All You Need Is Architecture

All You Need Is ArchitecturePrototype Studio in Landscape Urbanism

Mads FarsøClément Blanchet

Anders Terp

Häli-Ann Tooms

Mikkel Stolz

Janka Emese Paulovics

Forest & Landscape | University of Copenhagen

ALL

YOU NEED

IS ARCHITECTURE

ByMads Farsø and Clément Blanchet

Projects by

Students of landscape architectureForest & Landscape, University of Copenhagen

Lay-out byAnders Terp

Häli-Ann ToomsJanka Emese Paulovics

Mikkel Stolz

Copyright 2010

ALL

YOU NEED

IS ARCHITECTURE

All You Need Is Architecture

Content08 FOREWORD- Getrud Jørgensen-09 INTRODUCTION- Mads Farsø & Clément Blanchet-10 SITE--12 1st seminar MODERNISM- posters-38 2nd seminar DYNAMICS- movies-62 3rd seminar SYSTEMS- models-86 4th seminar UNEXPECTED- collages-112 ALL YOU NEED IS ARCHITECTURE --156 CONTRIBUTORS

ALL YOU NEED IS ARCHITECTURE08

ForewordThis book is the result of a special studio course - All you need is Archtecture - held at the Landscape Architecture programme at the University of Copenhagen in the autumn of 2008.

In this year the Landscape Architecture programme was extended with an urban design line, and this course was a spearhead in the process of discussing how to design this line, and what competencies the students must get through the programme. Apart from theoretical and practical knowledge on urban development, -planning and -design, the students must be able to analyse a given urban context and conceive solutions to the problems they find in the area, not only from a tradtional planning perspective, but also as creative designs. This is what was trained in this course.

We were lucky to have two guest professors to conceive and undertake the course, architect Clement Blanchet from Office for Metropolitan Architecture (OMA) in the Netherlands and landscape architect Mads Farsø - in cooperation with lecturer Richard Hare from University of Copenhagen.

The students - mainly from landscape architecture - went through a process of sensing, ex-periencing, and analysing the area, followed by choosing a design concept and an actual design for a specific place. As will be seen in this booklet, the results were bold and imagi-native - and some of them also very handsome. They embrace many diferent views on the area in play - the Metropolitan Zone in Copenhagen - and the course has given important inspiration to the master’s programme in urban design, starting 2010.

I thank Realdania and Centre for Strategic Urban Research for giving us the possibility to re-alise this course, and for the possibility to publish the results in this booklet. And, not least, I thank the teachers and students for their commitment in editing and laying out this booklet. I hope it may inspire other students in their work.

Gertrud JørgensenProfessor, Head of Division Urban & Landscape StudiesMarch 2010

The city is changing. The urban is all over and nowhere at the same time. Landscape archi-tecture faces an explosive reality. The profession needs to be trimmed, to change gear, to scale up, to dig down. To compete, to improve, to intervene. As urbanism is blurred, lost, be-ing reborn. Somehow architecture survives. After the fire, a new forest always grows up. The postmodern is now related to modernism. Potentials are arising. Hope is formulated. How to nurture new conditions of urbanity? How to enable future generations of designers? How to unleash the unexpected potentials? How to model a new urbanism, when the condition of postmodernity has rejected all models?

Our goal was to develop a prototype for the new urbanity. Making a frame to improve uto-pian pragmatism. Crash ideas, formulate arguments, identifying unexpected moments re-peatedly, over a period of eight weeks. Question experience and build on intuition. Teaching the evaluation of your concept, your approach. Challenge the statement of change. Make your design grown out of individuality, of a feeling of community. Nurture an environment of critique. Work on a core site of neglect. A central place for experiencing the placelessness of modern culture. Deal with the culture of consumption, the consumption of place, the consumption of architecture. Focus on the individual, the unexpected, your plan. Shoot on the different scales, reevaluate your statements, and strengthen the line of argumentation. Think urbanism as architecture. Experience the city as a series of flows. Imagine constraints as ideal features. Formulate a cohesion out of chaos. Demonstrate there is always a future. Work on it as if it was a garden of neglect. Irrigate it so it may be self-sustaining. Redefine the idea of a ‘plan’.

In the meanwhile we will be floating in space; our ‘city’ is still there. We trust in Hope. Again. Once more. Work to be done: Around, over, under, behind. Branded, yes, perhaps: Because powers are less visible; because designs are consumed like TV-commercials; because we are ignorant of our possible failures; because we need to be the architects of tomorrow; because urbanism survived; still it is, there. If postmodernism couldn’t smash the idea of the city, we can’t fail. We have to gain power. Our original task is to develop new conditions which would perform as a human, social generator for the futur. In other words to create architecture. Probably this is all we need...

We would like to thank Gertrud Jørgensen and Richard Hare who have been key personalities and players as intellectual and creative minds, without mentioning the fact that they built up and made this amazing story possible.

Finally, we thank all the students for their contributions - and especially Anders, Häli-Ann, Mikkel and Janka for their enourmous post-studio work on the lay-out. Their efforts turned our studio prototype experiences into a promising story of urbanism.

Clément Blanchet and Mads FarsøRotterdam and CopenhagenMarch 2010

Why ?


CENTER FOR STRATEGISK BYFORSKNINGRealdania Forskning

4 lectures on modernism and urbanism in a state of crisis

Memorandum La Défense / 14.11Associate Architect Clément Blanchet

Offi ce for Metropolitan Architecture

Atmosphere & Design / 21.11PhD Student Ulrik Schmidt

University of Copenhagen

Structure & fl ow / 28.11Senior Policy Advisor Rick Batelaan

City of Amsterdam

London & the Legacy / 5.12Senior Urban Designer Steve Tomlinson

Design for London

Mads Farsø & Clément Blanchet

facebook.com/All You Need Is Architecture

As part of a series of graduate urban design

workshops on downtown Copenhagen,

these lectures offers an oppotunity to

explore key positions of modernism in the

contemporary city. On Fridays 13.15 pm, at

Forest & Landscape, University of Copenhagen

Rolighedsvej 23, Frederiksberg

Sct. Jørgens Lake

Central Station

Rådhuspladsen

SiteCopenhagen is a contested ground. Some brand the unique situation of bicycles, pedestrians and public transport. Others complain about the lack of renewal and blame the narrow jack-ets of history. In the meanwhile the architects go abroad and try to do the stuff they learned that they couldn’t do at home. Copenhagen, however, carries on.

We focus on a site of contested modernism in Copenhagen. Where Arne Jacobsen challenged the ideas of a Danish architecture in his Mies-inspired SAS hotel, where Tivoli leisure-park continue to dance limbo between history, tourists numbers and turnovers, where the public space appears to be in abundance without really being, there, and where context is some-thing to be discovered beneath the thick walls of ghost-like promotions. The municipal called it ‘the metropol zone’. For the sake, or the hope, of the better: To give an idication of bigness. To borrow a feeling of urbanity. To brand a stench, to call for the sexy.


