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THE VOLUTARY PRISONNERS OF N

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THE VOLUTARY PRISONERS

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architect’shouses

Design:A world between four walls

Lost in reflections, the type-house in crisis.

Mirror, mirror on the wall...Architecture beyond the iconic.

the metropolitan retreat

N°01 NOVEMBER - DECEMBER - 2007

Meet 24 young architects rethinking lifestyles - 100 years Happy birthday Mr Niemeyer!

on the capacity of architecture to create a world out of an abstract vacuum: an empty courtyard of 15x15m with four parallel mirrors walls reflecting its own emptiness to the infinite. In this condition where the singularity of the architectural object is superseded by its virtual multiplication, design goes beyond the obsession of the iconic object and embraces its ultimate goal the creation of qualitative spaces.Within this abstract and extreme environment, Architecture has nothing to rely on excepted itself and its own self confidence to create a rich, diverse, and qualitative living environment. 24 first year student architects from the Department 10 have investigated the power and the limits of Architecture and attempetd to synthetised a living unit, a private world for a fictive client. Digging in the full arsenal of architectural tools they present in the following pages 24 extraordinary houses where the quality of the spaces, their diversity turns the claustrophobic and deserted mirror courtyards in attractive metropolitan retreats.

Charles Bessard

Efterår 2007Kunstakademiets Arkitektskole,Afdeling 10, første år. Tutorial team:Charles Bessard, Frans Drewniak, Christina Tolstrup, Ulrich HeltoftProjects texts and images:Rie Davidsen, Rasmus Emborg, Christine Moseidjord Fellestad, Erling Christoffer Forfang, Julie Fraenkel, Sarah Frilund, Marie Hallandvik Hortemo, Louise Høj, Kasper Kullegaard, Gitte Håhr Larsen, Anders Lisberg-Larsen, Christoffer Lunde, Agnes Mohlin, Søren Nielsen, Marie Olesen, Tenna Olsen, Lea Olsson, Steffen Ommundsen, Mathias Kofoed Poulsen, Mikkel Schmidt, Christian Holck Skov, Simon Damholt Sørensen, Karin linnea westbergGraphic Design and cover:Charles Bessard

Europe and the western world is undergoing a process of urbanisation for the past 10.000 years. Our civilisation gradually shifted from a rural society to a resolutely urban society. For most of European countries the tipping point from a rural majority to an urban majority happened in the 1920´s and 1930´s as an effect of industrialisation.Today more than 80% of the European population live in urban areas, the European urban metropolis keeps growing and no signs point at a change of tendency. If urbanised areas can take an infinite diversity of forms, from the most monumental to the most organic, from the most beautiful to the most generic, they share nevertheless one common characteristic: they are all man-made artificial landscapes. Cities, buildings, objects, information medias etc... populate our daily environment and accumulate to create our chaotic and ever changing urban landscape.Despite the announcement of digital and virtualised era, despite the rampant suburban developments and the conservative blindness of the historical city cores, architecture and design remains powerful means to synthesise, shape and create our direct living environment.”The voluntary prisoners of architecture”, a title borrowed from the visionary 70’s urban project Exodus of Rem Koolhaas and Elia Zenghelis, is an experiment

Editorial

KUNSTAKADEMIETS ARKITEKTSKOLE - AFDELING 10 - EFTERÅR 2007 - THE VOLUNTARY PRISONNERS OF ARCHITECTURE

At have sit eget univers på 15’15 kvadrat meter kræver ifølge Kit let adgang til det fri. På oversiden af cirklerne dyrker Kit mange mystiske planter.

Et svævende univers Et anderledes hus til en anderledes dame. Et komplekst hus til en kompleks dame. Sådan kan man blive ved. Kit Chaka jørgensen og hendes hus er så tæt forbundet at en vandring gennem hendes hus fortæller mere om hende end 1000 horoskober.

at forestille sig at leve i svævende cirkler, virker u realistisk. Men ikke for ejeren af dette hjem, hun har gjort det til virklighed.

Øverst, den nederste cirkel efter arbejde: “det er en fryd at døse hen blandt skvulpende vand og svævende søjler.” Nederst, Kit elsker de komplekse kasser: “de kan det hele” siger hun.

Projektet og tekstet: - KUNSTAKADEMIETS ARKITEKTSKOLE - AFDELING 10 - EFTERÅR 2007 - THE VOLUNTARY PRISONNERS OF ARCHITECTURE

Kit Chaka Ørneøje Sørensen er ikke helt som alle andre. Hun hverken lever, bor, eller teer sig som andre mennesker. Det er noget hun selv har valgt, og noget hun er stolt af. Kit er healer, clevoiolant og drømmetyder. Hun har ikke noget imod andre “normale” mennesker, men hun foretrækker at være sin egen. Fx. bor Kit midt i byen. Men da hun bedst kan lide at have hendes eget anderledes univers omkring sig hele tiden, har hun valgt at bygge en spejl gård og gennembore den af kvart cirkler. I cirklerne bor Kit.

Kit har altid haft skøre ideer og den dag hun ringede til tegnestueen og fortalte om hendes spejl projekt, måbede de en smule, men tog så fat om opgaven alligevel. Kit og tegnestuen arbejdede tæt sammen og resultatet er Kit rigtigt godt tilfreds med. Tre svævnde cirkler, tre forkellige følelser og stemninger danner ramme om Kits spejl univers. En let og svævende, en høj og farverig, og en tæt og drømmende. En rundvisning i Kits cirkler er en rundrejse i Kits daglidag og sind.

Den nederste cirkel er her Kit arbejder, hendes arbejde er en del af hendes liv og væremåde. Her er let møbleret med enkle glas stole, som hun kan rykke rundt på som det passer hende. Hun elsker sit arbejds rum fordi at det hjælper hende i hendes arbejde, og altid har en svævnede og reflekternede atmosfære omkring sig. Fra arbejds cirklen bevæger man sig af en simpel, stejl glas trappe op til den næste lag af Kits univers. Her bliver man overvældet af et højt farverigt rum, hendes “leverum”. På venstre væg er kæmpe glas paneler monteret, så de kan skydes frem og tilbage. Ifølge Kit fordi de forskellige farver tilføre forskellige energier hver dag... på den modsatte facade er der frit udsyn til spejlingen af hendes dagligdag. Følger man cirklen begynder gulvet at skyde op som kasser, her stiller hun alle sine ting. Ved et umiddelbart øjekast ser man ikke det mystiske hul for toppen af kasserne. Det er indgangen til Kits mest ophøjede rum hendes drømme og krystal rum.Herfra udsprinsger Kit´s drømmende hverdag, herfra kan hun overskue hendes tre svævende

Den øverste cirkel er Kit´s mest hellige og personlige sted. Det er her hun drømmer, og det er her hun opbevare sine elskede krystaller” de er som børn for mig” loftet levere en knivskarp stjerne himmel, døgnet rundt på grun af de små huller. Kit Putter nogle sten i lyskeglerne og andre i skyggen. De større åbninger i gulv og væg giver et fantastisk look over hendes univers. Fra den øverste cirkel udspringer Kit´drømmende hverdag

Det svævende univers

Ludwig Mies Van Der Rohe

1_Drømme, sove cirkel

2_Stort vindue i gulvet

3_Ude areal til soveværelset

1_ Simple glas stole

2_ Hylde, trappe, chill

3_ Farve paneler der kan skydes frem og tilbage

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My frozen dnaDna er nukleotider. Små komponenter, som muliggør astrono-miske kombinationer i dets opbygning, og når de samler sig, så snor de sig i en spiral. Hav det i tankerne ved mødet med biolo-gen K. og hans verden. Bag bjerge belagt med sne, og bakker med store sten, ligger et asymmetrisk domicil, der kun er hans.

Bygningen i bjergene er formet med tanken - at skabe et sted for netop tanker. Og med et kon-cept, der tager udgang-spunkt i forskeren og hans biologiske univers.

Biologens arbejdsrum snor sig som arkitektoni-ske nukleotider. En efter en, som baser i dna, og slutter i et rum, der på sin vis ønsker at ville videre.

Stemningen er en forskers stemning. Der er bjerge, salte og mineraler. Og bøger i massevis. Biblioteket er beliggende i bygningens højre fløj, og rummer massevis af biologiske bogsamlinger.

Mikrobiologens arbe-jdsrum snor sig som arkitektoniske nukleotid-er. En efter en, som baser i dna, og slutter i et rum, der på sin vis ønsker at ville videre.


