Aleksander Nowak +47 45463244 (Norway) +48603063611 (Poland) nowak.aleksander3@gmail.com
2017
2016
City Gdansk 10 Young Shipyard Masterplan
Results confidential
Post-war recon06 Aleppo struction strategies
Master Thesis
til Gl. 11 Pavillon Holtegaards Barokhave
Art 08 Chart Fair Architecture SkyLense Pavilion
2015
2014
Competition entry
Winning Proposal
07 Earthhouse Ghana
Natural construction community project
11
Kopernika public square Competition, Opole, Poland
Spetial Mention
06
Europan 13 Stavanger & Warsaw
03
Liget Budapest, New National Gallery and Ludwig Museum Competition
1st prize (Snøhetta)
Psychiatric Hospital 12 New Bispebjerg Competition, Copenhagen (Snøhetta)
Monde 12 Le Headquarters, Paris
1st prize (Snøhetta)
2014
visitor center, 10 Lascaux Montignac, France (Snøhetta)
zero 09 Ådland energy district,
Bergen, Norway (Snøhetta)
08 Guggenheim Helsinki Museum (Snøhetta)
old town 05 Tønsberg refurbishment
workshop, Tønsberg, Norway (HLA)
1st prize, HLA
03 Løkkeveien office building,
1st prize, HLA
Com09 Jåttåvågen petition, Master
1st prize, HLA
Ulf 08 Sandnes Stadium
1st prize, HLA
Room 04 Project & Coworking
winning proposal for a city social project financing,
Stavanger
2013
plan, Stavanger, Norway (HLA),
Space Kolektyw 1a in Poznan-
Sus01 Cambodian tainable Housing
Competition, Building Trust International, shortlisted,
shortlisted
SOFTWARE
WORK EXPERIENCE
Rhino Grasshopper Adobe Archicad Revit qGIS & ArchGIS Autocad 3dsMax Vray Sketchup Rendering for VR
08 2014-07.2015 1-year internship
www.snohetta.com
& 03-06.2014 08 -11.2013 Internship
www.henninglarsen.com
08 -11.2011 & 03-04.2012 Insomia Architects Intenrship
www.insomia.com.pl
Visualising complex data: Copenhagen municipality
EDUCATION
2015-06.2017 08 Urbanism and Societal
Change Master Programme Royal Academy of Fine Arts in Copenhagen Deane Alan Simson & Charles Bessard
www.kadk.dk
2010-02.2014 10 University of Arts in Poznan, Architecture and Urban Planning, Bachelor Degree, Engineer in Architecture
www.uap.edu.pl
LANGUAGES
English German Polish Norwegian - basic Danish - basic
200 year strategy for Copenhagen flooding - floodplain +4 2150 / Urbanism and Societal Change
S
kyLense is the winning pavilion created for CHART Art Fair Architecture Competition, 2016.
SkyLense is conceived as a machine for cooking whose mechanics are so simply perceived as to be apprehended in a single glance. The pavilion demonstrates the concept that sustainability is not just about being “less bad�, but instead may be used as a creative stimulator for life-activities that positively affect the environment. From sunbaking, to art performance, to cooking, each act is sponsored by two elements: water and sunlight. An experiment in optics and illusion, the design focussed on the elements that would intrigue those who interacted with it. In their assessment, the Judges noted the effectiveness of the illusion created by the water and mirrored surface, whereby Jury member Bjarke Ingles admitted that he did not realise there was a bar counter until he physically touched it. The pavilion’s elemental tectonic evokes two circular planes containing water separated by slender columns. Water suspended by a clear film hangs overhead, forming a lenticular object that acts to focus and distort light. The lense works in two directions - it concentrates light beams one way and simultaneously distorts the surroundings for the ones looking through it.
At ground-level, the pavilion used optical illusion to a functional advantage, where a semi-circular pool of reflective water is completed by a mirrored bar surface. In the Charlottenburg Kunsthall where the pavilion made its first appearance, the normally benign Northern sun baked food against it’s mirrored surfaces and set alight sheets of stray paper. At night, a focussed beam shone through the lens of water creating spectacular rainbow caustics that would bounce off the reflective pool at ground level and decorate the surroundings in colour. The pavilion operated as a restaurant during the CHART - Copenhagen Art Fair at the Kunsthal Charlottenburg. Attendees were required to walk through the water to be able to order champagne and oysters selected by restaurateurs L’Esprit du Vin. Initially hesitant people removed their shoes and played in the shallow pool all night. Winning Proposal Team: Enlai Hooi, Tamara Kalantajevska, Nicole Strelcheva, Trine Thy 2016
Post-war reconstruction strategies for Aleppo.