Tivoli

Christiansborg

Rådhuspladsen

Medieval Copenhagen

To make urbanism happen the municipal asked five teams to reevaluate the site and present a vision in 2007. However, the municipal cherrypick in the teams projects. The old way of postmodernism won. The strategy is Still we miss to see a strategy that takes of from the sites unleashed potentials. Therefore we dumped graduate enthusiasm onto the site. To identify, develop and redefine the idea of vision, strategy and project. Disregard politics. On site: Action. Statements. Models. Courage. The idea was to ask for a strategy for the familiar unknown: the Copenhagen modernism.

1500 m

500 m

National Museum

11

MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERN-ISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MOD-ERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERN-ISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MOD-ERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERN-ISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MOD-ERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERN MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNIS MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERN-ISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MOD-ERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERN-ISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MOD-ERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERN-ISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MOD-ERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERN-ISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MOD-ERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERN-ISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MOD-ERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM We find it hard to see a continuation without putting things in perspective. We are not alone. Someone was before us. But we are maybe the first. Please let us know what you think. What you see. What you experience. Is it a totality? Is everything relative? Or does something need to be decided upon. We believe in form, in character, in process, in plans, in design. We believe in the individual and feeling of the community. We find objectivism in sub-jectivism. We see modernism in postmodernism. We like the smell of bigness. We believe that other do as well. We find the complete openness to be fool’s belief in urbanism. Power still prevails. We question the egos. We see a new coordinative role for planner. We study history. We interpretate the role of form. We experience the different shapes. We see the same programs over and over again. We work for integration, hybrid forms and the connectivity. We see it all part of the same story: Modernity. It is not our fault that it was misused. Please let us find our way back the first thoughts, the idea of a potential. Unformulated, undersigned, undiscovered. However conceptualized in a thought, formulated in statement, communicated, and remembered in an image. What we have learned is necessarily not enough for our urbanity. It is beyond ‘the trained’. The city is generic (we know that now) it just happens. How will we make it happen? MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MOD-ERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERN-ISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MOD-ERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERN-ISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MOD-ERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERN-ISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MOD-ERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERN-ISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MOD-ERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERN-ISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MOD-ERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERN-ISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MOD-ERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERN-ISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MOD-ERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM

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We believe in architecture. We love modernism. We like the modern project. We believe in infrastructure. We trust our intuitions. We

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MODERNISM 15

We believe in architecture. We love modernism. We like the modern project. We believe in infrastructure. We trust our intuitions. We

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are young. We dance. We party. We question. We built on history. We approach the urban. We step back to go forward. We question.

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MODERNISM 17

are young. We dance. We party. We question. We built on history. We approach the urban. We step back to go forward. We question.

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We focus on the metropolitan. Our concept may appear banal. Our form is counterproductive. It goes anywhere by going nowhere.


We focus on the metropolitan. Our concept may appear banal. Our form is counterproductive. It goes anywhere by going nowhere.

MODERNISM 19

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It’s a study to break the box. To cancel aspirations. To step up by hitting hard on design. To motivate. Work through a destruction of

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MODERNISM 21

It’s a study to break the box. To cancel aspirations. To step up by hitting hard on design. To motivate. Work through a destruction of

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images. To raise by blocking innovations. To rule out the idea of normal: Eat your context. Swallow your history. Dump your pride.

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MODERNISM 23

images. To raise by blocking innovations. To rule out the idea of normal: Eat your context. Swallow your history. Dump your pride.

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Believe in the banal. Work towards the less obvious. Attack the obvious. Win the battle. Lose your temper. Cry your desire. Crash your

MODERNISM 25

Believe in the banal. Work towards the less obvious. Attack the obvious. Win the battle. Lose your temper. Cry your desire. Crash your

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models. Depart from your rationality. Stick to your path. Follow it up by going down. Don’t be afraid. Greet the less. Love the more.


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models. Depart from your rationality. Stick to your path. Follow it up by going down. Don’t be afraid. Greet the less. Love the more.

MODERNISM 27

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Shock the rest. Seize the unworthy for presentation. Impress the depressed. Forget what you have learned. Or believe narrow stuff, your


Shock the rest. Seize the unworthy for presentation. Impress the depressed. Forget what you have learned. Or believe narrow stuff, your

MODERNISM 29

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stuff, your way. Work, improve, work, work more. Love your architecture. Get ready to get killed. Stand up on critique. Shoot after be-

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MODERNISM 31

stuff, your way. Work, improve, work, work more. Love your architecture. Get ready to get killed. Stand up on critique. Shoot after be-

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ing shot at. Don’t shoot back. Reevaluate efforts. Change design. Block logic. Demand supremacy. Release control. Trust in revolutions.


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ing shot at. Don’t shoot back. Reevaluate efforts. Change design. Block logic. Demand supremacy. Release control. Trust in revolutions.

MODERNISM 33

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Get desperate. Kill your supremacy. Work with your irony. Strengthen your relentless. Improve your efforts. Dream about architecture.


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Get desperate. Kill your supremacy. Work with your irony. Strengthen your relentless. Improve your efforts. Dream about architecture.

MODERNISM 35

Run through your design. Built your story. Unleash your potential. Overdo your renderings. Smash the image. Crash the idea. Expect


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Run through your design. Built your story. Unleash your potential. Overdo your renderings. Smash the image. Crash the idea. Expect

MODERNISM 37

DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS Our main question is if we can keep it flowing, floating or trespassing? Are we really open, are we dynamic (as a city), and are we flexible? How to encircle it? How to communi-cate it? How to define the fluid nature of the urban? We experience it but we don’t tell it. We hear it but we don’t integrate it. We smell it but we don’t know how to cook it. Urbanism. Cars, people, bikes, business, paths, parks, events, flowers, feelings, hookers, streets and squares. We call ourselves architects. We are less in control. We need to release control to gain control. Swim in an unobvious direction. Kill our pride. Take down our posters. Challenge our slogans. Snipe our darlings. Touch our beliefs. Endanger our souls: Our designs, our solutions, our beliefs. We need to be modern. We need to question the flow of ideas. We need to question up front: What makes the city work? What make the city a city? Is there an architecture beyond architecture? DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DY-NAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DY-NAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DY-NAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS

The

inte

nt w

as to

eng

age

conv

ersa

tion

as

to w

heth

er c

omm

erci

aliz

ed lo

gos

belo

ng in

the

cent

ral c

ity

squa

re.

the unexpected. Find you way. Anticipate the flexible. Put your self out of the box. Ensure the story. Crash your box. Do not trust your


The

area

aro

und

Nyr

opsg

ade

is s

tron

glya

yers

: urb

an n

atur

e, c

orpo

rate

was

tela

nd a

nd c

ity

life.

the unexpected. Find you way. Anticipate the flexible. Put your self out of the box. Ensure the story. Crash your box. Do not trust your

DYNAMICS 41

To a certain degree, this observa-tion is correct in the sense that a

is certainly being disseminated and sold all over the planet…

Some of them are even becoming socially,

ethnically and racially ghettoised.

But at the same time, European cit-ies remain places where intergroup encounters can develop and wheretakes place.

Mob

ility

is li

nked

to p

ublic

spa

ces

but i

t is

often

als

o an

ele

men

t tha

t is

dest

roys

thei

r qu

aliti

es.

move. Frame the surroundings. Redo your architecture. Again. Who is your City? What is your system? When is your time? We believe


BAMMM!!

Video: daily life in the metropole zone Storyboard

...a moment of silence appears.

