Grønne Funkishus Nordre Fasanvej 78-82 and Guldborgvej 25-27

Designed by Hans Dahlerup Berthelsen (1888-1939) and completed in 1932

 

Again, this is a relatively unusual site that is between two existing roads, with a separate block fronting onto each road and with a narrow courtyard between the two blocks. It is a wide plot - but not particularly deep - and with the main frontage of the main building set back from the pavement with front gardens - to respect the building line of earlier apartments to the south - and there is also a shorter frontage to the secondary road so the ranges are also of different lengths. They are relatively shallow blocks from front to back, with no projections to the rear, and, even so, there is only space for a narrow courtyard between the two ranges that is reached through a wide opening at the centre of the Guldborgvej block.

The buildings have load-bearing steel frames and it has been suggested that this was important because it allowed for thinner outer walls … again to keep the buildings as shallow as possible from front to back.

However, the apartments themselves are wide - unusually wide - and vary in size from 89 to 168 square metres 

There are three entrance doors across the main frontage with each door leading into a stair hall with apartments on each side - so six apartments on each floor in the main block - but there are also secondary staircases for every apartment - the second staircase out to the side rather than out to the back - again dictated by the relatively shallow plot. 

The apartments are laid out rationally and are well proportioned with the windows of the main rooms to the street rather than to the courtyard. From the main staircase there is a lobby, with a window to the courtyard, and then from there a door into a series of three good rooms along the street frontage that are interlinked by wide doorways on the central axis and the set of rooms culminates in a main bedroom. From the entrance lobby there is also a door into a small second bedroom with its window looking into the courtyard. The kitchen and bathroom are not reached from this entrance lobby but from the centre room of the three on the street side.

The two ranges have pitched roofs with clay tiles and there are no balconies - again possibly the consequence of having to build ranges with a restricted depth - but there were drying balconies in the attic on the slope towards the courtyard.

 
 

Vestersøhus

designed by Kay Fisker and C F Møller and built between 1935 and 1939

 

This building is unusual for the period in that despite being a very large housing scheme it is not built around a courtyard but has a single long range although there is a long narrow service area to the back and a short return of apartments at the north end and.

That main range faces over Sankt Jørgens Sø, and, just under 300 metres long, it occupies almost all of the west side of a long narrow block between Vester Søgade and Nyropsgade.

There were 242 apartments in the block with ten shops and, more unusual, a hotel that had 43 rooms.

The most striking feature of the front to the lake are the lines of white balconies that, from a distance, give the facade what looks almost like the texture of a woven basket. The apartments have two rooms to the front - with a large living room and a smaller room that is set back behind the balcony - so although the balcony projects it is also set half back into the building - and that allows for a corner window in the sitting room that looks out to the lake and into the balcony and makes maximum use of south-west light through the afternoon and evening.

Although the facade is strictly regular in its arrangement of doorways, window bays and balconies, in fact the apartments alternate, larger and smaller, down the length because the main staircases are not set between apartments, taking an equal amount of space from each side, but are to one side, taking up part of the space from one apartment, reducing its size. The main staircases also project slightly to the back giving a bay rhythm to the courtyard side that is otherwise rather stark and severe. 

Following the well-established plan form, there are second or back staircases for each apartment with access from the kitchens. 

There are service rooms in the raised or half basement so, although front doors are at street level, there are steps up inside the front door to the first apartments on what is a raised ground floor. This has several advantages as the basement rooms have ventilation and light from openings with their sills at pavement level but, more important, the ground-floor windows of the rooms to the front have some privacy as those sills are well above the head height of people walking along the pavement so they cannot look directly into the apartments.

Plans show rooms with grand or baby-grand pianos so clearly these apartments, with relatively large rooms and views over the lake, were a prestigious place to live.

 

Vodruffsvej

Designed by Kay Fisker (1893-1965) and C F Møller (1898-1988) and completed in 1929

 

The apartment building on Vodruffsvej was designed by Kay Fisker (1893-1965) and C F Møller (1898-1988) and was completed in 1929.

It is at the south end of the lakes on a triangular plot on the south-west corner of Sankt Jørgens Sø and the prominent but narrow and restricted site of the building - with the lake to its east and with the shortest elevation to the south - explains the importance of the balconies and the long runs of window.  

It has the typical feature of many Functional buildings - bay windows, long runs of windows, flat roof, plain undecorated exterior - but rather than being arranged around a courtyard, it has, almost literally, an A-typical plan because of the long and narrow triangular site between a road and a lake.

The plan, like a capital A, has service rooms and secondary staircases moved into the centre to place the maximum number of good rooms looking outwards. 

Broad alternating bands of yellow and red brick and the projection of window bays with the cutting back of corners creates a complex design of layers and planes that are particularly interesting at the south end where you can see that the apartments on the lake side are set up half a level from those onto the street because the lake and the lakeside path on a man-made bank or dam are at a higher level than the road.

 
 

Bjerget - the mountain dwellings in Ørestad

by PLOT and completed in 2005

 

The footprint of the building is almost square … about 80 metres east to west and about 85 metres north to south but the location is anything but straightforward. To the east is a drainage canal running down from north to south alongside the plot and beyond that, further to the east, an area of older housing, most single storey, in a patchwork of small gardens. Immediately to the west is a pedestrian and cycle route that is also in part a service road and then immediately alongside that a broad modern straight-sided drainage channel and beyond that, also running north south, a main and busy road that runs from the city centre out to the Ørestad shopping centre, just to the south, and beyond that to the new national stadium and on to Vestamager. Above the drainage canal and also running straight out to Vestamager is a raised section of the Metro, here on a series of substantial and high concrete piers. To the north is a separate plot that is about to have a building constructed on it and to the south there are slightly earlier apartment buildings - the VM Buildings also by Smedt and Ingels and completed in 2005. 

The street-scape to the west, with the raised metro line with trains passing every 5 or 6 minutes and the traffic and commercial building nearby, including the conference facilities of the Bella Centre, is perhaps the most unashamedly modern or futuristic part of the city while the housing to the east could hardly be less planned or more human in scale and the VM buildings are confidently modern and almost completely glazed with striking pointed glass balconies on one side and floor to ceiling glass for double-height apartments on the other.

Add to that the problem that the Mountain site also had to provide car parking for more than just it’s own apartments - in fact 650 parking spaces - and even decisions about which way the building faced seem complicated let alone what character the building should have. 

 
 

Amaryllis Hus

The annual Building Awards in Copenhagen were established in 1902 but it was only last year that citizens were asked to vote for a public award for one of the buildings on the list of finalists.

Last year the building selected for that first public award was Axeltorv / Axel Towers by Lundgaard & Tranberg Arkitekter.

The winner this year is interesting. From a diverse list of unusual and quite adventurous building projects around the city, the public selected an apartment with a high-rise tower out of the city, just under 5 kilometres from city hall, out to the south west beyond Vestre Kirkegård … the western cemetery.

This is Amaryllis Hus on Paradisæblevej - designed by Mangor & Nagel and part of a major redevelopment of Grønttorvet - the old wholesale vegetable market - a short walk from Ny Ellebjerg station.

It is a long single block - in terms of the foot print - but with four different heights along that length so with a tower with 15 floors at the east end against a section that has four floors then stepping up to six and then back down to 5 floors at the west end. The building is clad in brick but the impact of the tower is reduced by having a copper alloy cladding to the upper levels and the lower roofs have green houses and common open areas for residents that make the silhouette more interesting. 

To the north is a large public square with car parking below and across the south side of the building a more urban space, wedge shaped, well-paved and planted.

What makes the building so good is the restrained and subtle use of brick facing from Egernsund Tegl along with Corten used for the balconies. The brickwork is also used to reflect, at least in part, the structure underneath with raised bands of brick at each floor level and vertical raised brick 'pilasters' forming a regular system of bays across the façade that frame the panels of brick.

 
 

on the north side of the lower apartments there are window boxes rather than balconies
some windows on the tower are set back which increases the effect of shadow

There is also a clever use of the mortar joints to emphasise the different sections and to give a good texture to the brickwork while retaining a sense of consistent and restrained colour … to use an often misused phrase this is tasteful. The main framework of brickwork has pale flush pointing, while the panels below windows have dark pointing and the large panels have recessed, or sometimes called raked, pointing, giving the larger areas of brickwork a stronger texture.

Too many of these new developments take what is a fairly standard arrangement of apartments with a sensible and practical concrete substructure and then make it individual or quirky or distinct or, worse, fashionable, by pulling forward an odd brick here or there or choosing brick colours that really were not meant to go together or by scattering windows across the façade like people strew cushions across a sofa.

In their publicity, Mangor & Nagel explain that their approach is to build on the best traditions of Danish architecture and that is clear here and even more so in other recent projects where it is possible to see sensible and sensitive interpretations of roof forms or arrangements of balconies or patterns of fenestration found in good Danish houses and apartment buildings from the 1950s and 1960s.

 Mangor & Nagel

 
 

 

note:

The choice of Amaryllis Hus in a public vote is interesting for several reasons - unless of course all the current occupants simply ran a well-organised campaign of lobbying - because this area of development, which when finished will have some 2,200 new homes, is generally overshadowed in the architectural press by the more obvious and more often written about developments around the inner harbour and at Ørestad and Nordhavn.

Hopefully, the choice indicates that citizens are becoming more critical of some of the most recent housing developments and are here registering a preference for a more traditional or, at least, less severe treatment of the exterior.

Grøntorvet is alongside the suburban railway lines in an area of industrial development from the late 20th century with out-of-town DIY stores, fairly busy main roads, a football ground and suburban houses and some low, three-storey apartment, buildings. But this new development is deliberately of inner-city scale and height of development where just twenty or thirty years ago, this far out from the centre, any development would, almost certainly, have been more suburban.

Of course, this partly reflects the problem that inner city land is no longer available or is much more expensive to develop because of land costs but also the development around Ny Ellerbjerg makes sense when you understand that when the south line of the metro - that will run out to the south harbour - is completed around 2023 it will continue out and swing north up to Ny Ellerbjerg where it will terminate to form an important new transport interchange with the suburban railway system. Then, the station will be comparable to Østerport, by then a major interchange between the suburban lines and the metro at the north-east part of the city, and comparable to the interchange at Flintholm at the end of the existing metro line. Is Valby the new Amager?

 

Dorotheavej apartments by BIG

 

This new apartment building on Dorotheavej - affordable housing designed by Bjarke Ingels Group - has just been nominated for the Bygningspræmiering - the annual city architectural award.

Out to the north-west of the city centre, just over 4 kilometres from city hall, this is an interesting area just below Bispebjerg and Nordvest cemetery, with a mixture of older apartment buildings and new apartment developments but also older industrial buildings on either side of a main road and, to the west, just beyond this site, low suburban housing.

