Alfred Nobels Bro

 
Alfreds Bro Map.jpg
 

A new harbour bridge, Alfred Nobels Bro, was opened in the middle of December.

In the south harbour, south-west of the centre, the bridge crosses Frederiksholmsløbet - a wide canal off the main harbour - and links Enghave Brygge and the area around the shopping centre of Fisketorvet - to the large area of new apartment buildings of Teglholmen.

The north side of the bridge is close to the power station H C Ørsted Værket and to the site for a new metro station. Until the excavations and work for the metro are completed in 2023, the new bridge can only be used by cyclists and pedestrians but it will then take all vehicles.

This is the final link that completes the 13 kilometre circuit around the inner harbour for bikes and walkers and runners.

The canal here is 90 metres wide and the bridge deck is wide with two lanes for traffic at the centre; wide lanes for bikes and on both sides wide pavements. The pavement on the side looking inwards, down the canal, is bowed outwards and has a broad single bench, with its back hard against the road, 70 metres long and with a bowed shape that follows the plan of the bridge itself.

It's not clear why the bench faces down the canal rather than towards the open harbour unless the idea is that people will sit here to catch the last of the evening sun - an attempt to repeat the way that Dronning Louises Bro over the lakes to the west of the city is used as a popular place for people to sit in the evening before they head home from work.

The deck is supported on pairs of concrete columns that lean outwards but the structure is so large that it can hardly be called elegant and until the new apartment buildings are completed it really would be difficult to describe the views from the bridge as attractive.

The team behind the design of the bridge were COBE Architects, the engineers MOE, Arkil Holding A/S and G9 Landscape who made the mahogany bench.

it's all in the details

 

When there are surveys where people are asked if they are happy living in the city or town in which they live then Copenhagen comes high in the rankings.

There are obvious reasons why there are high level of approval from so many in Copenhagen for their city … it is relatively compact for a capital city so it has a human scale …  the climate does what it is supposed to do so it's not ridiculously cold in the winter and it's pleasantly warm in the summer … warm enough to swim in the sea from beaches nearby or the water is warm enough and clean enough to swim in the harbour … and swimming in the harbour is possible because there are no major industries that pollute the environment so clean air and clean water are further reasons for people to be happy here.

There is a good railway service to other parts of the country and to get to neighbouring countries and there is a good international airport with high passenger approval ratings and it's a short metro ride from the city centre. To say that people can get out of a city quickly and easily is perhaps not the most obvious reason for people feeling content but it's certainly better than living in a city where you feel trapped or it feels remote, far from anywhere you want to be.

Planners from around the world come to admire the architecture and the planning here and, in particular, come to see how and why the balance of private journeys are made by bike rather than by car … in themselves further reasons for being happy here or at least for being fitter.

There are also clear economic reasons for the success of the city … it has all the financial benefits and all the facilities that come from being a capital city … so the government, international delegations, national organisations and major companies are based here and the national theatre, the national library and so on are all here … but even so it is relatively small and it is a prosperous city but still a city with a strong if understated socialist ethos so extremes of wealth are not as obvious here as in many large cities.

All this is fine and has been assessed and analysed and written about in what seems like an endless number of articles but there is no simple Copenhagen ingredient … you can't take city X and add the Copenhagen factor and there you are … problems sorted.

I've lived in Copenhagen for getting on for five years and I've known the city for much longer and, for me, one important factor that makes the city an amazing place to live is that it is so rich visually … or do I mean simply interesting and attractive?

It's not just about obvious places like, for instance, the royal palace of Amalienborg and the Marble Church- although the square and the buildings are one of the great public spaces in Europe - but it's the quality and the good design of smaller buildings in the city and it's about the courtyards and the corners and the odd spaces where people really do think carefully about what they are doing with their buildings and with the urban landscape of their city.

This photograph was taken a month ago, walking across from Nørrebro to get to Sankt Hans Torv - so outside the centre of the city but not far out.

Along the side of Guldbergsgade - a busy street of apartment buildings and shops - some land has been divided up for community use. There is, of course, play equipment here for children but also a small zoo where, right in the middle of the city, children can see hens grubbing around and rabbits and other small animals. There are also around two dozen garden plots together along the street edge that have been allocated to local residents for growing vegetables or flowers and all have neat fencing, borders and narrow paths and a shed although to call them sheds is hardly an adequate word to describe these small summerhouses that are potting sheds and stores for tools but also a place to brew coffee and sit and watch or sit and talk and clearly reflect the character and interests of each gardener.