HAPPY END!

kllrr!!!kdi?!!!jwas!!?!!yg??um!!

!ms!!??

KISSSSSSS!!!

then he comes back.

SCENE ONE: one day in the metropol zone...

... cody takes a head start...

KAAAABUM!!!!

The

met

ropo

l zon

e is

the

back

grou

nd fo

r pe

ople

s ev

eryd

ay a

ction

s an

d in

tera

ction

s.

move. Frame the surroundings. Redo your architecture. Again. Who is your City? What is your system? When is your time? We believe

DYNAMICS 43

... and kicks the trash can!!!

SCENE TWO: a normal rainy night in the metropol zone. a couple is standing outside of tivoli having a serious conversation about their relationship. The situation escalates ...

START

The

zone

is m

ade

for

cars

. The

zon

e is

mad

e fo

r ca

rs. T

he z

one

is m

ade

for

cars

. The

zon

e is

mad

e fo

r ca

rs.

in architecture. We love modernism. We like the modern project. We believe in infrastructure. We trust our intuitions. We are young.


zoom in, experiencethe flows, noticespots and sites.

Biki

ng t

he c

ity

mea

ns k

now

ing

the

city

- co

nnec

ting

the

city

- ex

plor

ing

the

city

- ta

king

par

t in

the

city

.

in architecture. We love modernism. We like the modern project. We believe in infrastructure. We trust our intuitions. We are young.

DYNAMICS 45

Impression

Scene from a video

The

peop

le a

ct to

the

bea

t of t

he 4

whe

el tr

affic

whi

ch is

the

hear

t bea

t of t

he M

etro

polit

an z

one.

We dance. We party. We question. We built on history. We approach the urban. We step back to go forward. We question. We focus on


The city as a place that is attractive and well functioning for the local residents.

Recreation and healthy environment with access to physical activity is very important in order to keep the residents of the city healthy and thereby reducing the risk of illness etc.

The design should contribute to the humanity of the city. To motivate and support sustainable behavior to get environmental sustainability in the city.

Reducing CO2- emission by replacing privat car transport with attractive bike lanes and public transport.

Unite the city values with a green struc-ture and bring the city back to nature.

The city as an emotional landscape.

REDEFINING CITY VALUES:

Read

Tex

t, R

ead

Text

, Rea

d Te

xt, R

ead

Text

, Rea

d Te

xt, R

ead

Text

, Rea

d Te

xt, R

ead

Text

, Rea

d Te

xt, R

ead

Text

We dance. We party. We question. We built on history. We approach the urban. We step back to go forward. We question. We focus on

DYNAMICS 47

The

mov

ie s

how

ed c

lips

of th

e ci

ty li

ghts

in h

igh

spee

d. P

ay a

tten

tion

to h

ow p

ower

ful a

nd p

ushy

the

light

s ar

e.

the metropolitan. Our concept may appear banal. Our form is counterproductive. It goes anywhere by going nowhere. It’s a study to


I tri

ed to

cre

ate

a te

nse

flick

erin

g ex

peri

ence

wit

h lig

hts

and

mov

emen

t.

the metropolitan. Our concept may appear banal. Our form is counterproductive. It goes anywhere by going nowhere. It’s a study to

DYNAMICS 49

“My

impr

essi

on o

f wha

t a to

uris

t can

see

from

the

back

stag

e of

the

Met

ropo

lzon

e...”

break the box. To cancel aspirations. To step up by hitting hard on design. To motivate. Work through a destruction of images. To raise


It’s good to have George back in town!

Alt

houg

h no

t com

plet

ely

succ

essf

ul G

eorg

e Cl

oone

y ha

d th

e po

wer

to c

reat

e an

illu

sion

of b

eing

in H

olly

woo

d.

break the box. To cancel aspirations. To step up by hitting hard on design. To motivate. Work through a destruction of images. To raise

DYNAMICS 51

Pede

stri

ans

will

sett

le w

hile

rus

hing

thro

ugh

the

city

and

enc

oura

ge a

n op

en m

ind

and

cour

iosi

ty to

exp

lore

.

by blocking innovations. To rule out the idea of normal: Eat your context. Swallow your history. Dump your pride. Believe in the banal.


There is no connectiviy or any direct act of style in the area.

The

Met

ropo

le z

one

cons

ist o

f man

y ab

rupt

ed s

truc

tura

l pie

ces,

cut

thro

ugh

by th

e ro

ad s

yste

m.

by blocking innovations. To rule out the idea of normal: Eat your context. Swallow your history. Dump your pride. Believe in the banal.

DYNAMICS 53

The city is experienced in brief moments

like hidden frames in a movie.

You blink with your eyes

and the moment is gone.

Between moments

traffic is the void where you are lost,

giving you tunnel sight

until the next red light.

Stop. You blink,

see a building, see a sign, see a person.

Start. Blink, Lights, bikes, cars.

Poet

ry in

moti

on -

Poet

ry in

moti

on -

Poet

ry in

moti

on -

Poet

ry in

moti

on -

Poet

ry in

moti

on -

Poet

ry in

moti

on

Work towards the less obvious. Attack the obvious. Win the battle. Lose your temper. Cry your desire. Crash your models. Depart from


Night &

DayD

ay/N

ight

/Day

/Nig

ht/D

ay/N

ight

/Day

/Nig

ht/D

ay/N

ight

/Day

/Nig

ht

Work towards the less obvious. Attack the obvious. Win the battle. Lose your temper. Cry your desire. Crash your models. Depart from

DYNAMICS 55

Add

ing

and

subt

racti

ng; w

as s

uppo

sed

to p

ictu

re d

ynam

ics

in c

open

hage

n, th

is c

ould

be

any

city

thou

gh.

your rationality. Stick to your path. Follow it up by going down. Don’t be afraid. Greet the less. Love the more. Shock the rest. Seize the


”Eve

ry w

ork

of a

rt is

the

child

of i

ts ti

me,

oft

en it

is th

e m

othe

r of

our

em

otion

s.”

— K

andi

nsky

, Was

sily

enee

.

your rationality. Stick to your path. Follow it up by going down. Don’t be afraid. Greet the less. Love the more. Shock the rest. Seize the

DYNAMICS 57


Sens

e of

Los

tnes

s //

No

atten

tion

//

No

atra

ctive

poi

nts

// N

o le

adin

g po

ints

//

No

iden

tity

unworthy for presentation. Impress the depressed. Forget what you have learned. Or believe narrow stuff, your stuff, your way. Work,

Som

e co

nver

genc

e po

ints

are

sit

uate

d in

the

Met

ropo

lzon

e - I

n th

e ce

nter

tivo

li is

the

exce

ption

.