2011
Protests, civil uprising, and defection Initial armed insurgency 2012
Ceasefire attempt (April–May 2012)
Rubble recycling as a tool of urban and societal revival. Multiscalar dialogic approach.
Renewed fighting ( June–October 2012) Rebel offensives (November 2012 – April 2013
The project is a multiscalar set of interweaving strategies on Aleppo’s reconstruction, where debris of war and its recycling deals as a tool for societal and urban revival rough analysis of the islamic historical spatial conditions, recent cultural changes, urban policies and current politico-economical environment around Syrian post-war reconstruction, the project aims to recognize key challenges of the future process. It puts its focus on past, present and potential future of most heavily damaged informal settlements. The research aims to consider the nature of societal change, which Syria had undergone in the decades preceding the Syrian Civil War and its potential impact on the future of Aleppo’s informal neighbourhood units formation. These units are beeing recognized here as basic sociospatial mechanisms of reconstruction and future participation in governance of the country or, in times of disruption, its potential resilience. The design aims to challenge past examples of post-war reconstruction processes and current
means of development in con ict-torn and emerging countries. The analysis of both spontaneous aggregation processes, thanks to which the historical core of Aleppo emerged and prevailing policy approaches towards informal settlements in Syria, and globally, gives a possibility of contextualizing ideas of building on and learning from the past. What is more, the project by looking at cities which had undergone post-war reconstructions aims to provide comparable cases, examples of hope and vision to the Aleppese community. Ultimately, the complexity has a chance to evolve into a proactive, more wholistic and dynamic rather than prescriptive strategy for reconstructing the city, the society and its communities. The project aims to be a basis for further research and dialog with scholars and practitioners.
Escalation
2013) Government offensives (April–June 2013) Continued fighting ( July–October 2013) Government
offensives
(October–December
2013) Fighting between ISIS and other rebel groups 2014
( Jan–March 2014) Government offensives and Presidential election (March–June 2014) ISIL offensives and U.S. airstrikes ( June 2014 – January 2015) The Southern Front (October 2014 – February
2015
2015) Northern Al-Nusra Front and Islamist takeover (October 2014 – March 2015) Army of Conquest advances in Idlib (April President Al-Assad in Moscow for Talks with Russia’s Putin on Sria reconstruction and SEZ
2016
Russian intervention and government offensive
SDF advances and Turkish military intervention 2017
22.12.2016 Syrian Army announces the capture of Eastern Aleppo and the complete withdrawal of rebels and civilians.The Red Cross confirms that the evacuation of all civilians and rebels was complete. 07.01.2017 The Syrian cabinet adopts a package of measures to restore the northern city of Aleppo. 12.01.2017 A video released on Wednesday shows tractors and forklifts in the Saif al-Dawla district clearing the streets of sandbags and rubble.
Aleppo with its rich, long history, level of resilience to wars and multicultural in uences is a perfect evidence of how urban structure represents a physical, three-dimensional projection of human beliefs tand socio-political conditions. The city is often referred to as one of the oldest cities in the world, which continuously inhabited, has been always a site of urban transformation and renewal. Historical development of the city shows how societal, political and recent climatic changes, evolve together and in uence the urban form; lead to its expansion but also destruction.
Based on
Syrian Arab Re publi. Displacement January-May 2016 Data based on UNOCHA data.