Det er strid vinter, da vi kører op i et snebelagt bjergland-skab for at finde biologen K’s arbejdsbolig. Den er gemt væk af højdedrag og snedynger og man ser ikke den stålbelagte bygning før man er helt tæt på. K. skutter sig foran den stålbelagte forskerbolig, da vi når frem. Stemn-ing er mørk og en anelse uvenlig, som bygningen rejser sig med sine stålbelagte arkitektoniske nukleotider. Men der er alligevel noget fascinerende ved de simple rektan-gulære og firkantede rum, der spænder om hinanden, og slutter i et højtliggende rum, der på sin vis ønsker at ville videre. Forskeren fortæller, at han benytter boligen som vinter-arbejdsplads. Han har altid været betaget af bjergene og dets landskab, og da han bestemte sit forskerhjems form, var det udelukkende med tanke på ro og fordybelse i biologien. Således udnyttes rummene i en bred forstand, og der er plads til studier, møder og arbejde i alle hjørner. Forskerens kærlighed til viden og bøger er tydelig i de to største rum, der huser flere høje bogreoler med bøger om alt fra Darwins naturlove til vandløbs miljøpåvirknin-ger.Fra rummene har du udsyn til bjerge og sne, og den

cirkulære bygningsform gør også, at du kan se fra det ene yderst beliggende rum til det andet. Det synes forskeren er en velfungerende arkitektonisk form, for når mørket falder på, og det gør det især i bjergene, så kan du fra rummet i den ene ende, opfange lys fra rummet i den anden ende, og det skaber stemning, synes han.Bygningens materialer er valgt ud fra konceptet om for-skning i bjergene, og facaden består af sten og stål. Stål fra videnskaben og sten fra bjergene. De indre rum er beklædt med et lag af hvidpoleret beton. Hele bygningen fremstår således tung og solid, og falder godt til i land-skabet af bjerge.Forskerens interesser rækker også længere end biologien, og når han en sjælden gang vælger at bruge natten på sin arbejdsplads, foregår det som oftest i stjerneobservatoriet øverst i bygningen. Her kan han studere universet og dets stjerner i bjergenes makabre mørke. Det er også ved at være mørkt, da vi kører derfra igen. Solen er næsten væk bag bjergene, og lyset giver en eventyragtig glød, der reflekteres i bygningens blanke stål. Egentlig fremstår biologens arbejdsplads slet ikke så uvenlig igen.

Sten og stål er karakter-givende for bygningens ydre, der herved naturligt finder sin plads i et råt bjerglandskab.

My frozen dna

Lea Olsson, 1.år

1_mødelokale2_thekøkken3_entre og toilet 4_gang 5_laboratorie6_bibliotek7_observatorium

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A Lifestyle DisplayThe unique home of art collector Jens is a home of many qualities and many objects. His residence is enclosed by four, mirrored walls that create an illusion of endless spaces. In this secluded universe lives Jens among his vast collections.

The Banqueting Hall holds a number of famous paintings that create an astonishing backdrop for banquets and other events that Jens likes to host.

The Reception Hall is a display of contemporary art placed on pedestals. Spectators and objects are repeated endlessly in the mirrored walls, creating a surreal atmosphere.

The first thing that Jens rests his eyes upon in the morning is his paintings. In his private living quarters there are several windows that face down towards the Ban-queting Hall, allowing him to enjoy his collection at all times.


Jens has been an enthusiastic collector all his life. When he was 15 his grandfather died, leaving Jens with a large number of paintings and books. Ever since, Jens has dreamed about creating a home that would house his collections and at the same time provide him with a place to live. Today he resides among paintings and books, with no other occupation than being a full-time collector. “Some of my guests ask me if this is a home or a gallery. I say it’s both. My home is a display of not only my col-lections, but my lifestyle” explaines Jens as he shows us around his intriguing home. “My collections are every-thing to me: my childhood, my occupation, my passion. If you took art and literature from me, you would take life from me! When I look at my books and my paint-ings I feel like I’m looking at myself. They represent my history as a person and as a human”..

To ensure a good start in the morning, Jens has placed his bed in front of a large window facing down towards the Banqueting Hall where his paintings and his own image are reflected in the mirrored walls. “It reminds me who I am” says Jens with a smile on his face. Although

turning 60 in a few weeks, Jens shows little sign of age. He is convinced that the long staircase to his private quarters upstairs is what keeps him going.

Jens has a great home for social gatherings and he is a popular host amongst his friends. “The Banqueting Hall is great for dinner parties, but I never cook myself. I only have a small kitchen upstairs where I make my own food, so at big parties I use catering”. Jens has thought-fully concealed the entrance to his living quarters and the bathroom behind paintings. “I don’t want my guests to become aware of the utility rooms. Most guests are not even aware of the space inside the wall and are astonished when they find out that there is actually a bathroom behind the painting of the naked man”

When Jens wants to spend quality time in his home he visits his library. In this maze of books he likes to sit down in a chair and just relax. “I never feel alone when I’m among my books. They are like people, talking to me from their shelves and telling me tales from around the world” says Jens.

The bright, red Dalí sofa on display in the Recep-tion Hall might be on a pedestal, but Jens still en-courages his guests to sit in it and feel its potential.

“I wanted a home with no visible signs of utility rooms” says Jens as he shows us the hidden door to the bathroom.

One might feel small among the towering book-shelves in the library. Jens says he likes this atmo-phere because it reminds him of that there is always more to learn and read.

Christine Moseidjord Fjellestad

A Lifestyle Display

1_ Library 2_ Reception Hall3_ Staircase to upper floor4_ Bathroom5_ Banqueting Hall6_ Sleeping area7_ Kitchen

1_ Library 2_ Reception Hall3_ Staircase to upper floor4_ Bathroom5_ Banqueting Hall6_ Sleeping area7_ Kitchen

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A ROOM WITH A VIEWWith plenty of room for the collection, a courtyard

stretching from ground to sky and a room with an as-

tonishing view, the archivist and her seven cats has

found their refuge.

The landscape slowly rises as you make your ascent to the roof of the ground-floor, where the main entrance is located.

A weightless view.The topfloor is floating 12, 5 m above ground.

The collection is seated in the two towers. An eleva-tor will take you up in one of them, while there is a staircase in the other.

Projekt og tekst: - KUNSTAKADEMIETS ARKITEKTSKOLE - AFDELING 10 - EFTERÅR 2007 - THE VOLUNTARY PRISONNERS OF ARCHITECTURE

In a sleepy subburb the archivist and her seven cats lives. She works in the city, in the national archive, where she combines her job and her passion. At home she is also a collector. With all sorts of things, and in very big amounts, her collection gets bigger every year. The next most precious thing in her life, the cats, also play an im-portent role in the house.

At groundfloor, all the necessary needs can be covered. First you enter the kitchen, the toilet, and then the bed-room. There is no need for walls in this house. The angle the rooms meet eachother at, makes it impossible to see into the next room.

The two towers cotains the collection. With their 12,5 meters, there is plenty of space for her growing passion. In the first tower, an elevator will take you through the collection to the topfloor. The second tower contains a staircase, which wraps itself around a “collection-col-umn”.

The most unike part of the house, is the topfloor. With

windows everywhere, (because of the type of onament, the building is wraped in), it creates a feeling of weight-lessness. The windows above, to the side, and under-neath you, give you a spectaculary view of the sky, the landscape, and the courtyard - where all the cats a mock-ing around on the diffrent levels, enjoying their pice of paradise. The viewingroom is the archivist most beloved part of the house. Here she sits every day, after spending most of the day organising and thinking rational. The spot in the chair in front of the windows, gives a calm feeling of being in between ground and sky, only with one thing to consentrate your mind on: THE VIEW.

Topleft: The bedroom.

Bottomleft: The kitchen.

Right: The house and courtyard in it’s context, with the neighbour houses

A ROOM WITH A VIEW

Julie Fraenkel

Groundfloor:Kitchen, toilet and bed-room.

Towers:Archives - one with an elevator, one with stairs.

Topfloor:Livingroom/viewing-room.

Courtyard:Different levels and trees for cats.

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A Scientist´s SanctuaryMeet Dr. Greenstein. A man fully devoted to nature. A true biologist, now living amongst his own creations: His own universe. Parted from the rest of the world, he can now dig deeper into the world of science.

The scientist overlooks his magnificent green garden from his bedroom.Every room has a great and exiting view in this house.

The shape of the house gives place to big trees in the courtyard. The residential area is the highest point of the house, reaching 15 meters.

The different part of the house is represented by a different kind of roof garden. The laboratory roof is covered with Dr. Greenstein’s own exotic flowers.