The main road, Frederiksborgvej runs north - climbing up the long slope up to Bispebjerg - and Dorotheavej is on the west side, itself rising up a slope across the hill, with the new apartment building just in from the main road and on a very wide site with a long frontage to the street that faces south.

The form of the block is a long, gentle and sinuous curve back away from the street towards the centre but hard against the pavement at each end with the area in front planted with grass and trees. There is a high and wide archway through to the back of the building at the point where that curve is furthest back from the street.

The apartments have the typical through form - typical for Copenhagen - so here with a series of seven separate entrances along the façade and each giving access to a staircase with an apartment on each side at each level those apartments are relatively narrow but deep and run through from front to back of the block.*

There are 66 apartments on five floors although at the west end, furthest from the main road, the block steps rapidly down to a single storey to form a transition to the smaller scale of buildings in the next part of the street.

The design of the street frontage has a clear and neat articulation with wood on the façade creating the impression of a regular set of large wooden boxes stacked up corner to corner with the spaces between glazed but set back to form balconies. Unlike the 8-House in Ørestad - also by Ingels - this gives vertical and horizontal lines across the front a rational coherence … my main criticism of the earlier apartment building in Ørestad is that with the underlying arrangement of apartments along, in effect, a ramp that spirals up the building, then vertical and horizontal lines get chopped up and broken … it's not by a huge amount but enough to make the façade there look and feel restless or uneasy.

 

At Dorotheavej, the back of the building has windows that look across a large open area of grass and services, including car parking and the square division of the front elevation is repeated but more simply expressed with very shallow stepping backwards and forwards of the elements making it look more like a checkerboard in shallow relief. That might sound like damning with feint praise but actually it makes the façade look honest and straightforward but still expresses the internal arrangement and internal divisions but avoids the grimly stark, cliff-like backs of most modern blocks. In too many buildings you find that money and thought has been spent on the front but both run out by the time you get to the back but here, at Dorotheavej, it is actually a pleasant and elegant elevation and the gentle curve, determined by the footprint, even more than on the front, reduces and softens the impact of what is a very large block.

This complex curve also means an interesting dilemma or an interesting challenge for the inside.

If the front looks like a set of regular boxes repeated along the building, the curves means that cross walls are set at angles and there is a huge variety of arrangements in the individual, wedge-shaped apartments. There was a prospectus on line - issued for potential tenants - and the choice of internal arrangements of the apartments was bewildering - so rather like the different plans within the VM Houses by Ingels and JDS from 2005. 

At Dortheavej there are generous ceiling heights and, as an interesting consequence of the staggered-box design, there is a difference of floor level between the main box and the recess on either side so there can be interesting steps within each apartment and several of the apartments have an internal staircase with bedrooms on a separate level. Sizes of apartment vary from 65 square metres through to 115 square metres with most having one or two bedrooms although there are studio apartments and some of the larger apartments have a small study that could be used as a third bedroom. A standard trick here is to use interlocking L- shapes for adjoining apartments reached from different staircases so both have a large room running across the full width and then one has a front-facing room and the other a back facing room with internal bathrooms in the area between.

This interlocking of L shapes is found in the plans of apartment buildings in the city from the 1920s and 1930s and the large central archway is, of course, an echo of the archway through at Hostrups Have from 1936. That's not saying that Ingels here is being derivative … he is simply showing how well he knows and how well he understands the history and the conventions of housing in the city and is playing games with successful forms and styles for the building type to come up with clever and good variations on a theme. The building would certainly more than justify that Award if they do win.

 


note:

 * this arrangement means that apartments run back the full depth of the block with windows to the front and to the back and there is no connection between one vertical set of apartments and the next except outside at street level. An alternative arrangement is to have a main entrance and then access from a central corridor or to have external galleries or long public balconies at each level with the front doors accessed from there but both alternatives usually mean a compromise with some apartments with windows on just one side of the building or, with gallery access, some compromise in privacy as people walk past to get to their own door.

 

Tingbjerg housing

Tingbjerg housing scheme was designed by the Danish teacher, writer and architect Steen Eiler Rasmussen and the landscape was designed by C Th Sørensen.

Building work started in 1956 and was completed in 1971 and by then there were 3,000 homes here with most in apartments in blocks that are three storeys high - over half basements containing service rooms - although there is also one tower block and a line of single-storey homes along the west edge of the scheme.

Tingbjerg is out to the north west of the city centre, on relatively high land, close to the moor and lakes of Utterslev, and around 7 kilometres from the city hall. It was planned as a small, self-contained town with shops, a school and a church and at one stage 10,000 people lived here although the number is now below 7,000.

There are long rows of apartments that are set in a regular grid of roads with a main peripheral road and one main cross street running east to west although most of the apartment blocks are set north to south so that they make the most of morning and evening light.

Buildings are laid out around generous squares and large open spaces with a good planting of trees that are now mature and there are a number of areas where children can play. There is also access to what is still and certainly what was in the 1950s areas of open countryside and the high elevation, or at least high for Copenhagen, means that there are views back over the city. Even today, the light seems clearer and the air fresher up here than down in the city and, back in the 1950s, that contrast must have been more marked when there was much more air pollution. Families moving here then must have been positive about being able to move out to a new home in a new suburb.

The site slopes and the rows of apartments are staggered - rather than being in long straight unbroken lines - and the topography has been exploited with terraces and short flights of steps at changes of level that again softens and breaks up the impact of building even though so many homes were built in a single phase and in what is, in essence, a single style.

Constructed in light-coloured brick with dark roofs, workmanship is of a high quality and the design of the buildings is simple but not stark so the style is clean and actually quite elegant. A distinct feature is slatted shutters that slide back from the windows on some buildings. Tingbjerg is a good example of classic Danish design at its best. This was recognised in 1959 when the first phase of the scheme received the Bygningspræmiering / Building Award for New Residential Property.

  

note:

Given the high quality of the design and the construction of the scheme, it is ironic that in the recent government report - Ét Danmark uden parallelsamfund / One Denmark without a parallel society - Tingbjerg is now designated as one of 16 ghettoes in Denmark where serious social problems have been identified and there is now funding with recommendations for intervention.

These photographs were taken in January 2019.

UN 17 village on Amager by Lendager

January 2019 - the site for the UN17 Village by Lendager Group - the view is looking north along what is called Promenade - the west boundary of Ørestad - Kalvebod Fælled is to the left

Recently, it was announced that housing on the last large plot in Ørestad Syd where building work has not started will be designed by the Lendager Group and Årstiderne Arkitekter and the engineers Arup.

At the south-west corner of Ørestad, it is perhaps the most prominent site, in this major development area in Copenhagen with the open ground of Kalvebod Fælled immediately to the west and to the south an artificial lake and then extensive views out over pastures and meadow.

Given the character of the site, it seems appropriate that this project should go to an architectural practice that is establishing its reputation around its innovative approach to sustainability. In fact, the large development of apartment buildings here is being described as a village and promoted as the first development project in the world that will address all 17 of the UN Sustainable Development Goals.

Concrete wood and glass used in the new construction will be recycled materials but also the housing will be designed to provide an opportunity for the residents to have a sustainable lifestyle.

There will be 400 new homes here in five housing blocks with courtyards and rooftop gardens. Rainwater will be collected with up to 1.5 million litres of water recycled every year.

It is planned to be a mixed development - a very mixed development - with 37 different arrangements of accommodation - called typologies - with family dwellings; co living and homes for the elderly along with communal space; a conference centre to host sustainability events; an organic restaurant and greenhouses with plans for schemes for food sharing.

When completed, there will be homes here for 800 people and 100 jobs.

Initial drawings show that the design will break away from the grim style of many of the recent and nearby apartment developments in Ørestad, replacing flat facades of dark brick with what appears to be a regular and exposed framework of pale concrete piers and beams with balconies and glass set back within that grid and although high at the north end, the blocks will step down in a series of terraces so they will be lower in height towards the lake and the open common.

UN17 Village, Lendager Group

 

drawings from Lendager Group

 

UN17 village overlooking Kalvebod Fælled

With the area of Ørestad marked by a dotted white line and the plot for housing designed by Lendager at the south-west corner marked in orange - this aerial view of Amager was produced simply to show the site and the context.

From the air - and, of course, on the ground - you can see how the proposed housing will be at a key point between the densely built housing blocks of Ørestad and the open common of Kalvebod Fælled.

It also shows the extent of Ørestad for readers who have not been to Copenhagen or do not know this part of the city although, actually, the 8 Building by Bjarke Ingels, just to the east of the Lengager plot and also looking across the common, is now a tourist attraction.

The position and the extent of Copenhagen airport on the east side of Amager is obvious but what might not be so obvious is the odd small tongue in the sea in the centre of the east or right side. That is the end (or start) of the rail and motorway bridge linking Copenhagen and Malmö. The road and rail links drop down into a tunnel between the shore and the bridge.

The road and the rail links run east west and straight through the centre of Ørestad which is why Ørestad City, with a rail and metro interchange, was planned as a major business centre.

At the centre, at the top of Amager, are the distinct lakes and 17th-century defences around Christianshavn and above that part of the historic centre of Copenhagen.

It is the first time I have produced a map of this part of the city for this blog and I realised that I have a slightly distorted view of Ørestad. Over the last five years or so I have done the trip out to this part of the city at fairly regular intervals - partly because I like having a coffee in the lakeside restaurant in the 8 Building with a view out over the common - but mainly because I want to observe and to photograph the area as it develops. A standard trip is to get the metro out to the end of the line, have a coffee and then walk back to where I live in Christianshavn exploring and taking photos.

The metro emerges from its tunnel alongside the university area at the north end of Ørestad and then curves round past the distinctive blue cube of the Danish Radio concert hall before running the full length of Ørestad on an elevated concrete track.

The image I have is of a very large or rather a very long and densely built development but flanked by the much older areas of small plots and gardens and individual houses to the east and open common land to the west and south. That much is true but somehow I had set in my mind that Ørestad was almost a sixth digit on the famous Copenhagen Finger Plan … even if that seems like a slightly perverse understanding of anatomy. But it's not a finger. The Fingers are much much larger, and much longer and much more suburban in character, so each finger is a string of housing and centres for shopping and commerce and based along the lines of the suburban railway. I'm not sure how Ørestad fits in my mind map of the city now … maybe a name tag hung from the wrist.

Nansensgade 57

 

This plot on Nansensgade - a street a few blocks out from Nørreport - has been empty since the late 1980s … simply a gap in the street frontage with a garden behind a fence.

The new building here was designed by Christensen & Co and completed last summer.

Built by the city social services, the apartments are for vulnerable young people and are used as a staging post to give them help and support before they move on to more independent lives.

