sequence of spaces and the new building's sober interiors. The new rooms are simple but well proportioned, satisfying contemporary curatorial requirements without undue interference from the architecture. Floor meets walls meet ceiling without unnecessary markings, and there is plenty of flexible artificial light. The giant bay windows weightlessly

floating out into Düren's narrow streets offer natural respite from the exhibitions. The rooms themselves are unobtrusive, quiet, understated frameworks that underpin the interaction between exhibit and observer. A “box-principle”, enriched by the walls' varied shades of grey, makes it possible to provide certain paintings with a separate background of their own. Before Düren was obliterated, the area around the museum was also home to the church and the theatre, and as such served as the town's cultural hub. Only faint traces of this are visible today, but once the museum has been completed, the outdoor areas will also be rejuvenated, and the town's three

major cultural institutions will come together once again. The architecture in Düren is a fusion of new and old. The buildings and the town have found one another in a new balance between the weight of history and visions of the future – an architectural Janus head.

The Leopold-Hoesch Museum, addition Client: Stadt Düren, Amt für Gebäudemanagement Architect: Peter Kulka Architektur Köln GmbH Construction management: Harms & Partner Ingenieure GbR Engineering: Dipl.-Ing. Straetmans, Brockof Ingenieure

The transition between the new and the old takes place in two double-height rooms, which act as a link between the dynamic spatial sequences of the late Baroque and the new building's simple, modern interiors.

The Kolumba brick was born during a construction project not far from Düren. Peter Zumthor wanted a Roman-inspired long, flat brick for his unique Kolumba Museum in Cologne. Along with Petersen Tegl, he developed the Kolumba, which measures 528 x 108 x 37 mm (K51). The brick is hand-made at the brickworks in Broager.

KLINKER

The King's Garden was built as a royal Baroque garden for the castle in the 1720s.

This new clinker measures 300 x 97 x 65 mm, with the header equal to the length at the side. The many transitions in the paving were achieved with an absolute minimum of stone cutting.

THE KING'S GARDEN CLINKER A NEW SURFACE PLAYS A MAJOR ROLE IN THE RENEWAL OF KING'S GARDEN, ODENSE, DENMARK. TO ACHIEVE THE DESIRED IDIOM, THE LANDSCAPE ARCHITECTS DEVELOPED A NEW CLINKER IN COLLABORATION WITH PETERSEN TEGL. Photos: Anders Sune Berg

Key to the rejuvenation of the garden were the three clinker-paved Baroque axes and a diagonal gravel path.

In Kolumba K57, the architects found the play of colours and the materiality they sought. To meet the strength requirements, they worked with Petersen Tegl to develop a new clinker in the same type of clay as the Kolumba.

Simple but significant innovation and respect for history were at the heart of Erik Brandt Dam's winning proposal in the competition to redesign the King's Garden in Odense. The project has now been completed, and the garden has re-emerged as a beautiful, popular oasis in the heart of the city. The King's Garden was inaugurated as a baroque castle garden in the 1720s, and has since incorporated a variety of styles. “To my mind, it's just as important to safeguard the historical layers of the landscape as it is to preserve the buildings,” Dam explains. “Because of that, we’ve made the Garden's different epochs visible again, retaining features from bygone eras, including the large, solitary trees planted in the 1800s, when the rural idiom dominated European landscape gardening.” One of the project’s main tasks was to re-establish the main axes and a diagonal crossing. “A lot of people take a short cut through the garden to the station. We wanted to make this otherwise purely practical endeavour a special experience, so we went for not the shortest, but the most beautiful route through the Garden. The path winds, varies in width and is covered in gravel, which makes a satisfying crunch as you step on it,” he adds. The Garden's three axes are based on the 1740s pathways that flank the castle. “Odense is a brick city, so it seemed obvious that the paths should have brick covering,” says Dam. “But the paths needed their own identity, so we shunned standard clinkers, which would have meant a somewhat mechanical surface effect. The K57 Kolumba brick gave us exactly the colours and texture we wanted. However, the requirements for tensile strength meant that we had to develop a custom tile in fatty English clay. This new clinker measures 300 x 97 x 65 mm, with the header equal to the length at the side, so we've been able to avoid cutting the clinkers down to nothing at the various transition points.” The new clinker is now part of Petersen's range under the name “Odense King's Garden Clinker”. Another key point in the revitalised Garden is the slightly raised edges that run around the entire periphery, replacing the old hedge. The edge clearly demarcates the perimeter, but also invites passers-by into the garden. The fact that there is a free view into the gardens increases the sense of security. And each night, the trees are illuminated differently, endowing the gardens with a variable element that complements nature and seasonal changes.