I took a slight diversion along the narrow path between the two rows of garden plots, and paused to take the photo because for me this seems to sum up what are crucial aspects of life in Copenhagen that few academic authors seem to consider when they write about planning and the quality of life here.

First this is a city where there is a strong sense of respect … the respect of people with a quiet pride in the city they live in but also a respect for property - their property, other people's property and the general public property of the city streetscape. There is some mindless vandalism but remarkably little when over a million people live together. These gardens are not in a wealthy or distinctly middle-class enclave … in fact the reputation of Nørrebro is anything but that … but people moving out onto and claiming public space is a strong and an important part of life all over the city.

Second, and perhaps more important, is that ordinary people living in Copenhagen seem to have a strong visual sense …. here, ordinary used to mean people not working in design. People are visually aware and visually literate and that is clear here.

In books and magazines and guides Copenhagen is described as a design city but Milan, Paris, London and New York are design cities but could hardly be more different. In part it is because those are cities where style and fashion but also wanting to stand out or make a statement are driving factors.

That's not, of course, to suggest that Copenhagen is unfashionable or unaware of fashion but visual sense here seems to be more firmly grounded: Copenhagen is a still a mercantile city where, for many many centuries, high-quality goods, made by craftsmen or by small independent companies, were and are respected; it is a city where the public face of a building or a business is important and it is a city where a good education in art and craft skills from a young age has been important in schools and through apprenticeships and technical training. So, in Copenhagen, design is not just about architects and designers and the design industries but good design permeates many aspects of daily life.

 

In the New Year a new occasional series of posts will look at some of these less-obvious aspects of architecture and urban planning in Copenhagen that together make it such a pleasant and attractive place to live.

Langebro - a new museum

 

Plans have been submitted to the department of Culture and Leisure for permission to create a new museum for Langebro with a new café in the substructure of the bridge on the Amager side.

There has been a bridge here since the 17th century but the present bridge designed by Kaj Gottlob was completed in 1954.

On the 17 January 2019 there will be a meeting about the bridge and the new museum at the nearby Kulturhuset down the harbour from the bridge and there is information about the bridge and about the proposed museum here.

 

Langeliniepavillonen / The Langelinie Pavilion

approaching the pavilion on the path along the edge of the defences of Kastellet

Langeliniepavillonen from the south east

 
 

drawing for the pavilion designed by Jørn Utzon and a digital simulation of the pavilion for the exhibition Jørn Utzon - Horisont now at the Danish Architecture Center

 If you did a headcount - even if it would be for a rather odd census - then it's possible that the Pavilion on the Langelinie Promenade is seen but ignored by more tourists than any other prominent building in Copenhagen and simply because they are intent in their route march there and their route march back to see Den Lille Havfrue - the Little Mermaid - on the foreshore just beyond the pavilion.

However, the pavilion has an odd and complicated and fascinating history that should be better known … particularly as, but not just because, this year is the 60th anniversary year of the present building.

Langeliniepavillonen is on the site of a water gate on the outer defences of Kastellet … the 17th-century fortress that guarded the approach to the harbour from the sound from the north.

By the late 19th century, although there was still a garrison in Kastellet, the main defences had been established further out at Charlottenlund, some 6 kilometres to the north beyond Hellerup, and this thin strip of land between the sound and the outer water-filled defence of the fortress was used by the worthy citizens of Copenhagen as a promenade. The first pavilion here, built in 1885, was designed by Vilhelm Dahlerup for Dansk Forening for Lystsejlads (the Danish organisation for boating) but that was replaced in 1902 by a pavilion designed by Fritz Koch that included facilities for Kongelig Dansk Yachtklub (the royal Danish yacht club).

This was a popular destination for citizens just beyond gardens with sculptures and a walk could continue on to the long wide promenade along the sea side of the Langlelinie Kaj that had been built at the beginning of the 20th century as the outer quay of the new Free Port.