It is a narrow plot, so the entrance door is set off to one side - leaving space for one shop on the ground floor and the staircase is at the back, turned to run up across the garden side. On the floors above, the apartments are arranged to follow the well-established Copenhagen form with two apartments at each level, one to the right and one to the left, with the pattern broken at the top floor where there is a ninth apartments on one side and a roof terrace to the other.

To the street the façade has a checkerboard pattern of plain copper panels that step forward boldly to give privacy to the balconies of each apartment and narrow windows in the sides give views up and down this lively street.

My career has been spent working on historic architecture and conservation but that does mean that I can't appreciate good modern architecture even if, as here in a good street of good buildings with a distinct character, it seems to break many of the conventions.

Breaking rules or breaking conventions or, as here, breaking forward of the regular line of the facades along the street, is fine if it's done knowingly. Rules and conventions should not be broken just for the sake of it but here it clearly adds a dynamic to the street frontage and the choice of material and the colour is spot on.

Christensen & Co

 

... of balconies and bays

Store Mølle Vej in Copenhagen designed by Frode Galatius and built in 1938

 
 

Extensive use of concrete and steel for the construction of buildings in the 20th century - from the late 1920s onwards - meant that the outside walls - the facades of a building - became less crucial for supporting the weight of walls and the upper structure - particularly the weight of the roof - and walls could be broken through and pierced with larger and wider openings until the outside wall can, in some buildings, disappear completely with all the weight of the building taken on piers in steel or concrete that were set within the building or with the structure depending on strong internal cross walls.

Particularly for apartment buildings this meant that wider and wider windows could be constructed, sometimes in metal, often made in a factory - even when they are in wood - and then brought to the site, so standardised and by using reinforced concrete, balconies could be cantilevered out from the facades and became larger and, in many buildings, much larger so that they become a dominant feature.

In Copenhagen this resulted in a dramatic change in the appearance of apartment buildings through the 1930s. The walls of the building were increasingly plain … so without ornate decoration around windows and without ornate cornices or features like pilasters.

With the use of wide runs of window or with windows that wrapped around the corner of a bay or even around the corner of the building itself, these become the decorative features and, repeated at regular intervals across a facade, they create a strong sense of coherence and unity in the design.

Balconies become not just larger but they take a variety of forms … some with at least one solid side wall for privacy or with screens in metal or there were full-height railings - often on the side in shade or on the side away from the better view out - and these screens were often combined with built-in troughs for plants. 

The type of balcony that is now generally recognised to be the most distinctive from this period is a balcony where part of the space was within the building - created by setting back a window - and part of the balcony projected, so was cantilevered out from the facade.

In apartment buildings in the late 19th and early 20th century only some apartments were given balconies … so perhaps those on the corner of a block or those in the centre - so the balconies are really just decorative and there to ‘articulate’ or add interest to the facade and most are too shallow to be used for anything more than a few plants and are certainly not intended to be used by the tenants for sitting outside. 

However, by the 1930s it becomes common for every apartment or at least the majority of apartments in a block to have a balcony and, in some buildings, this proliferation of small balconies dominates the design of the facade to the point where the balconies, when seen from the street, take on a the character of a pattern or texture across the whole front.

Again, that is not to suggest that the balconies are simply decorative because, unlike in apartment buildings of the late 19th century and early 20th century, balconies in the 1930s and later were seen as important private outdoor space and very important for bringing fresh air and as much light as possible into an apartment.

 

background ......

In the late 19th century and through the first two decades of the 20th century, a phenomenal number of purpose-built apartment buildings were constructed in Copenhagen to house working-class and middle-class families as more and more people moved into the city and as densely-packed and badly-built inner courtyards in the older part of the city were cleared.

These apartment buildings were often on just a single plot but they could extend across a whole city block. More expensive apartments were usually given ornate facades with decorative details taken from historic sources so vaguely renaissance motifs or gothic arches or in a style that could be Flemish or German. In contrast, massive housing schemes that were constructed for workers in the docks - apartment buildings around the Free Port north of the city or on Amager for workers on the new wharfs of Islands Brygge - could be grimly stark and more like industrial buildings in their severity but the priority was to house these workers and their families in well-built and safe if small apartments and to build those as quickly as possible … so little decoration and certainly no balconies. 

 

around 1900 .....

An apartment building from the late 19th century on Israels Plads. What appear to be balconies with stone balustrades are fake with the balustrades across blind panels below the windows.

Apartment building on Dantes Plads opposite Ny Carlsberg Glyptotek in Copenhagen. Dating from the late 19th century and with a fairly standard plan with central entrance and apartments on each side on each floor. A sort of French baroque style with mansard roof and ornate bay windows at each side that are linked by balconies rather like galleries with stone balusters for the main apartments on the second floor and with iron railings on the two floors above.

Corner of apartments at the junction of Møntegade and Christian IXs Gade … vaguely reminsicent of a French or German chateau. Good views out at an angle towards the King’s Gardens but again not a place for sitting out.

Strandgade in Christianshavn … small balconies supported on shaped corbels with awkward access with outward-opening door and as lower part of the door has a solid panel there is no additional light to the room.

 
 

Polensgade … one of the blocks for workers that were built south of Holmbladsgade around 1900. Stark and severe, most of the buildings are around long narrow courtyards. Details like doorways and the treatment of the corner of blocks differ slightly to try and give the buildings some character but marked similarities show where one builder constructed several blocks. Presumably few of these buildings were designed by architects but by the builders.

 

On wider main thoroughfares … this block is on Amagerbrogade … the fronts to the street could be given more decoration and the bowed window bays must have provided much more light in those rooms which get the sun for the second half of the day and through into the evening. Dating from around 1900 there are balconies but only for four apartments at the centre of the block on the second and third floors. Windows at intermediate levels, above the doors from the street, mark the landings of the staircases and they have projecting sills with low iron railings presumably for plants in pots though it is seems likely that they were rarely if ever used. What is important to note here is that bays or bow windows were certainly not new in the 1930s and, as here, bays were often cantilevered out so they started on the first or second floor to keep the pavement free but with the building right up to the edge of the plot.

 
 

into the 1930s .....

 

An apartment building by Thorkild Henningsen at H C Ørstedsvej and, dating from 1930-1931 the building is generally recognised as one of the earliest Functionalist designs in the city. The brickwork is plain, without decoration, and there are no architraves or cornices or plat bands. Windows are spaced carefully and regularly across the facade and the apartments have prominent, square-sided window bays with the north side blind and the windows across the front returning back down the south-facing side. 

 

Windows returning around a corner with no obvious structural support become perhaps the most common feature in designs from the 1930s.

 

The most amazing and stunning corner windows are on the apartment building by Ib Lunding at Grønningen 9 which is an L-shaped block at the north-east corner of a trapezium-shaped courtyard of several very different apartment buildings. The windows have views over the embankments of the 17th-century fortifications of Kastellet. Note that the windows run well back from the corner of the building and have thin but deeply projecting window sills that must have been intended for house plants.

 

When there are corner windows in a room, they create a very different dynamic so the diagonal view across the space becomes important and light comes directly into the room for a longer part of the day. This is the bedroom in the house in Ordrup that Arne Jacobsen designed that was built for himself and his wife in 1929.

 
 

At Vestersøhus by Kay Fisker and C F Møller, where building work was from 1935 onwards, the distinct feature is the corner window combined with a balcony with the space half into the building but with the balcony also projecting out. The window of a smaller room is set back and here the corner window of the main sitting room looks south and west across one of the city lakes and makes the most of the late afternoon and evening sun.

The ground floor apartments are smaller - loosing the space of the entrance hall - but are at least raised up above a  half basement with service rooms - half below ground level and half above - so people walking along the pavement cannot look directly into the sitting rooms.


 

Vodruffsvej, on the west side of the lakes was also by Fisker and Møller but completed in 1929. Here, long runs of window are combined with box-like balconies with a solid brick parapets. The effect is almost like some form of filing cabinet with some drawers pulled out.

Vodruffsvej

 
 

The effect of boxes sliding in and out or across a facade is particularly marked at Aboulevarde 10 where the building - next to the Bethlehem Church by Kaare Klint - is a simple block but the balconies with solid brick parapets create a very dramatic front with what appears to be a deep channel in shadow above the door from the street and the apartments on the top floor have a continuous balcony with the bay windows omitted.

The building is dated on an inscription above the door to 1939, but I have not been able to identify the architect. Any information about this apartment building would be gratefully acknowledged.

 
 

Perhaps the finest of these apartment buildings with the solid, box-like balconies with brick parapets is the large development of Hostrups Have on Falkoner Allé in Frederiksberg.

Designed by Hans Dahlerup Berthelsen and completed in 1936, some apartments have a recessed balcony with a parapet that barely projects and others have balconies that project out over the pavement with views over the gardens in the central square. The blocks continue out into adjoining streets and there are back service yards but again with interesting balconies that seem to break away or undermine the corners of the blocks and at one corner, where the apartments run into an adjoining street at an angle, there are angled windows and balconies.

Hostrups Have

 
 

At Blidah Park housing scheme, by Edvard Heiberg, Karl Larsen, Ivar Bentsen, Vagn Kaastrup and Ole Buhl, the apartments are not around a courtyard but are in a number of individual blocks with the ranges set at an angle in a park-like setting to make optimum use of light and views.

North of the centre of Copenhagen, in Gentofte, and finished in 1934, these apartments have probably the most sophisticated design from this period in the city with clever combinations of render and high-quality yellow brick and curved and square balconies. The top of the parapets are at the level of the sills of windows to give unbroken lines and, presumably, from the inside blurring the distinction between room and balcony. 

 
 

A very different form of balcony has a concrete apron cantilevered out from a building with a railing or with metal sheet or with poured concrete parapets often using corrugated shuttering. 

This example from 1937 is from an apartment building designed by Povl Baumann on Skoleholdervej … one of several very large blocks of workers’ housing across the south side of the cemetery of Bispebjerg Kirkegård in the north part of the city close to Grundtvigs Kirke.

Drawings showing the construction of these balconies (inv. nr. 12356 a-b, d-s 12356c) are in the collection of Danmarks Kunstbibliotek along with drawings of the technical details for the construction of staircases and windows in the building.

 

The effect of these long lines of balconies can be seen best at Vestersøhus above and left and at Store Mølle Vej at the top of the post. The balconies when seen from a distance become a texture - almost like a basket weave - across the facade

Vestersøhus

 

The relatively small balconies at Grønningen 9 have modesty or privacy screens on one side but they also illustrate clearly two other important features found in many of these balconies. There are relatively narrow doors for access onto the balconies and the balconies are offset away from the windows primarily so that they do not throw a shadow across the window of the apartment below.

