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The Sugar Plant Territory - Groningen L and sc ap e A rchi t ec ture & Planning Studio 2014
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Colofon
L and sc ap e Planning 2014 Alderman, Michael John
Folvig, Sara
Lunde, Louise Juncher
Porsild, Bettina Eisener
Ankerstjerne, Christian Henrik
Frederiksen, Susie
Lysemose, Julie
Provaznikova, Lucie
Atchade, Audrey
Garancsy, Nathalie Silvia
Løvenkjær, Ida
Rasmussen, Simon Kallenbach
Avery, Diana Clare
Genee, Sidsel Marijke
Magnon, Antoine
Rekos, Monika
Bang, Malene Fogh
Glad, Marie
Moldenhawer, Milan Holm
Salac, Josef
Berggren, Ulf Frederik
Gomes, Matilde Cerqueira
Mortensen, Nicolai Lindberg
Snitgaard, Esben Elleby
Bonde, Linda
Gomes Martinez, Cinta
Mulvad, Inger Marie
Svendson, Melissa Elisabeth
Bøye, Cecilie
Hansen, Camilla Kjærgaard
Naumann, Sebastian
Sørensen, Kasper Kristoffer
Christensen, Søren Lahn
Hansen, Lasse Bøtker
Nemeth, Caroline Sofie Grenaa
Understrup, Kristine Grue
Cloarec, Maxime
Jessen, Asbjørn
Nielsen, Signe Lilleskov
van Haaster, Johannes Antonius
Conciatu, Cristina
Keil, Lærke Sophie
Pedersen, Rasmus Weitze
Wahlgren, Troels Bak
Davidsdottir, Hulda
Lin, Liangliang
Pedersen, Trine Baarsøe
Day, Olivia Francis
Ljubijankic, Amra
Petersen, Nick Dyhr
Feldskou, Lisbeth
Lund, Sif Peiter
Petersen, Signe Hvergel
Per manent t ea m
Edi tor ial t ea m
Peter Lundsgaard Hansen - Course responsible Torben E. Dam Virginie C. le Goffic Anne Magrethe Wagner Jens Linnet Martin Lysholm Hjerl Carsten Johansen (ModelLab)
Daniel Lund Sørensen Niels-Christian Mariager Pedersen Peter Lundsgaard Hansen
L ayout Jette Alsing Larsen
Sp ecial t hanks to: Jan Martin and Hiltje We are greatful for the stimulating walks, talks, lectures and discussions with our fellow colleauges from The University of Copenhagen and offices
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In this design studio 55 international students from Denmark and the world have been working intensively with the transformation of a closed down industrial area in the western periphery of the Dutch City of Groningen.
Nordic by Nature is one way to describe the approach to this design and planning studio.In more ways than one we shall work like the Vikings explored the world. However we shall not rape and nor shall we steel and loot
landscape planning
– although we might bargain for goods and information. We are going to sail up and dow the canals of the Dutch landscape and we will study landscapes build by human hands. We will explore and try to understand contemporary landscapes as well as historical landscapes. With the knowledge and inspiration that we get from our endeavours we will go ashore on the territory of The Sugar Plant in Groningen and here
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we will build models, make sketches, walk, talk and have discussions about how this urban anti territory can undergo an urban transformation process towards a future that we can only imagine. This newspaper presents the unedited results of
By Peter Lundsgaard Hansen
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Table of Contents Introduction
Group projects
CALENDAR?
