Arkitektfirmaet C.F. Moller
Il Progetto 32
1 Gennaio 2009
Architecture: Reset
1 Gennaio 2009Chronology
The sequence of the material published here is not chro-nological. The practice has a wide range of products, but the intention here is not to show the projects that have made the Moller name internationally recognised.
Debate
The material published in these pages should be seen first and foremost as a contribution to the cultural debate in which international architecture is engaged at a moment of vital change. Hence, it is a way of asking why things are the way we see them, an attempt to articulate the histori¬cal, anthropological, cultural and socio-economic factors that influence our architecture, with particular reference to the architectural philosophy of the State.
Architectural ingredients
The projects the Studio has published always have a series of key words placed sideways in the right-hand margin to identify the ingredients included in the designs, a kind of vivisection of the method used to produce the works.
For example:
The genius loci (spirit of the place), the context.
Function.
Social responsibility.
Containment and not ostentation.
Detail in its significance as an integral part of the whole.
Allowing yourself to be inspired by the location and rela¬ting to it is where it all begins, the source of inspiration that suggests the design address. Inspiration derives from the function and the needs that arise from use.
This is evident in the formal language that has sought over the years to acquire a sense of responsibility. This includes social responsibility. Using a language that is often lean and essential, C.F. Moller buildings do not show off, they do not exhibit themselves. Aware that this country's limited resources have influenced the history of its building, they are proud to let architectural details speak for themselves. To let them be an essential part of the whole. The projects described here look towards the future and seek to focus on the main issues involved in the debate at this precise moment in architecture, in which Moller Architects is a lead player. Questions are asked and answers are "provoked".
Cronologia
La sequenza del materiale pubblicato non è cronologica. Lo studio ha una grande produzione, ma l'intenzione non è stata quella di mostrare la quantità dei progetti elaborati con cui Moller si è affermato nel panorama architettonico.
Dibattito
Il materiale pubblicato in queste pagine va in primo luogo visto come intervento di dibattito nella cultura architetto¬nica internazionale che sta vivendo un momento di impor¬tante cambiamento. È pertanto una presa di coscienza sul perché le cose si vedono così come sono, e un tentativo quindi di comunicare quali sono le ragioni storiche, antro¬pologiche, culturali e socio economiche che influenzano la nostra architettura con particolare riferimento alla filoso¬fia architettonica dello studio.
Ingredienti architettonici
I progetti redatti dallo studio hanno sempre una serie di testi collocati di traverso sul lato del margine destro, che tendono a identificare gli ingredienti contenuti in tutti i progetti, quasi una vivisezione del metodo adottato per la produzione delle opere.
Lo spirito del luogo (genius loci), il contesto
Funzionalità
Responsabilità sociale
Contenutezza e non ostentazione
Il dettaglio nel suo significato di parte integrante dell'insieme
Lasciarsi ispirare dal luogo e relazionarsi ad esso è il pun¬to di partenza, fonte di ispirazione e di indirizzo per la pro-gettazione. L'ispirazione è tratta dalla funzionalità e dalle necessità che scaturiscono dall'utilizzo. Questo è evidente nel linguaggio formale che nel corso degli anni ha cercato di essere responsabilizzato anche in senso sociale.
Un linguaggio, spesso scarno ed essenziale, le costruzioni di C.F. Moller non "sfoggiano", non si mettono in mostra. Consapevoli che le scarse risorse del loro paese hanno caratterizzato la storia delle costruzioni, e orgogliosi che il dettaglio nella loro architettura racconti una sua propria storia e sia una parte essenziale della totalità.
I progetti presentati sono orientati verso il futuro e cer¬cano sommariamente di concentrare i temi principali di dibattito in questo momento dell'architettura, di cui lo studio Moller è uno dei protagonisti. Vengono poste delle domande e "provocate" delle risposte.
Manifesto
One of the practice's fundamental precepts is that history has great significance for human beings. Modern man must recognise himself in history. Given that architecture is responsible for connecting the past with the future, Moller believe that it is durable, that it is an applied art, concepts that are questioned today. They hold furthermore that the architecture of the future must not be swept along by infatuation for technology, but rather by responsible ethics. Cultivating what is genuine must continue to be the driving force behind architectural development.
