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A M AGA Z I N E A B O U T B R I C K W O R K A N D R E S P O N S I B L E A R C H I T E C T U R E

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The European Hansemuseum, inaugurated in May 2015, is a museum solely dedicated to the fascinating story of the famous network of medieval merchants. Starting out as a loose alliance in the 13th century, the Hanseatic League evolved into a very powerful group of merchants and retained its power and influence up until the mid-1700s. The League consisted of northern European cities – mainly in Germany but also including London, Bruges, Bergen and Novgorod. In all, 70 cities were active members, while another 100 were passive. Lübeck, which had accumulated vast wealth among other items from the trade in silver and salt and had a stra-tegically strong position as a shipping port for Hamburg and the Baltic, was the League’s informal but undisputed centre of power. The members of the Hanseatic League met regularly for what were known as Hansa Days, usually in Lübeck, when trade agreements were reached, transport routes agreed and other shared issues discussed.“The Hanseatic League had a defining impact on European history and can be seen as a role model for the European Union today,” said Chancellor Angela Merkel, in her speech at the inauguration.

The European Hansemuseum was a long time coming. Studio Andreas Heller Architects & Designers conducted the first feasibility studies in 2004. The project became a reality when the Lübeck-based foundation Possehl-Stiftung decided to cover €40 million of the €50 million Euro cost. Studio An-dreas Heller was appointed as project architect partly on the strength of a museum Heller designed in 2007, the German Emigration Center in Bremerhaven, which demonstrated an approach to museum architecture that appealed to the client. It was also a plus that the studio employs historians, art historians, graphic designers and exhibition designers as well as architects, so possesses all of the skills needed for this type of project.

The new museum turned out to be a highly complex job. A site was found relatively quickly – in the northern part of the old town on the banks of river Trave. The new museum is at the front of Castle Hill, the highest point of which is about 11 metres above the river. Perched on the top of the hill is a 14th-century Dominican monastery, Friary Castle, which has also served as poorhouse, prison, hospital and courthouse over the centuries. The plan for the museum included restor-ing the monastery and making the many plateaus around the monastery and the terrace outside the museum into a popular place in town that locals and tourists alike would use all year round.

Originally, the building work was scheduled to take four years but a year had to be added when excavation work stumbled across the ruins of houses from the Hanseatic

AN DER UNTERTRAVE

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CASTLE FRIARY

Site planThe new European Hansemuseum stands at the foot of Castle Hill. The 14th-century Dominican monastery at the top is part of the museum. Plenty of examples of medieval brickwork survive in and around Lübeck, but the many repairs conducted over the centuries have left their mark.

It is standard Petersen procedure that no pallet departs the brickyard until the bricks have been thoroughly mixed. This helps prevent stains and scaffolding marks. For the European Hansemuseum, Andreas Heller Architects wanted dark, irregular areas on the façades reminiscent of modifications and repairs to old brickwork, which makes it the first project involving Petersen Brick where façades look as if the bricks have not been properly mixed.

INTENTIONALLY POORLY MIXED

THE RIGHT BRICK FOR THE SETTING

AND ITS SPIRIT FINDING A BRICK WITH TEXTURES AND HUES TO

HARMONISE WITH THE MULTIFARIOUS AND CENTURIES-OLD BRICKWORK IN LÜBECK

WAS A KEY PART OF THE DESIGN PROJECT FOR THE EUROPEAN HANSEMUSEUM.

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The monolithic façade is modulated with powerful, simple shapes that reference the fortifications and city wall that once stood here. To the west, the building turns sharply around a corner and merges into the row of gabled houses on the narrow street. The brickwork here is in a quatrefoil pattern – a classic Gothic motif.

At the eastern end, the 95-metre-long building ends in a square element, reminiscent of the

old Witch Tower – the part of the fortress where unfortunate women once found themselves incarcerated.

A staircase splits the middle of the façade and leads up to the museum entrance on the top of the hill.

Entrance which leads to the museum is via a large landing halfway up to the monastery.

At the top of the stairs, you turn left onto a large terrace covered with the same handmade brick used to build the museum.

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period, complete with a variety of artefacts from the period. The archaeological dig was incorporated into the project and now forms part of the museum. The museum presents history through paintings, coins, documents and other objects. Scenography and interactive media also reveal how the mer-chants worked, lived and expanded their trading activities.

Lübeck’s historic old town, which is surrounded by water, contains Gothic, Renaissance, Baroque and Classical build-ings, original streets and alleyways, churches and monaster-ies, burgher houses and fortifications. This unique architec-tural area was made a UNESCO World Heritage site in 1987. The new Hansemuseum had to be literally carved into this exquisite site.

The surrounding buildings are all brick and largely intact – even though some of them are hundreds of years old. One advantage of brickwork is that it can be replaced, refurbished or repaired endlessly and this means, of course, that it acts as a fascinating witness to history.

The new Hansemuseum should be added close together with this distinguished whole. Andreas Heller architects chose to listen to and respect Lübeck’s soul, and they have created a building in beautiful harmony with the historic surroundings.

The 95-metre long, 15-metre-tall monolithic edifice is modulated in powerful, simple shapes, reminiscent of the fortifications and city wall that once stood here. But the modern lines and features tell that this is something unmistakably new. The museum has been hewn directly into Castle Hill, where the deepest room measures 26 m. The main wing follows the river and the slight bend of the road. At the eastern end is a square element, which harks back to what was known as the Witch Tower, which once formed part of the fortress and served as a prison for alleged witches. To the west, the building turns sharply, around the corner into Kleine Altefähre, where it forms part of the narrow street’s row of gabled houses. The brickwork here is in a quatrefoil pattern – a classic motif in Gothic architecture. Around the middle, a staircase splits the façade and leads up to the museum entrance. The staircase then continues on up to the terrace, from where there are views of the river and harbour. To the right is the Friary Castle.

Choosing the right materials was of crucial importance to Andreas Heller Architects & Designers, who worked with Petersen Tegl to develop a unique brick for the museum. After many test firings, an English red clay was chosen that withstands firing at very high temperatures. The format – 305 x 105 x 65 mm – is close to that used in the Friary Castle. All 120,000 bricks were made by hand in wooden moulds.

The light clay slurry used as a lubricant remains in place, leaving a semi-transparent surface after firing. The result is a unique brick with its own character, but one that reflects the play of colours and heterogeneous structure found everywhere on the historic brick façades in Lübeck.

The architects used the brick as their starting point for paraphrasing the medieval brickwork. The bricks that are retracted into the wall are a homage to the permanent gaps left in medieval façades when the wooden scaffolding was removed.