Procjet and text: - KUNSTAKADEMIETS ARKITEKTSKOLE - DEPARTMENT 10 - FALL 2007 - THE VOLUNTARY PRISONNERS OF ARCHITECTURE

Dr. Greenstein used to work tirelessly in a gray and cold lab. This has now changed. Now he is his own master at his own universe. He can now worship all of his passions at his own house: His work as a biologist and his love for all that is green and colorful. In his new house he’s got all the tools and space he needs. The house itself is designed like a living organism growing upwards, grabbing hold at the walls. This leaves a big space for Dr. Greenstein to use for bigger plants and trees. There is also a possibility to make larger crops, where he can seed potatoes etc. The house is divided into four parts: The reception area (also contain a storage compartment), a greenhouse, a laboratory, and on top the residential area. Every part of the house got its own roof garden, with different types of plants to illustrate the transition between them. Dr. Greenstein uses these facilities to grow flowers, plants, fruits and vegetables, mostly for research, but also for his own consumption. He dedicates a lot of his time in the laboratory studying life. A biologist examines the structure, function, growth, origin, evolution, and distribution of living things. He classifies and describes organisms, their functions, how

species come into existence, and the interactions they have with each other and with the natural environment. An environment he now has right next to his own bed. The garden and the roof gardens is the main reason for this. The flowers, trees and other vegetation draw small animals, birds and insects. The roof garden also provides several other benefits to the building. They protect it from acid rain and UV rays. The vegetation cleans the air and also work as a sound isolation. The boxes creating the building vary in size and shape. The laboratory is made more clean and isolated. There is few openings and windows, for a more sterile environment. The residential area is more divided according to the different rooms. There is larger openings towards the garden, opening up for the sun and giving a great view. The reception area consists of a long series of bigger boxes because of the need for storage. It’s all designed for the sole purpose of Dr. Greenstein’s experiments and lifestyle. Dr. Greenstein now lives in the environment he always loved.

Upper left: The house is made in a smooth white concrete. This gives a nice contrast to the green and colourful garden and the rooftops.

Bottom left and right: The house is created by a series of boxes, twirling its way towards the sky. You can get to the highest situated room both from the inside and the outside. On the inside there is stairs connecting the boxes, while the outside gives a rougher route.

A Scientist’s Sanctuary

Steffen Ommundsen

1_ Storage2_ WC 3_ Reception area 4_ Greenhouse5_ Laboratory6_ Kitchen7_ Livingroom8_ Bedroom9_ Bathroom

1_ Storage2_ WC 3_ Reception area 4_ Greenhouse5_ Laboratory6_ Kitchen7_ Livingroom8_ Bedroom9_ Bathroom10_ Office

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A Secret LifeWe’ve payed “A“ a visit - “A“ standing for Anonymous celebrity. You know who he is, but we won’t tell you. Welcome into a world where you can hide from the limelight and store your secrets.

“A“‘s house is placed inside a big square court-yard and consists of three white boxes of different character. Or are there four? “A“ is fascinated by anonymity and seacrets

A’s bedroom is placed on the ground in the lowest visible cube. It’s thick walls effectivly locks the world out. a small window by the ground lets the daylight in.

The cubes connect only at the corners and you walk between them in shaded glass stairs. The spotted glass top cube is where “A“ recieve the few visi-tors allowed in, the more closed metal one is for working.


We haven’t even left the city, but when we enter the home of ”A” it feels like entering another universe. Which city we’re in I won’t tell you, nor who ”A” is, it’s one of his conditions to let us visit. What I can assure you, though, is that you’d both know the city and who ”A” is if i just told you, since his face is one of the most known on earth. Being recognized by everyone, especially the tab-loids, is ”A”’s everyday life. The wish to be able to keep his secrets and be anonymous is therefore something that reflects in the execution of his home. when you first enter the house you find yourself in a light, square glass room, sparsley furnished with a few comfortable armchairs faceing the courtyard in which the mysterious building is placed. We will soon re-alise that this is the highest and most open part of ”A”’s home, and that this is as far down in the house as many visitors ever get. From up here you see the other parts of the house, which consists of three perfect squares placed in the perfect square courtyard according to a simple pat-tern. But there is more to this building than we can see from up here. We start walking down one of the staircase-tun-nels that cross the courtyard. They are made of shaded

glass and are the only thing that brakes the symmetry of the building and connects the cubes – the only place they meet is exactly at the corners. We walk through the air, through the courtyard, but the narrow stairs and shaded glass still keeps the feeling of being inside, protected by the building. The second cube contains ”A”’s working space and communication area. This room is a bit more closed, the walls are made of perforated metal which lets the light in, but not much more. this room is quite light and open, and like the one above, it feels quite anonymous. after wakling down the next starcase we are allowed in the more secret and closed part og “A“‘s cube-universe. herewe find the bedroom where he sleeps comfortably, knowing that noone’s looking. Thisarea feels more personal, the scale is smaller and the colours, though still sparse, are warmer. A steep staircase leeds down even further, down here noone else is allowed. we’re underground i “A“‘s se-cret room. the walls are bronze, it reminds you of a cave, a place for hidden treashures. the furniture is comfort-able and soft but not very high class, there is a loft which makes the roof even lower. Down here “A“ can be com-pletely anonymous, and therefore completely himself.

Top left: The perforated metal lets the light in - but not too much more. “A“ works here and this is where he occasionally checks the web for what stories the tabloids’ made up today.

Bottom left: the narrow shaded glass staircases connects the cubes

Right: under the court-yard there is a seacret room. small, closed with bronze walls, like a hidden treashure of privacy.

A secret life

Agnes Mohlin

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Boligen til drengerøvenI den nyopførte bolig midt i centrum, hvor sin-

glefyren Thue Qvortrup bor, danner de forskudte

etager og den varienden lofthøjde, de perfekte

rammer for at holde nogle gode fester og poker

aftener.

Thue Qvortrup i stuen hvor der tilbringes meget tid med vennerne foran fjernsynet når der vises landsholdskampe.

På 1.sal, med udsyn ned til den meste af stuen, skab-er trappen og gulvet som ender midt i rummet en skulturel og andelledes atmosfære.

I stuen bruges den skrå væg til et plato som ska-ber et mere intimt rum pga den lave lofthøjde. For enden er der reoler til opbevaring, og platoet fly-der ud og bliver til en bar.


I en drengerøvshypel midt i storbyen bor Thue Qvor-trup, single fyr og i starten af tyverne. Han går ikke meget op i indretning og dyre designer møbler, og de mange vilde aftener med vennerne, skabe en vis uorden i den ellers forholdsvise enkelt indrettede bolig. Boligens beliggenhed gør at der til tider er en del støj, hvilket ifølge Thue Qvortrup er en af bylivets charmer. Han nyder at være tæt på alt ting, og at han kan hører og føle bylivets sus. Han er glad for den store stue og 1.sal, og han nyder at kunne trække sig tilbage til det mindre soveværelse øverst oppe, når trætheden overmander ham. Thue Qvortrup er vokset op lidt uden for byen sam-men med sine forældre. Han er enebarn og blev en del forkælet som barn, og fik da også et pænt indskud af sine forældre til boligen. Som 12 årig begyndte han at spille fodbold og forsatte med det i en længere priode, men er nu stoppet. Men Græsarealet lige uden for boligen bliver alligevel brugt flittigt i sommerperioden, til at spille fodboldt med vennerne, og til at ligge og dase i solskindet og pleje tøm-mermændene.Thue Qvortrup er vild med alle sportsgrene der har

med en boldt at gøre, og nyder at sidde sammen med vennerne med en kold øl i hånden når der bliver vidst fodbold i fjernsynet. Også de mange mandeaftener er et hit, som foregår rundt om det ny anskaffede pokerbord, eller foran hans playstatien.Derudover er han tit på bar eller i byen med vennerne i weekenderne for at feste og møde damer. Han har afsluttet gymnasiet for halvandet år siden, og nu arbejderne han indtil han finder ud af om - og hvad han vil studerer. De store vinduer, de skrå vægge og de anderledes etager skaber anderledes og spænende rum. På 1. sal kan ud-sigten ud over byen nydes og den variende loftshøjde er med til at give de forskellige rum hver deres præg.

Boligen er af skifer - natursten, som giver et råt look. Det lyse ahorngulv skaber en glidende sammenhæng mellem etagerne og giver god kontrast til den ellers mørke bygning.Ovenlysvinduet giver lys som næsten kan passere frit ned imellem 2. og 1. sal, midt på dagen når solen står højt på himlen.