The pavilion was shelled and destroyed by the Germans in 1944 and it was not until 1954 that a competition was held to design a new pavilion. The chosen design was by Eva and Nils Koppel and the new pavilion was completed by 1958.

It is a slightly strange building … or at least it is strange for the location … starkly modern and of its period, so much closer in style and details of glazing and fittings to the contemporary design of the SAS Hotel by Arne Jacobsen than it was to the ornate pavilion it replaced that had polygonal end towers and ornate domes.

LP_SoMe_Historisk_18.jpg

There were large dining rooms in a huge low square box raised up and cantilevered out on all four sides over a lower floor containing the entrance and service rooms. A service road cuts under the sea side but with the room above connecting across to a terrace and the promenade walk. These public rooms had huge windows that look out over the sea or look across the outer water and banks of the defences of Kastellet.

A photograph of the dining room taken in 1959 shows the large lamps - the Koglen or Artichoke lamp designed for this building by Poul Henningsen.

The current exhibition at the Danish Architecture Centre on the work of Jørn Utzon has a model and a reconstruction of the design that Utzon submitted for the competition for a new pavilion. He proposed an amazing pagoda with outer walls of glass and the floors springing out from a central stem with staircases and lifts.

Surely his design has to be one of the most intriguing and spectacular buildings of unbuilt Copenhagen … those buildings for the city that did not get beyond the architects drawings.

Wulff & Konstali on Sankt Hans Torv

 

In the summer Wulff & Konstali opened their new food and coffee shop on the corner of Sankt Hans Torv in Copenhagen with design work by Studio David Thulstrup.

Although there are roads on three sides, the square itself is pedestrianised and has good landscaping with a large sculpture and water feature and is a very popular place for families and students to meet … particularly at weekends. There are several cafes and restaurants across the back of the square, the fourth side that does not have a road across in front of the buildings, and these have seats and tables outside on the pavement.

These buildings date from around 1900 and were and are stylish apartment buildings of that period … the square was quite an important intersection with a road running around parallel to the lakes - Blegdamsvej - and roads running out to parks and what were new suburbs that were laid out in the late 19th century. The area has seen a marked revival in the last couple of years with small galleries, a cultural centre - just beyond the café - and design companies moving to newly revamped buildings nearby.

The new food shop for Wulff & Konstali is at the right-hand corner of this back line of good 19th-century buildings, on the corner of the square and Nørre Alle, with the entrance on the corner itself under a distinctive turret of French style.

The interior is L-shaped and compact running left and right from the entrance with new pale blue tiles on the walls - but a strong blue rather than a pretty pretty baby blue - and with very pale wood for bent-wood chairs and for high stools as seating at the windows. This looks under stated and clean - crisp and stylish without looking stark or clinical.

Food displays at the counters are again as simple in form as possible - glass boxes without frames that drop down below the counter top - but again simple but well made with the tiling carefully set out to fit precisely as complete tiles at joins and angles and with steel beading at the edges that again is clean and sharp and stylish. This is a good example of good Danish design that is thought through in considerable detail but hides that effort so it looks just neat and simple. There are tiled niches for displaying bread and for coffee machines and so on.

There are also good details for the graphics used throughout with matt steel cut-out lettering for the main menu that shows the types of coffee sold and the blue colouring of the tiles is taken through labels and price information so all in all a clever branding exercise as much as the design of an interior.

A deep mauve tile for the floor is taken up one course to form a kickboard for the counters and the same colour is used for the wood work of the entrance door and architrave. Lighting is also distinctive with thin loops of neon tube regularly spaced across the seating area - rather than down the length that would emphasise the relative narrowness - but also there are recessed lights.

This is, without doubt, top end design … David Thulstrup worked for Jean Nouvel in Paris and then in America before setting up his own studio in Copenhagen in 2009. The studio works on residential design and product design but seem to specialise in retail and hospitality … so recent projects include interiors for the new NOMA restaurant.