The custom-designed bricks for the museum were produced in three versions, with varied concentrations of the clay slurry on their surfaces: 30, 60 and 90% sludge. They were laid with the darkest at the top and the brightest at the bottom, creat-ing a smooth gradation. The architects also wanted variations to be built into the new brickwork, to endow the building with a look similar to that found on buildings that have been in use for centuries. To this end, some of the joints are flat or retracted, creating strong shadow effects.

It is, of course, a Petersen hallmark that no pallet departs its brickyard until the bricks have been thoroughly mixed. This helps prevent dark stains and scaffolding marks. Andreas Heller Architects wanted dark, irregular areas on the façades to suggest associations with modifications and repairs to old brickwork. This makes European Hansemuseum in Lübeck the first project Petersen Brick has been involved in where the ar-chitect deliberately wanted the façade to look as if the bricks had not been properly mixed!

European Hansemuseum, LübeckClient: Europäisches Hansemuseum, Lübeck gemeinnützige GmbH

Architect: Studio Andreas Heller GmbH Architects & Designers, Hamburg

Landscape architect: Andreas Heller GmbH Architects & Designers

and WES LandschaftsArchitektur

Exhibition Design, Graphics: Studio Andreas Heller GmbH Architects

& Designers

Engineer, construction: Kröger & Steinchen Beratende Ingenieure

Brick: Customised bricks measuring 305 x 105 x 65 mm made

of English clay produced in three versions, with varied concentrations

of the clay slurry on their surfaces: 30%, 60% and 90% sludge.

Various specially shaped bricks made of the same clay for

specific solutions

Text: Ida Præstegaard, architect

Photos: Anders Sune Berg

Photos, inauguration: Europäisches Hansemuseum

While the foundations were being dug, the ruins of old Hanseatic houses were uncovered. The archaeological site is now part of the museum’s exhibition.

From the hall, you enter a large room housing the ticket office, bookshop and restaurant.The brick cladding on the walls and floor enhances the sense of robustness.

The German Chancellor, Angela Merkel, opened the museum officially on 27 May 2015. After her speech, the Chancellor was given a guided tour by architect Andreas Heller and museum director Dr Lisa Kosok.

Ground floorFirst floor plan – entrance floor

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The museum terrace affords beautiful and expansive views of the River Trave and the port of Lübeck.

The architects and Petersen Tegl developed a 305 x 105 x 65 mm brick made of red English clay, which resembles the type used on the medieval monastery. All 120,000 bricks were hand made in wooden moulds.The light clay slurry used as a lubricant remains in place, leaving a semi-transparent surface after firing. One of the many customised bricks was shaped to hold an iron gate hinge.

The same type of brick is used as cladding on the terrace and on the façade. On the terrace it is in three sections. The concentration of the slurry on bricks in the different sections is 30%, 60% and 90%.

Section

A selection of the 40 different bricks custom-made

for the museum.

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Relocating to a rural setting usually reflects a desire to be closer to nature and watch the seasons change. It perhaps means craving a lifestyle that is quieter and more informal than is feasible in a more urban setting. In the countryside, the good life is also the simple life, with a focus on the senses and quality. But how do you integrate the rustic with the modern? Or the minimalist with the complex? Part of the answer lies in precision. In attention to detail. And in choosing the right materials, which are rendered beautiful by simple processing and only become even more distinctive over time.

The scent of lavender is unmistakable. An organic, violet blanket, wrapped around the

white trunks of the birch trees, forms the setting for the ensemble of simple structures that make up this rural home. The family moved to Olmen to realise their dream of a house with stables for their horses. An old house on the site was demolished, but a reddish-brown brick barn with a red-tile roof was retained. The new residential wing runs parallel to the barn, which now serves as garage with an open-rafter ceiling. The horse stable stands a little further away, on the same axis as the residential wing. The garage and the home are separated by a narrow passage, in which the texture of the older building’s bricks meets the new wing’s red cover brick. The cover brick, in a custom

colour, covers the roof and – without cor-nices – glides down over the façades on the long sides of the building, interrupted only by the windows. “We wanted something that reflected the roof of the barn,” says architect Pascal François. “Something natural, in the same colour, but without too much detail. We wanted to keep it simple.”

A new entrance made of Corten steel looks like a box inserted into the garage. Circles of different sizes cut out of the steel provide glimpses of the wooden roof. Here, darkness meets light, and the rigid rectangular form contrasts with playful circles. The entrance also produces special acoustic effects. On arrival, you walk across rusted steel plates,

your footsteps echoing and resonating. Then, as you enter the house, coarse oak planks absorb the sound, generating an atmosphere of calm. The house is traditionally laid out, with a living room and dining kitchen on the ground floor, and private rooms on the first. The basement has various utility rooms, but also a large study and a guest bedroom with access to a sunken courtyard. Here, we have used red Kolumba and red mortar, giving the brickwork the appearance of a calm, continuous surface. The red brick, the floor, the oak and the grey-brown Italian marble in the kitchen and bathrooms combine to create a natural, warm colour palette against a serene backdrop of white walls.“When we

RURALSOPHISTICATIONRAW, SENSUOUS MATERIALS AND SIMPLE SHAPESMAKE FOR AN INFORMAL AND COMFORTABLE HOME, CLOSE TO THE BELGIAN NATURE.

Steel, wood and brickare the main materials.

SectionThe four-legged residents seem to like their surroundings.

A new entrance made of Corten steelresembles a box inserted into the garage.

Circles cut into the steel provide glimpses of the wooden rafters.

Terraces made of Afrormosiawood provide excellent views of the beautiful scenery.

Birch trees, lavender and meadow constitute a scenic setting.

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showed the client the materials we wanted to use, she exclaimed that she had envisaged a modern home and the materials reminded her of her grandmother’s house. However, we have used the materials in a way that is very much of our time,” says Pascal François. The familiar meets the new in rustic minimalism.

Although the basic shape of the building employs a hipped roof, as seen in many old rural houses, it also breaches tradition in several sophisticated ways – particularly in terms of how daylight is incorporated into the rooms. The precisely positioned openings are used to highlight the diversity of the various rooms. Pascal François explains: “For me, daylight is inspiring. We try to give each

room at least two different orientations.”On the first floor, storage units have been installed in the spaces beneath the slope of the roof, running the entire length of the building. The ceiling is ridged, so that the rooms feel even more airy and bright. The bathroom only has skylights, but these face in two different directions. The east-facing one sheds light on the bathtub in the morn-ing, while the skylight to the west illumi-nates the shower cubicle.

Every part of the building offers views of the surrounding grassy meadow, where the owners’ horses roam. Farther away, wood-land frames the three-hectare site. From the kitchen, you look towards the stables, which

have a raw and rational idiom, in prefabri-cated concrete with concrete floors and an aluminium roof. The stable doors and wood cladding add texture. The stable is also a wing, but the roof widens at one end, giving it a distinctive, twisting appearance. The horses stick their heads out through the stable door to say hello.