Boligen til drengerøven

Ludwig Mies Van Der Rohe

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Det romerske husLidt uden for Roms pulserende bymidte har den italienske politiker Alberto Manzi bygget et hus. Et hus der i den grad er præget af hans interesse for historie og i særdeleshed hans fascination af romerriget.

Albetto Manzi på te-rassen, hvor han ofte nyder et glas vin, en god bog om romerriget, eller lange politiske diskutioner med sine venner

Vindeltrappen er lavet af marmor og samler hele huset. Marmoren stam-mer fra et lokalt stenbryd, og er gennemgående i hele denne lyse bolig.

Det øverste billed:Alberto Manzi nyder ud-sigten gennem trækroner

Den nederste billed:Kontoret, hvor der er fri passage til gaden, så alle kan bidrage til den poli-tiske diskution.


Når man kommer gående ned af gaden i udkanten af Rom mødes man pludselig af en 9 meter høj og 15 m lang søjlegang, der kan tage pusten fra en hver. Søjlerne står taktfast langs huset facade. De høje søjler signalerer, at her bor en vigtig person, nemlig politikeren Alberto Manzi. Manzi er vokset op i et hjem, hvor historie, og særlig romerriget, har spillet en stor rolle. Dette var da også grunden til at han valgte at studerer historie ved roms uni-versitet. Under sin studie tid begyndte han at være politisk aktiv, og han steg hurtigt i grad-erne hos Berlusconi og var med til at danne partiet Forza Italia i halvfemserne. Da han skulle til at bygge sit hus, var det derfor nær-liggende at huset blev et hus der var inspireret af det politiske og magtfulde romerrige. Et

hus hvor han kunne føle sig hjemme og dyrke sin store interesse i fred. Han har indrettet sig med åbent kontor, hvor manden på gaden kan gå ind og få sig en politisk diskussion, mens man samtidig kan sidde i den lille lund i gården, hvor trækro-nerne strækker sig til første sal. Her er der en stor terrasse, hvor Alberto Manzi kan sidde i fred og ro og læse i en god bog, i skyggen af træerne. Det eneste der adskiller inde fra ude er 14 søjler, indenfor på første etage er der stue og køkken og terrassen ligger i umiddel-bar forlængelse af stuen. Øverst i boligen har Alberto Manzi sit soveværelse. Fra sin seng har han udsigt til et tæppe af trækroner, der hver dag giver et nyt indtryk. Indtryk til hele boligen.

Det lille billed:Den storslåede søjlegang foran huset, hvor der er indgang til kontoret og gården med den fredfylde lund.

Det store billed:Søjlerne står taktfast og giver en vis dynamik til huset, hvor det kun er søjlerne der makerer forskellen mellem inde og ude. Træerne afskærmer for nysgerrige blikke og den skabe sol.

Det romerske hus

Maria Bager Olesen

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Flying glass cubesIn this fantastik glashouse work and lives the famous painter Sven Karlsson together with his cat Månsen. Svens greatest passion in life is painting, philosophising and decorating the house. he loves the fact that the funitures seems to fly.

The view from the garden shows the transparancy of the walls and that the inside and the outside is almost non existant.

Svens aunt is here for a visit. She`s sitting in the living room looking out on the beautiful cortyard watching Månsen plaing among the blue flowers.

Sven in action doing an illustation of his black cat. Here you can also see how wounderul it works with the grass in the room.The picture below, Sven has put one of his bigger paintings on the panel.


In a house made entirely of glass lives the 45 year old Swedish artist Sven Karlsson together with his cat Månsen. Sven’s greatest passion in life is painting, Philosophising and being out in nature. Rain or sunshine doesn` t matter, any type of weather is lovely. He says it only contributes to a more exciting and varying painting.One wish Sven had before his house was drawn up was to have an creative environment to live in. That is why a house constructed of glass suits him perfect. A house in which he both lives and works. When you first enter the house you are met of a large and airy atelje there the walls are placed directly on the grass. This is done to make the inside feel more outside and to have the nature close to you.Next we have the kitchen, living room and bedroom which are in an almost circle shaped formation to make the transition from room to room more natural. The fact that the floors in the rest of the rooms are made of glass is great says Sven, that gives the effect of a special almost light feeling, but he believes that it

has contributed a lot to keeping his active imagination alive. If it would ever happen that he would like a little more privacy in life, well there are panels in frosted glass to draw together. The glass also works as displaypanels as the are made of two thin plates of glass. Theses work perfectly for placing his paintings in between. When exhibition time draws closer the glass walls are used often, which maximises the impression of the artwork and leads to a exciting transformation of the room from the outside. The furniture is also an important part of the house, as the walls are made of glass the furniture and interior that is much easier seen. This makes it much more effortless to change the appearance of the house to suit your mood. It even gives the house the feeling of that the furniture is floating. You could say in other word that the interior becomes the exterior.

The picture on the top left there´s an exampel of one of the blue flowers Sven has grown and how well the blue colour works with the orange furnitures.

the lower left picture shows the blinds for the ceiling as you can use when the sun is too hot.

In the big picture you can easily se that the boxes are made of glass and that the furnitures are almost flying.

Flying glass cubes

Karin Westberg

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Home of inner serenity

I kombinationen af spejlglas og beton har arkitekten og kunstneren, Gitte H. Larsen, opfyldt sin drøm om et overskueligt hjem. Med en tredeling i funktion og farve og en enkel indretning giver denne bygning Fr. Larsen muligheden for at slappe af efter en lang arbejdsdag.

Gitte H. Larsen i den lille private køkken-have. Køkkenhaven er afgrænset af en bred mur, så kun fra det store køkkenvindue har man et flot udblik på den.

På anden sal ligger Gittes private område, hendes store soveværelse med lysviolette vægge. På altanen foran vinduet er der et blomsterbed og det specielle vindue, som går helt ned til gulvet, giver følelsen af at have en lille have indenfor, på 2. sal !

I stueetagen kommer man ind i en spændende atmosfære med lemon-grønne vægge. Køkkenet er som hele bygningen indrettet meget enkelt, så især her skabes der sinds-ro.

Det sociale område fort-sætter på 1. sal med en stor stue. De store vinduer hele vejen rundt, det blå loft og en funktionel over-skuelig indretning får hele familien til at slappe af og hygge i sofaene.

Projekt og tekst: - KUNSTAKADEMIETS ARKITEKTSKOLE - AFDELING 10 - EFTERÅR 2007 - THE VOLUNTARY PRISONNERS OF ARCHITECTURE

I en enkel bygning, som består af ”3 bokse”, bor den danske kunstner og arkitekt Gitte H. Larsen. Huset ligger gemt i en spejlboks, som leder lyset ned, selv til de mørkeste hjørner. Med et simpelt koncept og med klar fomuleret enkelhed er denne bygning skabt som et sted for ro, orden og afslapning. De blå spejlvinduer accentuerer, at det er Gitte Larsens private og beroligende hjem, og holder resten af verdenen ude. Ikke desto mindre er gæster meget vel-kommende til at hygge i det store, åbne samtale-køkken, opholdsstuen på første sal og den store tagterrasse. De let konstruerede trapper, som fører til de to øverste etager, er bygget af jern. Åbningerne mellem etagerne er usædvanlig store, således skabes der faktisk en vertikal sammenhæng mel-

lem de tre etager og overskueligheden er også udtrykt i dem. Når Gitte Larsen kommer hjem vil hun kunne koble af, så hele bygningen og interiøret indby-der til uforstyrrethed og overskuelighed. Vil hun lige komme af med nogle tanker, arbejde eller være kreativ med nogle pensler, kan det sagtens lade sig gøre i arbejdsrummet på første sal. Anden sal er hendes helt eget med et stort soveværelse og badeværelse. Den lyse violette farve på væggene giver en beroligende stemning og inviterer ligefrem til afslapning i sengen. Et specielt stort vindue, som rækker ned til gulvet, giver fornemmelsen af, at det aflange blomster-bed ligger inde i rummet, men det er faktisk en del af den store tagterrasse på anden sal, hvor Gitte Larsen også kan slappe af på en solrig feriedag.

Huset er bygget i beton med et let stribemønster.

Blåt spejlglas fremhæver en indelukket verden, som indbyder til ro og afstressning, kun til Gitte Larsen og gæster.

Den store tagterrasse på første sal er et hyggeligt sted at opholde sig med venner eller familie.

En enkel sti langs syd-vestsiden af huset følger gæster til indgangen. Langs stien er der to høje oliventræer.

