It has just been announced that the building of the National Bank of Denmark in the centre of Copenhagen - designed by Arne Jacobsen and completed in 1978 - has to undergo an extensive programme of repairs. As this will take several years, the bank and it's staff are to move out of the building until the works are completed.
When the Danish Architecture Centre moved into its new building last summer, their first major exhibition was called Welcome Home and looked at Danish housing. The first section to that exhibition was a timeline that gave an overview of the development of housing in Denmark through the century from 1900 and then the main part of the exhibition looked at recent housing … at how the planning and the building of homes is evolving and changing with new requirements for appropriate homes; new configurations of living space; new approaches to conservation and the use of new building materials and new construction methods.
Immediately after that time line - and really part of the introduction - there was an important section that looked at statistics for housing in Denmark … first at data that marks out some of the differences in lifestyle when people own their homes and when people rent their homes and then at data that demonstrates that there are now many different types of household. And these different family dynamics seem to suggest that different people now need different types of home at different stages in their lives.
Particularly in Denmark, a well-established and strongly democratic country with less-obvious extremes between wealth and poverty than in may countries - it is easy to assume that change is now relatively slow and that a home is simply a home and most people live in much the same way. In fact, statistics show that society is changing quickly … or at least quickly when compared with the time needed for planners, architects and builders to respond by trying to build the homes people want in the places where people want to live.
These annual awards from Arkitektforeningen or the Danish Association of Architects began in 2007. Winners receive an acrylic statuette that is printed with the face of Arne Jacobsen and hence the name of the awards.
Winners for works from 2018 were announced in a ceremony at BLOX on 18 January 2019.
Store Arne / Big Arne
Elefanthuset / Elephant House
architects: LETH & GORI
A brick chapel dating from the 1890s that has been restored and converted into an activity centre for patients with cancer. The building was part of the former hospital and old people's home of De Gamles By.
“The project shows an exemplary balance between humbleness and a personal and distinct architectural vision. Precise interventions all characterised by a refined materiality defines the project, that despite its small scale is able to bring new life to the building. By adding new functional layers the transformation opens up for a new era for the historic chapel building. The project is nominated for a vital transformation of a historic building that revitalises the house as an attentive and caring frame that embraces a vulnerable user group.”
nominated for the award
architects: BIG + Studio David Thulstrup
Hotel Herman K
architects: Dansk Ejendoms Management A/S (inhouse)
Enfamiliehus på Kålagervej / Family house in Kålagervej
architects: Solveig Dara Draško Arkitektur
Tingbjerg Bibliotek og Kulturhus / Tingsbjerg Library and Culture Centre
Lille Arne / Little Arne
KADKs kritiske forskning om Københavns udvikling / KADK Critical research on the development of Copenhagen
Atlas of the Copenhagens and Boliger Bebyggelser By / Homes Ensembles City by Peder Dueland Mortensen
- Bolig og velfærd i København / Housing and welfare in Copenhagen
“We are incredibly proud that peers at their own prize, acknowledge research as a key contribution to the architectural profession. We work every day to create the world's best architectural education, and we do so on our unique three-legged knowledge base: the practice of the subject; artistic development and, not least research. Therefore, it really means a great deal to us that with this prize research is appreciated on an equal footing with the other architectural disciplines.”
Katrine Lotz - Head of the Department of Architecture, City and Landscape at KADK - the Royal Danish Academy of Fine Arts, Schools of Architecture, Design and Conservation.
nominated for the award:
Klimaflisen /Climate tiles
architects: Tredje Natur
Principper for cirkulært byggeri /Principles of circular construction
Fællestegnestuen GXN, Lendager and Vandkunsten
Resilient Aesthetics / Resilient Aesthetics
Forskningsindsats v. lektor Nicolai Bo Andersen, KADK
There are photographs and brief descriptions of the nominated buildings and work on the site of the Association of Architects.