Family home in Olmen, Belgium.Client: Private

Architects: Pascal François Architects

Engineer: Util

Landscape architect: ffstyles

Brick: Petersen Cover, F6, Kolumba F6, custom colour

Text: Martin Søberg PhD, architectural historian

Photos: Frederik Vercruysse

The basement provides access to a sunken courtyard with walls made of red Kolumba. The use of red mortar suggests a continuous, unbroken surface.

The red Petersen Cover cladding glides down over the roof and, without cornices, over the long façades, interrupted only by the windows.

The new house is parallel with an old red-brick barn, the colours of which are reflected in the red Petersen Cover. The barn is now used as a garage.

Basement Ground-floor plan First floor Architect Pascal François. Photo: Martin Søberg

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How do you design a building for religious purposes without falling foul of stylistic clichés? This is one of the recurring questions in modern architecture, and the answer is often expressive shapes and bold constructions. Building something clearly of its time but which doffs its hat to the rich history of ecclesiastical architecture is a difficult but noble task.

The small project in the German provincial town of Lörrach – close to the Swiss and French borders, and near the cities of Basel and Weil am Rhein – includes a church and a parish hall. It is surrounded by train tracks and small new apartment blocks with plaster façades in various colours. Further away, vineyards stretch across the rolling countryside. Despite occupying a difficult triangular site, the church merges quite naturally into its surroundings. The almost heart-shaped floorplan comprises two equal sides at right angles to each other, connected by a third side in waveform. This sculptural momentum continues in the roof, which rises to a point in the western corner. A cross mounted at the apex pulls the structure further upward.

Given the unspectacular nature of the surroundings, it was important to design a building with strength and character. “We wanted to make the church stand out and radiate a special intensity that differentiates it from its surroundings,” says architect Fritz Wilhelm. “We chose the curve because it has an inviting effect: convex – concave – convex. When designing for a triangular site, a triangular building is, of course, an obvious option. But it’s not the only one. For the competition, we produced a wooden model. We were also very clear about the fact that it had to be brick-built.”

The body of the building is in Hamburg format with two different shades of brick. The result is a highly varied façade with shades of greyish-yellow, orange and dark brown. The play of colours infuses the building with a warm glow, un-derscored by the use of oak in all window and door frames, as well as dark brown copper on the roofs. A basic half-brick bond is used everywhere except right above the entrance, which has a course of headers.

“Brick isn’t typical of the area, but it is reminiscent of 19th-century industrial buildings,” explains Fritz Wilhelm. “It’s all very straightforward, very simple. We mixed bricks in different shades and used common, coarse joints. It isn’t particularly difficult or sophisticated, but it underlines the

WELCOME TO THE CONGREGATIONTAUT CONNECTING ARCH WELCOMES PEOPLE INTO CHURCHAND PARISH HALL LIKE A PAIR OF OPEN ARMS

The architect felt that the site’s heterogeneous surroundings required a powerful, sculptural idiom for the church and parish hall, both of which were completed in 2014.

The sculptural momentum continues into the roof, which rises to a point in the western corner. A cross mounted at the apex pulls the structure further upward.

Section

Ground-floor plan

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building’s overall shape, which has an effect resembling a gesture. The bricks endow the building with a solidity that makes it strong and powerful. It stands out and has a great haptic effect.”

The expressive shape is a salute to modern, expressionist church architecture, while the simple detailing makes the exemplary bricklaying stand out. The actual church is only 55 m2, has its own entrance and may be separated from the 60 m2 parish hall or merged with it to form a single 115-m2 space. The interior has concrete walls with clearly visible traces of the formwork, glazed in muted colours that underline the architectural shapes. The height of the church rises towards the altar. A horizontal row of windows creates a visual link between the main body of the church and the vestry, so that parents with small children can retire to the latter but still follow what is going on in the church.

Religious buildings have to do more than just provide space for practical activities – they form a communal setting for the congregation. The layout and textural effects have to add to the worshippers’ understanding of religion as a way of life.

“The building will be used to practise faith, to allow people to commune with their God and to delight the soul,” explains Fritz Wilhelm.“As well as the social aspect of church work, it has to house things that can’t be explained rationally.”

Evangelische Kirchengemeinde,Johannesgemeinde in Lörrach, Germany Developer: Evangelische Kirchengemeinde Lörrach

Architects: Wilhelm und Hovenbitzer und Partner, Freie Architekten

Statics: Ingenieurgruppe Flösser GmbH

Brick: 60% D38HF and 40% D46HF

Text: Martin Søberg PhD, architectural historian

Photos: Paul Kozlowski

The roof’s swooping curve is in contrast to the windows’ tight, rhythmic accentuation of vertical and horizontal lines.The overall shape forms a welcoming gesture.

A simple bond signals peace. Three different shades of brick add texture to the façade. The window box encloses the church bell, which is visible from both inside and outside the building.

Architect Fritz Wilhelm. Photo: Martin SøbergThe interior’s concrete walls increase in height towards the altar, and are glazed in muted coloursthat reveal traces of the underlying architectural forms.

“The bricks endow the building with a solidity that makes it strong and powerful. It stands out and has a great haptic effect” Fritz Wilhelm, Architect

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SEVENPANCRAS SQUAREA BUILDING DEFINED BY TWO DARK WALLS THAT WIND THEIR WAY AROUND SOME HISTORIC ARCHITECTURE IS THE LATEST ADDITION TO THE AREA AROUND ST PANCRAS INTERNATIONAL AND KING’S CROSS STATIONS IN CENTRAL LONDON.

The brief specified visual and functional links between the new office building and the listed Stanley Building, as well as the renovation of the latter. The solution was to curve a brick building around the listed one.

The ground floor features a restaurant frequented by the many people who work in the area.

For the new building, the architects chose blue-tempered bricks, which harmonise beautifully with the neighbouring historic buildings.

When St Pancras Station was inaugurated in 1868, the arched concourse was the largest single-span building in the world. Nowadays, the station is home to many services, including the Eurostar line via the Channel Tunnel to Europe.

At a total of 27 hectares, the King’s Cross Central Masterplan in London is one of the biggest new urban development projects in Europe. The original plan was drafted over ten years ago by Allies & Morrison and Porphyrios Associates, with Argent as the client. Work is expected to be completed in 2020, by which time the area will comprise approximately 2000 new homes, workplaces and study places, 20 new streets and 10 new squares. Along with the enormous project,

the two mid-19th-century overground rail stations, which are such close neighbours, have also been restored. Combined with the tube station and its six lines, King’s Cross and St Pancras is one of the biggest transport hubs in Great Britain.