Colophon
2
Table of Contents
5
Anti Territory
6
The Sugar Plant Territory
8
The way we work I
11
The way we work II
12
The way we work III
13
Between Lake and Hills Group 1
14
Foreword Group 2
16
The Floating Culture Factory Group 3
18
Linear Transformations Group 4
20
Developing Contrasts Group 5
22
Structuring Space Group 6
24
Urban Waters Group 7
26
Fields of Knowledge Group 8
28
Preparing for Future Group 9
30
Changing Landscape Group 10
32
Site of Succession Group 11
34
The Imprint of the Site Group 12
36
All Pace Park Group 13
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Anti Territory The Sugar House and the Willow Tree
Hello. My name is Anti. I know that I have never met you in person but I am certain that I have encountered you through some mysterious communication. I feel that I know you - through your thoughts and through the motion made by your movement. I hope it is okay that I take a minute of your time. Maybe it is just my imagination – so I hope you will bear with me for a moment. I know this place – or at least I think I do. I don’t know exactly how to put it but to begin with there is nothing wrong. The thing is tha t there is nothing that makes this a special situation and I am almost certain that there is nothing to worry about. Come to think of it - this situation is not any different to other situations that I can think of. The people are ordinary people. The houses are all with roofs and windows and proper doors. The streets have trees and there are shops. The little girl is a normal girl with a mom and dad. There are schools and people go to work. Okay, there is a kitten stuck in a tree but that shouldn’t alarm us. It is to be expected. There is absolutely nothing that I can see what should alarm us. So why do I say “to begin with there is nothing wrong” and “I am almost certain that there is nothing to worry about”. You have probably already noticed it and you have seen the title because it is quite big. Size 18. I saw it too and I am sure that it is my imagination but I am beginning to think; what if there is something not right about the whole situation. Could it be that something is about to change? If I am right then the situation could easily take a turn for the worse and then
why shouldn’t I be a little uneasy? Don’t you agree? I can’t exactly point out why, but with what we already know new things pop up in my mind. Let me give you an example. If only I add “in the outskirts of town” or how about “on the grounds of an old sugar plant” this whole situation could very well spin out of control. Combine them with the “ little girl” and we have a tragedy. I am sure it is just my imagination, I am sorry, it’s just how my head works, I know! But you shouldn’t worry. You know the streets I told you about. There is also a road and, it cuts through the neighbourhood where the little girl lives. She’s got a best friend and he’s got a map. The boy lives on the other side. They call the road “the road” because it is a big road. The old sugar plant they call “the sugar house” because that is where the house is. No body knows about the house in the willow tree except for Mr.3 that is. I know what you think – I thought so too, but the situation is this; Mr.3 said “the Vikings are notorious for sailing their vessels into unknown territory to loot and raid all over the European continent – even rape.” Their skills as merchants and traders are widely underestimated, he rampeled on. He knows because he descents from a long line of merchants him self. That is how he lost a leg before he came here with a circus. “Actually I am going on an expedition”, he says, “I am almost set to go – if only I had a map.” For this part of the story I can truly say that I am not imagining anything because I don’t know what happened when they spoke about the map. No-
Illustration text!!!!
body knows and your guess it as good as mine. But what ever happened or what words were exchanged that day – sealed the deal - and now the three of them are going to the continent. The boy and the little girl even had a talk about the three-legged-Viking descented-cat. “Cars talk too”, the little girl had said to the boy. Good talk!
ten it after the last circus left), some robe (the circus again), an old can with a matchbox, a pencil, two bottles of water and the map. They have rolled everything up in a blanket - except for the rope, the knife and the map. Mr.3 have been studying the map. It is a real Michelin he said when the boy found it down by the canal one day. They have made a circle that marks the willow tree and this is where they will depart. X marks the destination. The route will take them across the concrete dessert close to the chimney and down to the edge of the canal - to the water pond. From this point – if they get there - they have decided to cross the dangerous waters of the Amazon
Kan der komme e på? Overskrift 2
The preparations are coming along as planned. They already have a raft for sailing and most of the supplies for the journey. It all adds up to; dry socks, a Yankee-bar, a flashlight, one pocketknife (somebody must have forgot-
By Peter Lundsgaard Hansen
u n i v er si t y of cope n h age n
River to the other side on the raft. However just when everything seems to be ready it hits them that the raft doesn’t have a name. How could they forget? Mr.3 explains that they will never get across the river if the raft doesn’t have a proper name. The little girl and the boy are caught by total surprise and for a minute things could go either way. To their luck Mr.3 reassures them that folks forget to give their vessels a proper name all the time and the ceremony can be done quite easily. He suggests that they call it ‘The African Queen’. I couldn’t believe my ears when I heard this part of the story. I love that
film! What a coincident, don’t you think? You may think nothing of this name but Mr.3 is an old film buff and he remembers the film from 1951 starring Humphrey Bogart and Katharine Hepburn. Amazing fellar- this Mr.3 is. I hope to meet him one day.