The architects wanted to retain the historical layers in the landscape, so have preserved a number of features from the garden's various epochs.

King's Garden, Odense Client: City of Odense Architect: Erik Brandt Dam Architects Ltd. Contractor: P. Malmos A/S

KLINKER 23

The paving consists of Petersen's yellow B48 and black-brown B85.

With a simple but significant intervention, 1:1 landskab transformed a yard in Østerbro into a beautiful oasis.

Backyard in Classensgade Client: AB Store Classenshus Landscape architect: 1:1 landskab Engineering: Eduard Troelsgårds tegnestue Contractor: Anders Matthiessen anlægsgartnere

Renovation of outdoor areas at Vangebo School Client: Rudersdal Properties Contractor: Rudersdal Council Operations Department

Petersen Tegl developed a special product, the B48R clinker, for Vangebo School, which was mixed with the standard B48. This allowed the team to achieve just the right shade of golden pink to match the original building.

The asymmetrical pattern in the paving resembles an Oriental carpet. Photos: Anders Sune Berg

HARD-WEARING CARPET FOR OUTDOOR USE A BEAUTIFUL AND UNUSUAL USE OF CLINKERS HAS TRANSFORMED A SMALL BACKYARD IN THE ØSTERBRO AREA OF COPENHAGEN INTO AN OUTDOOR LIVING SPACE WITH ITS OWN UNIQUE ATMOSPHERE. An intimate, Mediterranean-style courtyard and the sound of splashing water – these were the first images that sprang to the mind of landscape architect Jacob Kamp when his studio, 1:1 landscape, was commissioned to renovate the backyard of the co-operative housing association at Classensgade 27a. An old rear building was to be removed, the original circular granite fountain preserved and fixed furniture and fittings avoided because the yard is used for a variety of purposes. Apart from that, the studio had a free hand. “The challenge often consists of transforming amorphous space into something more defined,” Kamp explains. He decided at an early stage that the style of the 350 m2 space should be simple but rich. It was also important that the yard look beautiful from the flats above. The idea emerged of creating an outdoor Østerbro living space, using herringbone parquet to recreate a beautiful oriental carpet. “To derive inspiration, I went out and photographed façades featuring old brick patterns, which we transformed into a new carpet of our own,” he continues. “Natural materials were an obvious choice for the covering, and we opted for Petersen Tegl's B48 yellow and B85 black-brown clinkers. They're rustic and delicate at the same time and will still look good in 100 years. The original idea was to create a coloured carpet on a light floor, but we reversed that because the yellow stuccoed façades better suit the dark clinkers, which now form the outer edge,” he points out. The project has been a huge success. This simple but powerful trick has transformed the courtyard into a beautiful oasis. The asymmetric pattern is reminiscent of striped patchwork, or classic patterns integrated with barcodes. The design also kept down the need to cut bricks, and the covering is composed almost entirely of whole ones.

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NEW CLINKER FOR CLASSIC SCHOOL

PETERSEN TEGL SUPPLIED CLINKERS FOR THE RENOVATION OF OUTDOOR AREA AT VANGEBO SCHOOL IN SØLLERØD. DEVELOPING A CUSTOM-MADE CLINKER FACILITATED THE FAITHFUL RECREATION OF THE COLOUR OF THE ORIGINAL BRICKS.