Home of inner serenity

Gitte Håhr Larsen

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I harmoni med naturenMidt inde i skoven skyder Majs bolig frem og rager ud i omkringliggende natur. Her har hun masser af ro til at dyrke sin yoga og med skoven som baghave, bliver det til mange lange gåture ude i naturen.

Huset peger med sine to etagearme ud i skoven. Hver slår de et knæk for ikke at komme i kam-bolage med de omkring-liggende træer.

På terrassen er der både mulighed for at sidde og nyde skovens ro og også plads til hyggeligt samvær med vennerne.

For at bevæge sig mellem etagerne må man udenfor på trappen, der omfavner den ene ende af bygnin-gen.Spisestuen er indrettet med møbler, der under-streger Majs simple livstil.

Louise Dedenroth Høj - KUNSTAKADEMIETS ARKITEKTSKOLE - AFDELING 10 - EFTERÅR 2007 - THE VOLUNTARY PRISONNERS OF ARCHITECTURE

Midt i en skov nær hovedstaden bor Maj i et funk-tionalistisk hus bygget i beton, stål og glas. Huset står med sin enkelthed og sit materialevalg i �ot kontrast til den omkringliggende vilde natur.Da huset står midt inde i skoven, har Maj valgt at lade det bygge på skovens præmisser. Etagearmene sky-der ud mellem træerne og hver af dem slår et knæk, for ikke at komme i kambolage med de omkring-liggende træer.Huset består af to etager, der adskilles af en terrasse. Rundt om hele bygningen slynger trappen sig og da den er bygget i træ, skaber den en �n overgang til naturen.Den nederste etage er indrettet til køkken og spise-stue og det er her, Maj kræser for sine gæster med lækker madlavning. Boligens dagligstue er rykket udenfor på terrassen, hvor der tilbringes mange timer i hyggeligt samvær med familie og venner, der ofte kommer på visit. Øverste etage er Majs private

sted. Her er soveværelse og yogatræning slået sam-men i et. Yogamåtten har sin plads helt ude i det yderste af rummet, ved de store vinduespartier. Med udsigt udover træernes kroner og til morgensolens første stråler, laver Maj her sine yogaøvelser.Både vinduer og døre i hele huset går fra gulv til loft og bryder således ikke med de vandrette linier i huset fascade. Ét vindue på hver etage kan skyde ind i væggen og give luft til rummene, ligesom dørene også er skydedøre. De eneste vægge inde i huset, er adskillelsen ud til toilet og badeværelse. Der er således kun ét stort rum på hver etage, så man kan se direkte igennem og ud på naturen på den anden side på grund af de store glaspartier i etagearmene.Maj lever her i huset i skøn harmoni med naturen og midt i en ellers stresset og kaotisk verden har Maj formået at skabe sig en tilværelse, der emmer af fred og ro.

Betonbygnignen hviler på tynde stålsøjler, der giver et indtryk af lethed, trods materialets tyngde.

Et kig ud over terrassen viser hvordan den snævrer ind for enden.

Når man træder ind af døren på anden etage mødes man af den smalle gang, der leder én ud i det store lyse rum og naturen på den anden side.

I harmoni med naturen

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Labys husetLabys huset er på en gang meget enkelt og meget

kompliceret. Enkelt på den måde at det er baseret

på et system af gange der deler sig i tre. Kom-

pliceret pga de utallige kombinations muligheder

der opstår.

Påtrods af den strenge og enkle geometri som Labys huset er opbygget omkring, opstår der let et mere komplekst udtryk.

Flere steder “falder” for-men indad og der opstar platforme, som her hvor ejeren står.

Specielt den øverste del af huset består af mange store glaspartier, hvilket skal hjælper på opblød-ningen af huset bestående af sekskanter.


Ideen bag Labys huset er at skabe noget der er ens for at lave illutionen om at det fortsætter i det uendelige. Et net bestående af et gangsystem, hvor gangene hele tiden del-te sig i tre og med den samme vinkel. Udfra dette opstår der et system bestående af sekskanter. Disse sekskanter kan så endten opfattes som inde (rum) eller ude.

Ved at benytte den samme form/kasse til forskellige ting bliver der skabt muligheder for overraskelser, hvilket er hele målet med huset: At skabe et sted hvor man bliver udfordret på ét stedet man er og to funktionen som dørene i gangene har. Måske ikke behageligt, men ihvert-fald interessant.

For at huset dog skal være anvendeligt er det opbygget så det i toppen (hvor indgangen er) er nogenlunde normalt. For hver etage man så stiger ned stiger antallet af gange, hvor der i toppen næsten ikke er nogle, er der i nederste etage det størst mulige antal, udfra gangsystemet.

Labys huset udgår fra et gangsystem som dan-ner en masse sekskanter. Disse sekskanter vil i nogle tilfælde være rum eller uderum (skakterne) eller bare gennemgang-spassage, som ovenfor hvor der går en glasbro gennem den ene af skak-terne.

Mathias Kofoed Poulsen

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Living among TreesAn alternative concept of the “city” joins the tradition

of urbanization with the idea of living in nature

The poles that support the upper levels merges the house with the surround-ing forest

The light staircase be-tween the ground-floor and first-floor joins the two levels with a refresh-ing opening that enables light as well as social life pass through

When situated on the roof terraces, one expieri-ences the same feeling as if being on a sheer rock in the middle of a forest. Though, if the weather was to turn bad, shelter can be sought inside the creative workshop


Imagine the city as a forest. If you go to the outskirts of Copenhagen, a large forest brim surrounds it. As you walk into what appears to be a forest, you will discover it to be build up on a beautiful correlation between houses and heaps of trees. The young people who inhabit it call it Living Among Trees. It all started because they did not like the idea of cities eating up nature without giving anything in return.

Today we visit the home of Christian Skov, who designed his own house - like a big open rock lying in a forest. It allows you to move around on 4 different plateaus (even 5 if you are bold enough to climb the top). Common for all of them is the feeling of being very close to the for-est – whether it is indoor or outdoor. Each plateau opens up to the next and creates a social wholeness - ideal for parties.The idea of letting the forest overgrow the city started in his early years, where he lived an urban life in the centre of one of the bigger towns of Denmark, with the nature represented as a smaller forest just in the back of his backyard. Both places took part in the creation of his

identity. The urban part, where he enjoyed social life and found music and designing as some of the ways to enjoy life. And the nature part as a place where he can breathe freely, reflect on things, or just use it as a big playground for sport.

As a child he often spent a lot of time experimenting with handicrafts in the workshop of his parent’s base-ment. But also, he really liked drawing or playing music in his room on the second-floor, from where he could overview the forest. So why don’t move the workshop to the top also and put the two rooms together; and that he did on this house. Looking out the window in the workshop leads his thoughts back to the treetop huts he used to build to-gether with his brother, which in the summer-time were all hidden in leaves. The sad thing was in the winter-time, when it was all exposed. But that is not a problem any-more. As he says: “In the summertime when the leaves are on, they block the baking sun. And in the winter-time when the days are not so long you want as much light as possible.”

Most floors are covered with natural stone tiles.But on the first-floor a nice and smooth wooden floor creates a more intimate at-mosphere for the bedroom and lounge.The poles that penetrate the room create a feeling of the forest merging inside.

Living among Trees

Christian Stahlfest Holck Skov

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Musica Ad LibitumImagine a courtyard, covered with mirrors. With small

spaces designed for musical expression. We visited

the home of well-known artist, composer and musician

Arthur Berning. A creative bubble in an

industrial landscape. A home of music.

The garden contains a small stage, perfect for intimate musical experiences. Recently it hosted a release-concert for one of Arthurs many musical friends.

The stairs lead the wy up to Arthur´s private inspiration rooms, his mu-sic library and the grand piano on top.

Top: The garden works well as a concert space or for hosting parties, espe-cially on sunny days!Bottom: On the highest level, Arthur has placed his most beloved instrument...

