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AMAG INTERNATIONAL ARCHITECTURE TECHNICAL MAGAZINE

AMAG 30 ATELJÉ Ö | JOHANSEN SKOVSTED | NORRØN COVER 01 OF 03

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EN | PT

AMAG INTERNATIONAL ARCHITECTURE TECHNICAL MAGAZINE

AMAG 30 ATELJÉ Ö | JOHANSEN SKOVSTED | NORRØN COVER 02 OF 03

30

EN | PT

AMAG INTERNATIONAL ARCHITECTURE TECHNICAL MAGAZINE

AMAG 30 ATELJÉ Ö | JOHANSEN SKOVSTED | NORRØN COVER 03 OF 03

30

EN | PT

SPECIAL THANKS TO Alcino Delgado Ana Assunção Anders Normann António Amaral Ávila Sousa Filipa Delgado Sousa Hélder Gonçalves Javier Prado Joel Winsnes José Manuel Pedreirinho Konrad Profanter Laura Maifreni Laura Torchio Manuel Aires Mateus Marco Berenthz Mats Wahlström Walter Matteo Brioni Moisés Puente Miguel Carvalho Poul Høilund Rita Leite de Castro Roberto Arias Rui Caldas Sebastian Skovsted Sofia Teodósio Sofie Thiim Lehrmann Søren Johansen Paulo Lima

CURRENT TITLE AMAG 30 (3 AVAILABLE COVERS) ATELJÉ Ö | JOHANSEN SKOVSTED | NORRØN PUBLICATION DATE 2023 March COLLECTION AMAG MAGAZINE SERIES INTERNATIONAL ARCHITECTURE RUN NUMBER 5000 numbered copies FREQUENCY Quarterly PAPER Arena White Smoth 140 / 350gr TYPEFACE Cordia New DIMENTIONS 240x320mm TYPE OF PRINTING Offset CMYK 4/4 ISBN 978-989-53905-6-4 ISSN I2182-472X ERC REGISTRATION 126 164 LEGAL DEPOSIT 377392/14 PRINTING LusoImpress EDITOR-IN-CHIEF Ana Leal GENERAL MANAGER Filipa Figueiredo Ferreira EDITORIAL TEAM Ana Leal Filipa Figueiredo Ferreira João Soares Tomás Lobo TEXTS AND TRANSLATIONS Original texts in EN were translated to PT

by AMAG PUBLISHER. Original texts in PT were translated to EN

by Clementine Dobbelaar.

Portuguese texts are not written under the Orthographic Agreement of 2009, unless indicated by the respective author.

OWNER AMAG editora LDA VAT NUMBER 513 818 367

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AMAG PUBLISHER is an international publisher that carefully conceive, develop, and publishes books and objects directed related to architecture and design. Mainly in 3 different series: AMAG MAGAZINE, AMAG BOOKS and AMAG OBJETS, with a deeply conceptual approach, each collection represents a challenge and a new opportunity for the production of unique and significant books, meeting the highest quality standards and a differentiating design, absent from standard trends, representing significant values and content to inspire each reader and client.

AMAG MAGAZINE (AMAG) is published since December 2011 by AMAG PUBLISHER, as an INTERNATIONAL ARCHITECTURE TECHNICAL MAGAZINE. Collectible and timeless, AMAG is recognized as rigorous and inspiring library archive, developed through a minimal and thought graphic design as a working tool to promote architecture that features as recognized practices around the world, as unknown, exquisite and unfading ones. From March 2023, AMAG is published with an upgraded brand image to reinforce the ageless and maturity character of AMAG, along with a new series exclusively dedicated to PORTUGUESE ARCHITECTURE (AMAG PT).