The main path in the Glostrup housing development is mainly yellow B49, mixed with a few black B85. The black is used sparingly until the path approaches leisure areas and playgrounds, where it turns exclusively black.

Visitors to Vangebo School are welcomed at the main entrance by a large, wide staircase made of distinctive yellow brick – the main material used throughout the building. Its fine layout and modernist architecture made Vangebo a landmark new school when it was designed by the architects Henning Larsen, Kurt Busch Born, Max Brüel and Jørgen Selchau in the late 1950s. More than half a century later, and despite its relatively small classrooms, Vangebo

remains an interesting and practical building. Each classroom has a direct link to the outdoors and is supplemented with a small courtyard, cloakroom and common room. Over the decades, the brick-paved outdoor areas had become worn – not only by the feet of children, teachers and parents, but by the weather. The time had come to replace the paving at the main entrance, including the grand outdoor staircase. Obviously, the work had to be performed with maximum respect

for the original idiom, and close collaboration with Petersen Tegl proved to be the key to a successful project. Petersen developed a special product, B48R, for the project. Mixed with the standard B48 line, it allowed Petersen to achieve the perfect golden pink shade to match the original stone – and the results were exactly as desired.

Outdoor areas, Glostrup Boligselskab, afd. 9 Client: Glostrup Boligselskab, afd. 9 Architect: Niels Lützen landskabsarkitekter MDL PLR Contractor: ok grøn anlæg A/S

CLINKERS SIGNAL FUNCTION THE OUTDOOR AREAS AROUND THE A SOCIAL HOUSING DEVELOPMENT IN GLOSTRUP HAVE BEEN REJUVENATED IN RECENT YEARS. Landscape architect Niels Lützen was responsible for designing the playground, communal spaces, new lawns and plants. The last stage of the project involved replacing asphalt with clinkers on the path that winds its way through the area. “Before, the path wasn't used very much, but it now acts as a unifying element for the blocks of houses,” Lützen explains. The path is paved with the clinker Black B85 and Yellow B49 by Petersen Tegl in yellow and black, based on the concept: “The yellow clinker, mixed with black, is used for the parts people walk on. As you approach a change in use, the paving signals it. The black clinkers become more and more dominant until, by the time you are right next to a playground or other recreational area, the paving is completely black.”

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KLINKER 23

Parking facilities, Copenhagen Client: City of Copenhagen, Construction and Tenders Department (CAU) Consultants for car-park project: Alectia Design of hydraulic lift box: Creo Architects CPH Contractor: Lafuco A/S and Jakon A/S

The Kolumba clinker K43 paves the entire outdoor area around this old fisherman's cottage in Snekkersten – including the parking space, the path to the house, terraces and stairs to the garden's upper level. Photos: Anders Sune Berg

FISHERMAN'S C OT TA G E E N S C O N C E D IN KOLUMBA Once they had renovated their old fisherman's cottage on Strandvejen in Snekkersten, the owners turned their minds to making the outdoor area as beautiful as the building. The family considered a variety of surfaces, but fell head over heels for Kolumba, which now paves the entire site – including the parking space, the path up to the house, the terraces and the stairs to the garden's upper level. The Kolumba clinker K43, which is a beautiful match for the red-tile roof and the giant stones in the garden, has been laid in a herringbone pattern, making good use of the irregular offcuts on the site. The new paving exquisitely unites the front and back gardens. forming a single, tranquil and holistic unit.

PARK WITH KOLUMBA

The lift boxes to the new underground car parks are made of Kolumba. The long, flat format accentuates the length of the wall and enhances the design of the box.

WAT E R F R O N T REDEFINED SKY, SEA AND NEW PAVING IN GRÅSTEN.