The two beautiful stations are part of a series of historic and listed buildings in the area which have been restored and refur-bished according to the plan for the area. You spot two other examples as soon as you step out of St Pancras Station and cross Pancras Road – the Stanley Building and the German Gymnasium. Fitting in with the his-toric architecture was the main challenge for Studio Downie Architects LLP, who were com-missioned to design a new office block that would stand just a few metres from these two important buildings. The client chose Studio Downie Architects partly due to their work on the Royal Geographical Society in London and Corpus Christi College in Cambridge, both of which had to fit into a combination of histor-ical and contemporary surroundings.

The Stanley Building was built in 1864 as one of five identical properties intended to provide better housing for workers at King’s

Cross. A total of 105 families lived in the five buildings, of which only one has been preserved. The German Gymnasium, built in the same year by the German Gymnastics Society, was the first building in the UK built specifically for athletics.

Studio Downie Architects were commis-sioned to create visual and functional links between the new office building and the Stanley Building, and to renovate the latter. The two buildings, which together make up Seven Pancras Square, were completed in 2014. Another aspect of the job involved relating to the scale of the neighbouring buildings, especially One Pancras Square, designed by David Chipperfield Architects, and Six Pancras Square, designed by Wilmotte & Associates and leased to the big real estate company BNP Paribas. Both of these buildings were also completed in 2014.

Studio Downie Architects’ solution was a partly curved building that winds its way around the Stanley building, from which it is separated by a glass-covered passage. The architectural idiom and curved forms clearly indicate that the new building is of its own era but also exude respect for the historical

neighbourhood. Access to Seven Pancras Square is via the glass passage’s gable, which runs between the buildings, and serves to un-derline both their equal stature and distinct identities.

The architects were in no doubt that the new building should be built in brick, like the neighbouring German Gymnasium and Stanley Building, both of which are in yellow brick. The brickwork on the former, including the red-brick ornamentation that runs around it, is quite well preserved but the Stanley Build-ing was in poorer shape, e.g. a gable was missing and had to be replaced with a new wall in the same bright tone as the existing brickwork. The brickwork was also repaired and the original chimney pots were removed and rebuilt brick by brick.

The new winding building is defined by its two heavy external walls, whereas the gables are made of glass. “The key element in this project is the brickwork,” says Craig Downie. “We spent a lot of time finding the right brick that would suit the historic surroundings. Most of all, we wanted it to be dark and full of character, to form a contrast with the light brickwork. We went through a number of

“Most of all, we wanted the brick to be dark and full of character, to form a contrast with the light brickwork. We went through a number of machine-made bricks, which were either too monotonous, too common, too modern or not dark enough.”Craig Downie, Architect

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CLARENCE PASSAGE

PANCRASSQUARE

KING’S BOULEVARD

STANLEY PASSAGE

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BATTLEBRIDGEPLACE

A glass roof shelters the curved space between the Stanley Building and the new building.

The Stanley Building was built in 1864 to house workers at King’s Cross.

Site plan

Section

Ground-floor plan

The glass façade on the new building faces south to Pancras Square, forming a peaceful oasis in this bustling neighbourhood.

machine-made bricks, which were either too monotonous, too common, too modern or not dark enough.”

This led to in-depth studies of bricks of different sizes, bonds, mortars and colours – all to bring the 40-metre-long and 25-metre-high wall to life.

”At Petersen, we found brick with the degree of blackness, depth of colour and variation we needed,” says architect Chris Binsted. ”We tested mixtures of three shades because just one seemed too intense. The result was a mixture of three blue-tempered bricks in Flensburg Format: D55 (40%), D99 (40%) and D96 (20%) in block bond.”

”Since the building work was completed,” concludes Craig Downie, ”we have studied the building in all seasons and at all times of day and seen that brickwork undergoes interesting and pleasant changes in charac-ter depending on the sunlight and weather. It adds a dimension. One that we are very pleased with.”

Seven Pancras SquareClient: King’s Cross Central Limited Partnership (Argent)

Architect: Studio Downie Architects LLP

Masterplan Architect: Allies and Morrison Architects

and Porphyrios Associates

Structural Engineer: Arup

Building Services Engineer: Aecom

Main Contractor: BAM Construction

Executive Architect & Structural Engineer: BAM Design

Services Engineer: BAM Services Engineering

Brick: D55(40%) D99(40%) and D96(20%)

Text: Ida Præstegaard, architect

Photos: Paul Kozlowski

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The contrast is striking – between the sharpness of the industrial steel and glass structure and the rectangular brick slats that cover the façade. From a distance, the build-ing has the look of a precision-built treasure box, but the nearer you are, the more uneven and handmade the rust-red brick surface seems. Available in three standard modules, the bricks are arranged in columns and mounted on vertical steel frames. Each col-umn consists of five sets of brick slats, each made up of a random selection of 2–5 bricks, from very thin ones to something resembling an elongated Kolumba, which is used to cover the lower part of the building.

The slats can be rotated for a completely closed look or for an open façade. This allows visual contact with the art in the park as well as the option of staging more intimate exhibitions. From the inside, fingerprints are visible on the bricks – clear evidence that the bricks, like many of the museum’s exhib-its, are handmade. The rust-red hue glows more fiercely as you approach the building,

and up close, on a sunny day, the wall is like a sea of flames. Something special happens when you fire clay. It is a process that has fascinated brickmakers and ceramicists for millennia – a magical transformation from sodden grey gunge to glowing gold to solid stone, finally blossoming into a dark rush of colour. At any rate, that is how it must have seemed in Nybølnor when these bricks made their entrance into the world.

It was only natural for a clay and ceramics museum to use this kind of brick for its outside walls. Nothing else would do with hundreds of years of ceramic art within the building and the Funen clay of Kongebro Forest outside, close to the Little Belt. Architects Kjaer & Richter have captured the essence and function of the site, without resorting to conventional thinking, facile effects or parochial craft romanticism. The outside of Johan Daniel Herholdt’s ochre-red building from 1857, Grimmerhus, which was originally the dower house for Hinds-gavl Castle, has been preserved, the inside

ENCASED IN BURNING CLAYTHE NEW EXHIBITION SPACE IN THE CLAY MUSEUM OF CERAMIC ART DENMARK IS SUNK DEEP INTO THE PARK AND EMERGES FROM THE SOIL IN THE SHAPE OF A HANDMADE BRICK PAVILION.

In 2010, a unique collection of 55,000 Danish works in porcelain, stoneware and earthenware was donated to the museum. The new building allows the collection to be exhibited.

Grimmerhus, the former dower house at Hindsgavl Castle, Middelfart (Funen), housed the Danish Ceramics Museum from 1994, when the museum was founded, until the new building was ready.