DYNAMICS 59

unworthy for presentation. Impress the depressed. Forget what you have learned. Or believe narrow stuff, your stuff, your way. Work,

1 2


Traffi

c lig

hts

not o

nly

regu

late

roa

ds. I

t im

pose

s a

rhyt

hm fo

r th

e en

tire

are

a - F

low

s, R

epeti

tion

, Ord

er

improve, work, work more. Love your architecture. Get ready to get killed. Stand up on critique. Shoot after being shot at. Don’t shoot

1 2

DYNAMICS 61

improve, work, work more. Love your architecture. Get ready to get killed. Stand up on critique. Shoot after being shot at. Don’t shoot

SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS At first hand the system is in your hand. Later is crystallized in a model, in a design. It may be driving your design, your city, your intuition. We ask you to formulate it. To show it. To illustrate it. To make it 3D. To present the idea of an structure. The influence what is going on. That define your music, your sound, your voice. Your way of perceiving. We ask to put the subjective experience on a formula for everyone. We want to see what is at works. We want to see it work. We want to challenge it. We want to see if it can break. Is it valuable? Is it yours? Is it to be everybodys? Is it unique? We find a need to work towards a new instrumentality. That develops the idea of a system. The system of the city. Include it into the design, city design, urban design. Can we learn from the system that produce urbanity? Can we identify it? How to identify it? How to communicate it? How to design it? How to take on the task of designing the city. That we want to approach. As subjects. As objects. As landscape architects of an evolving city, an evolving branch of design. SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS S SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTSYSTEMS SYSTEMS S SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS S SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS

So

her

e is

a h

igh-

rise

bui

ldin

g, c

onta

inin

g hi

gh-r

ise

build

ings

.

back. Reevaluate efforts. Change design. Block logic. Demand supremacy. Release control. Trust in revolutions. Get desperate. Kill your


The

boul

evar

d as

a m

onum

ent.

back. Reevaluate efforts. Change design. Block logic. Demand supremacy. Release control. Trust in revolutions. Get desperate. Kill your

SYSTEMS 29

From

the

19t

h ce

ntur

y th

ere

has

been

roo

m fo

r al

l the

infr

astr

uctu

re a

nd e

nter

tain

men

t a m

oder

n ci

ty n

eeds

.

ALL YOU NEED IS ARCHITECTURE26 SYSTYEMS

supremacy. Work with your irony. Strengthen your relentless. Improve your efforts. Dream about architecture. Run through your de-

SYSTYEMS 129

The

urba

n se

eds

are

uniti

es o

f cen

tral

ity

and

mob

ility

. The

vec

tors

defi

ne e

ach

elem

ent’

s m

ovem

ent a

nd g

row

th.

supremacy. Work with your irony. Strengthen your relentless. Improve your efforts. Dream about architecture. Run through your de-

Land

mar

k co

nnec

ting

mon

umen

ts.

ALL YOU NEED IS ARCHITECTURE26 SYSTYEMS

sign. Built your story. Unleash your potential. Overdo your renderings. Smash the image. Crash the idea. Expect the unexpected. Find

SYSTYEMS 129

A p

latf

orm

for

cult

ural

and

soc

ial t

oget

hern

ess.

sign. Built your story. Unleash your potential. Overdo your renderings. Smash the image. Crash the idea. Expect the unexpected. Find

Ever

y st

ruct

ure

grab

s a

bit

of T

ivol

i. Bo

th T

ivol

i and

the

Met

ropo

l Zon

e be

nefit

s fr

om th

is e

xcha

nge

of c

onte

nt.


you way. Anticipate the flexible. Put your self out of the box. Ensure the story. Crash your box. Do not trust your move. Frame the sur-

SYSTEMS 29

A

way

tow

ards

cur

iosi

ty.

you way. Anticipate the flexible. Put your self out of the box. Ensure the story. Crash your box. Do not trust your move. Frame the sur-

Unt

utp

at e

ro e

uis

nonu

llam

nul

la fe

u fe

ugai

t pra

t, v

eros

nit

wis

it ip

isci

tem

vel

ulla


aspirations. To step up by hitting hard on design. To motivate. Work through a destruction of images. To raise by blocking innovations.

SYSTEMS 29

aspirations. To step up by hitting hard on design. To motivate. Work through a destruction of images. To raise by blocking innovations.

R

olle

rcoa

ster

ana

logy

.


roundings. Redo your architecture. Again. Who is your City? What is your system? When is your time? We believe in architecture. We

A s

ymbo

lic th

read

thr

ough

the

Met

ropo

l Zon

e, u

sing

bot

h hi

stor

ical

and

new

wat

er e

lem

ents

.

SYSTEMS 29

roundings. Redo your architecture. Again. Who is your City? What is your system? When is your time? We believe in architecture. We

The

syst

em d

icta

tes

the

coun

ter

syst

em th

at r

eacti

vate

s th

e ci

ty.


love modernism. We like the modern project. We believe in infrastructure. We trust our intuitions. We are young. We dance. We party.

SYSTEMS 29

The

syst

em d

icta

tes

the

coun

ter

syst

em th

at r

eacti

vate

s th

e ci

ty.

love modernism. We like the modern project. We believe in infrastructure. We trust our intuitions. We are young. We dance. We party.

Unt

utp

at e

ro e

uis

nonu

llam

nul

la fe

u fe

ugai

t pra

t, v

eros

nit

wis

it ip

isci

tem

vel

ulla


We question. We built on history. We approach the urban. We step back to go forward. We question. We focus on the metropolitan. Our

SYSTEMS 29

Unt

utp

at e

ro e

uis

nonu

llam

nul

la fe

u fe

ugai

t pra

t, v

eros

nit

wis

it ip

isci

tem

vel

ulla

We question. We built on history. We approach the urban. We step back to go forward. We question. We focus on the metropolitan. Our


concept may appear banal. Our form is counterproductive. It goes anywhere by going nowhere. It’s a study to break the box. To cancel

SYSTEMS 29

Unt

utp

at e

ro e

uis

nonu

llam

nul

la fe

u fe

ugai

t pra

t, v

eros

nit

wis

it ip

isci

tem

vel

ulla

concept may appear banal. Our form is counterproductive. It goes anywhere by going nowhere. It’s a study to break the box. To cancel

Unt

utp

at e

ro e

uis

nonu

llam

nul

la fe

u fe

ugai

t pra

t, v

eros

nit

wis

it ip

isci

tem

vel

ulla


To rule out the idea of normal: Eat your context. Swallow your history. Dump your pride. Believe in the banal. Work towards the less

SYSTEMS 29

Unt

utp

at e

ro e

uis

nonu

llam

nul

la fe

u fe

ugai

t pra

t, v

eros

nit

wis

it ip

isci

tem

vel

ulla

To rule out the idea of normal: Eat your context. Swallow your history. Dump your pride. Believe in the banal. Work towards the less

Unt

utp

at e

ro e

uis

nonu

llam

nul

la fe

u fe

ugai

t pra

t, v

eros

nit

wis

it ip

isci

tem

vel

ulla


obvious. Attack the obvious. Win the battle. Lose your temper. Cry your desire. Crash your models. Depart from your rationality. Stick

SYSTEMS 29

Unt

utp

at e

ro e

uis

nonu

llam

nul

la fe

u fe

ugai

t pra

t, v

eros

nit

wis

it ip

isci

tem

vel

ulla

obvious. Attack the obvious. Win the battle. Lose your temper. Cry your desire. Crash your models. Depart from your rationality. Stick

UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED Do we love our space? Do we dare to question it? Turn it around? Change it? Will our design survive, if we erase individuality, hope, or the common. How can we reach the unexpected? How can we prepare our-selves of the unexpected? How can we make our design the unexpected? How can the unexpected be integrated into our design? How can the idea of urbanity survive? We feel that something more is needed. Something out of our reach. Something that should be out our reach. Otherwise we would fail. We shouldn’t do everything. We should control everything. We should touch all details. We should think everything through. We should leave room for surprise. We should produce the elements of surprise. We should surprise. We should design the unexpected. We should iconize hope. We should materialize optimism. We should reach borders, and find our way on the other side. We should do it. We should prepare our designs resistance. We should believe it. We should envision it. We should it test it against the unexpected. We need to let it fail. We need to open. Perhaps, the unexpected turns into a glamorous compromise. Perhaps, urbanism cannot be knocked out. Perhaps, we believe of a better world. Perhaps, we are wrong. Perhaps, we won’t know yet. UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEX-PECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEX-PECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEX-PECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECT-ED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEX-PECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEX-PECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEX-PECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECT-ED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEX-PECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UN-EXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED


to your path. Follow it up by going down. Don’t be afraid. Greet the less. Love the more. Shock the rest. Seize the unworthy for presen-

UNEXPECTED 29

Mor

e liv

ely.