Blidah Park housing scheme, from 1934 by Edvard Heiberg, Karl Larsen, Ivar Bentsen, Vagn Kaastrup and Ole Buhl.

 

The balconies of the Storgården housing scheme from 1935 by Povl Baumann and Knud Hansen have screens on one side and integral plant troughs but what is perhaps more interesting here is that the plan shows that the lines of balconies impose a very grand regularity to the long south-facing frontage but actually the position of windows within the rooms is not exactly compromised but is not completely rational or symmetrical within the spaces. 

 
 

Ved Volden on Torvegade in Copenhagen designed by Tyge Hvass and Henning Jørgensen was completed in 1938. Balconies on the east block have the half in half out form with small integral planters. For the large apartments at the end of the range, overlooking the outer defences of Christianshavn, both the windows and the balconies wrap around the corner of the building.

 

Frode Galatius designed a number of large apartment buildings on Amager in the 1930s. This building is on Englandsvej with ranges running back at each end to form a U shape as one half of a large courtyard development. The design is not successful as it tries to put together too many different elements with white rendered parts at the ends and at the centre of the main front and with corner windows. One better feature is towards the end of the side range towards Peder Lykkes Vej where there is a wide double-width bay and quadrant shaped balconies are set into the return angles.

 
 
 

A smaller block, Geislershus off Holmbladsgade and closer to Christianshavn is more successful in part because it is less ambitious. The block is L-shaped at a road junction and at the south-west corner of a courtyard surrounded by different buildings of different dates. The two streets do not meet at a right angle so the blocks have been staggered and balconies set into the angle. Date and architect not known so information would be gratefully acknowledged.

 

to finish with the best …..

Above is one of the bay windows and small balcony on the lake frontage of the apartments at Sortedams Dossering 101-103 and Østerbrogade 19 by Ib Lunding and completed in 1938. The balcony is angled to make the most of light and views down the lake and note how carefully and how precisely the bay windows and flanking windows are set across the front. This is almost like origami. A few lines or cuts and the facade suddenly folds in and out but with a real mathematical precision.

 

Below is Bellevue, along the coast at Klampenborg just to the north of Copenhagen, by Arne Jacobsen where building work started in 1932, With the combination of corner windows and balconies in white rendered brick this is possibly the quintessential International Modern housing from the 1930s in Denmark.

 

Torvegade in Copenhagen ... city planning from the 1930s

 

This post was inspired by a stroll over Knippelsbro - walking back to Christianshavn from the centre of the city in clear but soft late-afternoon sunlight.  

Knippelsbro is the central bridge over the harbour in Copenhagen and I have walked over the bridge dozens and dozens of times - I live just a block back from the bridge - but the sun was relatively low and lighting up the north side of Torvegade - the main street cutting south through Christianshavn from the bridge. The traffic was light so it seemed like a good opportunity to take a photograph.

It was only then that it really registered, for the first time, that here is a long line of very large apartment buildings and all dating from the 1930s.

Five large apartment blocks in a straight line - two buildings between the wide road sloping down from the bridge and the canal and then three more beyond the canal before the old outer defences of Christianshavn and the causeway to Amager. Five large city blocks over a distance of well over 400 metres and cutting straight through the centre of the planned town laid out by Christian IV in the early 17th century.

Clearly, this is city planning from the 1930s on a massive scale and not something I had seen written about in any of the usual guide books or architectural histories.

the map of Copenhagen and Amager above dates from the late 17th century and the detail of a map to the right shows Børsen - the stock exchange built in the early 17th century - top left, and the bridge and the north part of Christianshavn in the middle of the 18th century

background

The general history of Christianshavn is well known and has been extensively written about but a brief summary here is necessary to put this work from the 1930s in context. 

In the late 16th century Copenhagen was tightly enclosed by defences with an east gate and a west gate only about a 1,000 metres apart and from the north gate to the wharves and jetties along the sea shore - on the line of what is now Gammel Strand - was only about 700 metres - so it was a small city densely packed with houses and commercial buildings around squares and relatively narrow streets. 

Just off the shore, about 100 metres from the wharves, was the old castle of the Bishops, by then royal property, and further out, almost 2 kilometres away was the large low-lying island of Amager that was then salt flats and agricultural land with farms and several small settlements. 

In the decades around 1600, Christian IV instigated the construction of a massive new harbour with a line of defences in a great arc curving out into the channel between the city and the island of Amager with naval ship yards and protected moorings for the navy to the east and, to the west, within the defences and opposite the existing city, a new planned town that is still at the core of Christianshavn.

There was just one main bridge over the harbour, between Christian’s new Bourse and the new town, roughly in the position of the modern Knipplesbro although the exact alignment of the bridge has been changed slightly each time it has been rebuilt.

Work on the present bridge began in 1934 with the construction first of a temporary bridge - so that the old bridge could be demolished but traffic could still continue to cross to Christianshavn - and then, over about three years, a large and distinctive new bridge, with two copper-clad towers, was built. Work on the bridge was completed by 1937, although the bridge was not officially inaugurated until 1947, but it should be seen as part of a major plan by the city for a redevelopment of Christianshavn that included the rebuilding of Torvegade.

rebuilding in the historic city ....

In Copenhagen, as in most historic cities in Europe, extensive rebuilding or redevelopment over more than a city block was difficult or at least restricted because of the complicated and fragmented ownership of land. In Europe in the past there have been exceptions to a general rule of piecemeal redevelopment in major cities and towns - the rebuilding of Paris under Haussmann in the middle of the 19th century being the example most often cited - but generally, even if there is a disaster such as a major fire or destruction in war, land was still divided up between various owners. 

New developments, on any large scale, are easier on new land or land with few buildings and this is particularly obvious when it was part of an expansion outwards of a city as a response to a marked increase in the population. For Copenhagen the obvious examples of such expansion over relatively open ground includes first the new area to the east of the old city, including the royal palace and the Marble Church, that was laid out in the 18th century; then massive new work on the line of the old defensive embankments in the 1870s that transformed the city after the defences were dismantled - so the streets and squares beyond Nørreport and the buildings above and below the City Hall around 1900 - and of course the expansion of the city out into new areas of Nørrebro and Vesterbro and to the south on Amager itself including the apartments of Islands Brygge, south of Christianshavn, on land claimed from the sea in the late 19th and early 20th century.  

Before 1900 there were some extensive changes to the street scape within the old part of the city itself so, for instance, Højbro Plads was opened up to form a new public square close to the castle when old houses were lost in the Great Fire of 1795 and not rebuilt. A much larger public square was created when the late medieval town hall was demolished and a new town hall built in 1805 on the west side of Ny Torv or New Square - rather than in the centre. Large new buildings were constructed for the University around the cathedral, including a large new library completed in the 1860s, that must have been on the site of older houses and there was the creation of new streets and very large new buildings - over the site of notorious slums that were then a red-light district - in the area to the south of the King’s Garden around Gammel Mont when Christian IX’s Gade was cut through as a wide new road in 1906. But none of these developments stand out now as intrusive or even as obviously disruptive of the historic street pattern unless you study historic maps.

Of course, from the late 1940s onwards we have become increasingly desensitised to the scale of inner city ‘regeneration’ in many European cities - so, for instance, with the massive commercial buildings and wide new inner-city roads that were cut through east of the main railway station in the centre of Stockholm - but generally, in the historic centre of Copenhagen, in the area within the line of the old defences and in the 18th-century part of the city around the royal palace, rebuilding has been limited to single plots or at most a block. The only obvious large-scale modern redevelopment in the historic centre is the area of well-known slum clearance around Borgergade that was undertaken immediately after the war for the construction of the Dronningens housing scheme designed by Kay Fisker and C F Møller and Sven Eske Kristensen that was completed in 1958.

However, in terms of scale, and because of the number of historic buildings that were demolished, the redevelopment of Torvegade in the 1930s had a considerable impact over a large area.

 

the photograph above was taken at the north end of Torvegade before the bridge was rebuilt and is looking towards the harbour - the ornate gable seen in the distance beyond the trams is an apartment building from about 1900 that is on the far side of the harbour and survives at the south end of Børsen

to the right, the photograph shows Torvegade from the new bridge looking south with the first of the new apartment buildings at the centre ... the historic buildings on either side of the road down from the bridge were subsequently demolished and are now the sites of large modern post-war office buildings shown in green on the map below

a map from the middle of the 18th century shows Torvegade running north south down the centre of Christianshavn but at that stage the bridge over the harbour was not on the line of Torvegade but one block to the east. The open space at the centre of Torvegade was the market that gave the street its name.

 

Around the south end of the old bridge thirty five or possibly more old brick or timber-framed house were demolished and between there and the canal thirty six historic building were demolished. Beyond the canal a prison, the “women’s house of correction” was flattened - now the block where the building with Christianshavn library stands - and beyond, between the square and the outer defences, another 40 or more old buildings were demolished including, close to the defences, some striking timber-framed buildings with galleried courtyards. In fact the whole of the street line on that north side of Torvegade, and including the old guardhouse itself from the south gate to the city, were moved back 14 metres to create a much wider and much grander approach to the city from the south.

There is perhaps one key to the reasons for the scale of this redevelopment - above and beyond of course a general aim to provide more housing - and that was to provide a better approach into the city from its new airport. It is not quite so obvious now, because most people arriving in Copenhagen at the airport come into the city on the metro or by train, but actually in the 1930s Torvegade was the main and the direct road out to and back from the city airport less than 6 kilometres south of Christianshavn and the new airport terminal, set back on the east side of the road and designed by Vilhelm Lautizen, was completed in 1939.

So, if Torvegade and Amagerbrogade, its continuation south, was the route from the new airport terminal, that included a wide modern new bridge to take visitors right into the centre of the capitol at Børsen and the parliament buildings?

If so, then it would appear that the extensive renewal of Torvegade was conceived, in part, to mark or establish the sense of a modern capital city … the appeal of progress … to move Copenhagen forward into a new modern age.

If that sounds like fanciful conjecture there are two drawings in the collection of architectural drawings of Danmarks Kunstbibliotek by Frode Galatius that are dated April 1938 and show the street frontage of a new apartment block that was about to be built just to the south of the defences on the east side of Amagerbrogade … the continuation of Torvegade towards the airport. The first (a perspektiv af facaden mod Amagerbrogade, 1938) shows two smart young women talking on the pavement opposite the new block, both wearing fashionable and elegant suits, one with a fur draped across her shoulders and the other with a small dog on a lead. On the other side of the street is the end of the new block with a smart store across the ground floor and balconies to the five storeys of apartments above and there is a swish open-topped sports car heading out towards the airport and above, to emphasise the point, a plane that has clearly just taken off from the airport. The second view (b persptiv fra krydset Amagerbrogade/Amager Boulevard, 1938) is looking north towards Torvegade and the city, and shows a smart yellow, stream-lined tram heading out towards the airport, cars heading in and out and again a aeroplane ... here heading down to land at Kastrup.