The former dower house from 1857, the trees on the site and the coastline are all protected, so the positioning options for the new building were limited. The solution was that only 300 out of 1,800 m2 would be above ground.

To the east, the museum is built in K48 and adjustable slats made of the same clay.

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“Something special happens when you fire clay. It is a process that has fascinated brickmakers and ceramicists for millennia – a magical transfor-mation from sodden grey gunge to glowing gold to solid stone, finally blossoming into a dark rush of colour. At any rate, that’s how it must have seemed in Nybølnor when these bricks made their entrance into the world.”Thomas Bo Jensen,Architect maa

The new pavilion in the park has an air of lightness, despite the heavy materials. CLAY Museum of Ceramic Art Denmark is beautifully situated overlooking the Little Belt and across the water to Jutland.

The façade on the new pavilion has adjustable slats made of English clay in three different widths. The type of clay and the hard firing create a richly varied colour scheme that takes on a different character depending on the light and the surrounding colours. The shades therefore change with the seasons.

The grounds slope 13 metres down to the Little Belt, so on this side the pavilion rises two storeys out of the earth.The glass façade allows plenty of light to penetrate the big, deep rooms and affords magnificent views over the water.

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beautifully refurbished. The new exhibition room is sunk deep into the grass lawn in the park and emerges from the ground in a box-like pavilion in the north-east corner. At this point, the underground exhibition space merges with the main building, culminat-ing in a large, double-height window, in a manner similar to the Louisiana Museum of Modern Art. The effect is just as natural here due to the steep (by Danish standards) slope down to the Little Belt. The big room above ground – the visible, brick-clad part – houses temporary exhibitions but is also available for conferences, meetings, etc.

A generous donation from Royal Scandina-via, consisting of objects from Royal Copen-hagen’s collection of 500 years of ceramics and earthenware, triggered the museum

expansion. When it was inaugurated in spring 2015, the museum was renamed the CLAY Museum of Ceramic Art Denmark. The name is a small nod to the group of pioneers from the artist group Clay Today. With the support of the local authority in Middelfart, the group took the initiative to open a ceramics museum in Grimmerhus in 1990. Clay Today has its own room in the basement of the old building, a fine little chamber through which visitors return to the museum entrance. Its celebration of hand-kneaded idioms is a far cry from the refined porcelain in the ‘treasure box’ of the new underground wing. But that just stands as a testament to the versatility of clay and its rich history, now so tastefully presented and encased in burning brick on the shore of the Little Belt.

The suspension system was designed by Kjaer & Richter and produced by CO&LT ApS.

The bricks on the slats are hand made in wooden moulds and then fired.

Site planThe top floor of the new pavilion overlooks the Little Belt and the treetops,and can be used for exhibitions, conferences and meetings.

Building an underground building so close to the Little Belt presented a great challenge. The removal of such large quantities of clay causes the remaining clay to swell (rise). As a result, the building rests on stilts buried in the earth, so that the bottom can move freely without pushing the building upwards. In order to ensure safe working conditions while digging the approximately seven-metre-deep hole for the building, a permanent secant pile wall in concrete was installed to prevent the walls from collapsing.

Section Upper level

CLAY Museum of Ceramic Art DenmarkClient: Grimmerhus Bygningsfond

Architect: Kjaer & Richter A/S

Landscape architect: WAD Landskabsarkitekter

Contractor for the carcass: Kjæhr og Trillingsgaard A/S

Contractor for the excavation: CJ-Anlæg A/S

Development, delivery and mounting of the slats: CO&LT ApS

Engineer: Henry Jensen Rådgivende Ingeniører A/S

Brick: K48, customised Kolumba K48 in slats

Text: Professor Thomas Bo Jensen, architect MAA, PhD

Photos: Anders Sune Berg

Photos, building site: Kjaer & Richter

Photos, inauguration: Rosa Engelbrecht

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The collection reflects more than 235 years of Danish ceramic design. The opening was marked with an exhibition of works by Thorvald Bindesbøll and Peter Brandes.

Peter Brandes showed HM. Queen Margrethe II around at the opening.

“Baked clay was an obvious choice for the façades on a ceramics museum. But we also wanted to transform the heavy brick into a lightweight material that could convey the pavilion-like idiom we had in mind.

We came up with the idea of shaping and firing the clay for slats that open or close depending on how the various exhibitions behind the wall use the space. When the slats are open, the park is incorporated into the exhibition. When they are shut, they make for a more intimate atmosphere, but also empha-sise the building’s link with the Little Belt.

Petersen was the obvious choice. They hand-make bricks in the exact format you want. Along with the client, we chose the same red English clay used for K58. The finished product has the warm, red shades we wanted. The slats are 37mm thick, 805mm long and produced in three widths: 56, 123 and 190mm. At each end of the slats are grooves into which the pin bolts are inserted.

To ensure that we achieved the right dimensions, we designed our own mounting system. CO&LT APS were responsible for the detailed design, planning and assembly of

the metal parts, and produced precisely the system we asked for. The slats are in eight sections on each side of the building. All of them can be opened and closed independent-ly, controlled by an electronic panel inside the museum.

The museum exhibits baked clay, the park exhibits baked clay and the building is a lump of baked clay. The whole narrative harmonises well!”

A LUMP OF BAKED CLAYPETER SAND, ARCHITECT AND OWNER,AND LARS VILSGAARD, PROJECT ARCHITECTAT KJAER & RICHTER, TALK ABOUT THE FAÇADESON CLAY MUSEUM OF CERAMIC ART DENMARK.

Architect Lars Vilsgaard (left),with architect and owner Peter Sand.

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Driving along the busy main road to the west of Copenhagen, you pass Glostrup Park Hotel. From the road, there is no hint of the exqui-sitely beautiful park and expansive meadows with several-hundred-year-old trees on the other side of the hotel. Guests on the other hand enjoy the view from the new conference centre, completed last autumn, which uses simple but elegant architecture and land-scaping to make the best possible use of its location.

Dissing+Weitling were commissioned to design the addition to the hotel and make the most of the countryside for diners in the big new restaurant and people using the 14 conference rooms. Part of the brief was also to design an exterior that harmonised

with the existing hotel and come up with something that paved the way for a further planned expansion to the hotel.

The first hotel on the site was built in 1967. The current, well-regarded four-star hotel was designed by Friis & Moltke in 2002. The buildings that Dissing+Weitling had to take into account were simple wings, placed at an angle, with sloping roofs and white-painted brick façades. The expansion, a separate building on the other side of the driveway, shares features with the original hotel but has its own unique, contemporary look. The new building is also placed at an angle, with white-painted brick façades and copper-clad roofs without overhangs. The architects opted for a pitched roof. At each

end of the L-shaped building, it juts sharply up and out – a simple geometric trick that has a significant impact. One such protrusion shelters the inviting entrances, while the other forms a functional and beautiful cover for the restaurant’s south-facing terrace.