Mor

e co

lorf

ul. M

ore

atten

tion

.

to your path. Follow it up by going down. Don’t be afraid. Greet the less. Love the more. Shock the rest. Seize the unworthy for presen-

Futu

re P

eopl

e flo

ws

guid

e fr

om a

to b

, cre

ating

a tu

nnel

wit

h ei

ther

; gre

ens,

scr

eens

or

light

s.


tation. Impress the depressed. Forget what you have learned. Or believe narrow stuff, your stuff, your way. Work, improve, work, work

UNEXPECTED 29

It is

a s

cape

that

exp

ress

the

hum

an s

cale

and

bei

ng o

n th

e ey

elev

el.

tation. Impress the depressed. Forget what you have learned. Or believe narrow stuff, your stuff, your way. Work, improve, work, work

Pede

stri

an to

wer

as

a co

nnec

tor.


more. Love your architecture. Get ready to get killed. Stand up on critique. Shoot after being shot at. Don’t shoot back. Reevaluate ef-

UNEXPECTED 29

The

expe

rien

ce o

f the

ligh

ts a

nd m

usic

mak

es it

a p

lace

whe

re to

sto

p, s

tay

and

com

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ck.

more. Love your architecture. Get ready to get killed. Stand up on critique. Shoot after being shot at. Don’t shoot back. Reevaluate ef-

A n

ew r

oof f

or th

e ci

ty.


forts. Change design. Block logic. Demand supremacy. Release control. Trust in revolutions. Get desperate. Kill your supremacy. Work

UNEXPECTED 29

Whi

te is

pur

e.. B

lack

is d

ark.

. Let

s m

ake

mor

e w

hite

str

eets

!

forts. Change design. Block logic. Demand supremacy. Release control. Trust in revolutions. Get desperate. Kill your supremacy. Work

Why

trav

el s

o fa

r to

get

you

r fa

vori

te s

hoes

and

dre

sses

?


with your irony. Strengthen your relentless. Improve your efforts. Dream about architecture. Run through your design. Built your story.

UNEXPECTED 29

Plac

ing

the

cube

s on

the

build

ings

and

mod

erni

se d

ante

s pl

ads

the

area

will

bec

ame

a m

etro

polit

an s

tage

of C

ph.

with your irony. Strengthen your relentless. Improve your efforts. Dream about architecture. Run through your design. Built your story.


Unleash your potential. Overdo your renderings. Smash the image. Crash the idea. Expect the unexpected. Find you way. Anticipate the

UNEXPECTED 29

Ex

pand

and

ope

n up

Tiv

oli!

Unleash your potential. Overdo your renderings. Smash the image. Crash the idea. Expect the unexpected. Find you way. Anticipate the

The

unifo

rm a

nd d

iver

se la

ngua

ge is

con

necti

ng th

e se

greg

ated

pie

ces

in th

e U

rban

Jung

le p

uzzl

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flexible. Put your self out of the box. Ensure the story. Crash your box. Do not trust your move. Frame the surroundings. Redo your ar-

UNEXPECTED 29

Brin

ging

func

tion

s of

exi

sting

bui

ldin

gs o

utsi

de. I

nteg

rati

on o

f slo

w a

nd fa

st tr

afic

in th

e ci

ty p

ark.

flexible. Put your self out of the box. Ensure the story. Crash your box. Do not trust your move. Frame the surroundings. Redo your ar-

“Bac

ksta

ge”


chitecture. Again. Who is your City? What is your system? When is your time? We believe in architecture. We love modernism. We like

UNEXPECTED 29

Traffi

c, li

ght,

spe

ed, s

ound

and

the

city

life

abo

ve.

chitecture. Again. Who is your City? What is your system? When is your time? We believe in architecture. We love modernism. We like

Inte

rven

tio

ns

focu

sed

on

bri

ng

ing

peo

ple

flo

ws

to t

hes

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ther

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e d

ead

zo

nes

.


the modern project. We believe in infrastructure. We trust our intuitions. We are young. We dance. We party. We question. We built

UNEXPECTED 29

the modern project. We believe in infrastructure. We trust our intuitions. We are young. We dance. We party. We question. We built

Feel

the

dive

rsit

y of

Cop

enha

gen!


on history. We approach the urban. We step back to go forward. We question. We focus on the metropolitan. Our concept may appear

UNEXPECTED 29

New

can

al a

ttra

ct li

fe li

ke a

wat

erho

le d

oes

in th

e fo

rest

.

on history. We approach the urban. We step back to go forward. We question. We focus on the metropolitan. Our concept may appear

Wat

er fe

atur

es e

mph

asis

e th

e ho

rizo

ntal

ity

and

pede

stri

ans

seem

to fl

oat o

n su

rfac

e w

ater

.


banal. Our form is counterproductive. It goes anywhere by going nowhere. It’s a study to break the box. To cancel aspirations. To step

UNEXPECTED 29

Rem

ovin

g la

nes

and

park

ing

plac

es to

cre

ate

mor

e sp

ace

for

pede

stri

ans

and

bike

rs. W

hy n

ot!?

banal. Our form is counterproductive. It goes anywhere by going nowhere. It’s a study to break the box. To cancel aspirations. To step

This

is a

con

cept

that

abl

es u

s to

bui

ld h

undr

eds

of m

eter

s ve

rtica

lly, c

reati

ng lu

xury

, fut

uris

m a

nd a

feel

ing

of s

urre

alis

m.ALL YOU NEED IS ARCHITECTURE26

up by hitting hard on design. To motivate. Work through a destruction of images. To raise by blocking innovations. To rule out the idea

UNEXPECTED 29

It a

cts

as a

mee

ting

pla

ce.

up by hitting hard on design. To motivate. Work through a destruction of images. To raise by blocking innovations. To rule out the idea

We believe in architecture. We love modernism. We like the modern project. We believe in infrastructure. We trust our intuitions. We are young.

ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS AR-CHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITEC-TURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED 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ARCHITECTURE ALL YOU NEED IS ARCHITEC-TURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS AR-CHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITEC-TURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS AR-CHITECTURE ALL YOU NEED IS ARCHITECTURE This is our hope for the future. We believe that we can nurture and sustain change. Are we ignorant? That we can find something different? That we can redefine the field of urbanism? That we may the lucky to trespass the borders of diplomacy? That we can unleash the potentials? That we may prefer the unprefaired? That we can develop stuff? See potentials, at once. We focus, trust our intuitions, and shot silent at they ones that shout the most. With our graphics, plans and perspectives. This publication is to be seen as a cluster bomb. Like a rampage on urban design teaching. By which we want to train and develop the imposition of our experience on the city: Rein-state place, architecture and planning in your design. Forget design to do design. Trust intuitions. Trust intuitions. Believe and put disbelief into plans. Redefine the questions of doubt. Focus, work and re conceptualize. Play it again, over, see if something has changed, that can be changed, will be changed, after it has been changed. Define a deadline for your design after your deadline of implementation. Make it dynamic, make it system for the system, make it spacious, expect the unexpected. Make it unmarked, different, poetic, high, long, wide, and crucial. Do NOT be afraid to reveal your argument. Do not be afraid to embarrass us. Convince us. The night is yours. Time is yours. All you need is architecture. ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS AR-CHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITEC-TURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS AR-CHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITEC-TURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS AR-CHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITEC-TURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU

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ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITEC-TURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS AR-CHITECTURE ALL YOU NEED IS ARCHITECTURE This is our hope for the future. We believe that we can nurture and sustain change. Are we ignorant? That we can find something different? That we can redefine the field of urbanism? That we may the lucky to trespass the borders of diplomacy? That we can unleash the potentials? That we may prefer the unprefaired? That we can develop stuff? See potentials, at once. We focus, trust our intuitions, and shot silent at they ones that shout the most. With our graphics, plans and perspectives. This publication is to be seen as a cluster bomb. Like a rampage on urban design teaching. By which we want to train and develop the imposition of our experience on the city: Rein-state place, architecture and planning in your design. Forget design to do design. Trust intuitions. Trust intuitions. Believe and put disbelief into plans. Redefine the questions of doubt. Focus, work and re conceptualize. Play it again, over, see if something has changed, that can be changed, will be changed, after it has been changed. Define a deadline for your design after your deadline of implementation. Make it dynamic, make it system for the system, make it spacious, expect the unexpected. Make it unmarked, different, poetic, high, long, wide, and crucial. Do NOT be afraid to reveal your argument. Do not be afraid to embarrass us. Convince us. The night is yours. Time is yours. All you need is architecture. ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS AR-CHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITEC-TURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS AR-CHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITEC-TURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS AR-CHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITEC-TURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU

The shape and the use of the site?

Tivoli is a important area in the Metropol Zone. The shape of the roof has to underline the axis going out from Tivoli’s main entrance and strength the two parts of Axeltorv.

The new building has to maintain the openness of the site and be in contact to Tivoli and the traffic. At night the the roof is highlighted.

A c

onst

ructi

on th

at e

xpre

sses

ligh

tnes

s

of normal: Eat your context. Swallow your history. Dump your pride. Believe in the banal. Work towards the less obvious. Attack the

The

use

of th

e si

te is

fpr

leis

ure

and

cult

ure

arou

nd th

e ye

ar

of normal: Eat your context. Swallow your history. Dump your pride. Believe in the banal. Work towards the less obvious. Attack the

I have chosen a site where two of the future main bicycle promenades cross each other.The bike promenades consist of wide dimensioned bike lanes, glasstunnels to cross “barriers”, bicycle roundabouts, shelters and many more equipment to support bikers.

Bike and pedestrian promenades dominate the zone. Car traffic is highly decreased and redirected.Bikelanes are yellow coloured. Voids between bikelanes and roads are dedicated to pedestrians - and also to bikers. Glassshelters are placed to park or take a rest. Glasstunnels “bridge” barriers (for example) tivoli. The car traffc is calmed down. Many green urban spaces are developed. The quality of life in the whole center of Copenhagen will dramatically increase. Many new urban spaces can be developed and new explored.

The

mai

n fo

cus

of m

ovin

g ar

ound

in th

e ci

ty is

set

to b

ikes

and

pub

lic tr

ansp

ort

...And Copenhagen will definitely confirm its title as the world’s bicycle city number one.

obvious. Win the battle. Lose your temper. Cry your desire. Crash your models. Depart from your rationality. Stick to your path. Follow

Keep

on

goin

g!

obvious. Win the battle. Lose your temper. Cry your desire. Crash your models. Depart from your rationality. Stick to your path. Follow

Hm

m...

I am

not

an

arch

itec

t but

I w

ill g

ive

it a

try

it up by going down. Don’t be afraid. Greet the less. Love the more. Shock the rest. Seize the unworthy for presentation. Impress the

The tower is in the intersection of Rådhuspladsen that is pumped with life and where is always something hap-pening. It will be 110m high, could include a restaurant and information. It sheds light on different buildings and places. The different programs in the building could be; modernism within the Metropolzone, classical architec-ture, museums, activities, statues enc.

The

land

mar

k co

nnec

ting

mon

umen

ts

it up by going down. Don’t be afraid. Greet the less. Love the more. Shock the rest. Seize the unworthy for presentation. Impress the

The

rede

sign

of t

hese

pla

ces

will

dra

w p

edes

tria

n flo

ws

to o

ther

wis

e ig

nore

d ar

eas

depressed. Forget what you have learned. Or believe narrow stuff, your stuff, your way. Work, improve, work, work more. Love your

In the proposal water will cut into the street to break the flat, uniformness and to define the horizontal spaces. Brought back from the deep and into the streets, water is now made visible for all to enjoy. A physical link between the vertical lighting and horizontal plane will be made through water. Rainwater down spouts on building facades will be targted for alteration. Existing downspouts carry water from the roof down the sides of buildings and into underground stormwater pipes. This system is Ideal for quick removal of water but is one in which water is treated as something to be rid of rather than celebrated. The vertical drains will retrofitted with lighting to accent the walls of the corridor, not to mention celebrate their newly liberated flows. Lights will also be fitted along the canal ledges overhanging the water surface to accent the ponds.Th

e cr

isis

is o

ver.

Go

hom

e an

d go

bac

k to

you

r be

ds

depressed. Forget what you have learned. Or believe narrow stuff, your stuff, your way. Work, improve, work, work more. Love your

Open Tivoli corner, spread out new fragments in the same scale that will not destroy axis/symmetry, add volume to Tivoli that introduces a new public (Art/Culture) room, and sucks up some fragments.

Dan

tes

Plad

s ha

s un

ique

loca

tion

bet

wee

n tw

o ar

t gal

leri

es a

nd a

cros

s th

e st

reet

is a

n en

tran

ce to

Tiv

oli

architecture. Get ready to get killed. Stand up on critique. Shoot after being shot at. Don’t shoot back. Reevaluate efforts. Change de-

A block is cut open and a new structure aligned with the old frames Dantes Plads and stops traffic. The traffic on HC Andersens Boulevard is going under the area in a tunnel. The corner of Tivoli is revitalized with a new building. The building breaks in an angle making it more modest and is elevated so that people can enter Tivoli under the building. A field of grass a two line of trees directs attention to the new entrance and shows the way through the area.