The people of Gråsten have been enjoying a brand-new waterfront since early spring. Now incorporated into Gråsten Waterfront Promenade, the newly transformed 2,500 m2 harbour area features a clinker-clad surface that alters the area's character and invites you to enjoy a scenic stroll. Landscape architect Birgit Thingsgaard, along with engineer Lars Overgaard, was responsible for the project on behalf of Sønderborg Council. “Clinker cladding is characteristic of Gråsten, so it seemed natural to continue the motif at the harbour,” he says.

“We opted for a warm, yellow clinker with a fine play of colours from Petersen Tegl. The golden clinker absorbs less light than a red one, and we chose a matte finish to minimise glare from the sky and sea. The clinkers have been laid in sections divided by granite bands – a motif carried over from the rest of the promenade. The brickwork varies from section to section, which creates a sense of variation. Unlike in the rest of the town, the clinkers are laid with a 4 mm groove to make the large space less compact – a job that required great precision

on the part of the pavers.” The existing drainage has been preserved, so the terrain undulates slightly, a feature skillfully reflected in the way the clinkers have been laid. In addition to the new paving, the project includes a big new grass area, beds of ornamental grasses and perennials, and wooden benches.

GETTING CARS OFF THE STREETS HAS LONG BEEN HIGH ON THE POLITICAL WISHLIST IN COPENHAGEN. A FIRST STEP HAS NOW BEEN TAKEN. Photos: Anders Sune Berg

Gråsten Waterfront Client: Sønderbog Council Architect: Roads and Traffic, Sønderborg Council The car parks 15 metres below Nørre Allé have room for 164 cars.

New paving on Gråsten waterfront promenade, where yellow tiles generate warmth and colour. The clinkers – and the bricks in the high-rise buildings along the harbour – are by Petersen Tegl. Photo: Søren Petersen.

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The first of nine planned underground parking facilities in Copenhagen opened on Nørre Allé in June. The next two will open on Leifsgade and Under Elmene in the autumn. The system is fully automated – you drive on to a hydraulic platform, get out and the platform parks the vehicle for you. To pick up your car, you pay at a machine and the vehicle automatically resurfaces. The three car parks will add 840 parking spaces to the inner city, the equivalent of four kilometres of kerbside space.

All passers-by will see above ground is a 60m2 box designed by Creo Architects CPH. It has large glass panels to generate transparency in the urban landscape and to enable drivers to watch their cars disappear into the ground. To contain all the technology needed, the box also incorporates a heavy, stabilising wall. According to architect Jesper Lund of Creo CPH, it was only natural to use the type of bricks found in the area around Nørre Allé to stimulate a dialogue between the new edifice and its sur-

roundings. “To achieve a contemporary idiom, we chose Kolumba by Petersen Tegl. It isn't as high as a traditional brick but it's longer, which accentuates the length of the wall and enhances the design quality of the lift box. We opted for Kolumba K43 for its combination of red and charcoal-grey shades,” Lund explains.

The lintels feature the world's first course of headers in Kolumba – the boxes above the lift gates are 3,916 mm long, 648 mm high, weigh 1500 kg and are produced by Petersen Tegl.

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<< The unusual house, with its large, weather-beaten back, nestles into the dunes. < The architects let the wind shape the house, turning its back to the west, the source of the strongest blasts.

Jetty and Maarten Min developed a special brick based on Kolumba for their own home. 100 mm wider than Kolumba, it has indentations on the inside to attach it to the wooden frame on the façade.