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.
drawings from Lendager Group
Kalvebod Fælled August 2018 from the west edge of Ørestad
This view of Amager shows the area of Ørestad marked with a dotted white line and the plot for housing designed by Lendager at the south-west corner marked in orange and 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 up 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 and also looking across the common is now a tourist attraction.
Copenhagen airport 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 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 misplaced or 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 watch 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 up 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, much longer and much more suburban in character, so 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.
June 2018 - rapid progress
A major housing project in Ørestad by Lendager is moving fast towards completion.
This is housing around an enclosed courtyard on a plot about 250 metres south of the new Royal Arena
It is a wide site from east to west but relatively short north to south and there will be three-storey row houses along both long sides and taller blocks across the shorter east and west ends of the courtyard.
Drawings for the scheme show extensive planting in the courtyard with well-established trees and with climbers or plants on the walls of the courtyard and extensive gardens and green houses across the roof.
drawing by Lendager Group
But it seems, from walking around the site, that there could be a very real problems with shadow across the building and across the courtyard. This is not just a problem with this development but a significant problem across the district.
A masterplan for this part of Ørestad was produced by the Finnish company ARKKI in 1995 and although the specific form of key buildings - like the new Royal Arena and the recently completed school - have changed from the layout shown then, the arrangement of roads and building plots has survived. However, the housing and apartments as built, over the last year or so, appear to be much higher than originally planned with more floor levels - to increase housing density - so the buildings have a much longer and unbroken area of shadow and that is obviously much more of a problem at this time of year when the sun, although often bright and in a clear sky, is low in the sky.
Here, there are tall buildings immediately to the south with just a narrow road between the two developments but the higher blocks at the east and west ends of the Lendager building itself will also throw shadows across the courtyard from the early morning and the evening sun.
To be more positive, the really striking feature of the building will be the facing panels of recycled brickwork. These are not old bricks that have been salvaged and cleaned and re-laid but they have been cut in panels from buildings as they were demolished … in this case buildings on the Carlsberg site in Copenhagen.
Old lime mortars tends to crumble away as a building is demolished and individual bricks can be cleaned and reused but modern mortar is so tough that bricks are damaged or shatter if you try to salvage them individually.
This method of creating facing panels for new buildings has been shown by Lendager at exhibitions at the Danish Architecture Centre.
January 2019 - a much clearer idea of the final appearance with windows fitted and the strong black skyline but note the deep shadow across the south-facing row houses on a bright winter day early afternoon - general view taken from the south-west
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.
Karmstol, Stitched wood and a Skammel and Massive weaving
An important exhibition of recent work by the furniture designer and architect Else-Rikke Bruun has just opened at the gallery of the Association of Danish Crafts and Designers in Bredgade .
the exhibition continues until 20 December 2018
Officinet, Bredgade 66, Copenhagen
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.
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.
A major new exhibition has just opened in the Golden Gallery – the lower exhibition space at the Danish Architecture Center in Copenhagen – to mark the centenary of the birth of the Danish architect Jørn Utzon who was born in April 1918 and who died in November 2008.
Under the title Horisont / Horizon, the exhibition makes extensive use of models, audio-visual presentations and the reproduction of many photographs taken by Utzon himself as he travelled widely and looked at traditional buildings in North Africa, Iran, Nepal, China and Africa and at the buildings of Frank Lloyd Wright in America that all inspired his work or were, at least, used as a starting point for some of the most imaginative and most eclectic modern buildings of the second half of the 20th century.
POINT was founded in 2013 by Laust Sørensen and Michael Droob who both studied at the Royal Danish Academy of Fine Arts School of Architecture.
“Our ambition is to create endurable aesthetically pleasing solutions that evoke positive emotions and form the basis for creating memories. We believe this is possible by uniting a pragmatic approach with an elegant architectural solution that brings to life the inherent poetry and the unique attributes of the location and sparks an awareness in the beholder in this precise moment.
… we consider the social aspects to be the primary premise for developing the best possible society.”