A n

ew h

iera

rchy

is in

trod

uced

to th

e M

etro

pole

Zon

e

architecture. Get ready to get killed. Stand up on critique. Shoot after being shot at. Don’t shoot back. Reevaluate efforts. Change de-

Design aims:Break up the canyon structure.Create a space where cars and traffic noise are subtracted and a human environment is added.Design of surroundings that will stimulate the development of social activities

Method/Intervention:A part of a building and a gas station will be removed to make room for a new plaza.Car traffic around the new plaza will be minimized.Use trees for scale transition between the high buildings and the people on the ground.Use historical water references to define the space. Water filter refers to former needs. Air filter refers to modern needs

Wat

er h

as p

laye

d a

maj

or p

art i

n th

e ci

ty’s

his

tory

and

dev

elop

men

t

sign. Block logic. Demand supremacy. Release control. Trust in revolutions. Get desperate. Kill your supremacy. Work with your irony.

The

wat

er fi

lter

s w

ill o

nce

agai

n be

a c

atal

yst f

or li

fe in

the

Met

ropo

lezo

ne

sign. Block logic. Demand supremacy. Release control. Trust in revolutions. Get desperate. Kill your supremacy. Work with your irony.

Poss

ible

iden

tity

can

be

art a

nd c

raft

, ent

erta

inm

ent a

nd a

mus

emen

t

Strengthen your relentless. Improve your efforts. Dream about architecture. Run through your design. Built your story. Unleash your

The

traffi

c is

take

n do

wn

unde

r an

d th

e st

reet

s ar

e tr

ansf

orm

ed to

a g

reen

are

a w

ith

tree

s, p

arks

and

squ

ares

Strengthen your relentless. Improve your efforts. Dream about architecture. Run through your design. Built your story. Unleash your

Crea

te a

hig

h-te

ch a

udio

visu

al r

oom

whe

re p

eopl

e ca

n no

t jus

t see

but

als

o he

ar w

hat i

s go

ing

on in

diff

eren

t sit

es

potential. Overdo your renderings. Smash the image. Crash the idea. Expect the unexpected. Find you way. Anticipate the flexible. Put

Is th

is p

roje

ct e

ntire

ly a

rchi

tect

ural

? Ju

st a

s yo

u pl

ease

!

The new idea will change the aspect about the public transport in the MZ. The aim is to create a MZ that offers a wider range of activities and it has been suggested that a visual coherence between the various cultural institutions as well.

The barrel of the plan is a live audiovisual installation about the MZ - for the MZ. The cultural side of the area needs to be made visible and improve its colllaborative skills. The city spaces can be used more effectively and these spaces can be connected with the public transport also. In this way it’s a two-sided relationship between public transport and cultural velues. Public transport makes the cultural institutions more knowledgeable. Culture attract attention to the importance of the public transport.

potential. Overdo your renderings. Smash the image. Crash the idea. Expect the unexpected. Find you way. Anticipate the flexible. Put

T

he li

ne o

f the

bri

dge

form

s th

e m

ain

inte

rven

tion

for

MPZ

sha

ping

foun

dati

ons

for

new

type

of u

rban

ism

your self out of the box. Ensure the story. Crash your box. Do not trust your move. Frame the surroundings. Redo your architecture.

To a

dd a

four

th d

imen

sion

to th

e ar

t of p

aint

wor

k

your self out of the box. Ensure the story. Crash your box. Do not trust your move. Frame the surroundings. Redo your architecture.

The focus is entirely on the overall structure- The Underlinement. It will always continue its path and it is only disconnected when there is an extrusion.The fragment of line is located near the lakes and therefore it has been influenced by a water concept. The fragment is an element resembling a large transparent wall. The wall is a structural installation and it consist of several elements. There is a water wall for kids and adults to enjoy.

Furthermore there is a large LED-screen. This screen is used to inform the users about The Metropol Zone and about what is going on at the moment in the zone. The screen can also be used for purpose of entertainment e.g. to project movies during Open Air Film Festival or to be a part of an art installation. There are many possibilities and the design of the site is very open to interpretations and is very flexible for further design development.

It is

not

a c

ity

wal

l, it

is a

cit

y un

derl

inem

ent

Again. Who is your City? What is your system? When is your time? We believe in architecture. We love modernism. We like the modern

The

proc

ess

of m

akin

g so

met

hing

out

of n

othi

ng

Again. Who is your City? What is your system? When is your time? We believe in architecture. We love modernism. We like the modern

The

city

par

k pr

ovid

es a

n ex

citi

ng m

ixtu

re o

f cou

ntry

side

, spa

ciou

s gr

assl

and

and

urba

n el

emen

ts

MovementStructure Functions The forest belts provides a clear design principle and a strong super structure for a masterplan of the Metropol Zone. The movement in the city park is the next level of planning and designing.The movement are differentiated by use, speed and function. The functions are the top level of planning and designing the city park. This is best done by involving the city users.

project. We believe in infrastructure. We trust our intuitions. We are young. We dance. We party. We question. We built on history. We

Volu

mes

ver

sus

void

project. We believe in infrastructure. We trust our intuitions. We are young. We dance. We party. We question. We built on history. We

It is

a c

osm

opol

itan

pla

ce a

nd a

inco

nrov

erti

ble

mee

ting

poi

nt w

hich

is c

urre

ntly

onl

y us

ed fo

r tr

ansp

ort

approach the urban. We step back to go forward. We question. We focus on the metropolitan. Our concept may appear banal. Our

No sidewalk to give more freedom to pedestrian flowThe wood path more accessible to the sides.Terrace shelters located inside of the street Trees associated with water ponds to create dynamic and diversity

In w

hich

dir

ecti

on w

e w

ant t

o go

?

approach the urban. We step back to go forward. We question. We focus on the metropolitan. Our concept may appear banal. Our

Whi

te is

pur

e, B

lack

is d

ark.

Let

’s m

ake

mor

e w

hite

str

eets

form is counterproductive. It goes anywhere by going nowhere. It’s a study to break the box. To cancel aspirations. To step up by hitting

Ther

e is

a c

onne

ction

to th

e m

etro

at R

ådhu

spla

dsen

, the

ice

glac

ier

mel

t dow

n an

d m

elts

dow

n an

d ch

ange

to m

etro

form is counterproductive. It goes anywhere by going nowhere. It’s a study to break the box. To cancel aspirations. To step up by hitting

Whe

re s

houl

d I l

ead

the

decr

ease

d tr

affic

hard on design. To motivate. Work through a destruction of images. To raise by blocking innovations. To rule out the idea of normal:

At n

ight

it’s

sti

ll sa

fe a

nd d

ecor

ative

hard on design. To motivate. Work through a destruction of images. To raise by blocking innovations. To rule out the idea of normal:


In t

he fi

rst s

cene

the

acto

r di

rect

ly e

ffec

tsth

e ba

ckgr

ound

by

his

acti

ons

Eat your context. Swallow your history. Dump your pride. Believe in the banal. Work towards the less obvious. Attack the obvious. Win

FINAL PROJECT 29

Staying cubic and inspiered by spot-lights are the cubes fexible placed around the Dantes Plads. They give the plaza a higher importance and a modern look. As the green cubes are used as greenhouses and for events they also have a catwalk integrated with a view into tivoli. The yellow cubes are used as office buildings and they give spotlight impression to the happening on the dantes plads. The plaza itself is an public space with “stages” for different urban activities and reflects the cubes on the top of the buildings by picking up color or material.