SHAPED BY NATURE JETTY AND MAARTEN MIN WANTED THEIR NEW HOME TO BE IN HARMONY WITH ITS MAGNIFICENT NATURAL SURROUNDINGS. THEY OPTED FOR THE NATURAL PRODUCT KOLUMBA AS FAÇADE CLADDING. Photos: Paul Kozlowsky

A new house has grown out of the sand dunes in Bergen aan Zee on the Dutch coast in the last year. It is original in the extreme, totally unique, and yet looks as though it has been there for ever. For Jetty and Maarten Min, the co-owners of the Min2 design studio in Bergen, the decision to build a new home was a slow burner. The couple had lived in a 1950s property on the same site for 15 years. This house may have had plenty of desirable qualities, but it was all on one level and lacked a sea view. The urge to look out over the dunes was therefore a major incentive to build from scratch. For a long time, the plan was to build on top of their old home but in the end they decided to demolish. The idiom of the original building has however been retained the new design. Jetty and Maarten took their time with the idea and concept stage. “When you build for yourself, you can afford to be slow, and we tried out a lot of ideas along the way,” Jetty recalls. “In return, we now have a home that feels right for the site. We let the wind determine the layout of the house – it turns its back to the west, from where the wind is strongest.” The base of the house – the ground floor – is cast in concrete, on top of which rests a large wooden structure that is visible from the inside. The supporting pillars consist of large Douglas fir trunks, felled on site. The first and second floors are contained in the huge, rounded shape – 15 metres from floor to ridge beam – that comprises both roof and façade. The two upper floors form a single large room, in which a free-standing wooden staircase leads up to an inset concrete deck. The ground floor consists of a hall, studio, library and bathroom, with a kitchen on the first floor and living areas on the two upper floors. The house is 350 m2 in total, open plan, and designed for maximum flexibility. The couple are able to move about, hang out and work anywhere in the building. As artist and architect, respectively, Jetty and Maarten complement each other's professions well. Jetty was responsible for the materials, texture and colours for the project. “I wanted natural cladding, and considered zinc, copper and wood,” she explains. “I've known

Christian Petersen and Petersen Tegl for years – and suddenly it struck me. Kolumba, of course! Albeit in a way that leaves as much of the brick visible as possible. Petersen liked the idea, and we worked together on a special version of Kolumba that could be mounted vertically on the façade and roof. The new version has been dubbed Athene Noctua.” The skin on the outer shell consists of an underlying wooden structure, laminate, a metal skeleton and the external wall. The special new brick for the house in Bergen aan Zee is 100mm wider than the standard Kolumba. Indentations on the inside also allow it to be fixed to the structure. With the Atlantic Ocean as a neighbour, the location is extremely exposed to the elements, so it says a great deal about the durability of the design that the bricks on the ground-floor are only clipped on. On the upper, more windswept part of the building, they are more firmly secured. The large, reinforced back allows this unusual construction to nestle into the rugged landscape. But it is by no means invisible. When Jetty and Maarten held an open house as part of an architectural exhibition last year, 5,000 visitors turned up over the two days.

The special edition of Kolumba is mounted vertically on the façade and roof.

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When you build your own house, you can afford to take your time. The east façade – designed as one solid section – awaits its balconies.

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Longitidinal section

LA JOYA, OBERKASSEL

Cross section

Photos: Anders Sune Berg

The two upper floors form one large room with a freestanding wooden fireplace that leads up to the recessed wooden deck. Large Douglas pines, felled on the site, make up part of the visible wooden structure.

On entering the hall, visitors are confronted by a brick core in Kolumba K51, which is characterised by beautifully muted shades of grey.

The differentiated idiom is achieved by variation in volumes and façade claddings, which alternate between plaster and brick. The biggest building in La Joya resembles a large gate. All of the buildings are reflected in the onsite lake.

Freestanding wooden stairs lead from the hall up to the first floor.