Project and text: - KUNSTAKADEMIETS ARKITEKTSKOLE - DEPARTMENT 10 - FALL 2007 - THE VOLUNTARY PRISONNERS OF ARCHITECTURE

The moment you enter this strange mirrored courtyard, you don´t really know what to say or do, it is all so weird and unexpected. But as your eye catches the stage in the corner, and your ears are filled with the most beautiful tones from a grand piano, somewhere up in the sky, suddenly you feel comfertable and calm. From the entrance you are immediately lead into the heart of the courtyard, surrounded by wooden boxes leading up to the grand piano on top, 10 meters above ground.In front of you, there is a recording studio made of glass, next to it a chill-out room, perfect for relaxation after a session in the studio. On your right hand, the buildings rise towards the sky. This is where the more private spaces of the buildings are located. This is also where most of the musical ideas of Arthur Berning first see the light of day. You see, this strange and wonderful place is the home of one of Norway´s most beloved musical per-sonalities. He has his own world inside this mirror box, a world made out of love to music. From the creation in the upper rooms, via the production in the studio, the journey through Arthur´s musical world ends on his

own little stage in the garden, usually with some friends of his, performing good (or, sometimes, not so good) music.Last week someone else entered his stage, as his good musical and personal friend, E.C. Forfang, released his new album. 40 friends from the musical world took part in a big party and jamsession. The chill-out area was turned into a bar, and the terrasses on top of the lower boxes worked as a gallery, with perfect wiew to the stage. Here well-known artists, such as Jørgen Helliesen and Anders Hauge, jammed their way into the night! “Today it is quiet”, as he sings in Heartbreaker, but however, the musical home of Arthur Berning is warm and welcoming. And as the sun gives her last warm red ray, accompanied by the longing chords of the grand piano, somewhere up there, we head for home. But just as the door closes and the mirrors disap-pear, we wish we had never left.

Top left: Wiew to the garden from Arthur´s own recording studio, where his last album, Streets of San Fransisco, was put on tape.Bottom left: Arthur´s fa-vourite guitar is a Gretsch, and it is hanging on the southern wall of the library.Right: When the weather is fine, the roofs of the lower boxes functions as additional outdoor areas. From here you can look up to Arthur´s private spaces, with the grand piano on the top.

Musica Ad Libitum

Erling Christoffer Forfang

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Play, chill & rise aboveThree different spaces for three different responses

to some fundamental needs; It’s a living-space that

reflects the diversity of meaning and experience in our

lives.

Glass tubes running from top to bottom, provide all three levels with daylight.One contains stairs for movement between the three spheres.

With the sun down the lights are turned on, creat-ing the perfect setting for more or less sophisticated parties. Are you into coc-tails on the roof or mak-ing a piece on the ramp?

Above: A translucent membrane covered by a sheet of perforated metal, shelters and creates beau-tiful play of light.Underneath: Making room for ourselves.

Projektet og tekstet: - KUNSTAKADEMIETS ARKITEKTSKOLE - AFDELING 10 - EFTERÅR 2007 - THE VOLUNTARY PRISONNERS OF ARCHITEC-TURE

This “three-sphered” living space is an attempt to satisfy a wider range of our needs, than those of comfort and protection, offered to us by conventional housing.Sure we need somewhere comforting and relaxing to draw back and gather energy, like the pink room, but we need more, don’t we?What about bodily and creative stimulation, firsthand contact with the world around us, hanging out with friends and enemies? Why not let our ways of living reflect this diversity of needs?

The skatepark covering the ground is a place for art/grafitti, repairing your bike, boomblaster-discos, whatev-er. Its somewhere you can play and get bruises and dirty hands. A place where mess is welcome!Living in the cities, we spend our days in enviroments that are planned and designed to promote certain ways of living. But we are free to transform the space around us and create diverse and stimulating places; Skating and street-art are ways of making the city our own.

The roof garden on the other hand, (gardens don’t have to be flowers and plants), is a place to rise above the routines and systems of everyday. With wind blowing, rain pouring and the sun warming your skin, you’ll be in direct contact with the world around you. A slower world than the one below. But just as important.

Some needs can not be fulfilled on your own. The “three-sphered” living space is designed for people, noise, parties; Doing things together. (Knowing that you always have your pink room to retreat to, makes all the people and noise, more welcome.)

Not everyone needs, or can have, a skate-park or a roof garden. These are just examples of something else.Its about aknowleding that our lifes consist of a wide range of urges and activities, and to create scenes where this multiplicity of experience and meaning can unfold.(Or, if you want, its about doing what feels good, and not being constricted by the four walls of our city-ap-partments.)

Above left: The floor is made of lava

Underneath: Street art and skating are ways of making the city our own. And if no one calls the police, is it still a crime?

Right: Pink and pleasant. Purpose: Chilling out and gathering energy

Play, chill & rise above

Marie H. Hortemo

Plan A: Skate-rampPlan B: 1.floor

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Situated on a cliff, upon an artificial lake with a breath-taking view over Shanghai. The table was set for a ambitious project when Sony executive Katzamura Sato planned the new company residence in China. Now finished, it is definitely a breath of fresh air in the Shanghai landscape

View of the east wall with its private red “bun-galows” with the green organic wall in the back-ground

Relating Contrast

With no solid walls sepa-rating the spaces every-thing happening inside the house can be seen and partly seen trough the trees and the different lev-els overlapping each other

With its exclusive locationon top of a nearby hillside it`s a good place for see-ing and beeing seen. With its blurring facade it evoces courosity from bystanders still giving the people inside a panoramic view over the city


It was Katzamuras request that the design of the house should reflect the personality of his company since it would be used for company events, client meetings, parties and other company related activities. Architects resolved this by projecting images on all four walls in different layers, giving the house a digital look matching Sonys profile. This also adjust the transparancy level into the house. Katzamura also requered the plan to be highly flexible since the different spaces had to change depend-ing on the event. The spaces are therefor not divided in a classical way, with livingroom, bathroom and so on. They rather decided to split the house in two sides, with one side beeing a private area containing smal sitting grups aswell as the spaces that had to be totally opaque from the the outside world, such as the bathroom.The “worlds” are separeted with a green wall of trees in the middle and then leveled different to seperate the spaces even more. This results is a red grid that from the oppos-ing side looks like smal bungalows hanging in the woods. As of the other side the spaces are kept totally opened for maximum flexibility in use. From the outside the house triggers your imagina-

tion. With its blurred facade and lighted interior space, outsiders are watching, but with a set of blurred lenses, only guessing what`s going on inside. Behind the sim-ple blurred facade lies a world of its own. A wall of trees raging 13 meters hits you the second you walk inn. Throughout the leaves you get the incredible view of modern Shanghai framed inside the gigantic green wall that separates the house in two. What from the outside looked like something undefinable green hidden behind a blurred sky, hits you like a organic rocket when enter-ing. This semi-transparent, blurred architecture is also what both owner and architect strived to echive during the design prosess as the ultimate goal was to greate a building that interacted with its sourroundings linking the exterior with the interior and catching the vibe and view of the city. All this without overexposing the people inside.”Creating a world that is fully closed out is always possible and creating a beautifull space that is close out is easily achieved. However, what is really difficult to achieve is foarming relationship between the two, a world with reality and a world we try to create” Toyo Ito

The house is clearly divided both in color and spacial organisation. Also materials and texture gives the two sides dif-ferent atmospheres. With white an black colors and polished clean materials on the non private side to the red strong patterned wall on the other side.

Although Japanese, Kat-zamura wanted the house to have a strong chinese identity, only bringing in japanese elements.”Best of both worlds” as he said himself under the open-ing.

Christopher Lunde

1_entrance2_kitchen3_elevator4_ flexible space5_ flexible space6_ bungalow7_water/inside8_water/outside

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The Coloured spaceThe selfish, but contemporary double-functional house are located diagonally in the “space”. The diag-onally position and shining colouring of the undersur-face, plus of the ceiling, are securing an optimal envi-ronment, leaving doubt whether you`re in- or outdoor.

Here are the building showed at nighttime.The entire house is shrouded in soft red light reflecting from the ceil-ings and from protruding buildingsparts.

Beside reflecting light, the surface also reflects human activity, not only from inside the house but also from the surround-ings courtyards.

Top - One of many visi-tors of the house are get-ting up in the ìnternal privat-sphere`.Bottom - Here is a per-son located in on of the courtyards, the protrud-ing buildings-parts cre-ates a covered/protecting courdtyards.

Project and text: - KUNSTAKADEMIETS ARKITEKTSKOLE - AFDELING 10 - EFTERÅR 2007 - THE VOLUNTARY PRISONNERS OF ARCHITECTURE

When you`r on you first visit in the new dobbelt funk-tional house you immediately feel incaptured in the speciel feeling of beeing in doubt of you position in the `space`. The double-functional house an its surroundings invite you to go on a exploring walk around the house, exploring the different size and atmospheres in the courtyards. One of the reasons why is such a unique ex-perience to be in the courtyards of the house, is because the undersurface on all the protruding buildingsparts and that the ceiling in the house have the same high polish red material. The material whits is used is high polish concrete whit a incoloured surface, in `Farreri red´. An-other crucial part is that the other parts of the building all are made of the same material, except that there are no red colouring blend in it. This interaction in material surface secures that the viewer experience the building as one big reflective surface where all movements from either the courtyards or from the inside of the building, are reflective above.The inside of the house is arranged so the building basi-cally are build up in a way, so the higher up in the house you get, the greater extent of privat-sphere you get.