Art workshops
Modern architectural practices work in a dimension similar to a world market. Globalisation is an irrevers-ible process. Europe's major architectural practices are all of significant size. These pages tell a story of Danish architecture to a foreign readership. If architects and their practices want to avoid turning into production-line ma¬chines, they need to develop innovative ideologies, must become places where talent emerges, where new ideas are tried out and conditions are created for experimenta¬tion. The methodology so far applied by Danish architects is no longer adequate for today. With the Darwin Centre
project, Moller show the way ahead. They believe that new, strong, formal signs are needed if the idea is to be lasting in the complex, turbulent process that characterises cur¬rent compositional approaches.
It is vital for the whole practice to share this "credo", because works today are the fruit of group endeavour, and awareness of this principle must be at the basis of a shared architectural philosophy.
Manifesto
Un'affermazione fondamentale dello studio è che la storia ha un grande significato per gli uomini. L'uomo moderno deve riconoscersi nella storia. Ritenendosi responsabili di connettere il passato e il futuro, i Moller credono ancora che l'architettura sia durevole e che sia un'arte applicata, tutti concetti oggi messi in discussione.
Ritengono inoltre che l'architettura del futuro non debba essere trascinata dall'infatuazione tecnologica, bensì da un'etica responsabilizzata. L'abitudine alla genuinità deve continuare ad essere il motore di sviluppo dell'architettura.
L'officina d'arte
I moderni studi di architettura hanno una dimensione che è simile, e ormai relazionata a un mercato mondiale. La globalizzazione è un processo irreversibile. I grandi studi di architettura europei hanno tutti una dimensione rilevante. Queste pagine raccontano una storia dell'architettura danese a un pubblico straniero. Se non vogliamo ridurre gli studi di architettura a macchine di produzione, gli studi devono sviluppare ideologie innovative, e devono esse-
re luoghi dove i talenti progrediscono, dove nuove idee vengono collaudate e dove si creano le possibilità per la sperimentazione. La metodologia che gli architetti danesi hanno seguito fino ad oggi non è più sufficiente. Con il progetto per il Centro Darwin e con i recenti progetti lo studio Moller mostra nuove strade. Ritiene infatti che nuo¬ve forti indicazioni formali siano necessarie, se l'idea deve mantenersi durevole nel complicato e turbolento processo che caratterizza la nuova realtà compositiva.
È importante che questo "credo" sia comune in tutto lo studio, poiché le opere oggi sono frutto del lavoro di gruppo, e che questa consapevolezza sia alla base di una comune filosofia architettonica.
Darwin Center Project
Introduction
The design concept is a bold experiment both for the scientific community and for the museum's design theme. The Darwin Centre was conceived as an interface for dia¬logue between visitors, collectors and researchers.
The design team focused on the activities, the target audi¬ence and initiatives that best demonstrate the Natural History Museum's commitment to creating a broad-access structure, reaching new audiences in ways that are rele¬vant to them, and systematically sustaining research activ¬ity and cataloguing in various fields. The project's aim was to send a clear message to Government, to institutions
in heritage and scientific research and to the communi¬ties from which visitors, members, donors, patrons and trustees come. The Darwin Centre is significantly differ¬ent from the rest of the Museum. While the Life and Earth galleries focus on our knowledge of the natural world, the Darwin Centre explores the origins of that knowledge and how it is relevant to the needs of contemporary society. The processes and methods of classification science are illustrated and the project stresses communication with, implications for and expectations of the visitor.
The initiative is based on the emerging Learning and Sci¬ence strategies, and has incorporated policy initiatives such as the "Ten Year Vision" and the "Diverse World" audience development strategy.