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sundays before and from the hatch he pulls out a folding table and a chair. Everything is just like it should be. I must apolog ize. I know I promised you that I would only take a moment of your time and I know you have other more important - matters to think of. I’ll let you get on with your business now. I can pop in later and tell you more. My hope is that this situation isn’t that bad anyway! I certainly am beginning to feel pretty good about the whole thing, you see.
et par under-overskrifter Overskrift 2
And so it is. The little girl and the boy can’t believe their luck. They are going on a Viking voyage across the Amazon River aboard ‘The African Queen’. They set off full of anticipation and confidence. The weather is so calm that the man with the soap bubbles turns up. He parks his car by the old chimney like he has done so many
Yours truly Anti Territory
By Peter Lundsgaard Hansen
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The Sugar Plant Territory
The Sugar Plant is situated vest of the city centre of Groningen The aim of this studio is to design for a future urban transformation for The Sugar Plant Territory. The assignment for the Sugar Plant Territory is to combine designs for interventions in urban structure, public space, transformation process (including landscape interventions), and development possibilities with a vision for needs like infrastructural improvements. There are no existing housing or commercial problems that would determine the programme. The question is maybe how to tempt the market to invest in a new, preferably profitable (what is profitable?), use of space and thus ultimately redevelop the site. The program/design should consider
“an experimental Garden for new urban development” the following overall issues; how can landscapes contribute to urban development ?should the transformation focus on process rather than result? Is it
the design for an iconic building that can set of the process and what are the merits and disadvantages of these options. The studio is invited to explore (a combination of) these possibilities.
City strategy – ‘an experimental Garden for new urban development’
The city is seeking to enhance even further its present position as the urban centre par excellence for the immediate region with almost a half million people. As a university city with a leading university, it also wishes to be known as a City of Talent where young people can sample the Tree of Knowledge and as a Health City with Healthy Ageing as its spear point. And with the other partner in Energy Valley it wants to play a key role in the turntable of sustainable energy and also have a neutral environmental impact at a project level. With increasingly fewer of its own development planning opportunities and situated in an area with increasing population shrinkage, Groningen
“The program is open. The scale and the context is debatable through the design” wishes to be an experimental Garden for new urban development.
Objectives of the work
The studio aims to plan, programme and design for a sustainable Sugar Plant Territory in Groningen and thus one important challenge of the work will be to identify where and how to develop and transform this urban landscape. Three overall themes must be addressed: 1. The connection to a general urban context and the city centre in particular. 2. The urban spaces and their mutual relations. Climate and recreational space.
3. Access and identity. Affiliation. The proposal should consider the possibility for future housing, sustainable rainwater management, acces for walking and bicycling, publig transportation, leisure, temporary use, a future bridge across the canal and urban frabric. The proposal should display a visionary design; combining history and contemporary culture - ecology, economy and technology. The circular boundary indicated on the illustration marks the general territory. The square marks the hole for your models to fit in. The program is open.The scale and the context is debatable through the design
By Peter Lundsgaard Hansen
u n i v er si t y of cope n h age n
landscape planning
The way we work I
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MEMO
The way we work is by repeating the same model and the same drawings throughout the course. We do this meanwhile we talk, travel, listen, read, draw and evaluate. MEMO is an abbreviation for; Model, Engagement, Movement and Observation. The theory is; we make models because we work with space. We make them in order to engage with matter. The movement made from working with models help us observe and enable us to make new and better drawings and models. When we work with the plans and the models at the same time The plan comes a little before the model this time and they will never exactly be alike at this point. This is because they are feeding off of each other at the moment – one always making the other adjust a little.
The method
We use Google earth, maps and other representative medias to recreate the urban landscape of Groningen. We
Presentations and discussions of design models. The way we work is through putting individual models and group models in the hole of the big model. This is our laboratory and this is where we rate and talk about the qualities of the design work.