 

 

an earlier bridge looking from Christianshavn towards the city. The buildings to the right survive but the buildings seen here beyond the bridge to the left were demolished in the middle of the 20th century and this is now the site of the national bank designed by Arne Jacobsen. Clearly one practical reason for building a new bridge was to take the causeway higher so more ships could pass between the north and south parts of the inner harbour without having to raise the bridge and hold up the road traffic

 

Knippelsbro - the bridge

Knippelsbro is at the centre of the harbour and a bridge here - or one of the earlier bridges on this site - was the main way to cross from the old city to Christianshavn. Originally it was known as Store Amager Bro (or Great Amager Bridge) and then Langebro or Long Bridge and from about 1700 as Christianshavns Bro (Christianshavn's Bridge)

The more popular name comes from one Hans Knip who was the bridge keeper in the middle of the 17th century. From the start the bridge had to be raised to let tall ships through - so presumably Knip collected tolls. His house was known as Knippenshus and, later in the 17th century, the bridge became known as Knippensbro.

Completed in 1937, the present bridge was designed by Kaj Gottlob and built by Wright, Thomsen & Kier with Burmeister & Wain whose engine works were just to the west of the bridge and whose ship yards were to the east at Refshaleøen. 

The copper-clad towers and the long wide arc of the central section, that can be raised to let tall ships through, are a dominant and now, perhaps, the iconic feature of the inner harbour. Is it a step too far to imagine the citizens of Copenhagen dashing over the bridge in cars and on trams on their way out to the new airport as one potent symbol of a new modern age in the 30s? And, of course, the apartments as a fashionable place to live?

 

Knippelsbro from the Christianshavn side. The apartment building dating from c..1900 is at the south end of the 17th-century Bourse and can be seen in the historic photo above that shows the historic buildings that were demolished when the new bridge was constructed


 
 

1 Bartholomæusgården

The first apartment building at the south end of the bridge is Bartholomæusgården, designed by the architects Arthur Wittmaack (1878-1965) and Vilhelm Hvalsøe (1883-1958) and completed in 1933. The main front is to Torvegade but the building returns down Strandgade on the city side and down the first part of Wildersgade to the south. The roof returns down the Strandgade front as a form of hip that is important because it gives the side facade the sense of being rather like a pavilion because, with the building line between the harbour and Strandgade set back, the apartment building itself does close and narrow the view line on the approach to Torvegade.  

Although all the apartment buildings down Torvegade have ridged and tiled rather than flat roofs, the slope of the roof of Bartholomæusgården flattens or flares out towards the eaves reducing its impact and dominance and, in fact, the view of the the buildings in line manages to suppress the visual impact of those roofs so that the initial impression is of large, square, flat-roofed blocks.

The main front of Bartholomæusgården has narrow, square bay windows but, as with many buildings in the city, both earlier and later, the bays only start at second-floor level so they are cantilevered out over the street. In part that keeps the pavement free but also the bays are high enough so they do not impede passing traffic if it cuts in too close to the pavement.  

The bays have continuous glazing to the front and sides - a variation of the wrap-around window of the period - and were only possible with good engineering - and presumably with good steel - supporting the weight of the windows and walls above. The building does not have projecting balconies but there are what are sometimes called Juliet balconies with full-length windows or French windows that open inwards and the lower part with balustrades flush to the wall line.

All the ground floor is commercial space so, from the start, Torvegade was seen as a major shopping street as well as a main route through the area. 'Torvegade' in English is Market Street.

 

 
 

2nd apartment building

Designed by Bent Helweg-Møller (1883-1956) the second apartment building was completed in 1933. The three facades - the street fronts of the block - are different, and in many ways this is the least successful or rather the least coherent design of the five buildings along Torvegade although Møller was a prolific and successful architect whose works include the Berlingske print works in the city ... an iconic building of the 1930s. 

Towards Wildersgade the facade of this apartment building is stark, almost severe and the angled corner is interesting but ultimately weakens the design of the block as a whole. Again it is a feature found in many buildings in the city as a way to transition from one street frontage round the corner to the next street and can form an interesting opening out of a cross roads when all four buildings do it but here, as the only building that uses the device, it simply undermines the solidity of the block.

To Torvegade there are balconies but only to four central columns of windows leaving the outer sections again looking rather stark.

 

The most complicated design is for the return facade down the canal where there were larger and more expensive apartments. Here the wide end bays are set back but with wide balconies, the full width of the building bay, coming out to the facade line and these bays of the building extend up to form what appear to be almost flanking corner turrets and at the sixth floor or roof level there is a large canopy cantilevered out over a roof terrace. 

The windows to the centre, eight to each floor level, are again severe, without architraves and with the window frames set forward on the facade line taking out all shadow, and the windows are not regularly spaced so, overall, the front to the canal has a sort of grandeur but is visually rather restless and the design unresolved.

Again there are shops or commercial properties at street level but also offices across the first floor. The commercial space at the corner, with its doorway facing the canal, is now a cafe but it was a savings bank and has amazing bronze outer doors. These are on pivots rather than hinges and swing back during the day to form an entrance porch. There appear to be no lock plates or handles so presumably, as added security, they can only be unlocked and opened from the inside. The message from the large central medallion, formed when the doors are closed, seems to be that the good Copenhagen girl, with her sensible clogs, is not impressed by the sailor with his bag of money so he should put his cash into the savings bank to win her over!

 

As with Bartholomæusgården, all the old buildings along Torvegade were demolished along with the first buildings back down the side streets. Fewer houses along Wildersgade were demolished than along the canal frontage so the building is irregular and has a rather tight courtyard and there seems to be no attempt to create any symmetry or consistency in the arrangement of the plans of the apartments … a feature of planning that was becoming more and more common so here any symmetry is external rather than in terms of the internal arrangement.

On Wildersgade, running back from Torvegade, both this building and Bartholomæusgården to the north have facades that are set back further than the street line of the historic buildings further into the block so this would suggest that planners were considering a much more extensive clearing of historic buildings behind Torvegade for wider streets running back into Christianshavn.

looking down Wildersgade from Torvegade ... the setting back of the street line of the apartment buildings on either side would suggest that the plan was to demolish more of the historic buildings further back and lay out wider streets through Christianshavn

 

 
 

3 Lagkagehuset

This is the most striking and the most well-known of the five apartment buildings - in part because it is now seen by so many people arriving in the area on the metro as the Christianshavn station is in the square in front of the building. The library for the kommune is here on the first floor overlooking the square and there is a popular bakery at the canal corner although the company takes it's name from the nickname for the building rather than the building taking it's name from the bakers.

The apartment building has prominent bands of white at the level of the windows and wide continuous bands of yellow plaster below the windows so the building, quite soon after it was finished, became known as the the layer cake house or Lagkagehuset. When Ole Kristoffersen and Steen Skallebæk opened their bakery here in 2008 it must have been an obvious name for their new company.

 

the north side of the prison towards the canal

 

There had been a large prison or house of correction for women on this site that had been rebuilt several times with the last building around two separate courtyards. The whole block was cleared in the 1930s and this is the only building of the five apartment buildings along Torvegade that is a complete square around a large courtyard with four good facades.  

Architectural details are good with interesting lettering and with the use of high-quality materials with marble facing around the ground level and good brass doors and architectural fittings.

The architect was Edvard Johan Thomsen (1884-1980) who had graduated from the School of Architecture in 1914 and was secretary of the Free Association of Architects and became a professor of architecture in 1920.

 

 
 

4 Salvatorgården

Salvatorgården was designed by Arthur Wittmaack (1878-1965) and Vilhelm Hvalsoe (1883-1958) and is built around three sides of a courtyard with fronts to Prinsessegade, Torvegade and Dronningensgade.

On the street frontage there are projecting square bays for the apartments on the second floor and higher but here with windows only to the front and to the south side of the bays and there are distinctive windows at and wrapping around the corners of the block.

One distinctive and more unusual feature of the building is that the first floor towards Torvegade has a continuous balcony that forms a canopy over the shop fronts on the ground floor.

 

this photograph from the 1930s shows Lagkagehuset and the two blocks to the north as constructed but here the historic buildings along Torvegade have only just been demolished and it shows clearly just how narrow the street was and just how close the tram tracks were and how much of the width of the street they took up. Presumably one important reason for making the street so much wider was so that the tram tracks could be moved to the centre so that when the trams stopped for passengers to get on and off, other traffic could continue to move between the trams and the pavement

 
 

5 Ved Volden

Ved Volden - just inside the ramparts and the water of the defences - is the largest and perhaps the most problematic site of the five along the north side of Torvegade with an irregular shape defined on the south by the angle of the substantial and historically important defensive bank. Several arrangements of enclosed courtyard were proposed including one with a zig zag line of blocks following the angle of the embankment. 

The architects were Tyge Hvass (1885-1963) and Henning Jørgensen (1883-1973).

One drawing by Hvassin in the collection of Danmarks Kunstbibliotek - 15229 a-ah - shows a block set across the courtyard - running straight back from Torvegade - but the blocks in that proposal have penthouses with flat roofs for a sixth floor with the apartments at that level set back behind a railing to form a continuous balcony for a remarkably modern look. It would suggest that architects saw the redevelopment of Torvegade as an opportunity to be innovative - where they could try out new ideas on large and prominent buildings. 

In the design as built, there is a large L-shaped block with shops at street level along Torvegade and five storeys of apartments above that returns along Princessegade with a long separate detached block on the third side of a large courtyard that is open on the south side towards the defences. Both buildings have simple but prominent pitched roofs.  

The housing scheme was completed in 1938 and now has 177 apartments.

One notable feature is that each entrance lobby is decorated with a mural painted by the American-Danish artist Elsa Thoresen with her husband Vilhelm Bjerke Petersen in 1939.

the historic photographs of Torvegade from the south show the narrow road before the redevelopment of the 1930s. the buildings on the left survive. The building line on the right and the 17th-century guardhouse that was originally just inside the south gate of the city were moved back by 14 metres.

The building immediately beyond the guard house may look from the street front as if it dates from the 19th century but in fact the courtyard behind had amazing open galleries in timber that were surveyed and drawn just before they were demolished


 

the square at the centre of Torvegade looking south from the canal ... the prison that was on the site of what is now Lagkagehuset with the local library is on the left side of the view and the apartment building on the right was demolished when Torvegården was built

 
 

6 Torvegården

There is a sixth apartment building that should be considered as a part of this Torvegade re-development in the 1930s although it is on the other side of the road, on the opposite side of the square to Lagkagehuset, with fronts to the square and to the canal, and it is just slightly later so was the last of the apartment buildings to be constructed. 