Seeing the collection
One of the main goals of the project is to introduce visitors to the world of knowledge, resources and activities within the Darwin Centre. This includes a brief but fascinating glimpse of the way the scientist works and takes us on
a journey through the world of Darwin. The goal of the Darwin Centre is to maximise physical, intellectual and virtual access to the collections and to give an insight into the various ways that knowledge is used. The Darwin Centre will satisfy individual needs and provide a unique experience regardless of whether the visitor is a research scientist, an amateur collector or a four-year-old child.
An extension that complements the whole
The Darwin Centre Phase 2 extension should do nothing to
undermine the monumentality of the building designed by Alfred Waterhouse (b. Liverpool 1830, d. Yattendon, Berk¬shire 1905); on the contrary, it should improve the Natural History Museum Campus by completing the west facade of the main building and simplifying the circulation flow pat¬terns within the museum.
Expressing a single and appropriate
architectural concept
The Darwin Centre Phase 2 extension is designed to create a compelling architectural image suitable to re¬presenting the large botanical, ethnological and anthro¬pological collections.
The Solution — the Cocoon
To respond to various demands, as well as find an elo¬quent way of presenting the collection of specimens, it was decided to create an inner protective envelope known as the "Cocoon". Due to its size, the Cocoon cannot be seen in its entirety from any one view; this emphases its volume and scale relationships. The shape and size also gives the visitor a tangible understanding of the scale of the collection contained within.
Not an addition but a transformation
of a pre-existing environment
It is clear that Waterhouse intended the west and east facades of the main building to be stately facades in a garden setting. The facades of the Darwin Phase 1 and the West Tower are very expressive.
The Darwin Centre Phase 2 is intended to mediate betwe¬en the two buildings while also making its own mark and creating a transparent window displaying the Cocoon and all activities within the Darwin Centre Phase 2.
Adding to what there is without detracting from it
The Darwin Centre Phase 2 project began with an analysis of the architecture of Alfred Waterhouse's original Natural History Museum and its later additions.
The extension was considered as a great opportunity to improve and transform the existing buildings into so¬mething more than the sum of its parts.
The Darwin Centre draws existing and new architecture into a dialogue creating a set of dynamic, spatial experien¬ces, bridging the past, present and future.
Il progetto Darwin Center
Introduzione
Il concept di progetto costituisce un audace sperimenta¬zione sia per la comunità scientifica sia rispetto al tema progettuale del museo. Il Darwin Center è stato concepito come un'interfaccia di dialogo tra visitatori, collezionisti e ricercatori. Il gruppo di progettazione si è concentrato sulle attività, sul target del pubblico e sulle iniziative che meglio dimostrano la volontà del Museo di Storia Naturale di realizzare una struttura di largo accesso, che familiariz¬zi appropriatamente con un pubblico ampio e diversificato, pur continuando a sostenere sistematicamente l'attività di ricerca e catalogazione nei diversi ambiti.
La finalità era quella di inviare un messaggio al governo, alle istituzioni per la salvaguardia dei beni artistici e cul¬turali e per la ricerca scientifica, e negli ambienti dai quali provengono i visitatori, i promotori e gli amministratori.
Il Darwin Center è significativamente diverso dal resto del museo, se le gallerie "Life" e "Earth" si focalizzano sulle conoscenze del mondo naturale, il Darwin Center affronta il problema delle origini di questa conoscenza e del perché sia necessaria alla società contemporanea. Vengono illu¬strati i processi e i metodi propri delle scienze di classifi¬cazione e ci si sofferma sulla comunicazione, sulle impli¬cazioni e sulle aspettative. L'iniziativa si ispira a recenti strategie in materia di istruzione e scienza e ha inglobato iniziative politiche come la "Ten Year Vision" e la strategia di ampliamento del pubblico "Diverse World".
Vedere la collezione
Uno degli obiettivi del progetto è stato quello di introdurre il visitatore nel mondo delle conoscenze, delle risorse e delle attività del Darwin Center. È stata inclusa una fugace apparizione all'interno del fantastico mondo in cui la scienza lavora e un viaggio nel mondo di Darwin.
L'obiettivo del Darwin Center è quello di massimizzare l'accesso fisico, virtuale e intellettuale alle collezioni e di penetrare all'interno degli svariati modi in cui questa conoscenza viene utilizzata.