When you entering the house in Level 1 you are situ-ated in the `public`part of the house, the òffice`. The public part is connected with a stair, which leads you to the semi-public part of the house, Level 2. In this part you have the Wc/shower, kitchen, dinning room and an connection. These functions are ment as a appurtenat to the public part as well as it is for the more private part higher up. The way up to Level 3 is through the hall, the only double high room in the house. This room connects the two level´s fantastic. You really get a feeling of being entering something spacious. On this level you find func-tions such as, living, dinning, guest and relaxation-room. The àllocation-area` are used as an active player that brings the òpen` room´s in the house better together.The master bedroom is located on Level 4. It is placed on the highest spot in the building. This room is be-sides its function as master bedroom, also meant as a walkthrough to the roof-terrrace. From the bedroom you have direct exit to the big chanllenging roof-terrace. When you find youself placed there, you´r in a position to have the totalt overview of the entire ´space`. You are on the very top.

Top - Grass/plants are used as sheating material on the public part, Level 1. This are contributing to an alway changing facade, that change depending on the season.Middle - All in- and out-door surface, except the ceiling and the undersur-faces on the protruding parts are polished con-crete. This combined with the other reflecting surfac-es, creates a very variable building.The various reflection really brings the building alive.Right - The material live.

The coloured space

Kasper T. Kullegaard

1_ Shower/Wc2_ Kitchen 3_ Living/dining-room 4_ Hall 5_ Terrace6_ Guest/relaxation-room7_ Living/allocation-room

1_ Grass sheating2_ Matted glass 3_ Terracedoor in gloss 4_ Roof-terrace 5_ Stairs6_ Polish concrete7_ Level 1, Public part8_ Level 2, Semi-private9_ Level 3, Private part10_Passage to courtyards

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The Palisade YardA secluded universe containing a monumetal stru-

cure which offers solace for its inhabitants. The

pattern of closely placed tubular sticks reveals a

delicate play of light on every surface while the

courtyard is a void filled with intense calm.

This picture is a view into the living spaces of the structure while at the same time showing the walls clad with pali-sade-like tubular sticks.

A peek into the tranquile and secluded courtyard of the box. The owner of the house rests on the wooden bench as the sun passes overhead during mid-day hours.

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The stairs leading to the third floor. The sunlight breaks through the pali-sades and cast long shad-ows on the bedroom floor

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The stairs leading to the third floor. The sunlight breaks through the pali-sades and cast long shad-ows on the bedroom floor


Palisades where often used, in particular by the french, in North America during the early years of the colonization . They would dig them in deep around hastely construct-ed fortifications in order to fence off attackers. Not quite as dramatic is the function of the walls of the house we are visiting. Though the walls of the building inside the box is clad with tubular sticks reminiscent of the great walls of the french fortifications, there is another more peace-ful intention to it. The construction offers refuge from a society spinning ever faster around itself - fuled by an army of workaholics and greedy corporate executives. When the owner of this house enters his box he enters another universe that is his own. The box fences of the outer world and offers solace for its inhabitants.

When entering the box a delicate battern of sticks and glass reveals itself. The monumental proportions of the structure give away the impression of a gentle gi-ant resting in this secluded universe. Walking along the glass walls clad with closely spaced sticks, a long array of shadow and light flickers on the ground while the interior

spaces reveal themselves in a rythmic and gentle motion. I enter the hallway of the structure and see the slender wooden stairs leading to the second and third floor. On the other side of the hallway is a door leading to the courtyard. A sence of solace lingers in the yard - no traf-fic or ambient noise - only the sound of insects and birds fill this void in a troublesome world. I sit down on the wooden bench and look up the walls of the building that frame the sky showing only passing seagulls.

On the second floor I enter a room devoid of partition-ing walls. The huge space is only supported by a col-lonade of carefully placed wooden trunks assembled in small clusters. The furniture that is here is seemingly placed like casual dots across the floor.

I walk up the long slender stairs and enter the third floor . The same colonade is repeated here only the columns are substantially taller. This monumental space is sur-rounded by tall window panes which offers an incredible view. The ligth that passes through the cladding spreads a gentle pattern on the floor. I am on top of the world!

Top left corner: A night-time view of the third floor seen from the court-yard

Lower left corner: The de-scending sun penetrates the walls and displays an elaborate pattern of light and shadow.

Right: The secluded courtyard wrapped in the light of the descending sun. The inhabitant of the box likes to sit here whenever he can to enjoy the tranquillity and warm sunlight.

The haven

Mikkel Vadstrup Schmidt

1_ Hallway2_guestroom3_Bathroom4_ Work-out room 5_ Courtyard6_ Bedroom7_ Bathroom

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The RockHvem sagde , at der ikke fandtes bjerge i Danmark?

John Shmidt har fået opført en bolig, som giver ham

mulighed for at tage alle følelserne fra siden af klippe-

vægen med hjem.

John fylder ikke meget i forhold til den enorme masse, der vokser op af jorden og strjker sig mod himmelen.

Det er næsten som at hænge på siden af en klippevæg, når man kig-ger ud gennem det stor vertikale vindue.

Øverst:Udover klatringen bruger John også meget tid på surfing og mountainbik-ing.Nederst:Gennem det store vindue i stuen har man udsigt til det uendelige landskab.


Det er et imponerende syn, der møder en, når man træder ind i gården hos John Shmidt. Midt i det store naturlandskab strejker en 15 m høj bygning sig mod himmelen. Bygningen minder om en stor klippevæg som kanter sig ud og ind i helt uvilkårlige vinkler. Dette er ikke helt tilfældigt. Manden som bor her er John Shmidt. Han har forenet sin store passion - klatring, med sin bolig. John elsker at være ude i naturen - han elsker stilheden på toppen af et bjerg, og han elsker det sug det giver i maven når man hænger på siden af en lodret klip-pevæg. Derfor faldt det ham helt naturligt, at lade disse følelser gå igen i hans bolig.Når man træder ind af døren opdager man sraks, at det ikke er noget almindeligt hus, man er trådt ind i. Alle vægen er skæve, og ingen af hjørnene er rette. John byder os velkommen i entrén i stueetagen. Det er et rum helt uden vinduer, men ovenfra strømmer lyset ned. Hele bygningen består nemlig af åbne planer og lyset fra den øvre del af bygningen når derfor helt ned i bunden. I hjørnet står et par surfboards og en moutainbike, som indikerer, at her bor en mand, som er meget aktiv, og som ikke kan lide at side stille. Vi kommer heller ikke til

at sidde meget stille på vores tur op igennem Johns hjem. Planerne er forbundet med meget stejle trapper uden nogen form for gelænder at støtte sig til. Man får næsten en følelse af at man er ved at bestige John Shmidt’s hus. Bygningen har 6 forskellige planer. Fra entréen kom-mer vi op i køkkenet, hvor et stort vindue giver udsigt til søen. De store vinduer går igen hele vejen op, for at give den udsigt som John elsker. De to øverste plan, er bibliotek- og soveplan. Her kan John trække sig tilbage, og nyde stilheden på “toppen”. Det giver et sug i maven, da vi når soveplanet øverst oppe. Når man stikker hovedet ud over kanten, kan man se at der er 12 m frit fald ned til det nederste plan. Det er netop dette John elsker så meget ved sit hus. Ikke at være spærret inde i små aflukkede rum, men at føle sig fri og mærke suget i maven, når man kigger ud over kanten.

Øverst til venstre:Der er 12 m fra soveplanet og ned til entréen.Nederst til venstre:Man skal ikke være bange for at gå på trapper i John’s hus. Planerne er forbundet med smalle og stejle trapper.Til højre:Udsigten fra det private bibliotek øverst oppe er helt utrolig.

The Rock

Simon Damholt Sørensen

1_ Soveplads2_Bibliotek 3_Stue 4_ Køkken 5_ Toilet og bad6_Entré

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theKINDERGARD3NIn the middle of the magic “Forest of mirrors”, lies a very special place. The place is populated by small strange creatures, called “children”

As the facade reflects its different textures in the mirrors - it com-municates the activities inside.

In the open, tall room, the children are encour-aged to move vertically and unlimited.