“we feed off models” will build analogue model (we will build them in our Model Lab) of Groningen. During the building of the model we will rate qualities of the urban landscape and the possibilities for new development as qualified as possible.
The big model (the context model) will have a hole where we test and develop our ideas. The hole determines part of the project site.
During our work with the design we use the walls and floors of the school to exhibit our work in progress. The exhibition wall is where we meet our imaginary client and where we let go of our fear of showing all the mistakes we have to make before we are satisfied with the result. Engagement. Think of a crime scene and of working on a murder case. Who is the murderer? In real life we try to recreate the scene of the crime through movement. We do this while we narrow in on a motive. The motive is important because it can reveal the murder. When we work in the studio we feed of models so to speak, because the movement we create makes us able to engage in our work. In planning we call the motive; issues(problem formulation) and the scene of the crime; the site. The observations we make when we work we document, evaluate and talk about. Observations that give us new
Simple research model from a fieldtrip. knowledge and new possibilities are what we are looking for. We often call them the little mistakes because they often show themselves in a drawing or a model as something that just doesn’t fit in the big picture. So look out for them! Besides working digital we work with two types of different models.
Simple models
There is a substantial advantages in building simple physical models. The investigative and inquisitive models
have a central role in the process of analysis and design. They empower ideas, concepts and programming. We repeat the simple model again and again.
Abstract model
The first (and often the last) model we work with when we engage and try to understand our own work or other works of landscape architecture is even more simple. The model is abstract and we carry it with us in a model box. We can build this type of
Abstract model. We travel with a model box and we have meetings and talks while we are on the move.
model anywhere.
Big model
In order to strengthen and qualify the way we discuss and evaluate our work in the context of a greater urban landscape we use a big model to test our arguments by putting our simple concept models in a big context model. We then repeat the process while we work on our digital plans, visualizations, sections, text and so forth.
To read more about the way we work http://www.fusion-journal.com/ issue/003-fusion-the-studio/the-simple-model-method-creating-steeplearning-curves-in-academic-designstudio/
By Peter Lundsgaard Hansen
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The way we work II
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MEMO
THE WALL PRESENTATIONS & EXHIBITIONS Supervisors
THE STUDIO DESIGN DESIGN You
THE BIG MODEL SUPERVISION Peter Lundsgaard Hansen
THE PAPER DESIGN PROGRAM DanielSofie LundBrincker Sørensen
and Niels-Christian Mariager Pedersen
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landscape planning
The way we work III brickes and copplestone
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MEMO
chairs and tables
modelbox tables
plant table on wheels
projector
The Big Model 3 stuffed birds
La nd s c ape Pl a nn ing 2013
STEELSC A PE PR O CESS D I A RY
projection on floor
Landscape architec ture students in the city of Steel - Frederiksværk The unique historical site that deto Arresø and Roskilde Fjord, the hind the main pedestrian street and the canal has drawn attention to teachers and researchers from The University of Copenhagen. Consequently the University has organized a planning laboratory in Frederiksværk. The student projects will be a supplement to the competition that takes place later this year.
Until the end of June 60-65 students from Denmark and the world will be working intensively with a transformation of Frederiksværk. The overall design question is how Frederiksværk can be transformed within the following themes; 1. The connection between the water and the urban environment. Sustainable landscapes. 2. The urban spaces and their mutual relations. Climate and recreational space. 3. Access and identity.
tion. The aim is to work with both innovative and traditional solutions in a design for a sustainable urban process in Frederiksværk. Throughout the course at team of Landscape architects, teachers and researchers from The University of Copenhagen will follow and support their work. The studio entail travel, reswork into a wide hearch and range of exemplaty sites in Barcelona, Spain. This paper will work as the stu-
dents dairy, where they each week upload their work, to share with orthers and to show the overall process of their work. One spread corresponds to one week of group work. In the end, this paper will show how the students have gone from analysing and a concept in week one, to having a com plete masterplan and design proposal in the end of their journey throgh Frederiksværk.