Il centro soddisferà le esigenze personali del visitatore pur fornendo un'unica esperienza, incurante del fatto che il visitatore sia un ricercatore, un collezionista appassio¬nato o un bambino di 4 anni.
L'ampliamento gratifica l'insieme
L'ampliamento del Darwin Center non cerca di sminuire la monumentalità dell'edificio costruito da Alfred Wa¬terhouse (Liverpool 1830; Yattendon, Berkshire, 1905), al
contrario, ricerca la valorizzazione del campus del museo, completando la facciata ovest dell'edificio principale e semplificando i flussi di circolazione all'interno del museo.
Esprimere un unico e corretto concept architettonico
Il progetto per l'ampliamento del Darwin Center è carat¬terizzato da un'immagine architettonica forte e irresisti¬bile capace di rappresentare le grandi collezioni botani¬che ed etno-antropologiche.
La soluzione — Il Cocoon
Per rispondere a esigenze diverse, nonché per dare una forma eloquente alla collezione di campioni, si è scelto un Cocoon come involucro di protezione interna della col¬lezione. A causa delle sue dimensioni il Cocoon non può essere visto nella sua interezza da tutte le prospettive: ciò enfatizza il suo volume e i rapporti di scala. La sagoma e le dimensioni danno al visitatore una tangibile compren¬sione delle dimensioni della collezione contenuta.
Non un'addizione, una trasformazione rispetto
alle preesistenze
Nelle intenzioni del Waterhouse le facciate ovest ed est dell'edificio sono le facciate signorili che chiudono l'arre¬do del giardino. La facciata dell'ampliamento del Darwin Center e la torre ovest sono molto espressive. Lampiamento del Darwin Center Phase è stato concepito quale mediatore tra due edifici perché pur possedendo un profilo proprio in realtà è una finestra trasparente che pro¬ietta il Cocoon e tutte le attività interne al nuovo edificio.
Arricchire l'esistente senza sacrificare nulla
La prima fase del progetto è stata un'analisi del progetto originale di Alfred Waterhouse per il Museo di Storia Natu¬rale e delle sue successive modificazioni.
L'ampliamento è stato considerato una grande opportunità per valorizzare e trasformare l'edificio esistente in qualco¬sa di più della somma delle sue parti.
Il Darwin Center trascina l'architettura esistente e il nuovo in un dialogo fatto di esperienze dinamiche e spaziali, collegando passato, presente e futuro.
Formal choices and visibility form the outside
The new building was conceived as a new space, a new concept and a new icon. The visitor perceives it both as a cavity and as a passage. Attention is drawn to the mu-
seum's world-class scientific research symbolised by the Cocoon icon. The structure can be conceived both as a museum and as a passage from the inside to the outside. Many aspects of contemporary architecture have been challenged in this project.
Not an addition - a transformation
The continuous curving surfaces of the immense archive, one of the treasures of the Natural History Museum, are the icon of the new Darwin Centre. Public spaces are dra¬matic, tall and full of natural light. They provide the public with views and experiences unique to the museum. Access points are visible inside and outside at street
level. As you enter from the street the public space opens into an eight-storey room with a facade overlooking the Wildlife Garden. This is the starting point of a journey that leads visitors in, around and through the upper floors that feature various activities. The journey reaches its climax at ground level on the terrace overlooking the Wildlife Garden, a space where the visitor can enjoy the view and rest after ending the tour.
The facades are complementary yet contrasting.
The facade elements are composed so as to eliminate the sense of floor partitions at regular intervals. The large transparent facade areas provide views of the Cocoon and show the flow of visitors from outside the building.
The new flow adds to that of the museum
Public access to the scientific core of the Darwin Centre takes the form of a visitor path which passes up, over, through and around the Cocoon, overlooking the labora¬tories and the science area. This path gives visitors the opportunity to explore and observe world-class scienti¬fic research facilities, given that the laboratory and ca¬taloguing activities carry on interrupted in the presence of visitors. The visitor moves through a succession of
exhibits and experiences on the upper levels of the Cocoon with opportunities to stop and contemplate the wonders and functions of the Darwin Centre, and get a glimpse of scientists at work in their environment.