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WALLS AND CEILINGS Vieroquartz Primer and Marmorin Hydro Finish

Pa.te.os | Melides Architecture AIRES MATEUS Image FRANCISCO NOGUEIRA

DIOGO AGUIAR STUDIO

STRUCTURAL SPACE

is an international publishing house that conceptualises, develops and carefully publishes books and products related to architecture and design, principally in 3 different lines of works: MAGAZINE, BOOKS and OBJECTS.

is an INTERNATIONAL ARCHITECTURE technical magazine, in print since December 2011, published

by AMAG PUBLISHER.

AMAG PUBLISHER

With a deeply conceptual approach, each project represents a challenge and a new opportunity to produce unique and meaningful work that meets the highest standards of quality and features a distinctive graphic design, away from industry trends, representing meaningful values and content in order to challenge, satisfy and above all, inspire each and every reader and client.

As an architectural publisher, we acknowledge that our work has the obligation to divulge and promote architecture not only through our magazine and books, but also, and simultaneously, through complementary activities and initiatives that are associated with it.

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From March 2023, a further enhanced brand image will be launched to reinforce AMAG’s ageless and mature character, together with a new SERIES, exclusively Collectible and timeless, dedicated to PORTUGUESE it is recognised as a rigorous ARCHITECTURE. and inspiring bibliographic archive. It is crafted through During 2023, both series, minimal and thoughtful AMAG (an international graphic design, as a working architecture technical tool to promote architecture, magazine) and AMAG PT featuring not only globally (a Portuguese architecture renowned practices, technical magazine), will but also unknown, select be launched quarterly and and unsung ones. concomitantly.

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WALLS AND CEILINGS Vieroquartz Primer and Marmorin Hydro Finish

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ARCHITECTURE AIRES MATEUS JJ TEIXEIRA WORK RESIDENTIAL SPACES PHOTO COURTESY OF THE AUTHOR JOÃO GUIMARÃES

JJ TEIXEIRA RUA SÃO MARTINHO, 397 4415-758 OLIVAL,VILA NOVA DE GAIA, PORTUGAL T. + 351 227 878 400 E. GERAL@JJTEIXEIRA.PT W. WWW. JJTEIXEIRA.PT

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Antigo Convento de Subserra Apartado 57 2601-906 Castanheira do Ribatejo

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Casa Âncora, São Roque do Pico, Açores. SAMI-arquitectos . Inês Vieira da Silva . Miguel Vieira . Fotografia: Paulo Catrica

001

INDEX

THOUGHTS FROM THE EDITOR

by Ana Leal EXERCISES IN SCANDINAVIAN SUSTAINABILITY

by José Manuel Pedreirinho ATELJÉ Ö VILLA BUTTER BUNKER 319

ATELJÉ DJUPVIKE 003 SAVANNEN 8 Ö17 STUDIO SMUTS 005 JOHANSEN SKOVSTED NØRREHUS 009 SKJERN RIVER 011 TIPPERNE 021 BAKKEDRAGET

029 035 041 049

NORRØN HESNÆS HARBOUR THE INSIGHT ÅSTRUP GARDEN NORRØN HQ 055 THE DANISH COTTAGE 057 COLD HAWAII INLAND 067 089 107 CREDITS

117 119 125 135 147 157 167 175

ABOUT THE AUTHOR

José Manuel Pedreirinho, architect, graduated from the Lisbon School of Fine Arts (ESBAL) in 1976 and has a PhD from the Architecture Faculty of the University of Seville (2012).

He has been working independently since 1980 and has also been a professor since 1985, teaching in Porto, as well taking on the role of director at Coimbra’s University School of Arts (EUAC) from 1990 to 2014.

Since 1979 he has contributed to several newspapers and publications, and has authored several books on topics concerning the “History of Portuguese Architecture of the 20th Century”.

From January 2017 to 2020, José Manuel Pedreirinho was President of the Portuguese Association of Architects and of the Iberian Docomomo Foundation, as well as a member of the Executive Committee of the Architects’ Council of Europe (20182020). He is currently Vice-President of the International Council of Portuguese-Speaking Architects (CIALP).