gaffa tape - work zone ladder
collums
studio kitchen enter
The Studio
The studio called Versailles is one of the places where a ladder across a gaffa tape boarder (on the floor) marks a special work zone - this is where The Big Model is. This 3x5 m square is on the floor of Versailles, Model Lab and Skallingen and is the experimental ter-
ritory of Groningen. In this zone we can mix and experiment with matter that normally seem non compatable - ex. fitting a stufed bird, some bricks and a digital plan together and find new and unexpected observations in our work. From what
we find we can then go back to our work outside the zone and incoorporate new ways of seeing into our design. With the gaffa tape we can take this work zone with us when we need to. Here we work with all scales, with
books, digital drawings projected from the seeling down onto the models we make, paper presentations, stufed animals, 1:1 examples of pavement stone and soil types, movies, etc.
projector
table on wheels ladder
The Big Model By Peter Lundsgaard Hansen
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TUESDAY
9.00-12.00 Introduction to course and to the way we work. - Introduction to the first Model and individual work /PLH & co.
See program for april 22 WEDNESDAY 09.00-12.00 Studio work 16.00h - FIRST HAND IN (Versailles & Skallingen)
24/4
THURSDAY
09.00-12.00 Exhibition and presentation 1 13.00-16.00 Introduction to group work and 1’st group model, studio work in groups/ PLH. Introduction to Paper.
28/4
MONDAY
13.00-17.00 Studio work NOTE 16.30 Hopefully we have a special lecture but as it isn’t confirmel just be ready. If it works out it will probably be from 16.30-17.30 in Versailles.
29/04
TUESDAY
09.00-12.00 Paper editors Daniel Lund Sørensen and Niels -Christian M. Pedersen/PLH. Introduction to Paper template. Studio work
30/04
WEDNESDAY 09.00-15.00 Studio work 15.00 SECOND HAND IN. Upload and A3 print of group Paper 1. First group model (Versailles & Skallingen) THURSDAY 09.00-13.00 Exhibition and presentation - Models and Papers/PLH & co. 13.30-17.00 Intervention Workshop and miniature hand in at 17.00h.
01/05
Final work and newspaper
23/4
09.00 - 12.00 Evaluation and planning meeting. Fieldtrip preparation in groups. Site thinking, preparations and group organization (model box, program, pc, emails, phone, camera ect.) PLH & Co. FIELDTRIP Sailing, talking and making models
02/05
FRIDAY
0304/05
WEEKEND
05/05
MONDAY
FIELDTRIP Sailing, talking and making models
06/05
TUESDAY
FIELDTRIP Sailing, talking and making models
Mission complete - Masterplan and model
22/4
MAY
Mission impossible - Individual concept
Mission impossible - Group concepts and fieldtrip
APRIL
Course Calendar 26/05
MONDAY
13.00-13.30 Planning and evaluation meeting. Working on the Masterplan. Status. 13.30-17.00 Studio work
27/05
TUESDAY
15.00h FIFTH HAND IN - (Print A1 with; title, masterplan, concept, visualizations and sections. Latest model for the big model)
28/05
WEDNESDAY 09.00-17.00 Exhibition and presentation of poster/paper and model
29/05
THURSDAY
Studio Work
02/06
MONDAY
13.00-13.30 Paper evaluation and coordination /PLH/Editors. 13.30-17.00 Studio work
03/06
TUESDAY
09.00-12.00 Studio work
04/06
WEDNESDAY 09.00-17.00 Studio work
05/06
THURSDAY
09.00-17.00 Studio work
06/06
FRIDAY
09/06
MONDAY
12.00h FINAL PAPER SUBMISSION-Upload paper/Editors (Versailles) 13.00h Evaluation and planning meeting 13.30-17.00 Studio work and preparation. Posters.
10/06
TUESDAY
11/06
WEDNESDAY 09.00-17.00 Studio work and preparation. Posters.