Torvegården was designed by Viggo S Jørgensen (1902-1981) and Sven Gunnar Høyrup (1897-1977) and was completed in 1940 or 1941. Høyrup was a pupil of Edvard Thomsen so may also have worked on the designs for Lagkagehuset.

There have been extensive alterations to Torvegården as originally it included an 800 seat cinema - the Atlantic Bio Cinema that opened in February 1941. The cinema closed in September 1976 and that space is now a large supermarket although at one point there was a proposal to restore the projection rooms and open a new cinema in what had been the first-floor gallery.

With a large cantilevered canopy towards the square; a clock set into the corner with square faces; the balconies and the white plastered facades, and with the style of the interior of the cinema, the building came perilously close to slipping from Functionalism into Art Deco.

 

the original front towards the square - with the canal and the metro station to the right

the ground floor of the cinema and commercial space at the canal corner of the building are now a single large supermarket

 
 

 note:
Jørgensen designed an important housing scheme at Sundparken on Amager that was completed in 1940.

general introduction to apartment buildings in Copenhagen from the 1930s

 
 

Functionalism - apartment buildings in Copenhagen in the 1930s

Grønne Funkishus Nordre Fasanvej 78-82

 

In Copenhagen, there is a clear change from the apartments buildings that were constructed in the late 19th century and early 20th century and the apartment buildings from the 1920s and 1930s. 

In the 19th century each building was different from the next, often with relatively ornate doorways, carvings and complex mouldings for the street frontage and inside the arrangement of the apartments was often dictated by a narrow plot with existing buildings on either side that determined where and how windows to the back could be arranged. Even within a building, there were often differences between one floor and the next in both ceiling heights and in the quality of fittings. 

By the 1920s, plans of individual apartments became simpler and they were generally more compact and certainly more rational in their arrangement of the rooms and staircases. Because many of these new buildings were on new sites outside the old city, or if they were within the city a whole block could be cleared of old buildings, so there is generally a greater sense of uniformity within larger and larger buildings. 

In part, this was because, in this period immediately after the First World War, there was a severe housing shortage and, to a considerable extent, the functionalism and the adoption of new building techniques was driven by a need to build as many apartments as possible and as quickly as possible.

Externally ornate decoration, such as pilasters or pediments or heavy stone or plaster window surrounds were omitted completely and the design, or rather, the articulation of the facade, depended on windows or balconies repeated regularly across the full width of the front. 

By 1930 there might be some apartments with one bedroom and some with two and occasionally some apartments with three or more bedrooms - even within a single building - but usually fittings in every apartment and the style and arrangement of common areas within one building were the same. 

Perhaps the most obvious change, between the buildings of the 1930s and developments constructed now is that, in apartments then, kitchens were relatively narrow and usually were to the rear of an apartment whereas now, in many modern apartments, the kitchen area is within the main sitting room or is even open to the sitting room or a sitting room, dining area and kitchen are a single open space. 

In the last decade or so, some architects have tried to re-introduce more diversity in planning, to create more individual apartments within the same building - the most extreme example being the VM building by Plot where there are 40 different plans for apartments in the V building and 36 different plans in the M building - and there has been a return to having more prestigious apartments (so more expensive apartments) on one level. In the 19th century the best apartments were usually on the first or second floor - above the noise of the street but not up too many stairs. In the 1930s, if apartments were different in any way, it was probably only on the ground floor where they could be smaller as some of the area was taken up by the entrance lobby and lobbies and doorways to the courtyard. Now, of course, the best apartments are usually on the top floor if the building has a penthouse.

Changes in the way that people lived, at different social levels, can be seen clearly in the changes between 1870 and 1920. Of course there have been changes between 1920 and 2017 but many of those changes are architectural so structural or technical and to do with new materials but with little effect on the plan of the apartments or the changes are perhaps better described as improvements … so faster lifts, triple glazing, micro-wave ovens, dish washers and underfloor heating that all make life easier or more comfortable but do not in themselves actually indicate radical changes in the way people live … simply rising levels of prosperity. 

Equally, major changes in people’s lives, so the ever increasing number of people living alone or the number of men staying at home to bring up children or even the rise and rise of computer technology in the home that would hardly be comprehensible to someone living in Copenhagen in 1930 have barely required any changes to the apartments people live in or the furniture they need and buy today.

Really, this is a long way of saying that we tend to see ourselves as living a very modern life - specifically a contemporary life by definition - but if people look for a starting point - a point of change in the way that most of us live - then the first truly modern housing and modern furniture - although many Danes would see the Classic period of modern design in the 1960s as the crucial point of change, in fact, the real context for what we call modern housing and for what we would recognise as modern design is back in the 1920s.

Through the late 1920s and the 1930s it was the technical methods of construction and the style of the buildings and, of course, some of the architectural features that changed. So there was the more and more frequent use of concrete for floor structures so, in many buildings, the outer walls were no longer load bearing. As a consequence, a distinct feature of this period is long horizontal runs of windows because long windows, with few or no intermediate vertical supports, are only possible when the outer wall is no longer important in taking the weight of the building above. By the 30s, many buildings have square bay windows for the living room or large balconies off the main living space - again partly to do with style or fashion but, for more rational reasons, again it was a fashion that was only possible because of those changes in the way that the building was constructed.

By 1930, decorative elements had been reduced or even omitted so there was relatively little or no decoration on either the exterior of apartment buildings or inside - so plain doors and simple door architraves became common - so that is doors and architraves without ornate mouldings. Most fittings were industrially produced so apartments had factory-made window frames that were often metal rather than wood and iron radiators and fittings in the kitchen that had been made away from the site. So this period also marked a clear change in the way that builders and artisans were employed with less on-site skilled labour. Carpenters were needed for the construction of the roof and floors, if they were not concrete, and of course brick layers had to work on the site but there were fewer joiners and, because ceilings were plain, there was no longer a need for highly-skilled plasterers who could run a moulded cornice or form decorative feature.

Staircases in the 30s were generally plain or restrained - so no great sweeps or curves of moulded handrails with shaped or turned balusters - but actually some architects did use quite expensive new materials like bakelite or chrome or brass - and the staircases often provided an opportunity to show off new engineering skills with cantilevered flights or thinly elegant landings and large walls of window that in some buildings rise up through several levels. 

The standard arrangement in most apartment buildings was to have a main staircase reached by a lobby from the street with just two apartments at each level - one each side of each landing - but with secondary or back staircases that were usually reached by a door in the kitchen and gave access to the basement if there were service rooms like washing or drying rooms there and access to the courtyard for rubbish and so on.   

In Copenhagen, the plan of the apartments - the way that rooms and staircases were arranged - developed through the first decades of the 20th century. 

By the 1920s, there was usually one sitting room, a small kitchen and one or two bedrooms, in part depending on the size of the apartment, but even in Copenhagen now, many surprisingly-large apartments have just one bedroom.

In some buildings a distinct feature found in some apartments was to have wide door openings with double doors between the living room and the main bedroom, with the doorway in the centre of the wall rather than in the corner of the room. If there was a second bedroom it was smaller and often alongside the kitchen which meant that the way the rooms could be arranged was flexible. 

Some contemporary plans show furniture so that it is obvious that in one flat the room adjoining the main sitting room was used as an extension of the living space but in another apartment, with the same overall plan and even though the two rooms were linked by wide double doors, the room was used as the main bedroom.

By the late 1920s perhaps the most important change was that many if not most apartments had a small private toilet or bathroom within the apartment - although some toilets had internal windows onto a staircase for ventilation. Earlier apartment buildings, particularly for working families, might have had toilets on stair landings that were shared between two families or more or the toilets were down in the courtyard and all families used a nearby public bath house.

 


The following apartment buildings are not necessarily the best or even the most typical from the period but they illustrate interesting points and two - the Grønne Funkishus apartments and Hostrup Have - are important buildings that are out from the centre of Copenhagen so, for visitors not familiar with the city, they are less known and less likely to be just discovered on walking around.

 

 
 

Vodruffsvej 

The apartment building on Vodruffsvej was designed by Kay Fisker (1893-1965) and C F Møller (1898-1988) and was completed in 1929. It is at the south end of the lakes on a triangular plot on the south-west corner of Sankt Jørgens Sø and the narrow and restricted site of the building, with the lake to its east and with the shortest elevation to the south, explains the importance of the balconies and the long runs of window. 

It has the typical feature of many Functional buildings - bay windows, long runs of windows, flat roof, plain undecorated exterior - but rather than being arranged around a courtyard, it has, almost literally, an A-typical plan because of the long and narrow triangular site between a road and a lake.

The plan, like a capital A, has service rooms and secondary staircases moved into the centre to place the maximum number of good rooms looking outwards. 

Broad alternating bands of yellow and red brick and the projection of window bays with the cutting back of corners creates a complex design of layers and planes that are particularly interesting at the south end where you can see that the apartments on the lake side are set up half a level from those onto the street because the lake and the lakeside path on a man-made bank or dam are at a higher level than the road.


 
 

Grønne Funkishus Nordre Fasanvej 78-82 and Guldborgvej 25-27 

Designed by Hans Dahlerup Berthelsen (1888-1939) and completed in 1932

Again, this is a relatively unusual site that is between two existing roads, with a separate block fronting onto each road and with a narrow courtyard between the two blocks. It is a wide plot - but not particularly deep - and with the main frontage of the main building set back from the pavement with front gardens - to respect the building line of earlier apartments to the south - and there is also a shorter frontage to the secondary road so the ranges are also of different lengths. They are relatively shallow blocks from front to back, with no projections to the rear, and, even so, there is only space for a narrow courtyard between the two ranges that is reached through a wide opening at the centre of the Guldborgvej block.

The buildings have load-bearing steel frames and it has been suggested that this was important because it allowed for thinner outer walls … again to keep the buildings as shallow as possible from front to back.

However, the apartments themselves are wide - unusually wide - and vary in size from 89 to 168 square metres 

There are three entrance doors across the main frontage with each door leading into a stair hall with apartments on each side - so six apartments on each floor in the main block - but there are also secondary staircases for every apartment - the second staircase out to the side rather than out to the back - again dictated by the relatively shallow plot. 

The apartments are rationally laid out and well proportioned with the windows of the main rooms to the street rather than to the courtyard. From the main staircase there is a lobby, with a window to the courtyard, and then from there a door into a series of three good rooms along the street frontage that are interlinked by wide doorways on the central axis and the set of rooms culminates in a main bedroom. From the entrance lobby there is also a door into a small second bedroom with its window looking into the courtyard. The kitchen and bathroom are not reached from this entrance lobby but from the centre room of the three on the street side.

The two ranges have pitched roofs with clay tiles and there are no balconies - again possibly the consequence of having to build ranges with a restricted depth - but there were drying balconies in the attic on the slope towards the courtyard.