The elevators by the entrance staircase to the south allow visitors to overlook the Cocoon and Wildlife Garden while returning to the principal floor. Here the visitor can wit¬ness a live demonstration by resident scientists or by video link, which explains the scientific projects in progress.
As visitors and staff move through the Darwin Centre, they will experience a series of dynamic and contrasting
spaces: high and low, open and closed, light and dark, still and moving. All this is possible due to the inescapable presence of the Cocoon.
Maximizing physical access for all - without interfering with research
Emerging through the Cocoon, the visitor enters a new type of space where the boundaries between the inner and outer worlds of research seem to melt.
The visitor can experience the Darwin Centre as a scienti¬fic workshop, observing the tools of science in operation, while not interrupting scientific work in progress.
Cocoon geometry - The Process
The collections contained in the Natural History Museum are among the world's most extensive and treasured.
In order to preserve, maintain and present this collec-tion a structure suitable in both form and structure was necessary. The Cocoon provides the solution by creating an icon that symbolises nature, as well as protection
and preservation. It is constructed of walls over half a metre thick formed of shapes defined by mathematical equations. It is integrated with customised structural and mechanical solutions. Sustainability was assessed using traditional cost-benefit analysis, or balancing costs, com¬fort and quality. The criteria applied to the environmental design of the Darwin Centre Phase 2 were as follows:
The team identified environmental control needs and devi-sed a strategy that addresses three degrees of tolerance: low tolerance for artefacts in the collection, medium tole¬rance for the permanent staff, and high tolerance in areas used by visitors or short-term staff.
Building form, materials and spatial relationships, me-chanical and electrical systems were decided following holistic design criteria.
The cocoon is the protected inner zone, with its own skin designed to provide a second level of environmental pro¬tection. The atrium forms a buffer zone, and was modelled using flow dynamics to understand the resultant internal conditions. To maximise its performance, its interaction vvith the sunlight was assessed using both physical and computational modelling.
Life cycle value engineering and cost modelling has ena¬bled true value for money to be understood, and provides an indicator for sustainability.
La scelta formale e la visibilità dall'esterno
Il nuovo edificio è stato concepito per diventare un nuovo spazio con un nuovo concept e una nuova icona. Il visitato¬re lo percepisce sia come cavità che come un passaggio. L'attenzione è posta sulla ricerca scientifica a livello mon¬diale, simbolizzata dall'immagine del Cocoon. La struttura può essere concepita sia come museo sia come punto di passaggio tra interno ed esterno. Sono stati chiamati in causa molti temi dell'architettura contemporanea.
Non un'addizione, una trasformazione
Le curvature dell'immenso archivio, uno dei tesori del Mu¬seo di Storia Naturale sono l'icona del nuovo complesso. Gli spazi pubblici sono drammatici, alti e riempiti dalla luce naturale. Forniscono al pubblico esperienze e viste uniche all'interno del museo. I punti di accesso sono visi¬bili dall'esterno e a livello della strada.
Entrando dalla strada lo spazio pubblico si apre come una stanza alta otto piani, le cui facciate sorvegliano il Wil-dlife Garden. Questo è il punto di partenza di un viaggio che conduce i visitatori all'interno, attorno e attraverso i piani superiori che contengono svariate attività. La visita culmina tornando al pian terreno, su una terrazza che domina il Wildlife Garden: un luogo dove ci si può fermare per godersi la vista, una volta finito il giro.
Le facciate sono complementari oppure contrastanti.
Gli elementi della facciata sono composti in modo da eli¬minare ogni traccia di marcapiano e di intervallo regolare. Massimizzando la disponibilità di accesso senza compro¬mettere l'attività di ricerca.
Il nuovo flusso si somma a quello del museo
L'accesso pubblico al nocciolo del Darwin Center prende forma da un percorso panoramico sui laboratori e l'area di ricerca, sopra, attraverso e attorno al Cocoon.