The exhibition is tightly or even rather formally arranged with projects shown with a single image and below, set on a large cube, a 3D printed model. These models emphasise the mass or form of the buildings and obviously show the topography of the site better than any site drawing could - here mostly printed as distinct layers retaining the map contour lines - giving the models a slightly detached feel that seems remote from anything organic like rock or mud. The models also remove any real sense of materials or surface texture or colour on the buildings and show groups of volumes or mass with little idea of the plan of these buildings or any distinct function of the different parts or any impression of the experience of moving through the internal spaces.
POINT works with a company that produces computer games so they are ahead of many architectural offices in understanding and using virtual reality. Here, in this exhibition, virtual reality programmes that show their buildings and designs are seen not just through a headset but are also projected onto a sweep of semi-transparent screen that loops out from the gallery level above the book store of the Architecture Center.
Several of the projects, particularly those for buildings or monuments in parks or gardens - including a proposal for a new raised pond at Mindelunden, the war memorial in Hellerup - have a stunning and elegant simplicity and a design for Hellerenhus, a group of buildings for a museum set in a gorge at Jøssing fjord in Norway, is both appropriately simple and starkly dramatic.
The POINT studio is in the former drawing offices of the old Burmeister & Wain shipyard at Refshaleøen in Copenhagen.
the newly repainted and rearranged display in the Jacobsen gallery at Designmuseum Danmark - the chair standing on the floor is The Ant designed in 1952 and in the case above, against a reproduction of the design Spirea from 1954, the Cylandline range from 1964-1967
The House of the Future designed by Arne Jacobsen with Flemming Lassen for an exhibition in 1929
Sometimes it can be as interesting to look at the display cases and the style of the information labels and the lighting in a museum as it is to look at objects on display … and, for obvious reasons, more so when you are in a design museum.
At Designmuseum Danmark they have a space dedicated to furniture designed by Arne Jacobsen. I'm not sure of the date of this display but I would guess that it is over twenty years old.
It is a substantial structure and is itself quite a design item so I can see exactly why it should be kept.
The space is actually square and is on a main through walk down the right-hand range of the museum but under a false ceiling, lit to throw light down into the space, there are three curved areas with raised platforms to make the space circular and that is where furniture by Jacobsen is displayed and there are two large shallow display cases recessed into the walls plus wall space for photographs and panels. These curved platforms pick up shapes in the House of the Future that was designed by Jacobsen in 1929 - in partnership with Flemming Lassen - and as the display includes a copy of a drawing for that house so the echo must be deliberate.
The advantage of this form of display is that the furniture is lifted clear of the floor, giving the pieces at least some protection, but the pieces can still be examined up close and raised up so anyone interested can see some of the details of the construction particularly on the underside.
earlier in the summer:
the chairs for St Catherine’s College Oxford; the chairs for the SAS Royal Hotel and a Grand Prix designed in 1957 and The Giraffe for the dining room of the SAS Royal Hotel
photographed this month:
desk and chair for Munkegård Elementary School; The Egg, a Swan Chair and The Drop for the SAS Royal Hotel designed in 1958; an Ant Chair from 1952 and the Skovsneglen / Paris Chair by R Wengler designed by Jacobsen in 1929
Display case with flatware AJ designed in 1957, a lamp for St Catherine’s College and the Vola range of taps from 1969
Cylinda line - ‘hollowware’ designed in 1967 and produced by Stelton
Jacobsen is without doubt one of the most important designers from the classic period of modern Danish design in the 20th century and is certainly the Danish designer who the most foreign visitors will know at least something about so I can see exactly why he is given this special treatment.
A recent remodelling of a space further along the same gallery pulls together in one place some of the works in the collection by Kaare Klint but presumably it is felt that to separate out other individual Danish architects or designers for the same treatment would be too greedy on space and make the museum displays rather too fixed in the works and the themes that they explore.