Nordre Fasanvej 78-82

the parallel building - Guldborgvej 25-27 

the courtyard with the windows for the service or second stairs at intermediate levels 


 

 

Hostrups Have, Falkoner Allé  

This very large housing scheme in red brick was designed by Hans Dahlerup Berthelsen and completed in 1936. There were 680 apartments, that vary in size from 60 to 205 square metres, and also 30 commercial leases for shops and businesses ... so extensive that it should perhaps be seen as town planning. 

It was on the site of Rubens Clothing Factory that had been established here in 1857 but was closed and demolished in 1927. One large factory chimney was retained, for the heating system of the new apartments, but that too has now gone, demolished in 2013.

A ceremony was held in 1935 for laying a foundation stone of the buildings and that ceremony was attended by the prime minister Thorvald Stauning and Marius Godskesen, mayor of the city. The builder was Harald Simonsen.

looking through the arch to the square from Rolighedsvej

 

from above the apartment buildings of Hostrups Have could not be easier to pick out ... they are the buildings with red clay-tile roofs. Air view from Google

the square from the south

Large housing schemes at this time might take up a whole block or one side of a block with a large internal courtyard but the apartments of Hostrup Have reverse this with the main blocks looking inwards into a large public square with gardens with a service or access road round the square between the apartments and the garden. The square is 70 metres across from east to west and 150 metres long from north to south. There is a main entrance range, across the north side of the gardens, that also has an important front to Roliighedsvej that is 125 metres long and there is a wide opening through the building at the centre of this north range to connect the street with the square.

At the centre of the west side of the square, there are additional apartments on both sides of a relatively short street running out to Falkoner Allé, one of the main streets in this area, the south range shorter, continuing for about half the length of the street but the north range for the full length of the street of 70 metres and with apartments in a range returning along Falkoner Allé.

There is a second street out of the square at the south-east corner that is 115 metres long with ranges of apartments on each side running down to Sankt Nikolay Vej and again those apartments return with frontages to Sankt Nikolaj Vej, and that to the east longer, continuing to an angled corner and a short block returning north along the side street to the east of the square called Dr Abildgaards Allé.

There are service yards to the south west and north west and a very long service yard across the east side of the long east range.

Hostrup Have seems to inspire considerable loyalty among residents as people advertise to move within the scheme, to move to a larger or smaller apartment, but want to stay within the square. Over the years there have been famous residents including actors, authors, and the designer Børge Mogensen.

 
 

inscription above the way through from the square to Rolighedsvej and the clock on the parapet above the inscription

 

the south-east corner of the square with the road leading down to Sankt Nikolaj Vej

 

Sankt Nikolaj Vej (above) with the apartment buildings on either side of the road leading up to the square and (below) the range set at an angle at the corner of Sankt Nikolaj Vej and Dr Abildgaards Allé

 

the north-east corner of the square with the passageway through to the east service yard. Note the two different forms of balcony and the change of angle at the corner as Rolighedsvej to the north and Dr Abildgaards Allé do not meet at a right angle

 

views of the west service yard (above) and the staircase at the south end of the east service yard (below)

 

staircase at the north end of the east service yard


 
 

Vestersøhus 

Built between 1935 and 1939, the Vestersøhus apartments were also designed by Kay Fisker and C F Møller. This building is also unusual for the period in that despite being a very large housing scheme it is not built around a courtyard but has a single long range although there is a short return of apartments at the north end and a long narrow service area to the back. That main range faces onto Sankt Jørgens Sø, and is just under 300 metres long and occupies almost all of the west side of a long narrow block between Vester Søgade and Nyropsgade.

There were 242 apartments in the block with ten shops and, more unusual, a hotel that had 43 rooms.

The most striking feature of the front to the lake are the lines of white balconies that, from a distance, give the facade what looks almost like the texture of a woven basket. The apartments have two rooms to the front - with a large living room and a smaller room that is set back behind the balcony - so although the balcony projects it is also set half back into the building - and that allows for a corner window in the sitting room that looks out to the lake and into the balcony and makes maximum use of south-west light through the afternoon and evening.

Vestersøhus from the west - from the far side of the lake

 

Although the facade is strictly regular in its arrangement of doorways, window bays and balconies, in fact the apartments alternate, larger and smaller, down the length because the main staircases are not set between apartments, taking an equal amount of space from each side, but are to one side, taking up part of the space from one apartment, reducing its size. The main staircases also project slightly to the back giving a bay rhythm to the courtyard side that is otherwise rather stark and severe. 

Following the well-established plan form, there are second or back staircases for each apartment with access from the kitchens. 

There are service rooms in the raised or half basement so, although front doors are at street level, there are steps up inside the front door to the first apartments on what is a raised ground floor. This has several advantages as the basement rooms have ventilation and light from openings with their sills at pavement level but, more important, the ground-floor windows of the rooms to the front have some privacy as those sills are well above the head height of people walking along the pavement so they cannot look directly into the apartments.

Plans show rooms with grand or baby-grand pianos so clearly these apartments, with relatively large rooms and views over the lake, were a prestigious place to live.

 


 

Sortedams Dossering 101-03 / Østerbrogade 19

Two examples of buildings designed by Ib Lunding (1895-1983) have been included here to show that Functionalist architecture does not have to be severe or stark.  

Lunding graduated as an architect from the School of Architecture in 1925 and worked in the Department of the City Architect but also had a private practice. Although his apartment buildings have many of the hallmarks or use the elements and architectural vocabulary of Functionalism his buildings also have a distinct sense of quirkiness.

It is the lively arrangement of small balconies across the front of the apartments at Sortedams Dossering that is striking, with windows projecting out at an angle to make the most of views down the lake, and in vertical lines are Lunding’s signature feature of round windows.

 

 

Grønningen about 1910 looking north. The apartment buildings at each end of the street were completed first but the plots in the middle remained vacant for many years. The building by Ib Lunding was in the space on this side of the narrow road, now called Hammerensgade, that is shown as already surfaced between two plots of land. The trees to the right are Kastellet

7-9 Grønningen 

Round windows are also used at the apartment building at 7-9 Grønningen in Copenhagen in a line rising above the entrance door and light the staircase. These round windows are of different sizes, rather like a stream of bubbles, and the building is called fondly the Champagne Building. The entrance doorways are different and with arched heads are certainly not functional but are late echoes of romantic historicism but perhaps the most striking feature is the large windows at the corner of the two ranges where there is almost a bravado design to show that there is no corner support and the large windows are set out from the facade with relatively deep window sills. These windows look out across the street to the 17th-century earthworks of the Kastellet. The apartments were completed in 1936.

 

 
 

For other examples of apartment buildings in Copenhagen and for a broader context for the period there is a time line for apartment buildings on the architectural site copenhagen by design

 

Apartment buildings from the 1930s

In Copenhagen, the plan of apartment buildings - the way that rooms in each apartment and the staircases and entrance halls were arranged - developed through the first decades of the 20th century. 

In terms of layout, there was not a sudden change in the number of rooms in an apartment or their arrangement in the 1920s and 1930s but apartments became more compact and certainly less likely to extend backwards from the street block into back ranges. 

By the 1920s, many purpose-built apartment blocks in the city, particularly large new buildings for social housing, were still set out around a courtyard with some buildings occupying a complete city block and most were of five or six storeys but there was a change because where courtyards had service buildings in them, then these were low, only a single storey, to keep the courtyard open, light and uncluttered. 

The normal arrangement was to have a series of separate entrance doors from the street and each gave access to a narrow entrance hall and a staircase with apartments on either side and with those apartments running right through from the front to the back of the block with windows to the street and to the courtyard. Kitchens were narrow and usually but not always to the courtyard side and a door from the kitchen in each apartment would give onto a second or narrow back staircase which would be the way down to the courtyard where there would be communal facilities - at the very least dustbin sheds but sometimes a communal laundry and sometimes drying rooms and in some blocks there were also store rooms in the basement or attic that could also be reached by this second staircase.

One obvious change in this period is that, with the common use of concrete for staircases, rather than wood, and with most blocks constructed with concrete floors, and with less overcrowding, there was less threat from fire so fire regulations were changed and the second service stair became much less common. By the 1930s many apartment blocks have rubbish shutes that run down from landings to dustbins in the basement, to cut down on the number of trips down to the courtyard, and some buildings even had passenger lifts.

There was usually one sitting room and one or two bedrooms in each apartment but in some buildings, with larger apartments, there were wide openings with double doors between the living room and the main bedroom with a second smaller bedroom to the courtyard side, usually alongside the kitchen, which meant that the way that the rooms could be furnished and used was more flexible.

By the late 1920s many apartments had a private toilet or even a small bathroom, although some still had internal ventilation on to the staircase … many earlier apartment buildings had toilets actually on stair landings that shared between two families or the toilets were in the courtyard with all families using a nearby public bath house.

Through the late 1920s and the 1930s it was the form of construction and the style of the buildings and some of the features that changed. 

So, with the increasing use of concrete for floor structures, the arrangement of load-bearing walls changed and much larger openings could be constructed through the outer walls so long horizontal runs of windows are found in some buildings or apartments have square bay windows for the living room and the concrete floor could be extended out for larger and larger balconies. 

There is virtually no decoration - either on the exterior of the building or inside - so plain doors and simple door architraves become common and most fittings are industrially produced. This does not mean that fittings like doorways are necessarily cheap or basic with some of the better apartment buildings having marble surrounds to entrance doorways and heavy brass fittings to doors and door furniture. 

Increasingly, apartments have factory-made metal window frames, iron radiators and even factory-made fittings in the kitchen so this period also marked a clear change in the way that builders and artisans were employed with less on-site skilled labour. Carpenters were still needed for the construction of floors and the roof and of course brick layers were needed but fewer joiners were employed and ceilings were plain rather than being the work of skilled plasterers who could run a moulded cornice or decorative feature.

'Lagkagehuset' Torvegade 1931
designed by Edvard Johan Thomsen (1884-1980)

Grønne Funkishus Nordre Fasanvej 78-82 and Guldborgvej 25-27 1932
by Hans Dahlerup Berthelsen (1888-1939) 

Bella Vista, Strandvejen, Klampenborg 1932-37 by Arne Jacobsen (1902-1971)

Blidah Park housing scheme, Phistersvej, Hellerup 1933-34

Bispebjerg Bakke

Bispebjerg Bakke by Bjørn Nørgaard with Boldsen & Holm and completed in 2007

 

The apartment buildings at Bispebjerg Bakke were designed by the partnership of the Danish artist Bjørn Nørgaard with the architectural practice Boldsen & Holm. Although the apartments were completed in 2007, the initial idea went back many years before that to a conversation between Nørgaard and the chairman of the Association of Craftsmen so, from the start, an important aspect of the scheme was to have a strong link between an artistic concept and its execution with a very high level of craftsmanship.