Ground floor

Private villa in Bergen aan Zee Architects: Min2 Bouw Kunst Engineer: Min2 Bouw Kunst, Ernst Nijdam

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Architect Joerg Toepel sought inspiration in the surroundings when he designed the five exclusive homes that comprise the La Joya unit in Düsseldorf's desirable Oberkassel district. The project, which was completed in 2008, was the result of an invitation-only architectural competition. La Joya reflects the fact that the buildings surrounding the site vary widely in size and appearance by mixing a number of blocks of varying size and design. The tallest building – four storeys high – has projecting planes at the top, which made it possible to add fairsized balconies, and means that the building does not dominate the whole site. Beneath the buildings is an underground garage with room for 12 cars. The biggest building acts as a large gate through which you must pass to enter the area. Part of the site consists of a large pond, in which the buildings are reflected. The differentiated idiom is also enhanced by the varied treatment of the façades, which alternate between plaster surfaces and brick. According to Joerg Toepel, the subtle shades of colour in Petersen Tegl's D91 endow the cladding with the distinctive, contemporary idiom the developer wanted.

La Joya, Düsseldorf Client: gentes Baumanagement GmbH Architect: Jörg Toepel Contractor: Gentes Plan GmbH

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As part of the revamp, Vejleåparken was divided into eight districts. The houses in each district have their own brick colour, in shades varying from dark red to pink to yellow.

QUALITY ART IN BRICK Each district has its own distinct shade of brick, ranging from dark red to rose to yellow. “The subdued colours signal warmth and tranquility, and will be stylistically durable,” Henrik Lading says. “It was crucial to make the buildings look new. Renovations too often consist of affixing new cladding above the basement level, which means the houses don't look grounded. We wanted the buildings to be firmly anchored in the terrain, so new foundations were dug in front of the existing ones.” “Another priority was to use the best-quality bricks, ones that will last for centuries, so we chose three from the Petersen Tegl range: D32, D34 and D37,” Lading continues. The brickwork varies throughout, and utilises different patterns, reliefs and colour combinations. One common feature is

Vejleåparken in Ishøj is a more beautiful place to live now. No doubt about it. The transformation from run-down ghetto to desirable residential area is nothing short of remarkable. The large scheme, called Ishøjplanen when it was built 40 years ago, was every bit the pioneer for similar projects in keeping with the prefabricated-concrete Zeitgeist. By the 80s, buildings were succumbing to the ravages of time, e.g. oxidation was making façades disintegrate, exposing the structural steel. A rescue plan became a matter of ever greater urgency. In the late 90s, DOMUS was commissioned to renovate the vast majority of the buildings, known as AAB Department 55. AAB (the housing association) acted as a commissioning agent, the National Building Foundation and Ishøj Council as the main sources of funding. Over a ten-year period, the out-

door areas were revamped and 1,800 flats renovated with new bathrooms, roofs, windows and façades – at a total cost of nearly DKK 1.3 billion. Landscape architect Charlotte Skibsted, in consultation with the residents, devised a new, well-designed system of paths and recreational areas. Architect Henry Lading from DOMUS was the project manager for the renovation project, which included integrating art into all of the façades.

The artistic decoration uses specially produced Petersen Tegl bricks, including glazed ones in a range of colours.

The brickwork varies throughout the building, and utilises different patterns, reliefs and colour combinations. One common feature is that the building's bases have dark mortar, which makes them visually heavier.

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NEW NEIGHBOURHOODS The architects' overall concept was to divide the scheme into eight neighbourhoods and bestow a unique identity upon each of them in an attempt to foster a sense of community. Another overarching decision was to use brick as the primary cladding on façades.

The artistic decoration, which is integrated into the masonry on every façade, ranges from non-figurative art to a naturalistic portrait covering several floors.

BRICK FAÇADES AND INTEGRATED ARTISTIC DECORATION PLAY KEY ROLES IN DENMARK'S BIGGEST EVER SOCIAL HOUSING RENOVATION PROJECT. Photos: Anders Sune Berg

that the bases of the houses have been made visually “heavier” by applying a dark mortar to the bottom storey. DEMANDING ART One striking aspect of the project is the decorative art that adorns all of the façades. The National Building Foundation stipulated that visual art should be incorporated into the project, and Professor Bjørn Nørgaard headed up a team of artists, each of whom was given responsibility for a particular neighbourhood. The decorations vary widely, ranging from non-figurative art to a naturalistic portrait several storeys high. The architects transferred the motifs onto large, detailed façade drawings, which were sent to Petersen Tegl, where the motifs were transferred to the bricks. Thousands of bricks were then