005

BY JOSÉ MANUEL PEDREIRINHO

EXERCISES IN SCANDINAVIAN SUSTAINABILITY

In a region where concerns for sustainability and the environment have long been widespread and where the relationship with nature is part of everyday life, it is not surprising that these are the main features that unite these three architectural practices.

A common thread that we could easily extend to neighbouring Norway and Finland, the other countries within this diverse grouping known as Scandinavia.

relationship established by each of these interventions, whether they are new buildings, restorations or small homes, is therefore built on proximity, on the careful analysis of what is specific to the situation, on the need to respond to the various needs for consolidation of the territory, but also through the reinterpretation they make of tradition, of its forms and uses.

These are lessons that primarily came from the Swedes Gunnar Asplund and Sigurd With very diversified territories of intervention, the three studios Lewerentz, in the projects that they developed since the first presented here, a Swedish th decades of the 20 century for office whose projects are the cemeteries of Stockholm located in Gotland, the largest and Malmö, continued later by of the several islands of this country, and two Danish offices, the Danes Arne Jacobsen and Jorn Utzon, who showed some both based in Copenhagen, of the possible paths for these all develop projects that are complementarities between the characterised by the strong relationship of complementarities natural and the built, tradition and modernity. Paths that that they always establish with the location. A complementarity influenced much of what was done afterwards, especially in that seeks to take advantage of the beauty of the landscape, this region. but which must always be A close relationship centred on compatible with a climate that the careful analysis of people’s is often very aggressive. The

needs, of their movements and sensations, of the use of the existing topography, as in The Insight, of the flora or materials, as in Villa Butter, and of everything that values places and life within each one of them, clearly evident in the projects for Hesnæs Harbour in Synopal.

A relationship that can only be built on the respect for every single pre-existence and on the response to the requirements of each programme. Programmes that seem to be little more than vague intentions, as in Nørrehus, or even almost wishfully inexistent as in Tipperne, but when carefully approached in their specificities reveal themselves to be extremely stimulating in the references that allow them to develop, and in the lightness of a time that can seem ephemeral, as, again, in Nørrehus, making them assert themselves in a robust organisation of spaces and functions.

A respect for pre-existences that can even be echoed in

009

BY MATS WAHLSTRÖM WALTER & JOEL WINSNES / ATELJÉ Ö

ATELJÉ Ö

In our award-winning atelier, we regard architecture as one of the fine arts and our work as that of artists of architecture. We believe that buildings can help reconnect man with nature, spark joy, cultivate calmness and be a source of inspiration. For years we have been working with the local Gotlandic nature as a generator of strong architectural expression.

We love context-based work, whether it’s on a smaller or larger scale, located on the island, the mainland or abroad.

context. Historical buildings and structures, modern influences, the islands strong nature and the ocean are ever present in our daily life. It gives us a close community, a great knowledge of local materials, craftsman and artisans and generates a handson approach to our projects.

nosso trabalho, como que o de um artista plástico. Acreditamos que a arquitectura pode ser uma fonte de inspiração, contribuir para optimizar a relação entre o homem e a natureza e proporcionar uma sensação de calma e conforto.