Wulff & Konstali
Studio David Thulstrup

note:

Wulff and Konstali food shops all have a similar menu of their own really good cakes and distinctive bread and savoury food so there is a consistent menu of a high quality in all their shops but then, in a  clever way, each coffee shop is thought through to be appropriate to it's neighbourhood. My regular stop is W&K on the corner of Gunløgsgade and Isafjordsgade in Islands Brygge, that is small and comfortable and relaxed in a way appropriate for this area that is primarily residential whereas the food shop and kitchen on Lergravsvej in East Amager, south of the city centre, has their main kitchen so that it can be seen through windows from the seating area but this is a fast-developing area of very new apartment buildings close to the beach and among factories that are being converted so that café has a rather more industrial look and a lively buzz that seems appropriate. Clever. There is also a W&K shop in an up-market shopping centre in Hellerup, the area along the coast immediately to the north of the city. 

update on Karen Blixens Plads

from the east with the humanities library to the left

 

 

Back in June 2017 there was a post here on a scheme by the architectural studio COBE to re- landscape Karen Blixens Plads – the large public square on the southern campus of the university of Copenhagen.

Recently, walking through the university, there was a chance to take photographs of progress.

Now in place are the large sunken areas for new bikes stores for the thousands of bikes that thousands of students leave here every day and the main structures of artificial hills have risen over the bike stores so now hard landscaping is going in and then, presumably in the Spring, planting.

COBE

from the west entering the square from the metro

SHARING - an exhibition to celebrate completion of work on the entrance court of Designmuseum Danmark

 

Major work on the entrance courtyard of the deign museum in Copenhagen has just been completed.

The gate piers and ironwork across the street frontage of the 18th-century courtyard have been rebuilt; cobbles across the area relaid; the entrance and ticket area for the museum has been moved out to a pavilion on one side of the courtyard along with a small coffee shop.

Five free-standing display cabinets have been constructed so that objects from the collection can be brought out from the museum to the forecourt and the first exhibition in this revitalised space has opened.

For the first exhibition here on the entrance courtyard, new design is now being shown under the title SHARING. An information panel explains the ideas behind this major project and is quoted here in full ……. 

The works in these five new display cases on the entrance courtyard are ….

CLAYDIES
Ceramics by Karen Kjældgård-Larsen and Tine Broksø

KASPER KJELDGAARD
Dele al familien / Parts of the family 2018

MARGRETHE ODGAARD
Blå red violet / Blue Red Violet textile by Kvadrat

KIBISI / BIOMEGA Bjarke Ingels, Jens Martin Skibsted, Lars Holme Larsen
Elcykel / E-bike OKO Night Glow 2017

ASTRID KROGH
En firkant af universet / A Square of the Universe 2018 LED

L1310953.jpg
 
 

a different form of egg

 

Solar Egg by Bigert & Bergström is not just an amazing sculpture but is also a sauna and it has been set up in the courtyard of Kunsthal Charlottenborg … the Royal Academy of Fine Art in the centre of Copenhagen.

You can book the sauna on Wednesdays, when it is free, or on Saturdays and Sundays and you can rent a towel, slippers and a kimono though you have to bring your own huzzpah … this is a large and popular public square. 

the Solar Egg is at Kunsthal Charlottenborg through until 13 January 2019

the harbour sauna

The year is moving through fast … the winter sauna is now set up and open at the harbour swimming pool at Islands Brygge.

Louisiana Museum of Modern Art at 60

This year marks the 60th anniversary of the opening of Louisiana Museum of Modern Art.

The entrance to the museum is through a 19th-century house - a private villa built in 1855 for Alexander Brun (1814-1893) that was set back on the east side of the coast road from Copenhagen to Helsingør - just north of Humlebæk - with extensive gardens looking out over the sound. 

It is said that the new museum was called Louisiana - because all three of the wives of Alexander Brun were named Louise - and the name was kept when the villa was purchased in 1955 by Knud W Jensen - a businessman, writer and patron of the arts who founded the new museum.

New buildings were designed by Vilhelm Wohlert and Jørgen Bo with covered and glazed corridors that link three large, well-lit gallery spaces to the house and together form an arc around the north side of the main lawn.

Louisiana Museum of Modern Art opened in 1958.

the original house from the gardens (top)

plan of the house with the villa cross hatched and showing the low ranges of service buildings forming a forecourt
the first new buildings were a series of corridors stepping down gradually to follow a ridge between a lake or inlet to the west and the beach and sea to the east and retaining both the large lawn and mature trees

Vilhelm Wohlert and Jørgen Bo photographed in 1958 standing in front of a brick wall that formed the side of what was initially the library - this is the side of the building that faces away from the sea and is now an area of terrace alongside the museum restaurant

the view out over the sound from the terrace of the museum restaurant (below) shows how important the landscape and the garden setting are for the museum

 

Louisiana Jubilæum 1958 / 2018 - the chair and the lamp designed by Vilhelm Wohlert

To mark the sixty years since the Modern Art Museum at Louisiana opened, the Louisiana Chair and the Louisiana Lamp have been re-released.