individually coloured or glazed before firing. Finally, they were delivered to Ishøj, where the bricklayers faced the daunting task of constructing façades that corresponded with the drawings. It may have been a highly challenging project, but the outcome was positive. Vejleåparken was a particularly complex renovation project, in which the political ambition of regenerating a housing scheme was achieved by means of a high level of quality in architecture, art and craftsmanship – with brick playing a key role.

Vejleåparken, Ishøj Client: AAB Dept. 55 Consultants and architects: DOMUS architects a/s Landscape architect: Charlotte Skibsted MAA MDL Engineering, construction: Wissenberg A/S Engineering, installations: Wormslev A/S Artistic decoration: Professor Bjørn Nørgaard in collaboration with Veo Friis Jespersen, Jørgen Carlo Larsen, Sophia Kalkau, Torben Kapper, Kirstine Roepstorff, Thomas Poulsen (FOS), Tina Maria Nielsen and Martin Erik Andersen

Architect Henry Lading of DOMUS architects was project manager for Vejleåparken's renovation, a project that has lasted more than ten years.

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Almost all of the 69 flats have sheltered balconies on two sides, affording views of both Gothenburg and the Kattegat.

NEW LIFE ON THE QUAYS Photos: Anders Sune Berg

ERIKSBERG, GOTHENBURG'S FORMER SHIPYARD AREA, HAS DEVELOPED RAPIDLY IN RECENT YEARS. FOR EXAMPLE, A NEW HOUSING ESTATE IS TAKING SHAPE AROUND THE DOCK. Designs for the eight blocks were invited via architectural competitions. Two of them have now been completed. One of them, the BRF Eriksbergsdockan housing block was designed by White Architects in Gothenburg. BRF Eriksbergsdockan consists of two parallel buildings – one seven storeys, one nine – that stand either side of a courtyard with a green garden. Beneath the raised garden is an underground garage with space for 40 cars. The complex is designed so that almost all of the 69 apartments have balconies on both sides, with views of both Gothenburg and over the docks to Kattegat. The buildings have different idioms facing the courtyard and streets. Towards the courtyard, wood is used on the façade, while glass panelling on the balconies adds a transparent element. Over time, climbing plants will enhance the oasis effect. As an allusion to the industrial buildings that used to stand here, the outward-facing façades were intended right from the start to be in brick – and these needed to be high quality because of their exposed position. In the end, the chosen brick was Petersen Tegl's D48. According to White Architects, this brick has just the right tone – almost purple, with a lively dash of yellow. The cladding on the two lower floors also features a relief, every second course of which protrudes 20mm. On this part of the façade, a dark-grey joint endows the base of the building with exactly the kind of dark character the architects wanted.

The dark-grey mortar gives the brickwork the desired robust character. In the two lower levels, the facing wall has a relief that marks the base of the house.

The location means the façades will be exposed to the elements, and so need a brick covering. The D48 by Petersen Tegl has, according to White Architects, the perfect shade – almost lilac, with a touch of yellow.

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BRF Eriksbergdockan Client: NCC Indkvartering Architect: White Architects Engineer: NCC Construction Landscape architect: White Architects

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23 The 280 shutters on the façade feature reliefs by the graphic designer Jaap Drupsteen.

Daylight from skylights, combined with the bright brick, engenders a light, convivial atmosphere.

Architect Christina Kaiser and Dorte Kristensen, director of AtelierPRO, worked together on Bronckhorst Town Hall.

LIGHT BUILDING IN UNDULATING LANDSCAPE ATELIERPRO DESIGNED THE NEW TOWN HALL IN ACHTERHOEK, THE BRIGHT EXTERIOR OF WHICH MATCHES THE LIGHT AND FRIENDLY INTERIOR ATMOSPHERE.