I visitatori hanno la possibilità di sperimentare ed osser¬vare un saggio della world-class della ricerca scientifica, perché le attività dei laboratori e di catalogazione non sono interrotte dalla concomitanza dei visitatori.
Al livello superiore il visitatore si muove attraverso una.
serie di allestimenti e può fermarsi, se lo desidera, per contemplare le meraviglie e le funzioni del Darwin Center, buttando l'occhio sugli scienziati mentre si muovono nel loro ambiente. Mentre si torna indietro al piano principale, gli ascensori sulle scale di accesso a sud regalano scorci interessanti attraverso il Cocoon e sul Wildlife Garden.
Lì il visitatore può assistere a dimostrazioni "live" prepa¬rate dagli scienziato o via collegamento video, riguardanti i progetti scientifici in corso. Sia il visitatore sia lo staff, muovendosi dentro il centro, sperimentano emozioni con¬trastanti grazie al susseguirsi di spazi alti e bassi, aperti e chiusi, bui e luminosi, fermi e dinamici, e tutto grazie alla presenza totalizzante del Cocoon.
Massimizzare gli accessi fisici
a tutti - senza intralciare la ricerca
Penetrando nel Cocoon, si accede ad un tipo di spazio in cui i confini tra i mondi della ricerca interni ed esterni si sciolgono. Il visitatore partecipa quasi ad un workshop, osservando gli strumenti del mestiere, senza interrompe¬re il lavoro degli scienziati.
Cocoon Geometry - Il processo
La collezione contenuta dal Museo di Storia Naturale è una delle più preziose e complete al mondo.
Sia la forma che la struttura sono adatte a preservare, contenere e rappresentare adeguatamente la collezione. Effettivamente è stata scelta una figura rappresentativa della natura, nonché del concetto di protezione e preser¬vazione. La parete, formata da elementi definiti tramite un'equazione matematica, è spessa più di mezzo metro ed è integrata da soluzioni strutturali e meccaniche ad hoc. La sostenibilità del processo è stata verificata con una tradizionale analisi costi-benefici, ovvero bilanciando
costi, comfort e qualità. I criteri per la progettazione am¬bientale del Darwin Center Phase 2 sono stai i seguenti: La squadra tecnica ha identificato gli elementi di controllo necessari e ha individuato una strategia che aderisse a tre possibili gradi di tolleranza: bassa, dove si trovano gli
oggetti della collezione, media per lo staff residente, e alta per le aree ad uso dei visitatori o di transito.
La forma dell'edificio, i materiali e i rapporti spaziali, gli impianti meccanici e elettrici sono stati definiti quindi da una soluzione olistica. Il Cocoon è la zona protetta, con la sua pelle progettata per fornire un secondo livello di protezione ambientale.
L'atrio, lo spazio cuscinetto, è stato modellato attraverso la fluidodinamica, in modo da comprendere le condizioni interne risultanti. Per massimizzare le prestazioni, Vinte-razione con la luce del sole è stata studiata attraverso due modelli fisici e computazionali.
La stima è stata capace di fornire valori oggettivi, in termi-ni monetari, del livello di sostenibilità.
New Bislett Stadium
With a stadium it's "pot luck". The historic Bislett Stadium is no exception, and its location in the centre of the city is quite unique. In architectonic terms, the solution was based on the desire to retain the unique location the sports arena enjoys with regard to the city. Given the location's topography and the building structure, Bislett Stadium is currently perceived as an intimate space where the walls are not formed by the gran-dstand complex, but by the surrounding buildings. The three squares surrounding the stadium - Bislett plass, Martinus Loerdahls plass and Sofies plass - have been reno¬vated to bring them into line with the design concept of Local interconnectedness. The complex's foyer - which includes the entrance to the stadium, rented offices and a café - opens onto Bislett plass. The main grandstand, VIP and press club, as well as the organiser's rooms are accessed from Martinus Loer-dahls plass. Sofies plass has been restyled to create a park¬like environment. This area acts as the front square/meeting area. A sports hall is located beneath the square, while games and play areas have been created for use by local residents. Architecturally, the new-look Bislett Stadium harmonises with its surroundings. Concrete cast on site is used for the bulk of the structure, while the grandstand coverings are constructed in light-weight steel. The concrete surfaces are polished and painted so as to blend in discreetly with the local context.