In the room above, the children draw, eat, and play boardgames. The nonright angles and view to the forest stimluates their imagination.The room below, provides an intimate atmosphere, where the children sleep and are told stories.

Projektet og tekstet af Søren Nielsen - KUNSTAKADEMIETS ARKITEKTSKOLE - AFDELING 10 - EFTERÅR 2007 - THE VOLUNTARY PRISONNERS OF ARCHITECTURE

The kindergarden is divided into three spaces:

The first space is used for calm activities, such as sleeping, storytelling and so forth. Here the children feel safe and secure. The second space is used for moderate ac-itivities such as playing boardgames, eating and drawing. The childrens imagination is stimulated. The big terrace is used in warm weather and pro-vides a link to the outdoors. Finally the third space encourage wild ac-tivites and action. The children can play ball, have a pillowfight or just jump and run around. The children feel free in their possibilty to move. The children are very concious about the difference between the three spaces, and the way they are to be used. They change their acitivities and behaviour as they change spaces.

The three different spaces have been designed to enhance different atmospheres. The Idea is that horizontal shapes and compact spac-

es stimulates the children to calm down and relax. In contrast, vertical shapes and very open spaces encourage movement and action. The facade reflects the idea of the close relationship between shape and activity. This can be seen in the difference between the angle and mass of the blinders.

Regarding the materials, the dissission was based on to conserns: First of all, according to Afd. 10, KA (known as one of the most respected architec-tual thinktanks in the world) the material has to be friendly to the enviroment. And secondly, since the State is paying - it has to be cheap.

The materials in use are mostly wood. The frame is made of pinewood. The walls are made of pine boards - painted white. both are cheap and enviromental.

The magic courtyard

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Vietnamese Haven The mix of form, functionality and oriental style cre-ates the surroundings of the Vietnamese Nguyen fam-ily. Four main themes characterize the home creating a divine mix of tradition and purpose: Social life, pri-vacy, practical functions and a home altar.

Sanctuary of the house: the home altar at the peek of the terraces provides a peaceful space for adora-tion in the warm temple colours gold and red.

Two yards, two functions:ABOVE: the open and inviting courtyard sur-rounded by tall windows HERE: The smaller yard for laundry and other practical purposes, hidden away, yet spatial and cosy.


Surrounded by giant mirrors, accentuating the spatial courtyards, the house of the Vietnamese Nguyen family clearly expresses a distinctive contrast between out- and indoor spaces. The atmospheric qualities of the dark wood and the little flashes of red here and there, char-acterize the home of the Asian family and lead your thoughts to the ancient temples of Vietnam.

Although the Nguyens have kept the memory of their ancient traditions alive in the use of material, the other main material, polished concrete, shows the other side of the house: functionality. A typical Vietnamese house-hold can include a thousand different functions, but the Nguyen family has focused on four main ideas. Social life, privacy, practical functionality and the home altar. The large open courtyard and the wide rooms facing the open show the hospitality and social side of Vietnamese living. In this area the family can spend time together or with friends. Opposing this area on second and third floor the cosy little yard can be used for laundry etc. and is kept out of sight from the rest of the house. No mat-ter how social you are, you will always need a place for

retreat and privacy. This area is mainly found in the top floor where the large glass facade is covered meticulously with wooden lamellas providing a serene sleep and work area in a diffuse lighting. Finally at the peek of the ter-races, the home altar rises as the cherry on the pie. This is the ultimate haven of the house. In this little room the family can continue the ancient tradition of praying and leaving gifts for their ancesters and practicing the main religion of Vietnam, Buddhism.

As you stand on one of the terraces of the house, the view you get resembles the busy yet charming cityscape of a Vietnamese city and at the same time you feel like being in you own little world of the sharp contrasts be-tween the white polished concrete and the dark lamellas covering most of the tall windows. In the same way the atmosphere of the home is ambiguous as it is character-ized by the mix of modern form and oriental style which also bears witness to the Nguyen family and their story. Functionality meets tradition in a Vietnamese haven.

ORIENTAL style shows the traditional touch that is seen throughout the house. This picture is taken in the Temple of Literature, Hanoi. TIME for relaxation and a nice view to the private garden framed by dark wood. STAIRS dominate the entrance hall as they make their way into the dinstinctive form of the house. The lighting is dis-tributed in stripes by the lamellas in the window frames and give a homely and lively atmosphere.

Vietnamese Haven

Rie Davidsen

1_ Outdoor courtyard 2_Entrance 3_Private inner yard 4_2nd Floor: Kitchen, meeting place5_ Roof terrace 6_ 3rd Floor: Privacy7_Courtyard for laundry etc.8_Home altar

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Vividly ColouredVi har været ude og tage pulsen på den nyåbnede club

Vividly Coloured - hvor lyset, musiken og farverne er

med til at skabe den gode stemning.

På åbningsaftenen var der - som klubbens navn ligger op til - skruet helt op for både farverne og forventningerne.

Stemningen er høj på alle etager, hvad end man er til dance i kældren, cock-tail i stuen eller en frisk dukkert i gårdhaven.

Sarah-Simone Frilund - KUNSTAKADEMIETS ARKITEKTSKOLE - AFDELING 10 - EFTERÅR 2007 - THE VOLUNTARY PRISONNERS OF ARCHITECTURE

I det lækre store lounge-område i stue etagen, kan man nyde godt af både det legende lys og de udsøgte farverige cocktails.

Jeg er til åbningsaften på Vividly Coloured for at møde ejeren; Vasile Punnin og få en forståelse for, hvad det vil sige at være farveglad.Vi – pressen - og alle danseglade unge kan næsten ikke vente længere. Dørene skal for første gang lukkes op til en forunderlig verden af beton, glas, spejl og lys. I det tilsendte pressemateriale skriver den unge ejer; “ ‘Going out’ means more than simply leaving your house; it’s about jumping into another world - a place filled with fantasy and magic.” Så det er med høje forventnin-ger jeg træder nærmere, køen er lang og ser kun ud til at blive længere - det starter godt! Da jeg træder ind af døren er intensiteten høj, jeg er igennem - men befinder mig stadig ude, jeg står sammen med mine 3 veninder i en lang smalt gård som leder os mod en dør i modsatte ende - delvist skyldes dette nok også det pres der kom-mer bagfra, der er mange der gerne vil ind. Lige inden jeg træder igennem den næste dør stiger mine forventninger. Indenfor mødes vi af en smilende garderobe pige, som tager sig kærligt af vores jakker, hvorefter jeg opdager, at foran mig er en ca 10 meter lang gang. Gangen er kun oplyst gennem høje smalle vinduer, som virker tilfældigt

placeret, men alligevel formår at give den helt rette stemning. Jo længere ned gennem gangen jeg kommer, jo kraftigere bliver både liv, lyd og lys. Gangen tager et kraftigt sving til højre, for ikke at fortsætte ud i den pool der er farvesættende for kælderetagen. Jeg mødes nu af alt; dansegulv, bar, nye veje. Af trappen kommer jeg op til et kæmpe lounge-område, hvor gæsterne allerede slin-gre sig og drikke farverige cocktails imens de nyder synet af de - overraskende mange - unge, der har smidt tøjet og er hoppet i poolen udenfor.Jeg går mod baren, for der kan jeg se Vasile i skæret fra de røde og lilla lamper. Vasile invitere mig med ovenpå, i VIP’en. Inde i lille intim elevator går turen de sidste me-ter op i det mere afskærmede og private rum, her er kan få mennesker og mere ro. Vi sætter os i en af sofaerne, hvor vi får serveret champagne, der er ingen bar øverst oppe, til gengæld er der personale, til at hente hvad man lyster.Jeg snakker længe med Vasile og er ikke i tvivl om, hvor-for han har åbnet dette unikke sted. Vividly Coloured skal opleves!

“The perfect club trans-ports you to new experi-ences; it should have a series of spaces that allow a journey through colour, light and music.”-Andrew Parr

Vividly Coloured

1 VIP indgang2 Indgangs gård 3 VIP område4 Dansegulv5 Lounge6 Pool7 Lager8 Elevator9 Bar10 Toilet11 Garderobe

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THE VOLUTARY PRISONERS

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architect’shouses

Design:A world between four walls

Lost in reflections, the type-house in crisis.

Mirror, mirror on the wall...Architecture beyond the iconic.

the metropolitan retreat

N°01 NOVEMBER - DECEMBER - 2007

Meet 24 young architects rethinking lifestyles - 100 years Happy birthday Mr Niemeyer!

Worldinside

Design

Transcript of Worldinside