12/06
THURSDAY
09.00-15.00 Studio work and preparation. Posters. 15.00-17.00 Examination talks, evaluation and paper hand out / PLH/Editors
16/06
MONDAY
09.00-16.00 - PHL & Cencor: Group presentations and individual examination (Versailles/Skallingen)
17/06
TUESDAY
09.00-16.00 - PHL & Cencor: Group presentations and individual examination (Versailles/Skallingen)
18/06
WEDNESDAY 09.00-16.00 - PHL & Cencor: Group presentations and individual examination (Versailles/Skallingen)
19/06
THURSDAY
09.00-16.00 - PHL & Cencor: Group presentations and individual examination (Versailles/Skallingen)
20/06
FRIDAY
09.00-16.00 - PHL & Cencor: Group presentations and individual examination (Versailles/Skallingen)
08/05
THURSDAY
FIELDTRIP THIRD HAND IN ‘Simple group model ‘hand in of (1) a relevant reference landscape and (2) the group idea.
0910/05
FRIDAY & SATURDAY
FIELDTRIP Sailing, talking and making models
12/05
MONDAY
13.00-14.30 Fieldtrip talks PLH/TODA/VLG 14.30-15.30 Introduction to 2’nd group model and draft for the master plan and paper 2. 15.30 - 17.00 Studio work
13/05
TUESDAY
09.00 - 10.30 Lecture MASU planning 10.35 - 12.00 Lecture Kragh & Berglund
14/05
WEDNESDAY 09.00 -15.00 Studio work. Model and draft/paper2 15.00h FORTH HAND IN.
15/05
THURSDAY
09.00-17.00 Presentations and critique in Versailles and Skallingen
19/05
MONDAY
13.00-13.30 Planning and evaluation meeting in Skallingen. Working towards a final draft for the master plan. (Mads farsø /Svava Riesto) 13.30-14.30 Svava Riesto and Mads Farsø - Culture/film 14.30-17.00 Studio Work
20/05
TUESDAY
09.00-10.30 Lecture BOGL 10.35-12.00 SLA
21/05
WEDNESDAY 09.00-17.00 Studio work
22/05
THURSDAY
09.00-17.00 Studio work
The calendar shows the scheduled activities. Since the course is a full time course, it is expected that the students, outside of the scheduled activities, find the necessary time for preparation. NOTE. Be aware that changes may occur. Therefore remember to check the dashboard on absalon regularly.
Poster production and exam preparations
WEDNESDAY FIELDTRIP Sailing, talking and making models
JUNE
07/05
Examination
Mission impossible - Final concept Mission complete - Masterplan and model
MAY
Måske ikke nødvendigt? 09.00-12.00 Studio work and preparation. Posters.
Practical information Modellab is situated on the first floor - above Skallingen and below Versailles. You can use the materials that have been thrown in the bin. Please keep Modellab clean and organized. We will use this space a lot and we are not the only ones using Modellab. You can by special materials for modelling in the shop called Tutein & Koch, address; Farvergade 8, 1463 København The calendar may be revised so stay updated on Absalon every day. The calendar indicates studio work and lectures etc. The rest of the week schedule is for individual/group preparation. All lectures will be held in Versailles if not otherwise indicated. Supervision; the team of supervisors are available during the course. Please make appointments by mail. By Peter Lundsgaard Hansen
d e t n at u r - o g b i o v i d e n s k a b e l i g e f a k u ltl aentd s c a p e
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Vil du designe fremtidens byer?
Find et bedre billede. Dette er ikke salgsmateriale Byens rum er rammen om det liv, vi lever i byen. Men byens rum står ikke stille. De er under konstant forandring og udvikling. Gamle industriområder forvandles til attraktive boligkvarterer, havnearealer bliver til strandparker og byggetomter til levende, grønne åndehuller. Vil du være med til at tegne de store linjer i landskabet, skabe unik arkitektur i byens rum eller arbejde med formgivning af haver, parker og natur, så bliv landskabsarkitekt på SCIENCE – Det Natur- og Biovidenskabelige Fakultet. Læs om uddannelsen på www.blivlandskabsarkitekt.nu Group 1: By XXXXX, XXXX, XXXX, XXXXX