New Bislett Stadium
Uno stadio è sempre un "contenitore di avventure". Lo storico Bislett Stadium non fa eccezione, ma la sua colloca-zione nel centro della città è quasi un caso isolato. La soluzione architettonica di questo progetto si è basata sul desiderio di conservare il rapporto instaurato tra l'arena e la città. La struttura dell'edificio e la particolare collocazione topografica permettono di vivere il Bislett Stadium come una stanza urbana, intima, le cui pareti non sono costituite dalle tribune ma dagli edifici che la circondano. Le tre piazze attorno allo stadio — piazza Bislett, piazza Mar-tinus Loerdahls e piazza Sofies — saranno risistemate nel ri-spetto del concept di interconnessione locale. Il foyer del com¬plesso, che conterrà l'ingresso allo stadio, uffici di gestione e un caffé, si apre su piazza Bislett. La tribuna d'onore, e i locali per i VIP, la stampa, i club e gli organizzatori sono accessibili da piazza Martinus Loerdahls. La piazza Sofies sarà destinata a parcheggio, ma non solo. Questa area funzionerà come piazza/luogo di incontro. Sotto la piazza, inoltre, verrà collocato un palazzetto dello sport, at-trezzato per l'uso quotidiano degli abitanti del quartiere.
The Northern Light
This is a 6-storey block of flats with rendered, whitewashed fa-cades that appears "twisted" and hence stands out powerfully from the dense cityscape of the Amerika Plads — a quarter bordering on Copenhagen Harbour. The building's original cube shape is still visible. The irregular facades, though intended as sculptural elements, are by no means gratuitous, but were suggested by the building's orien-tation, by the windswept views towards the docklands and the open sea beyond. The inner courtyard is carefully designed to become an explosion of vegetation, contrasting with the auste¬re design of the external public space. The monolithic solidity of the block is broken up by glass pa¬nels that protrude from the facades. This site-specific solu¬tion was devised by Danish painter Ruth Campau to separate the balconies. The panels, which reflect the surrounding buil¬dings, are printed in four prime colours. This taste for rhetoric, suggested by the presence of the wind, the sky and the sea, but above all intended as an allusion to the aurora borealis or Northern Lights, anchors the entire building in its natural context. "White box and coloured blades", they call it.
The Northern Light
Si tratta di un palazzo per appartamenti di sei piani, intonacato di bianco, che appare "contorto" e per questo emerge prepo-tentemente sul paesaggio denso. Siamo all'America Plads" un quartiere limitrofo al porto di Copenaghen. La forma originaria, "un cubo" è ancora percepibile. I tagli e gli slittamenti, seppur intesi come operazioni scul¬toree, non sono gratuiti, ma discendono dalla riflessione sull'orientamento, sul vento sugli scorci verso la zona portuale e il mare. La corte interna è curata, è "un esplosione di vegeta¬zione" che contrasta con l'essenzialità del disegno dello spazio pubblico esterno. La solidità monolitica del blocco è messa in crisi da alcuni pannelli di vetro che si protendono dalla fac¬ciata. Si tratta di una soluzione ad hoc per separare i balconi e che porta la firma del pittore danese Ruth Campau. Sono prodotti in vetro serigrafato, colorato in quattro colori primari, nei quali si riflettono gli edifici circostanti. Questo gusto per l'accento, giustificato però dalla presenza del vento, del cielo, del mare e, soprattutto dall'intento di essere un rimando all'aurora boreale, radica al contesto l'intero edifi¬cio, "scatola bianca e lamelle colorate".