Both were designed by Vilhelm Wohlert who, with Jørgen Bo, was the architect for the museum and the chair and the pendant lamp can be seen in the museum restaurant that has been refurnished for the anniversary.

Louisiana Butik

 
  1. the Louisiana Chair displayed with the tall bar stools in the Butik at Louisiana

  2. the Louisiana Lamp in the Butik

  3. the chairs designed by Vilhelm Wohlert in the museum restaurant

  4. the taller stools with back rest in the museum restaurant

 

CHART Architecture - the Pavilions

FRAME
designed by Malte Harrig, Karsten Bjerre and Katrine Hoff

 

In the two large courtyards of Kunsthal Charlottenborg are five pavilions … the setting for what is called CHART SOCIAL.

These pavilions or CHART ARCHITECTURE are the winning designs from an open competition held earlier in the year for young architects and architecture and design students.

 

 

OPEN RESOURCE
by Dennis Andersson, Mikkel Roesdahl and Xan Browne

THE MANY CHAIRS PAVILION
by Sofia Luna Steenholdt, Joachim Makholm Michelsen, Emil Bruun Meyer and Casper Philip Ebbesen

TIGHT KNIT
designed by Jan Sienkiewicz

SUM OF US: A CLOUD OF HUMAN EMOTION
designed by Sean Lyon in collaboration with Space 10

 

Fælledparken / Fælled Park

 

Between 1908 and 1914, a public park was laid out on a large area of open ground known as Østerfælled … land that was outside the historic city defences and beyond the lakes and that had been been used in part as a bleaching ground and in part by the army and was crossed by important roads that converged at the start of the King’s highway that headed north to Lyngby and on to the castle at Frederiksborg. 

An irregular shape, the large area is contained within main roads with Østerbrogade to the east, Blegdamsvej to the south and Tagensvej and Nørre Allé to the west but with large buildings encroaching on the area across the south side, including the Masons’ Hall and the headquarters of the Red Cross, along  with a main hospital, Rigshospitalet, at the south-west corner.  

Despite the encroachment of buildings around the edge, the open area is large … running back well over a kilometre from Blegdamsvej and is over a kilometre wide at the widest point. There are lakes, pitches for football, an area laid out with small-scale roads and junctions - Trafiklegepladsen - where children learn to ride bikes and there are playgrounds including Tårnlegepladsen /Tower Park and a large skate park. 

read more

Sansehaven - garden of the senses

As you enter Fælled park from Trianglen, just beyond the monument, there is an area of woodland on the right but as you are drawn forward - towards the light and open space of the park ahead - it would be easy to miss the Sensory Garden in the trees.

In dappled light, in glades among beautiful mature trees, the garden was designed by the landscape architect Helle Nebelong and was created in 1996 when Copenhagen was City of Culture.

With wide, gently-curving, gravel paths and low but distinct boundaries it is laid out to be an easy and a safe place for children to explore even if they have sight impairments or have mobility problems or use a wheelchair. 

Plants are chosen for their distinct shapes and there are herbs for their smell or even their taste but the dense but low planting also shields the garden from the more noisy and boisterous park beyond to make the space feel somehow calm and protective. 

The main features are a gravel-filled canal that runs through the centre of the garden with low bridges over it or stepping stones along it, and gives a distinct Japanese look, and there is a large maze with low walls of wooden posts - some with numbers or letters set near the top so you trace 1 to 9 and then track the alphabet as you follow the posts of the undulating palisade.

In the line of the planting around these features there are small, semi-enclosed spaces where children can discover a giant nose carved in smooth marble or a wooden sculpture like a giant chess piece but with a carved fish and lemons on the top or there are wind chimes or a seat under an arch and several larger features including a hexagonal temple with ornate carved posts supporting a tiled roof. 