A natureza local de Gotland é With years of experience from fonte geradora da forte expressão well recognized Skälsö Arkitekter, no nosso trabalho. Admiramos as part of a young, hardworking um trabalho de contextualização team our confides grew. 2018 we e integração, seja em pequena were invited contributors to the ou grande escala, no território world-renown and prestigious local da ilha, no continente ou Like architects of past times, we Architecture exhibition, La no estrangeiro. Tal como os take great pride in our profession Biennale di Venezia, curated arquitectos ancestrais, temos and strive to take on a leading role by Yvonne Farrell and Shelley um grande respeito pela nossa in the entire building process. We McNamara. Our ambition is profissão, na qual assumimos um specialize in taking architectural always high, regardless of papel de liderança ao longo de projects from initial idea to whether the project is small or todo o processo. the handing over of a finished big in scale or budget. To create, building. In close collaboration driving the process and being O nosso trabalho prolonga-se with craftsmen and builders we able to control and direct the do conceito inicial até à aim to create pragmatic and work both on site as well as in our conclusão da obra. Em estreita beautiful spaces for life, inside atelier, sketching, crafting models colaboração com artesãos e and out. or detailing 1:1, is what keeps us construtores locais, pretendemos going and pushing boundaries. criar espaços pragmáticos e Our atelier is situated in Visby geradores de bem-estar, quer on Gotland, Sweden’s biggest No nosso escritório, entendemos no espaço interior, quer nas island, Ateljé Ö works and live a arquitectura como uma das relações que estabelece com o in a close connection to our artes plásticas, e por sua vez o exterior. O nosso atelier trabalha

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2019 - 2021

VILLA BUTTER Gotland, Sweden

What first catches the visitor’s eye when arriving at the heavy structure Villa Butter is the spectacular view. The project sits right on the edge of a 20 meter cliff overlooking the ocean. But more vital to how the project was designed and planned was the beautiful grove the house sits in.

The sun playing through the greenery, the scent of elderflower, the pines perfect in their imperfection and the ground and tree trunks covered in ivy… like an enchanted forest. In Villa Butter the lines between outside and inside are blurred, making the interior of the house a tamed part of the lushness outside.

And that to the character of the house, soul if you may, is way more defining than the breath-taking view.

The materials used are oak, concrete, glass and copper. A lot of work was put into finding the perfect cement render and application technique to achieve the right texture for the facade.

The project is designed with an obvious rhythm. At the same time the plan of the house is sprung from the program and not the opposite, leading to the structures of the project being not rectangular but extended and formed after the functions they hold.

In more ways than one Villa Butter is about connectedness. On the site stood old ruins from former structures, for example an old stone wall. Yesterday is over, it’s a different day. Villa Butters’ elegant and modern shape talks to tomorrow, but the old walls have been kept connecting also to yesterday.

The project is a massive, heavy structure with a very serious character, but it also has surprising, playful elements such as varnished, deep blue elements breaking up the perfection.

Villa Butter is a grand project but with a humble persona.

O que mais se destaca à chegada da Villa Butter, é a vista extraordinária do sítio: o topo de uma escarpa de 20 metros voltada para o mar, povoada por um denso bosque.

Tudo na Villa Butter é sobre relações.

Ruínas de pré-existências no local, como por exemplo, um antigo muro de pedra, permaneceram como parte do projecto de um ponto de vista imaterial. A forma elegante e contemporânea da Villa Butter remete-nos para o amanhã, enquanto que as antigas paredes de pedra nos recordam as memórias do passado.

O projecto é uma estrutura maciça e pesada com um carácter sério, que se interrompe com a presença de elementos surpreendentes envernizados de azuis profundos que quebram o seu caracter austero.

O sol brinca entre o verde da natureza, o cheiro a sabugueiro caracteriza olfactivamente o espaço que é povoado A Villa Butter é um grande projecto, com por pinheiros perfeitos, na sua imperfeição, uma personalidade humilde. e o solo e os troncos das árvores estão cobertos por trepadeiras… tal como numa floresta encantada.

Na Villa Butter, os limites entre o exterior e interior são ténues, e o espaço interior tira partido da exuberância do espaço exterior, que caracteriza e representa a alma da casa.

Os materiais predominantes são a madeira de carvalho, o betão, o vidro e o cobre.

O reboco de cimento é perfeito e a técnica de aplicação para obter a textura certa para a fachada foram o resultado de um longo trabalho de experimentação.

O projecto apresenta um ritmo óbvio.

O desenho da planta da casa reflecte o programa e usos, fazendo com que o projecto estrutural não seja rectangular, mas sim alongado de acordo com as necessidades espaciais das funções que acolhem.