Osterbrogade 105
This six storey, U-shaped building completes an existing court. This part of the city, Osterbro, is a nineteenth century district dominated by red-brick facades.Noteworthy are the details of the copper coverings. The first levels are usually designed for shops. The new building attempts to tell a story, reducing to a single facade the eclectic variety and pronounced sculptural gestures that define modernity. The use of reclaimed bricks on the facade ensures that the building harmonises with the exi¬sting environment, while, in its use of new materials, it is the alcove (albeit with a "modernite recherchee et ironique") that becomes a kind of eye. The canopy design, however, is based on technical considerations and is intended to bring light from south-east to north-east into the apartment.
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L'edificio di sei piani completa una corte preesistente. Questa parte della città, l'Osterbro, è caratterizzata da faccia¬te ottocentesche in mattoni rossi. Da notare sono i particolari della copertura in rame. I primi livelli sono solitamente desti¬nati a negozio. Il nuovo edificio tenta di raccontare una storia, sintetizzando in un'unica facciata la varietà eclettica della mo¬dernità con decisi gesti scultorei. L'utilizzo del laterizio garantisce l'inserimento armonioso del nuovo nel preesistente, mentre proprio l'alcova, declinata at-traverso l'uso di un nuovo materiale, sembra una specie di oc-chio, secondo un modernità ricercatamente ironica. Il progetto delle volte, comunque, segue criteri illuminotecnici, con lo scopo di portare dentro all'appartamento un taglio di luce da sud-est a nord-est.
The Poul Due Jensen Academy
The Poul Due Jensen Academy is a training centre in Bjerrin¬gbro for the employees of Grundfos, an important manufac¬turer of centrifugal pumps. Between 800 and 1000 employees from around 50 Grundfos subsidiaries around the world visit the academy each year. The building comprises two sections, a learning centre and a 42-room dormitory. The learning centre contains classrooms, conference halls, admin and ancillary facilities, and an "experimentarium". The external space is divided into three parts, each of which has its own character and precise function. the dormitory is located to the east, above a slope, near to a wood; its two wings open towards the sun and the views. The learning centre is a two-storey structure, a box with an atrium. The box is positioned above a glass surface that covers the whole of the first level. The Poul Due Jensen Academy is one of principal projects C.F. Moller has designed since 1965. The Grundfos buildings are planned as a single campus, which houses production, laboratories and administrative buil-dings. To be a guest at the Academy is also a chance to relax and enjoy the landscape. The choice of materials, in particu¬lar ceramics and glass, was made to reflect the landscape with its seasonal changes. The red cylinder, visible through a slit in the facade, represents the red pumps that are ma¬nufactured by the company.
La Poul Due Jensen Academy
La Poul Due Jensen Academy è un centro per la formazione degli impiegati della Grundfos, un importante produttore di pompe centrifughe. Ogni anno l'Academy è visitata da 800/1000 impiegati, provenienti da circa 50 succursali della Grundfos sparse nel mondo. L'edificio è composto da due fabbricati, uno destinato al learning center, l'altro è un dormitorio di 42 stan¬ze. Nel lerning center ci sono aule, sale conferenze, natural¬mente spazi per l'amministrazione e di servizio, e a sorpresa un "experimentarium". Lo spazio esterno è suddiviso in tre parti, ognuna della quali ha un suo carattere architettonico e funzioni precise. Il dormitorio è collocato a est, sopra un pendio, vicino al bosco: le due ali si aprono alla luce del sole e al panorama. Il learning center è invece una scatola alta due piani con un atrio. È una scatola appoggiata su una superficie vetrata, che rico¬pre interamente il primo livello. Il Poul Due Jensen Academy è uno dei progetti principali rea-lizzati da C.F. Moller dal 1965. Gli edifici della Grundfos sono organizzati in un campus unico, che ospita la produzione, i la-boratori e gli spazi per la dirigenza. Essere ospite all'Academy è anche un'occasione per rilassarsi e godersi il paesaggio. La scelta dei materiali, in particolare delle ceramiche e del ve¬tro, è stata fatta in relazione al paesaggio e al suo mutare con le stagioni. Il cilindro rosso, visibile in un taglio nella facciata, è la raffigurazione delle pompe rosse prodotte dall'azienda.
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