The Jacobsen gallery has just been redecorated and looks good for its fresh coat of paint and for the replacement of photographs that had begun to curl at the edges. What is more interesting is that some of the furniture has been moved around and new pieces brought in so chairs designed by Jacobsen for St Catherine's College in Oxford in the 1960s have been removed. These were less obvious key pieces in the history of Danish design although they show the most refined and most sophisticated use of plywood for furniture in any designs by Jacobsen. They have been replaced with a chair and a desk and a sample of the fabric designed by Jacobsen for Munkegaard Elementary School in the early 1950s.
The main chairs that Jacobsen designed for the SAS hotel in Copenhagen remain - the Egg, the Swan Chair and the Drop - all still in production sixty years later - but the Giraffe Chair that Jacobsen designed at the same time for the dining room of the hotel has gone back to store which is a pity because it shows a very different style and form of chair but just one that did not receive the same popular acclaim as the other designs.
My one criticism of the display is that it shows the ever-present Danish understatement and modesty about what Danish design did and does achieve.
The display cases show the cutlery and the glassware and lighting and so on that Jacobsen designed for the SAS Hotel and there is the absolutely remarkable thing. Arne Jacobsen designed the SAS Hotel, and the air terminal that was originally in the same building, in a style and with a method of concrete pouring that was barely known in Scandinavia and untried at the time in Copenhagen so just for the building design and construction a huge challenge. It is known that Jacobsen had a small drawing office - certainly very small by modern standards - and the core team was actually working in an office in his own home outside the city in Klampenborg in a way he had developed in both the first and the second house as well as this the third house he designed for himself and his family. Yet at the same time, and in a remarkably short period, he designed not just a complicated and challenging building, but also all the furniture including six chairs, at least two of which became truly iconic designs and four of which used innovative materials for an almost unique form of shell design (the first chairs were made with expanded polystyrene) and he designed carpets, upholstery textiles and all the tableware needed for a large hotel and all equally innovative and all in a period of about five years.
This work by Jacobsen for the SAS Hotel is often described as a good example of gesamtkunstwerk - total design - but even in Denmark that should be taken to be a bit of understatement. Surely the hotel and its interior should be lauded as one of the most incredible personal achievements by any architect in the 20th century.
"The name WE Architecture is based on the philosophy that architecture is not the result of only one person's stroke of genius" … but "believe that the best results occur through teamwork and transdisciplinary networks."
WE architecture was established in Copenhagen in 2009 by Marc Jay and Julie Schmidt-Nielsen.
Much of their work takes, as a starting point, an exploration of how people and the community respond to and use architecture … what they describe as understanding how physical surroundings "inspire people to create new relationships or to cultivate existing relationships" … exploring the "potential for innovating the framework of communities."
This raises interesting questions because it implies that there can be an enlightened and well-defined relationship of trust between the architect and the end user as well as with the commissioning client. This is not the place to discuss the issue of politics and economics in social architecture, in the broadest sense, in Denmark but possibly a place to raise this important subject.
One project, shown here through a number of models, is a new and ongoing development for Jagtvej 69 in the Nørrebro district of Copenhagen with temporary housing for homeless people and community gardens. This is now an empty plot but was the site of a community centre, Ungdomshuset, which was cleared and demolished in 2007 precipitating street riots … cobbles thrown in the riots are one of 30 objects chosen for an exhibition at the National Museum - Din Ting - to represent key events or movements of the first years of this century. This is precisely what makes Danish architecture so important … designs that responds to the changing needs of society with an awareness of and a sensitivity to broader political issues.
Certainly, looking at the work of the studio over the last ten years it is good to see that so much of their work is in housing, education and culture and all these projects have a strong relationship with their landscape or townscape setting. Models - so massing of elements and overall form - are clearly important as different options for sites are explored through making many models at the initial stages.
The Dreyers gallery has three main levels alongside a steep staircase down from the main exhibition area and WE Architecture have exploited this by stacking up timber boxes to break down the sudden transition from each level to the next. This provides platforms and surfaces for displaying models and photographs of the projects undertaken by the team but they have also incorporated work stations where, for the period of the exhibition, staff will work but are available to discuss their buildings and answer questions.