Legend Population movement (between governorates)
NA >10,000
Population movement (within governorates)
9,941 - 20,000
Displacement within district
26,800 - 39,826
Movement of returnees
95476 - 125,396
IDPs
Returnees
383,669
Created by kesaryvamshi from the Noun Project
Individuals displaced in 2016
62,117
Individuals displaced in May
NEW ARRIVALS PER MONTH 169,273
34,950 6,000
2,925
21,527 2,618
76,190
82,240 28,249
900 1,300 7,501
8,465
20,000
500
600
Jan
2015
500
2,600
Dec
10,000
Feb
Mar
41,790
62,117
Apr
May
2016
DISPLACEMENT PER GOVERNORATE
300 125,396
650
95,476
16,750 39,826
Al-Qaryatayn
28,387
Aleppo
3,887
20,000
70,000 Rukban 10,000 Hadalat
Dar'a
125,005
2,000
Idleb
Rural Damascus
20,000
16,750
Deir-ez-Zor Quneitra
Homs
Background map legend
3,000
200
Dar'a
26,800
BRICS countries EU / US - “western powers” Sanctions Bulldozing The New Silk Road
Mapping Aleppo City region scale strategy for post-war Aleppo, maps based on osm GIS and Humanitarian Response Data
The conflict is staggering not only in terms of numbers - 250.000 people killed, 130.000 missing 7.6 million internally displaced, 6.130 mln refugees who left the country - but also condition of the current global social, human rights, economic, political matters. e same as rubble-ruins are an obvious re ection of the conflict, the pre-war, rich and diverse urban fabric of Aleppo epitomizes the socio-economic circumstance where nine di erent civilizations held power throughout the millennia. Space is a social product, or a complex social construction, based on values, and the social production of meanings which a ects spatial practices and perceptions. One might argue that the Syrian con ict, with all its national and transnational players is a spatial embodiment of the planetary state of emergency (Cauter, 2012). Aleppo reconsturction has a chance to be not simply a rebuilding process of a middle eastern city but a chance for careful re-evaluation of the current means which drive urban formal and informal growth, as well as their mutual relation.
Catalogue of details based on post-war rubble recycling is beeing developed. How does alteration of the construction chain modifiy the whole city? The details and new construction methods have a chance to contribute to more cost effective and efficient post-war city shaping. In the case of Aleppo and Syrian civil war it might appear naive to bring notions of ‘sustainability’ and ‘urban mining’ into discussion of post-war reconstruction. However examples from the past show us that practice of rubble reusal is not new. The rubble women, from post-war Berlin, sorting debris and bringing it to spetial Zwischenlagestellen (initial collection points to which the rubble would be taken further by heavier machinery). The presented set of details constitute an exemplary catalogue of systems which multiplied thorughout the whole city not only reuse the ‘local ressource’ but also bring back, not obvious, public domain to the city. Here, a flexible scheme of mixed reinforced concrete frame and the rammed rubble wall is proposed. The prototype is strong enough to withstand structural loads of a 6 to 7 high floor apartament block. Inner rubble core does not contribute to structural strength of the wall. Its production might be more time consuming than of a new reinforced concrete frame structure, however costs and use of concrete might be significantly reduced.
A
bove the horizon. Socially responsible behaviour is dependent on repetitive individual and collective exposure to our cultural evolution. Many museums today seem to see their visitors as the largest threat to their own collections and exhibitions. This attitude leaves museums “passive” in their performative role as cutting-edge institutions and in their relationship to the public at large. To enable the New Hungarian National Gallery and the Ludwig Museum to have the desired active role; interacting and communicating with their audience, our project is based on the following principles: The wish to unify two museums in one building while maintaining a strong individual identity for each. We are situating both institutions under a singular public roof that is always accessible. Thus the roof becomes an inherent part of the City Park as does its` elevated continuation offering great views over the whole of Budapest. Architecturally, we strive to create a museum building that offers exciting, modern and contemporary spaces that enable an art experience confidently suited to
the display of art from varying epochs and styles. We aim to create an inspirational environment for education and museum learning, where the thoughts and philosophical mindsets fundamental to any form of art creation and understanding are at the centre point. The centre point of the building symbolises the meeting point of two art institutions, the meeting of light and earth at the horizon simultaneously resolving practicalities of daylighting and embodying gravity at the meeting of the Ludwig Museum and the New National Gallery. In the heart of the building we envision a large open public space that serves both institutions. Here the visitors, local and from afar, young and old, are invited to start their journey of exploring art, in the Ludwig Museum and New National Gallery. The juxtaposition of the two institutions beneath a common fabric creates a space where tensions serve to inspire – a metaphysical reaction field between collections, and beyond the individual mind. Winning Proposal Team: Snøhetta 2015 Concept development, visualisation
THE DECK
in Tähtitorninvuoren puisto forms the starting point for the flyover towards the Guggenheim Museum and is subtly integrated in the existing network of pathways and small squares.