It's all very beautiful and the garden is a credit to a park and to a city when they can design and maintain a place that is so magical.

Helle Nebelong

 
 

translation of the park sign:

SANSEHAVEN

Sansehaven is a small garden for children and their adults - a corner of Fælledparken with space for exploring surroundings, feeling nature and discovering all the senses.

1 Hearing
2 Seeing

3 Taste
4 Smells

5 Feel
6 Sixth Sense

A sense garden can be a substitute for nature when the real thing is far away or difficult to get to. Sansehaven was originally made for multi-handicapped children and young people who can enjoy small gardens with many impressions and experiences.

For the sake of children who are visually impaired or use a wheelchair, Sansehaven is therefore arranged with wide paths and clear edges of, among other things, cobblestone, which makes it easy to get around.

Sansehaven in Fælledparken is shaped like a maze with winding paths, and if you are curious, you will discover a garden full of surprises.

Enjoy.

Fælledparken

Tårnlegepladsen / tower playground and Spejlhuset / Mirror House at Fælledparken

 

Play areas for children in the parks and squares in the city are amazing … with imaginative climbing frames, swings and slides and so on that take a huge range of forms and styles. 

Simply from an architecture view point, probably the best is the play area at the south corner of Fælledparken in Østerbro. As part of extensive improvements to the park in 2011 and 2012, the play area was completely redesigned by GHB Landskabarkitekter with the company PlayAlive. 

There are enclosed courts for ball games and a small skateboard area but the really distinctive feature here is play equipment that is modelled on the old towers and domes and spires of the city … so here you can find a version of the dome of the Marble Church, the Round Tower, the spire of the City Hall and the spire of Boursen, the 17th-century exchange down by the harbour.

It’s a great way to introduce even small children to the idea that good architecture can be fun … so the games can go further as a learning process if children begin to recognise and name buildings as they go around the city.

There was an existing park building here when work on the new play area was initiated - a long low building with a pitched roof for park and play equipment and toilets but it went through an absolutely astounding transformation with design work by the architectural practice MLRP. The long side walls and the roof were clad with heat-treated or smoke-blackened timber planks but it is the end walls that really fascinate children - and come to that adults - as the gables and also some of the doors on their inside faces were covered with polished steel that acts like a distorting mirror. 

Fun and stylish .... this is modern Danish design at its very best.

 

Fælledparken

Another play area in the park - Trafiklegepladsen / Traffic House - was also designed by MLRP as an area laid out with small-scale roads and junctions and road crossings and traffic lights where small children learn to ride their bikes before going out onto busy public roads.

 

 

Copenhagen Contemporary

Copenhagen Contemporary is an independent institution for modern art.

From June 2016 they ran a pilot project in the warehouses on Papirøen - Paper Island - in the centre of the harbour just south of the opera house - where CC took over four of the halls and were there until the end of 2017 when the buildings were returned to the developers for demolition and for work to start on new apartment buildings on the site.

Now, with funding from the city and from private organisations, Copenhagen Contemporary have reopened in a larger space - some 7,000 m2 - in what was the welding hall of the shipyard of Burmeister & Wain.

The ship yards were closed back in the 1990s and for the last two decades the area has been taken over by small workshops and boat repair yards. A yacht repair company, the restaurant Amass and La Banchina - a popular cafe and bar - established new businesses out here and this summer they have been joined by the new food market - many of the stalls also relocating from Papirøen - and there will be more artists' studios and craft workshops opening as more of the buildings are adapted.

Copenhagen Contemporary has a lease here for 10 years and they have ambitious plans to establish a new space for the display of modern art in the city and particularly for large-scale installation and performance art. 

The city is gaining a major new venue on the lines of the galleries in Gateshead and the Turbine Hall at the Tate in London or the galleries at MoMA in New York and the programme here should compliment exhibitions of modern art at the established galleries in Copenhagen with Den Frie, GLStrand, the space of the Kunsthal in the former church of Sankt Nicolaj and the galleries of the Royal Academy at Charlottenborg - all in the centre of the city or close to the centre - and the gallery down the coast at Arken and, of course, Louisiana - north of the city with its amazing location on the shore of the Sound.

Work on the building for the gallery on Refshaleøen has kept many of the features from its industrial use with huge sliding doors, high exposed roof structures and high-set windows that flood the space with light and give views out to nearby workshops.