The Dantes Plads is an urban public space for people to look and to be looked at!

Sing

a s

ong.

You

are

bei

ng fi

lmed

her

e

Eat your context. Swallow your history. Dump your pride. Believe in the banal. Work towards the less obvious. Attack the obvious. Win


Glyptoteket

towards Christiansborg

People Flow is via the bike lane in both directions and along the historical axis. A series of points within each flow directs the eye sight with the use of mirrords towards centers of attention.

The object of the final draft is still to counter the symmetrical force of the Glyptotek and restore the historical axis leading to Christiansborg. The axis ends in a void of traffic leading to nowhere.

Instead of using physical objects to restore the axis mirrors are placed so the Glyptok closes around itself and the historical axis continues infinitely.

You

blin

k yo

ur e

yes

and

the

mom

ent i

s go

ne

the battle. Lose your temper. Cry your desire. Crash your models. Depart from your rationality. Stick to your path. Follow it up by go-

FINAL PROJECT 29

Fram

e m

akes

you

aw

are

of p

lace

s of

impo

rtan

ce

the battle. Lose your temper. Cry your desire. Crash your models. Depart from your rationality. Stick to your path. Follow it up by go-

Dantes Plades is the symbol of arrogance in the planning of Copenhagen and the Metropolitan Zone. The historical axis is abruptly ended when the Glyptotek was build. All streets were bend and shaped to form symmetry around the new building.

The new design of Dantes Plads reinstates the historical axis and absorbs the symmetry of the Glyptotek. An arch relates to the Glytotek and frames this otherwise beautiful building on one side. On the other side it opens up to historical axis and faces Christiansborg.


A w

ay to

war

ds c

urio

sity

ing down. Don’t be afraid. Greet the less. Love the more. Shock the rest. Seize the unworthy for presentation. Impress the depressed.

FINAL PROJECT 29

Cope

nhag

en a

s a

met

ropo

le

The new Vesterbrogade is for pedes-trians and cyclists only. The road shall be accessible in the en-tire floor level relating to outlook and general view as well as freedom of movement. It shall be possible to float somewhat from one side of the road to the other in a simpel and easy way. Therefore you will find paths crossing inbetween the buildings and it is pos-sible to walk through the new build-ings lower floors from one side to the other. It is important with dynamics in the street and that is what the new building is essential in creating

ing down. Don’t be afraid. Greet the less. Love the more. Shock the rest. Seize the unworthy for presentation. Impress the depressed.


In w

hat m

usic

vid

eo a

m I

in?

Forget what you have learned. Or believe narrow stuff, your stuff, your way. Work, improve, work, work more. Love your architecture.

FINAL PROJECT 29

Vis

ual c

onne

ction

bet

wee

n th

e ci

ty a

nd it

s pe

ople

Giving the area unique visual quality. Lights on the ground- in daytime there are shown advertis-ments. In the evenings they are touch screens- change their colour when stepping on them. The more people there is, the more intensive the lightning gets. The lights are some-times rising higher as they are benches. They react with a light change when people sit on them.

Post lights- serve as pedestrian lights but they have speakers and screens in the front. On the screens the lights are chang-ing acording to the music so the lightposts interact together. When there are concerts, the music comes from the speak-ers. During the day post lights are solar panels- they collect the energy to light the area.

Rhythm is made by organized lights- the ground lights posi-tion is like an equalizer that reacts to humans impulse. The positioning of the posts is making another rhythm move-ment. Music is coming from the speakers inside the posts after working hours til midnight. The music “therapy” makes this business and rushing area more relaxed and calm.

Forget what you have learned. Or believe narrow stuff, your stuff, your way. Work, improve, work, work more. Love your architecture.


The

skyl

ine

is ju

st a

shi

loue

tte

but t

he la

yers

are

not

vis

ible

in fr

ont o

f it

when it comes to 90°, it’s simply an angle. for sure, but it’s func-tional, and that’s positive. by thinking function, architects don’t have to question design accord-ing to the esthetics. “form follows function” was the early modern-ists motto. the scary part of this is the repetitive pattern that some-how became part of the outcome. concrte slabs, steel frames and reinforced concrete sounds pretty le corbusier. this is a concept that ables us to build hundreds of me-ters vertically, creating luxury, fu-turism and a feeling of surrealism. at the same time we can apply le corbusiers concept when buildig rapid and cheap. in these cases we tend to lack individual design, and repetition is the outcome.

Get ready to get killed. Stand up on critique. Shoot after being shot at. Don’t shoot back. Reevaluate efforts. Change design. Block

FINAL PROJECT 29

The

spac

e is

lim

ited

Get ready to get killed. Stand up on critique. Shoot after being shot at. Don’t shoot back. Reevaluate efforts. Change design. Block


Will

hav

e a

stro

ng s

igni

fican

t infl

uenc

e on

the

form

, str

uctu

re a

nd u

se o

f the

cit

y

logic. Demand supremacy. Release control. Trust in revolutions. Kill your supremacy. Work with your irony. Strengthen your relentless.

FINAL PROJECT 29

One

sha

rp c

ut th

roug

h al

l Met

ropo

lzon

e

logic. Demand supremacy. Release control. Trust in revolutions. Kill your supremacy. Work with your irony. Strengthen your relentless.

But B

ut B

ut S

o So

So


Improve your efforts. Dream about architecture. Run through your design. Built your story. Unleash your potential. Overdo your ren-

Mor

eove

r, so

me

arch

itec

tura

l mas

ses

wou

ld b

e w

elco

me

FINAL PROJECT 29

Improve your efforts. Dream about architecture. Run through your design. Built your story. Unleash your potential. Overdo your ren-

Britta Magdalena Ágústdóttir

Maiken Zippora Leth Andersen

Joram de Vries

Cody Erhart

Jürgen Furchtlehner

Halldór Birgir Halldórsson

Marta María Jónsdóttir

Ragnheidur Karadottir

Henriette Kia Syrak Lund

Veronika Mungenast

Reka Nemeth

June Paaskesen

Janka Emese Paulovics

Maj Pedersen

Johanna Lovisa Rustad

Mikkel Stolz

Anders Terp

Marie Thomas

Häli-Ann Tooms

Thibaud Vermillard

Katarzyna Wieszczeczynska

ALL YOU NEED IS ARCHITECTURE

Contributors

156

DYNAMICS 29

Mads Farsø is a Danish landscape architect, PhD fellow and teacher at University of Copenhagen.

Clément Blanchet is a French architect, Associate of the Office for Metropolitan Architecture and teacher at University of Copenhagen.

In 2004 Mads and Clément met at the AA School of Architecture in London.

We believe in architecture. We love modernism. We

like the modern project. We believe in infrastructure.

We trust our intuitions. Believe in the banal. Work

towards the less obvious. Attack the obvious. Win

the battle. Lose your temper. Cry your desire. Crash

your models. Depart from your rationality. Stick

to your path. Follow it up by going down. Don’t be

afraid. Greet the less. Love the more. Shock the rest.

Seize the unworthy for presentation. Impress the

depressed. Forget what you have learned. We are

young. We party. We dance. We do it.

All You Need Is Architecture

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