G
uggenheim Foundation has, since the very beginning, challenged and cultivated contemporary society by consistently being one step ahead when projecting signs of human cultural evolution into the future: “…the Guggenheim Foundation continues to forge international collaborations that take contemporary art, architecture, and design beyond the walls of the museum”, is part of the foundations mission statement. Thus, architecture is not only influencing our immediate experience, but architecture also defines spaces for unlived futures. Every visitor, artist, designer, employee or user lives the future into architectural spaces.
THE FLYOVER
+12,1m
THE ROOF +11,0m
shelters the public `Third Space` and offers views of the bay and the horizon. The moveable roof flaps for solar harvesting can be adjusted for ideal positioning towards the sun.
THE RAMP
continues the public pedestrian flow from the park and the roof down to the public `Third Space from where pedestrians can continue in the Museum or towards the seaside promenade.
+6,1m
THE THIRD SPACE
The museum suggests the creation of a transpositional art platform to clearly express the “sisu” of this institution. It suggests how the building may physically move beyond its own walls to strengthen the collaborative approach of the museum and make itself completely accessible. In addition to very functional and horizontally connected public-, staff- and exhibition areas in coherence with the program, the museum reveals a new and interstitial space created by the disconnection between skin and structure Guggenheim Helsinki Entry Team: Snøhetta 2015
creates a new urban link from the park over Laivasillankatu towards the Guggenheim Museum. On the roof the ramp is continued in a gangway parallel to the waters edge.
is a new sheltered public space for outdoor exhibitions and various urban activities. From here passers-by can have glimpses into the exhibitions through glazed atria.
THE MUSEUM LEVEL +3,1m
+1,1m
is accessed from the north via a large, slightly inclined surface. All exhibitions as well as the performance hall are grouped arround the central foyer/multi-purpose-zone.
THE PUBLIC ART SQUARE +1,1m
THE PLINTH
protects the museum and its content with its double-layer watertight structure.
DIAGRAM OF ARCHITECTURAL ELEMENTS
ALEKSANDER NOWAK
is an outdoor exhibition space that connects the public realm with the `Third Space` of the Guggenheim Museum.
Le bâtiment sera revêtu d’une matrice pixélisée de verre , caractérisée par des nuances de transparence, de translucidité et d’opacité (voir section 6 : « Façades »). De loin, cette surface produit une texture singulière qui suscite une perception homogène du bâtiment. Mais à l’image d’une mise en page ou d’un jeu typographique, au fur et à mesure que l’on s’en approche elle révèle son degré de complexité. Ainsi, la composition d’ensemble souligne l’unicité du bâtiment, tandis que les propriétés particulières de cette matrice pixélisée créent une richesse autant à l’extérieur qu’à l’intérieur du bâtiment.
architecturale, qu’en termes de fonctionnalité et d’ambiance urbaine. La façade donnant sur l’avenue et sur la Seine est ouverte, accueillante et dynamisée par l’accueil visiteurs, l’entrée de l’auditorium et l’entrée du personnel. La seconde façade, confrontée aux voies ferrées, est traitée de sorte à susciter une atmosphère urbaine plus douce. Bénéficiant d’un bon apport en lumière naturelle directe, elle est agrémentée d’aménagements paysagers plus intimes comprenant assises et espaces verts. Un café est implanté de ce côté-ci du bâtiment.