On the arrival side, the building is just one storey, but to the rear, the site has been excavated so that plenty of daylight floods into the big conference room beneath the restaurant and there is a fine view of the park from the inside. Like the conference rooms, the restaurant has views of both the park and the multi-level garden terraces.

The architects have successfully fulfilled their brief to incorporate nature into the pro-ject. Guests enter via the big, spacious hall,

RESTAURANT WITH A VIEWLIGHT FLOODS INTO THE NEW RESTAURANT IN THE GLOSTRUP PARK HOTEL CONFERENCE BUILDING, WITH ITS DARK SLATE FLOORS, WHITEWASHED PINE CEILING AND RAFTERS AND WALLS, CHIMNEY AND FIREPLACE OF HANDMADE, HARD-FIRED DARK BRICK.

The reception, lobby and lounge form a whole and establish a visual connection with the restaurant.

Like the rest of the hotel, the new building has façades in white-painted brick.The roof rises to form an inviting entrance.

Site plan

The big new restaurant at Glostrup Park Hotel is furnished with black tables and chairs in oak designed by Hans J. Wegner.

The open brick fireplace forms the centrepiece of the large lounge and restaurant area.The Kolumba brick harmonises with the dark slate floor.

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and immediately are afforded a clear view of the park, which stretches as far as the eye can see. Visually, the hall and restaurant are linked by design and materials. Natural mate-rials are used throughout – Spanish quartzite slate on the floors, and eight-metre-high ceilings with a ridge and rafters in light pine. The third natural material that plays a prominent role in the interior is the dark, hard-fired Kolumba brick. It is used for the large chimney and fireplace, which face both the hall and the 400-m2 restaurant. The same brick has been used from floor to ceiling on the restaurant’s 30-metre rear wall.

“The heavy wall in the restaurant and the chimney and fireplace were particularly important elements in the project, so we

spent a lot of time considering what material to use,” says Daniel Hayden, architect and partner in Dissing+Weitling.

“We originally went for slate, which proved too expensive. Kolumba was half the price and also suited our client’s taste. Working with brick has many advantages. We removed some bricks from the wall, creating a pattern that is not only decorative but also improves the acoustics. They are also suitable for cladding the niches we carved into the wall to affix benches. We tried out 5–6 dif-ferent sample walls with different brick and mortar colours before settling on a medium grey joint, the colour of which contrasts slightly with the brick and therefore retains the sense of horizontal movement.

The handmade, hard-fired bricks look a bit like natural stone, and the dark, rich shade interacts beautifully with the dark slate floor. In particular, they add the weight we wanted to counteract the lightness and transparency of the rest of the building,” he concludes.

Extension of Glostrup Park HotelClient: Glostrup Park Hotel

Architect: Dissing+Weitling

Landscape architect: YARDS

Contractor: Einar Kornerup A/S

Engineer: HaCaFrø

Brick: K57 Royal Playhouse

Text: Ida Præstegaard, architect

Photos: Anders Sune Berg

Conference room – lower level Restaurant – upper level

Longitudinal section Cross section

To the east, the soil has been removed so that the large conference room beneath the restaurant gets lots of natural light and views of the terraces and park.

The large glass façades to the north and south, combined with skylights along the entire length of the roof, provide plenty of daylight in the 400-m2 restaurant. The big glass sections also ensure that no matter where guests sit in the room, they feel close to the green parkland.

“We originally went for slate, as material for the fireplace and the main wall. But it proved too expensive. Kolumba was half the price and also suited our client’s taste.”Daniel Hayden,architect and partner,Dissing+Weitling.

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When the client acquired the grand two-sto-rey townhouse, it bore all the signs of mul-tiple conversions to reflect changing times. Built in the late 19th century, it has served as both post office and residence. It occupies a position on the corner of the main road in the village of Rosmalen, set amid a beautiful garden with tall, mature trees. The new own-ers wanted to renovate and extend it to serve as headquarters for their company specialis-ing in the import, export and production of frozen fruits and vegetables. “The old build-ing had to be completely refurbished,” says Annemariken Hilberink of Hilberink Bosch Architects. “We removed everything added in the 1960s, including an old staircase that was little more than a ladder. We wiped out any trace of past renovations and brought back the en suite rooms to the old building.”

The discreet refurbishment has brought the townhouse up to date, and added meet-ing rooms, offices and a canteen. The old conservatory, with its fine leaded windows, has been restored and its original green-tint-ed colour scheme – uncovered by the archi-tects in best archaeological style – revived. A magnificent new staircase leads up to the first floor, which houses an apartment that accommodates visiting business contacts.

The most striking feature, however, is the addition of two new buildings that com-plement the townhouse’s cubic form with

new geometric shapes. The low, rectangular archive building that houses the company archives extends from the townhouse out into the trees and flowerbeds in the garden, form-ing a backdrop to the plectrum-shaped pa-vilion that houses the main office. Hilberink Bosch wanted to avoid mimicking the existing townhouse and came up with an ensemble of structures that contrast and complement each other in form and materials.

The narrow, vertical window openings in the wing housing the archives look out on the garden and let in natural light. The level of detail is far simpler than in the townhouse. The brick was never intended to match the existing brickwork. It has darker, more vibrant tones. The angles of walls and windows (60, 90 or 120°) make the interi-ors and the façade feel dynamic.“We used a custom-made brick for the corners and above and below windows,” says Annemariken. Dark mortar underlines the gravitational effect of the wing.“The brown joints fit in well with the walls on the existing building, which are made of a brick typical of the 19th century.”

The office pavilion protrudes into the garden on a raised concrete platform that almost seems to float above the terrain. Its roof consists of two staggered discs, creating an overhang of varying depths that provides the shade needed in the working space at different times of day. Timber-clad walls

GARDENOFFICEBRICK WING AND PLECTRUM-SHAPED OFFICE PAVILIONADDED TO HISTORIC TOWNHOUSE SET AMONG OLD TREES.

To house a modern company, the 19th-century townhouse was extended with an plectrum-shaped pavilion in wood and glass, as well as a rectangular brick building.

The narrow, brick building offers several different views of the beautiful garden.

The architects chose the coal-fired D49, the many shades of which include a green tint that complements the surrounding vegetation.

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GARDENOFFICEBRICK WING AND PLECTRUM-SHAPED OFFICE PAVILIONADDED TO HISTORIC TOWNHOUSE SET AMONG OLD TREES.

break up the rounded surface, dividing the terraces into smaller spaces. These lines of division continue into the ceiling’s heavy beams, where three intersecting beams form a triangular skylight.