The plan consists of two wings with a central space between them, which forms the heart of the town hall.

Photos: Paul Kozlowsky

“That's it!” exclaimed architect Dorte Kristensen. She was on holiday in Denmark, driving along Roskilde Landevej, when she passed a construction site – a housing project – where a consignment of bricks had just been dropped off. She hopped over the fence and quickly re-emerged clutching a D71 brick by Petersen Tegl. A police officer witnessed the raid, but luckily for her adopted an understanding attitude. A few days later, Kristensen presented the brick to the project architect Christina Kaiser and others in the team at the AtelierPRO studio in the Netherlands – and in 2009 the town hall in Bronckhorst, built with D71, was inaugurated. The surrounding landscape was a source of great inspiration for the architects as they designed the town hall for the new council for Bronckhorst, in the Achterhoek Region. “The classic Dutch landscape is largely man-made – straight canals, rows of trees, and square

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plots,” says Kristensen, director of AtelierPRO, whose 80 architects work in an atmospheric studio beautifully situated in a lush garden in the middle of The Hague. “By contrast, the landscape in Achterhoek is gently undulating, the roads are winding and the trees and bushes form irregular clusters,” Kristensen adds. Christina Kaiser takes up the story: “The site has a ratio difference of just over a metre, which is considered hilly in the Netherlands! It was important that the building highlights and emphasises the beauty and movement of the landscape. The building also had to stand out. A town hall symbolises democracy, so has to radiate selfesteem and dignity.” The building has two wings of different heights, the four outermost parts of which point in different directions. The central space between the wings constitutes the heart of the building. This is where the organ-

ically shaped reception is located and visitors access the various parts of the building. The building work is of high quality, with finely detailed masonry, including brick window sills, stepped brick-on-end courses and expansion joints bevelled into the corners of the building. The town hall is also a sustainable construction, consuming a mere 36% of the required standard for energy. Bronckhorst Town Hall is an extremely bright and welcoming building. Customers and citizens are received in the central area, the roof of which is unconnected to the wings, and features skylights on both sides of the large space. The skylights allow beautiful natural illumination, which along with the light-coloured brick – a recurring feature in both the interior and exterior – produces a bright, pleasant ambiance. The architects decided early on that the town hall should be bright in order to differ-

The covering on the town hall is D71, whose unique shades of white, yellow and green make the façade almost luminous.

entiate it from the other buildings in the area. At first, they favoured rubbed down walls. However, the project changed direction when Kristensen spotted the Petersen product back in Denmark. D71 is made from Danish yellow clay. The production process involves extracting soft clay from a mould, for which Petersen Tegl uses clay slurry. The slurry is still on the surface when the brick is coalfired, hence its special appearance. “The colour was definitely the key to our choice,” Kristensen concludes. “Most Dutch bricks are made with sand as release agent, which means that sand remains on the surface, which I don't like. D71 has a unique colour blend, with white, yellow and green tones that give the brick a bright look even in dull weather.”

Visitors arrive at the town hall from the south-east, between the two wings. From there, you proceed into the central space.

Bronckhorst Town Hall Client: Bronckhorst Town Hall Architects: AtelierPRO Landscape architect: Eline Keus Interior designer: Tamara van Spronsen

The town hall was to radiate self-esteem and dignity and be covered in light stone to differentiate it from the surrounding red buildings.

The architects' aim was that the building should highlight the beauty and movement in Achterhoek's landscape.

This is the first issue of Petersen with Ida Præstegaard as editor, and where nothing else is indicated, articles are written by her. Ida Præstegaard graduated from the Royal Academy of Arts’ School of Architecture in Copenhagen, and has worked in drawing offices in Denmark and in New York. For a number of years she was the editor of the architectural and lighting design magazine NYT for Louis Poulsen, and writes currently on architecture and design in various media.