In the next phase of development, space on the upper level will be opened for CC Studio for their proposed education programme.

 

previous posts on danish design review

Copenhagen Contemporary

Copenhagen Contemporary
Refshalevej 173a
1432 København K

 
 
 

Refshaleøen - what's where + what's on

 

There are good sign boards at Refshaleøen - one with a map showing the location of the main food stalls and the main buildings - including the new gallery space for Copenhagen Contemporary - and the other with the dates of main events here through the coming summer

maybe click / download / save / zoom ?

or information on line at REFFEN

 

if you like to eat your food straight out of the container .....

 

Popular food stalls that were in the warehouse on Papirøen - Paper Island - are back but on a new site further north - out on Refshaleøen - the island that until the 1990s was the yards of the ship builder Burmeister & Wain.

Called Reffen, the first phase is an open area with the kitchens and food stalls in shipping containers grouped around a new square and running down a short street towards the water of the harbour. The next phase will be more food stalls but inside in a hall in a former workshop.

There is open space that will be used for events and the newly reopened gallery of Copenhagen Contemporary is in massive former workshops just to the east.

Get here by taking the harbour ferry or a 9A bus that runs out here frequently from the central train station - this is the last stop where it turns round and heads back so you can't get lost - or you could always come out to Refshaleøen by bike.

There is a short description of each of the food stalls online on the Reffen site along with information about opening times and details about events.

Reffen

 

select any image to open the photos as a slide show

 

Kultur Tårnet a year on

22 June 2018

 

Since 1620, there has been a bridge at the centre of Copenhagen harbour. Knippelsbro was constructed to link the old city to what was, in the 17th century, a new and prosperous settlement of Christianshavn that was being built on land claimed from the sea and - from a new south gate of the city - there was a way across and on to the island of Amager.

Over the centuries the bridge was rebuilt several times but these all crossed the harbour at the level of the quay so there was restricted headroom for boat traffic to pass through unless the bridge was opened. This became a problem in the early 20th century as the wharves and quays south of the bridge dealt with more and more goods so more and larger commercial shipping was coming through the harbour and as the number of people use the bridge to cross backwards and forwards increased with the building of large new apartments blocks along Islands Brygge and south of Christianshavn with new housing in Amagerbro and then in Sundby.

A new bridge - the present Knippelsbro - was constructed and opened in 1937 designed by Kaj Gottlob. This has a much higher deck level - with long ramps up on either side to take road traffic up and over the harbour and more shipping could pass through without opening the bridge - the current harbour ferries pass under the bridge without it having to open. There were two copper-clad towers - with that to the north for the main control room for opening and closing the centre span and a south tower contained sleeping accommodation for the bridge master and his men.

From the 1940s and through the 1950s and 1960s, the docks to the south of the bridge prospered with commercial quays extending down on both sides - so the bridge must have been manned throughout the day and the night - but with the decline and then the shutting of commercial wharves on the inner harbour, the number of times the bridge was opened each day declined and the south tower became redundant and was left empty and unused.

Lars Erik Lyndgaard Schmidt and Malthe Merrild saw the waste of abandoning such a prominent historic monument and came up with possible ways of using the building.

Last year, after several years of them putting considerable pressure on the city and after opening for a trial period to see if there was sufficient public interest … there was … and after extensive restoration work, the tower was opened to the public.

It is now an amazing viewing platform from where you can see up and down the harbour but more than that it's a very unusual venue for events; a very unusual place that can be hired for business meetings during the day and, despite the tight space, it's a venue for gastronomic events and concerts.

Today marks the first anniversary for Kultur Tårnet. Congratulations.

 

Kultur Tårnet

the IRMA hen

Irma Chicken.jpeg
 

 

the famous roof-top neon sign of the egg-laying hen was installed in 1936 to advertise the supermarket IRMA .... the Schepler family opened their first store selling eggs, milk and butter in 1886 at Ravnsborggade 13 a block back from the lake ... but the sign was dismantled around a year ago for the roof to be rebuilt and for building work on a new or remodelled attic apartment

the sign is back and its return will be celebrated by a special festival on Saturday 26th May starting at 4pm with, appropriately, an egg and spoon race around the lake