Looking at the pavilion from the garden, it does not look like a hive of activity.

Yet inside, voices fill the room, negotiat-ing international deals by phone. The dark wood, metal and concrete endows the room with a serious, business-like idiom, but the wood also infuses it with a warm glow, so that it does not feel sterile. Rather, it exudes concentration. Do the employees even notice the room around them? Actually, there is no doubt that they do because the layout is based on the principle that everybody in the room must be able to see each other in order to work together effectively. And that was the thinking behind the rounded shape which encloses the people working there while blending confidently into the old garden.

Huize Vreeburg, Rosmalen, the NetherlandsClient: Sonder Jansen

Architect: Hilberink Bosch Architecten

Landscape architect: Anne Laansma ontwerpburo

voor tuinen, Esch

Brick: D49

Text: Martin Søberg PhD, architectural historian

Photos: Paul Kozlowski

On arrival, you see right away that the colours and structure of the brickwork in the 19th-century house and in the extension harmonise – despite the bricks being made about 125 years apart.

SectionGround floorSite plan

The one-storey extensions do not block the view of the old house.

The same coal-fired red brick is used on the floor and on the brick façades.

The pavilion, which houses the company office, has fine views of both the garden and the old house. The table is in the same shape as the room. It is a custom design by Roderic Vos.

20 |

In the 1950s and 60s, economic growth and urbanisation in many Western countries led to a lack of good, affordable housing, especially for young families. In response, very large housing estates were built, using new technologies such as pre-cast concrete. The architectural idiom was one of simplic-ity and rationality, lightness and air, echoing the pioneers of modernist architecture in the early 20th century.

Many of these estates are now in need of refurbishment – especially the roofs and outside walls – because the climate has changed.

The Vapnagaard social housing complex in Elsinore is one of the big Danish estates of the era – built between 1967 and the early 1970s. It consists of 1,738 homes, housing about 4,000 people, spread over 57 blocks on a hilly, green site. From the highest point, there are views of the old town in Elsinore and across the Sound, with the Swedish coast visible in the distance.

The idea behind the renovation project was to repair dam-age to the concrete and other building parts, and to make the roofs and walls more thermally efficient. The bathrooms were also to be refurbished. However, as well as purely technical improvements, the project also provided an opportunity to enhance the visual and material identity of the area, particu-larly with the addition of striking new gables made of brick. “Vapnagaard was originally conceived of as sublime homes for ordinary Danes, with more light, air and recreational opportunities than in the town – but over the years, the area has built up a bit of a bad reputation,” says Hanne Vinkel Hansen, architect and director of NOVA5 Architects. “In the 1990s, the buildings were refurbished with the gaudy colour schemes and light casing popular at the time. Our project in-volved making these buildings more robust, but we also took the opportunity to use materials with a more textural look to add variation and make the blocks more distinctive.”

The gables now consist of a broad and a narrow column, separated by a vertical strip of new French balconies. Resi-dents were involved in many aspects of the project, includ-ing the choice of the four brick colours: sand, light yellow, rose-pink/ochre and maroon.“We started with a mock-up of the ground floor before we put the project out to tender,” says Hanne Vinkel Hansen.“It was a really good idea, and set the quality framework for the project.” In some of the blocks, both brick surfaces are smooth, while reliefs feature on both surfaces in some of the others. On some gables, the relief is only on the narrow column. The simple relief is the result of pushing every second stone in a course of runners slightly out form the surface. It adds rhythm to the gables and the effect is different depending on which direction the gable is facing and the shade of brick. In strong sunlight, the relief casts deep shadows over the surface. At other times the effect is softer and more textural.

One of the refurbishment project’s top priorities was to change the visual appearance of the buildings.It was crucial that the new materials have a quality and texture that would allow them to age gracefully.

Vapnagaard in Elsinore consists of 1,738 homes, housing about4,000 people, spread over 57 blocks on a hilly, green site.

VAPNAGAARD ANNO 1990

Vapnagaard was built between 1967 and the early 1970s. The major renovation conducted by NOVA5 began in 2013. The blocks used to have brightly coloured concrete façades from a previous renovation in 1990.

The blocks are staggered in height over the hills.

BRICK ADDSSENSE OFIDENTITYNEW FAÇADES INJECT VARIETY AND SENSE OF IDENTITY INTO HOUSING COMPLEX IN GREEN PART OF ELSINORE.

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Some gables have a relief, created by pushing every second stone out from the surface in a course of runners. This creates a rhythmic effect, which differs according to the direction the gable is facing and the shade of brick.

The architects used specially coloured ceramic baffle plates in four colours, which beautifully match the nuances of the four bricks selected for the construction.

The residents were heavily involved in the project.For example, they were asked whether

they wanted French balconies.

The newly rebuilt entrances now have a brick surround and are covered in the same hard-fired brick used on the carpet-like path to the block.

Billedtekst

Changes to the entrances to the blocks make them feel more like social spaces and signal a sense of security and community. Each door has a brick surround and is covered in hard-fired brick, which runs like a carpet along the path to the block, welcoming you inside.“The residents chose whether or not to have French balconies beside the entrances,” says Hanne Vinkel Hansen.“That’s why no two façades are the same. It wasn’t really us who designed the façades – it was the local people! The project has not only just transformed the area physically, it has also had a psychological impact. The people who live there feel that they have been given something of quality that will age beautifully. They’re happier living in Vapnagaard. It’s a matter of self-esteem.”

“We chose four different coal-fired bricks in shades of sand, light yellow, rose-pink/ochre and maroon. Each variant is used to clad the façades in a different part of the estate, making it easier to tell the blocks apart.” Hanne Vinkel HansenArchitect, director, NOVA5 Architects

Vapnagaard, roof and façade renovation, ElsinoreClient: Helsingør Boligselskab in partnership with Boligselskabernes

Landsforening

Full-service consultant: NOVA5 Arkitekter

Sub-consultant: Triarc Arkitekter

Engineer: Niras

Landscape: GBL/Rambøll

Brick: D32DNF, D38DNF, D46DNF and D78DNF

Text: Martin Søberg PhD, architectural historian

Photos: Anders Sune Berg

D78 D32 D38 D46

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Buying food from market halls is fairly commonplace in Southern Europe. It is a traditional and convenient way to shop that suits buyers and sellers alike, and there is no reason why it should not gain a foothold in Northern Europe. At least that is what they think in Sweden. In recent years, saluhaller (as they are called in Swedish) have been planned and built in Stockholm, Malmö, Uppsala and, most recently, in Gothenburg.