A dramatic exhibition and one of a series at Louisiana under an overall title Arkitekturens Værksteder / Architecture Workshops - ELEMENTAL profiles the work and the approach to architecture of the office in Santiago of Alejandro Aravena.
The process of design is here a main focus of the exhibition that begins with a display of sketch books - a primary stage in their design process. With excellent visuals, on small screens around the edge of the display, you can select a sketch book and explore the contents by swiping through the pages that include both notes and detailed drawings.
In conjunction with this are films running across three large images on a nearby wall that turn through sketchbooks page by page.
The design process for this exhibition space - from initial ideas through to the construction of the final display - was treated like a specific design project by ELEMENTAL to explain their work process and philosophy. A series of large panels on a lower level of the galleries trace through the whole development of the exhibition from the first letter from Louisiana proposing the exhibition through to the construction in the space. It is rare, as a visitor to an exhibition, to be able to track in such detail the work involved in producing an exhibition on this scale and of this complexity.
There are separate areas with photographs forming a time line for projects and models showing the primary volumes and forms of major buildings. There is a sequence of photographs and drawings of the now famous social housing - half fitted out in the initial construction and half to be completed by the families at a later stage and a sequence of prototypes showing the development of the design of Silla Chair - an open source design. Under a huge suspended box, there is a film of the projects from a drone.
Arkitektens fotokonkurrence 2018 / The Architect's Photo Contest 2018
Following a competition by the association of architects, this exhibition shows the five winning portfolios, each with five photographs of a building or a single architectural project.
In a World that seems to be dominated by superficial Instagram images this is an important exhibition because instead of a quick glance and a swipe right the photographs are presented for careful consideration.
It is difficult to capture, for the record, the qualities and the character of a building in a few images and one function of these photographs is to slow down the process of looking. These photographs are about trying to record what is essential about the style and the form and the materials and the setting of a building.
the exhibition was open as part of the Day of Architecture on 1 October but continues through to the 26 October
1124 Copenhagen K
Immediately after the War there was clearly a shortage of housing but also cities realised that poorly-built housing - particularly the dark and tightly-packed housing that had been built in courtyards - had to be demolished and replaced with appropriate homes of a much higher standard
The exhibitions at Arkitektforeningen for the Day of Architecture is an opportunity to see here again the exhibition Boliger til Folket / Housing for the people about social housing in Denmark after the Second World War, so through the1940s and 1950s.
This was shown first in Copenhagen in the central library in March 2017 and was reviewed here.
This is a second chance if you missed the exhibition the first time round but it is well worth a second look with profiles of several major housing schemes and includes comments by residents from interviews some remembering what the apartments were like when they were new.
One aim of the exhibition was to re-establish the merits of these apartment blocks by focusing on the quality of the design and the high quality of the initial building work but it also emphasises the reasons for good and sympathetic restoration work to ensure that these buildings not only survive but that they have an ongoing role as good and desirable housing.
An impressive and entertaining exhibition at Kunsthal Charlottenborg with large-scale works created by artists working with the architectural studio of BIG and primarily for major new buildings or for public spaces.
Each work has a video presentation by Bjarke Ingels and this confirms that he is one of the most articulate proponents of modern architecture and planning.
the exhibition continues until 13 January 2019
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
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.
the Louisiana Chair displayed with the tall bar stools in the Butik at Louisiana
the Louisiana Lamp in the Butik
the chairs designed by Vilhelm Wohlert in the museum restaurant
the taller stools with back rest in the museum restaurant
One of the series of exhibitions of the Dreyers Arkitektur Galleri to show the work of new or young architects, architectural practices and studios.
For this exhibition the architects have produced a timber-framed structure that steps down three levels of the gallery and creates distinct partly- enclosed spaces where models and photographs of their buildings are displayed.
the exhibition continues at the Danish Architecture Centre until 5 October 2018