Les sous-faces voûtées du bâtiment recouvrant la place toiture , uneLe longue terrasse publique décrite précédemment constituées à partir de representingEnfin, e Monde Group issont an icon in the media world the en bridge between Monde and relie les deux volumes de bureaux. À chaque extrémité, un espace plus formes sphériques. participereputation du principe and Ce its dessin long standing ofstructurel integrity its readers. principaux The occupied bridge allows for direct élargi the offredifferent des vues, vers l’est et in vers l’ouest. De vastes zones de global du projet. Équipées deaLED, ces sous-faces voûtées and quality is measure for media houses wocontact between departments the la toiture comporteront des panneaux offrent deroldwide. larges surfaces animées. Elles symbolisent le The Le Monde Group has chosen a gen- company. Symbolically the bridge connects the two photo-voltaïques. erous, open and accessible model. In this context, parts of the city along the Avenue De France. Snøhetta shall continue to strive for an architecture providing the public with the notion of ownership, Instead of water passing under the bridge, we have Sunlight Regulated volume New public Heights created a public open space; a square plaza in two connectemphasizing intimate relationships between the pubconsideration adaptation ed halves. One half faces the street and the Seine. lic and Le Monde. It is open, inviting, and activated by a visitor center, Structurally, the site is divided in two parts. However, auditorium entrance, and staff entrance. The secwe believe it is important that Le Monde occupies ond half faces the railway. It receives more direct one building. Our approach has been one of subtrac- sunlight, has a café and more intimate landscaping tion, taking first a block filling the entire site and sub- with seating and green areas. tracting volumes to create entrance areas and public spaces. The subtracted volumes also relate to the exist- Winning Proposal ing site planning restrictions and the capacities of the Team: Snøhetta structural grid. The result is that the building becomes 2015 a bridge, literally spanning across the site, but also Concept development, visualisation, facade & script
Intersection pro Volu Volume
L
Bridge
Passage/Bridge Building
Daylight/Entrance/Cafe
Adapting volume to regulations
Regulating Height
Creating City Plaza
Projected Volumetric Fillout volume extrusion
Regulated Existing Regulation volume
Part of initial concept design facade script
LES LOTS
LES LOTS
bât B
bât A
bât B
bât A
Facade view from l’Avenue Pierre Mendès-Fran
a2 - Antonini & Darmon
Lot A9a1 -
Atelier 234
a2 - Antonini & Darmon
Lot A9a1 -
Atelier 234
7
Lot A2 Lot A2
SNØHETTA SNØHETTA
Forest as infrastructure space Post-soviet Microrayon. Riga as a shrinking city.
F
orest as infrastructure space. This 200+ year speculative strategy treats the forest - Latvia’s greatest asset, as flexible infrastructure for future.
The city of Riga is an example of a shrinking city. In this context, the project reimagines how future urban population fluctuations could be approached. Together with the shrinking population - and economy as its potential consequence - the patches of forest appear in the city, Every patch of this flexible, reconfigurative membrane should be read as a stack of various layers of value. Forest in this case becomes more than a space-filler for the emptying urban tissue. It gradually creates a new type of re-countrysized urban scenario, embodies an economical asset, raw ressource and insurance for future generations. The forest, when curated, constitutes an integral part of the city economy- when “left behind”, starts to expand on its own, overgrowing the dying city. The forest infrastructure by encasing Riga, limits the urban sprawl and compresses the moribund society.
D
anish ghettos. The project aims to tackle socio-spatial phenomenas in vulnerable neighbourhoods in Denmark, bringing as an example Vollsmose in Odense. Danish vulnerable neighbourhoods got a lot of attention and funds since government released the first ‘Ghetto List’ in 2010. The areas are generally those with high levels of unemployment, high numbers of immigrants with a non-Western background, and citizens with a low level of education. How can we adress and discuss potential set of spatial interventions restructuring and rehabilitating the stigmatized areas? The multiscalar projects aims to refurbish existing housing stock bringing additional common, third spaces for the inhabitants. Transition from vast open areas and hyper-privitized isolated units is beeing created through provision of semi-private and semi public space for common dining, sharing of knowledge and urban gardening. Second proposal adresses potential new expansion of the area providing this time new horizontal experimental urban fabric. Academic Project, KADK Copenhagen Team: Zi-Jin Wang, Aleksander Nowak 2016
L
økkeveien 99 Lighthouse. he flexible proposal consists of 10630 up to 20000m2 of office and commercial space. The form of the new building was designed in a way to respect and celebrate the historical building on the site.. We did achieve a high flexibility in terms of use of the units, together with unifying the new and the old. High emphasis on sustainability issues was a priority. Double glazed facade with automatic curtains was planned to achieve the highest daylight control. The facade, the shape and interior natural raw materials are in a strong relation to the context of the site. The designed architectural object and the space around it are meant to attract people and constitute a landmark in the city landscape.
Winning Proposal Team: Henning Larsen 2015 Concept development, visualisation, facade design, modelling
P
ark as installation was a primary concept allowing for a high degree of Cybruna Square adaptability. Various exhibition modes create permanent landscape, which strengthen by theme of water and constantly changing and evolving space for temporary initiatives. Our concept treats water as a tool for mental and physical border between the visitors and the exhibited treasures, activating and controlling the pedestrian flow within the site. It creates an unique opportunity to play and experiment with the temporary structures raised on the Cybruna Square.