The Gothenburg commission was won in open competition by the Stockholm-based architect Gustav Appell. Located in Kvillebäcken, a new and fast-growing residential area close to the city centre, Kville Saluhall was completed in 2011 and is expected to act as a catalyst for the growth in the area, which is soon to be extended.

Market halls are traditionally very closed-looking, but Appell wanted to build one with plenty of light, open to its surroundings. The openness is provided by the big windows and generous access to the hall, via three main and several secondary entrances.

From the outside, the hall looks like a three-storey build-ing that tapers off into a lantern-like structure at the top. The tapering of the main body allows the afternoon sun to reach the small square next to Saluhallen. Once inside, you see right away that the hall is not a three-story building but it does have a very high ceiling. The first floor consists of a balcony, with various restaurants that open onto a big terrace. The shops are side by side on the ground floor, and the atmosphere is bustling and intimate.

“We were highly conscious of the fact that market halls are public buildings with an unusual typology. Their closest relatives are arguably train stations or churches. Admission is free and there is no obligation to buy,” says Gustav Appell. “The repetitive and low-key design of the façade is based on the idea of the building as a backdrop to its contents. But the design also makes it simple to open and close entrances and glass panels without changing the basic concept.”

In line with this thinking the functional and architectural robustness of the market hall meant that the materials cho-sen had to be similarly robust:

“The material was to be timeless, classic and mainte-nance-free, which made brick the obvious choice. But I also admit to a personal yearning to build in brick. There are many good, historic brick buildings in Gothenburg. But over the last 40-50 years, the quality of brick and brick architecture has fallen. Particularly when it comes to yellow bricks. All of the classical buildings are plastered. Brick wasn’t considered ‘fitting’ before National Romanticism and the Arts & Crafts Movement. This gave us a chance to start writing a new story in yellow brick.”

Kville Saluhallen is a concrete structure – but given more time, it could have been made entirely of brick.“We did what we could to make it feel like a brick building,” says Appell.

“The look and character of the brick were essential. We made our choice, stood firm and wouldn’t even countenance discussions about alternatives. A brick that wasn’t handmade would have resulted in a dead look. Our idea of an architec-turally simple structure required a brick with a strong idiom. The yellow one we chose derives its light tones and unusual play of colours from the white porcelain clay, which is used to slip the finished lump of clay out of the mould.”

“We decided on Flensburg Format, which is very elegant and works well with all of the other building components. The brickwork is in block bond, and selected bricks have a clear glaze, which glistens in the sunlight at certain angles. When the building work was completed, we had the pleasure of the contractor and partners telling us that the brick had been worth the money, and that they were glad we had insisted upon it. Then, in 2014, the hall was named as the best build-ing project in Gothenburg, the finest accolade we could wish for because it didn’t come from architects!”

Kville Saluhall, GothenburgDeveloper: Älvstranden Utveckling

Architect: Gustav Appell Arkitektkontor

Contractor: AF Bygg Göteborg

Brick: D71 FF

Text: Ida Præstegaard, architect

Photos: Ulf Celander

A SCANDINAVIAN MARKET HALL KVILLE SALUHALL IN GOTHENBURG COMBINES SIMPLE,REPETITIVE CONSTRUCTION WITH EXPRESSIVE,CAREFULLY DETAILED BRICKWORK.

Saluhallen’s terrace offers views of the Kvillebäcken district.

Light pours in from all sides of the market hall’s three floors.

The architects chose a block bond and used a neutral grey mortar, almost flush with the bricks, some of them are glazed.

Gustav Appell Architecture Office won the task of designing the new market hall in Gothenburg in an open competition in 2011.

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“All of the classical buildings are plastered. Brick wasn’t considered ‘fitting’ before National Romanticism and the Arts & Crafts Movement. This gave us a chance to start writing a new story in yellow brick.”Gustav Appell, architect

Appell’s idea was to balance the building’s simple structure with a brick that makes a bold statement.

The structural simplicity made it possible to refine the brickwork, e.g. using holes to create patterns. Photo: Åke E:son Lindman.

The pattern created by the glazed brick is particularly clear at sunset. Photo: Åke E:son Lindman.

Site plan Ground-floor plan First floor Section

Saluhallen is privately run but owned by the local authority, and therefore it is not entirely at the mercy of market forces.The aim of the market halls, which are found in several locations around Sweden, is to support small traders and producers.

24 |

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AFRICA IN FOCUS AT LOUISIANA BRICKWORK IN PLAY

Africa – Architecture, Culture and Identity, the main summer exhibition at Louisiana, explored cultural and social initiatives in the world’s second-largest continent.

One of the exhibition’s focus areas was Rwanda, where the architects Nerea Amorós

Elorduy (PhD, Bartlett, London) and Tomà Berlanda (director and professor at the School of Architecture and Planning of UCT, Cape Town) spearheaded the construction of UNICEF’s ECD (Early Childhood Development) Centre. The work was done in the period 2011–2014 under the auspices of ASA (Ac-tive Social Architecture) Studio, which was founded and run by the two architects.

The centre in Rwanda is made of locally processed red brick laid by local craftsmen. Funding for toys is scarce, and so the rustic

brickwork incorporates details, e.g. perfo-rations, designed to challenge the children and involve them in play and learning.

The curators and architects wanted to reproduce part of the centre in Louisiana, so that visitors could experience the architec-ture at 1:1 scale. Using industrial-looking brick was out of the question. Instead, a sufficiently rustic brick with the desired colouring was found at Petersen Tegl. The brickworks was delighted to supply coal-fired bricks.

SKY-HIGHKOLUMBA

Drilling into Manhattan’s bedrock has begun, creating the foundation for 180 East 88th Street, which will be the tallest building (160 metres) on the Upper East Side once it is completed in 2018.

In contrast to the surrounding glass sky-scrapers, the 48-apartment brick building will

evoke associations with the brick skyscrapers of the golden 1930s of Manhattan. The brick chosen is handmade Danish Kolumba, com-bined with structural concrete mixed on site. The New York studio DDG is the client, the architect, the developer and the builder and hopes the building will highlight the impor-

tance of handmade materials in architecture. 180 East 88th is the second building built by DDG in handmade brick from Broager. In 2013, the studio inaugurated the building 345 West 14th Street, a residential building, also made in Kolumba.

The ECD Centre is in the Nyamasheke rainforest. Its form replicates a type of building found in many places in Rwanda. Photos: Johan Eriksson

The DDG design studio hopes that its new building in Manhattan will inspire others to use handmade bricks. Visualization: DDG

In order to showcase the brickwork, part of the centre was reproduced at full size in Louisiana.Photos: Anders Sune Berg

Local craftsmen worked on the construction project.Photo: Johan Eriksson