Nørgaard made an initial model in clay so the design was organic and the form of the buildings grow directly out of their landscape following the topography a complex narrow and sloping site. To the west is the public road, Bispebjerg Bakke, that runs down the hill with the grounds of a large hospital opposite, and to the east of the plot is a suburban railway line in a relatively deep cutting. The land drops down from the narrow north end but the road curves away to the west and the railway line curves sharply away to the east so the plot widens out as it slopes down to the south and east.

The landscape includes mature trees but the orientation of the site also means that the changing light, as the sun moves round, and views across the site and through the buildings are crucial as all the apartments have been given a dual aspect but few can benefit from direct sun from the south.

There are 135 apartments in the complex with a main building that has a sinuous line following the road, well over 400 metres long, and with a smaller second building, just under 90 metres long, to the east where the plot begins to widen out as the railway curves away. The arrangement of the apartments is in some ways quite conventional in that there are separate doorways giving access to a main staircase with just two apartments at each level, a single apartment to each side of the staircase, and the apartments run through from front to back of the block … to provide that dual aspect.

Each “block” or section is self contained with footpaths or roads between, linking the public street and path with an internal service road, with two entrance doors in each section on the east-facing side but the roof is continuous down the length of the long building running across each pathway or road that cuts through the building. Each break is the full height from the pavement to the underside of the roof which adds considerably to the drama as the sections vary in height from three to eight storeys, the tallest section is at the north or uphill end, and the upper apartments in each section have mezzanines so have windows rising up through two tall or even two very tall floors.

 

Plan from Arkitekturbilleder, Det Kongelige Danske Kunstakademis Skoler for Arkitektur, Design og Konservering

 

It seems odd to describe the roof as flat when in reality it swoops and twists across the building but it is certainly not pitched in the conventional sense because it does not have a ridge with inner and outer slopes. In terms of challenges, the main roof must be the most impressive part of the construction as the placing of joins in the copper sheeting must have required very careful design because there are surprisingly shallow and unobtrusive baffles and lipping to direct rain water, which can be torrential in Copenhagen, to run down the slopes to hoppers and down-pipes rather than simply cascading over the edge. when in reality it swoops and twists across the building but it is certainly not pitched in the conventional sense because it does not have a ridge with inner and outer slopes. In terms of challenges, the main roof must be the most impressive part of the construction as the placing of joins in the copper sheeting must have required very careful design because there are surprisingly shallow and unobtrusive baffles and lipping to direct rain water, which can be torrential in Copenhagen, to run down the slopes to hoppers and down-pipes rather than simply cascading over the edge.

The main staircases, two in each block or section, rise around an oval stair well and the apartments have curved walls and curved balconies so again the design appears to be organic although there is actually a strong and logical conceit in the use of materials on the different sides of the buildings that gives an interesting rationality to the design. In traditional apartment buildings from the early and mid 20th century in Copenhagen, in districts like Nørrebro, the blocks were built with what was then more expensive and more fashionable red brick on the street side and yellow brick towards the courtyard. In the city, an apartment building might be part of a longer row, forming just part of a city block, or might be around a complete block so often the junction between red and yellow brick is not visible or not particularly obvious. At Bispebjerg Bakke it is made into a distinct feature. Red and yellow brick meet at a vertical join half way through each archway and the join is emphasised with bricks projecting at a slight angle and interlocking to look almost like overstitching used on blankets or leather work.

 

There is a further game with the colour of brick used on each side of the buildings: vertical runs of window and balconies have brick columns or piers between them so, on the red-brick facades, the piers are in yellow brick and tiles, used for the sills and for the parapets of the balconies, are pale yellow but on the sides using yellow brick for the main walls, those piers are in red brick and the tiles - for the sills and balconies and for the surrounds or frames of the main entrance doorways - are red … a deep ox blood red.

Initially, on first seeing them, the doorways and balconies appear to be sculptural - rather free and organic - more Barcelona and more Gaudi than anything normally seen in Copenhagen - but then the effect depends on the very Danish precision and skill of the bricklayers and other craftsmen. 

details like rain hoppers, the precision of the construction of the copper roof, the regularity of joints in the roof and the precisely-shaped and coursed brickwork are carefully executed.

Windows are framed in jacoba wood and given a sinuous profile and inside the rails of staircases are bowed out. 

 

The curved lines of the balconies are interesting. Balconies are on the party wall and there is a central dividing pier on the line of the partition between one flat and its neighbour. The front line of each balcony curves back to the main wall line, forming a bowed, almost semi-circular front to each pair of balconies and the windows curve in from the front line of the wall to the partition to create what is, in effect, triangular balconies but with curved rather than straight lines to the front and window. Note window frames are curved but double glazing units are flat simply for practical reasons, primarily economic.  

On their web site Boldsen & Holm describe Bispebjerg Bakke as a building “where art, architecture, workmanship and technology melt into each other, in an equal and even interaction. The organic shape originates from the character of the area …”

 

Skydebanegade, Vesterbro

Date plaques on the angled corners at parapet level mark the sequence of work and indicate that Skydebanegade was completed in 1893.

It is a large, ambitious and theatrical housing scheme in Vesterbro with a complicated plan with apartments in buildings on both sides of a cross street that runs between Istedgade and Sønder Boulevard and in Vesterbro. The development, presumably speculative, was by a builder called Victor Jensen with the design by the architect Oscar Kramp.

architect Oscar Kramp (1853-1933)
master mason Victor Jensen
completed 1893

 

Skydebanegade, the cross street, is about 180 metres long but by pushing back deep narrow open courtyards, running back from the street into the facade, with three set backs on each side, the entrance frontages are increased significantly in length - from 180 to 375 metres on the west side. This is not a unique arrangement in the city - deep open courtyards at the centre of a street frontage are used as a form of planning in several buildings in Jægersborggade for instance - but nowhere else is it used in such a coherent and dramatic way.

If that was not complicated enough, the plot is not rectangular because the main streets in this area fan out at different angles from the centre of the city and Skydebanegade, the cross street, is aligned on the gate into Shooting Gallery Park, rather than being set down the centre of the plot, so - to maintain the appearance of symmetry from the street - on the city, or east side, at the Sønder Boulevard end, there is a curious return frontage to a wider set back, that creates an oddly-shaped courtyard enclosed with fronts on three and a half sides. This is what might be described as a very clever bit of design fudging … not an official architectural term but a fairly common practice because, in buildings on this scale, the human eye can rarely take in what is at an angle or what is not exactly the same width on opposite sides of a street. However, what it does show, is a clever design mind in the 1890s where apparent symmetry and apparent grandeur were overriding considerations for the final scheme. 

At both ends of the street, the facades return and run for a short distance along the main roads, along both Istedgade and along Sønder Boulevard, in both directions. Again each of these ranges is different in length - reflecting the skewed trapezoid shape of the plot. Frontages onto the main roads have the same architectural treatment as the facades facing Skydebanegade.

The insets on the east side of the street are 23 metres deep while those on the west side are all different - the inset closest to Istedgade is about 27 metres deep, the central recess 33 metres deep and the south inset before Sønder Boulevard 36 metres - reflecting the different depths of the plot on each side of the street. As a consequence, courtyards behind the apartments on each side of the street are very different. Those courtyards are entered through archways at the centre of each main element along the street frontage.

Plan of the city block between Dannebrogsgade, to the left, and Absalonsgade, to the right, with Skydebanegade at the centre. Istedgade is at the top, as the plan is shown here, and Sønder Boulevard, at a more pronounced angle across the bottom.

The plan shows the separate buildings down the streets parallel to Skydebanegade and with all the buildings in the courtyards that were subsequently demolished.

 
 

Strong polychrome is used effectively in the grand design of the street facades with a dark grey ashlar for a ‘base’ on the ground floor; bricks laid to imitate ashlar on the first floor; a giant order of fluted pilasters through the second and third floors and, above an intermediate cornice, the order continues through the fourth floor.

There are decorative terracotta panels, between the windows of the third and fourth floors, and through out good decorative plasterwork.

External angles of the open courtyards and the ends of the ranges where they return along the main roads are angled, rather than square and, at the centre of the street, these angled corners are treated like pavilions with faceted spires at each of the four corners to form a centre to the composition, creating what are read as pavilions externally but internally, in the arrangement and plans of the apartments are no different. 

This is theatre-set architecture at its very best. 

Such grand architecture implies grand apartments but the apartments here are relatively small. There are doorways from the street and in the recessed courts, 48 separate entrances in all, including entrance doors on Istedgade and Sønder Boulevard, and each gives access to a lobby and staircase with apartments on each side and all the apartments have back service stairs down to the courtyard from the narrow back rooms, originally the kitchens. Apartments facing into the recessed bay elements are small with a single room to the front and two narrow rooms towards the courtyard, presumably a bedroom and a kitchen, and there are larger apartments in the ranges directly along the street and in the angles.

When first constructed the apartments would have had shared toilets and washhouses in the courtyards.

 

In line with Skydebanegade, on the far side of Istedgade, is a short street that ends in the high, brick, screen wall of the Shooting Gallery - the Skydebanen that gives the apartments their name and on whose land the apartments were built.

In the 1990s, the buildings were restored and upgraded when new heating was installed and some apartments were amalgamated to form larger units.

The large courtyards behind were cleared of buildings and new gardens were planted.

What should also be noted is the high quality of the hard landscaping of the street and the good lighting installed. This has ensured that a major architectural feature of the area has been retained in the housing stock in the most positive way. Small shop units along the street, including a launderette and very pleasant cafe, all contribute to give the street a very strong sense of community.

 

Map from 1858 when the railway line from Copenhagen to Roskilde ran along what is now Sønder Boulevard. The railway line was constructed in 1847 and then followed the shore of the bay and cut across the end of the land of the Royal Shooting Association shown here as long plot running up to Vesterbrogade and with the buildings of the association forming an L shape with a forecourt to Vesterbrogade.

Note that, at this stage, Istedgade was a short street that then did not continue as far as the land of the Shooting Gallery.

Google Earth:

The south end of the Lakes, Sankt Jørgens Sø, is top right with Vesterbrogade across the top with the distinct change of angle at Vesterbro Torv and the fork in the road, top left, with Frederiksberg Alle.

Istedgade is at an angle just below the centre and Sønder Boulevard is the road at an angle across the bottom of the view, with the distinct buildings of the White Meat Market at the bottom right corner.

The distinct outline of Skydebanegade with courtyard gardens on both sides and what is now Skydebanehave - the Skydebane Park - and the high brick wall at the end of the short cul-de-sac on the north side of Istedgade