Milestones
Experimental pavilion is an essential part of the the park concept. Following and learning from successful exemples like the Serpentine Gallery Pavilion in London, the new Cybruna Square project leaves to the public an unprogrammed space for spontaneous topdown and bottom-up initiatives including a zone for periodically changing, adaptable, temporary structure, giving an oppurtunity to artists, designers, engineers and architects to curate a temporary pavilion for a specific period of
time. Perfect location allows for tighening collaboration between city cuncil, Sience Centre and University. From city scale which activates perpendicural and circural connections to the boulevard, throught plot scale where influences of CNK and BUW were considered in pragmatic (time frame schedule) and mental (`adaptable experimental pavilion`) ways. Up to `little global` influences of wind, sun and noise
within the park and outside proposed design location.
The project got shortlisted in Europan 2015 competition. Team: Radek Stach
adaptibility
Our concept treats water as a tool for mental and physical border between the visitors and the exhibited treasures, activating and controlling the pedestrian flow within the site. It creates an unique opportunity to play and experiment with the temporary structures raised on the Cybruna Square.
periodically changing, adaptable, temporary structure, BUW garden giving an oppurtunity to artists, designers, engineers Cubryna park and architects to curate a temporary pavilion for a Agaton garden specific period of time. Science Centre BUW
Science Centre Roof Garden
Perfect location allows for tighening collaboration between city cuncil, Sience Centre and UniversitySwietokrzyski Bridge Discoverers park
New developments
Kazimierzowski park
CALLOUT
Kahla Square New Metro Station
A
< City centre
Boulevards squares
A
K. Beyera Park Entertainment events
Section AA
Section line diagram
E.R.Smilgy Park National Museum
Small scale city interventions allowing for `green belt` connection along whole POWISLE district for local habitants and between most attractive points (scale from gray to black) Open mode exhibition with access control by water level
Close mode exhibition with climarized space (i.e. winter conditions) or night time.
Open guided mode exhibition with access control by water level
View from entrance to BUW gardens
< North Warsaw > Old town and Castle
CALLOUT
> Krakowskie przedmiescie
Water create natural protection against direct access or vandalism in a same time create none-border accesible feeling. It is also a part of `experimantal space` where flooding the square might be a part of art installation or have purely functional purpous by pushing people towards the river bank i.e. in case of high noise behave.
Location and influence of Science Centre (rational) and library (mental) create perfect conditions for experimental pavilions curated by famous polish architects or artists.
Temporary pavilion (like Serpentine Gallery in London) might adapt not only dedicated space for pavilion but work with whole square and become attractor itself.
< South Warsaw
View from north side of boulevard
> CNK visitors > POWISLE
pavilion
< Boulevards
> Metro Station > City Centre and University
New possible non colission `event hub` connections from University, `Krakowskie Przedmiescie`, Castle and Mariensztat through parks up to river front.
Vistula Boulevards
Green connector to BUW
Exhibition stones market
Boulevards Stage Zone Temporary Experimental Pavilion Zone Auditorium and Exhibition space Open Space events zone
Pavilion program
Pavilion program
Warsaw / Milestones
Analysis of Platonic, Catalan and Archimedean polyhedra allowed for the generation of new spatial configurations. Step by step vivisection of the most basic characteristics of physical space- the ‘nature’s own coordinate system’ - allowed me to rethink commonly used XYZ space in which architects usually operate. As Buckminster Fuller declares “Nature has only one department - one comprehensive coordinate system. In short, systems automatically find comfortable arrangements, which are necessarily a result of the balance between specific forces and inherent spatial properties.” My human, naive attampt was to grasp some of these features and continue to work with them in order to achieve a set of new type of intersecting blocks, I felt very fortunate to find out, at the beginning of my carreer, that among others, “space is not squaring”; she is triangling” or pose questions such as “where is up”.
Other early works. University of Arts, Poznan Column, installation art, Law Faculty Building, Poznan 2012 Acts, coal, large format Experiments, Sweeping the floor, coal, large format Prortraits, acrylic on canvas
DRAWINGS & PAINTINGS UNIVERSITY & OWN
Aleksander Nowak +45 5024 0449 +48 603063611 nowak.aleksander3@gmail.com contact@dinnergroup.dk Thank you!