ATELJÉ Ö

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01. Concrete roof/ceiling, cast-in-situ (indoor) 02. Concrete roof/ceiling, cast-in-situ (outdoor) 03. UPE 200 Steel beam 04. Steel anchor for reinforcement bar 05. EPDM roofing 06. Steel L-rod, support for copper cladding 07. Construction timber 08. Plywood 09. Cooper sheeting 10. Solid oak trim piece 11. Expander bolt M12 12. Laminated glass, 20 mm 13. Rubber washer (made of hockey pucks, LHC) 14. Steel pillar cylindrical ø 125 15. Recessed spotlight 16. Recessed curtain rods 17. Sheer linen curtains 18. Dim out curtains 19. Local limestone flooring 20. Fixed window with hidden frame - SCHUCO AOC 50 21. Solid oak trim pieces, up against glass 22. Solid, outdoor decorative oak cladding 23. Outline of exterior wall 24. Hidden steel pillar 25. Sollid oak decorative cladding - indoor 26. Steel plate foundation for welding 27. Concrete, foundation cast 28. 2nd concrete with floor heating 29. Mortar 30. EPS, insulation 31. Steel L-rod, for attachment of windows 32. Hard insulation 33. Detachable limestone over drainage 34. Gutter, for rainwater 35. Heating coil, ice protection 36. Solid oak plug 37. Hidden threaded rod for attachment of oak 38. Skylight shaft

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2019 - 2021

BUNKER 319 Gotland, Sweden

Bunker 319 is built on the remains of military activities on the Swedish island Gotland. It consists of four low houses developed around an abandoned cold war bunker and sits like a hidden nest sunken into the very ground of a 20 meter tall hill, overlooking the Baltic sea. The work of incorporate the bunker and creating new spaces has transformed the site from a stony leftover of something that once was into a dreamy island summer oasis, without completely letting go of history.

The addition together with the already existing structures frames a terraced exterior space creating a courtyard on the premises. In the middle of it a lonely tree grows, giving the space the resemblance of a tiny square in a small village.

The flat roofs of the houses are covered by the characteristic gravel found all around the site. The place was once, before the military arrived, one of Gotlands biggest and most flourishing limestone quarries.

Encompassed by nature, the Gotland sun shining bright over it during the day, right under the moon at night. The façade with its custom-rendered surface and raw wooden pillars sits nicely next to low pine trees and the desaturated palette of the surroundings.

the gap-spaces interweave new with old, outdoor with indoor and the nature with the built.

O Bunker 319 foi construído sobre reminiscências de presenças militares, na ilha sueca de Gotland, numa colina de 20 metros de altura, com vista para o mar Báltico, e resume-se formalmente em quatro casas baixas dispostas em torno de um bunker abandonado proveniente da Guerra Fria, com o carácter de ninho escondido. O trabalho de incorporação do bunker e da criação de novos espaços à sua volta, transformou o carácter de “sobra” num oásis de Verão numa ilha de sonho, sem apagar a história local.

Em conjunto com as estruturas préexistentes, a adição gera um espaço exterior em forma de pátio-terraço. No centro, cresce uma única árvore, que confere ao espaço a similaridade de uma pequena praça de uma pequena vila.

Os telhados planos das casas são cobertos por cascalho, característico no local, que antes da chegada dos militares, foi uma das maiores e mais prósperas pedreiras de calcário de Gotland.

The grey tone of the landscape continues into the house where carefully placed chunks of local stone are casted into the concrete floor. Golden pine cladded walls define the atmosphere of the interior.

Cercado pela natureza, o sol de Gotland brilha intensamente sobre o terreno durante o dia, e a lua durante a noite.

A textura da fachada e a madeira na qual são construídos os pilares estruturais do projecto, enquadram-se de forma natural com os pinheiros e a paleta de cores dessaturada da circunstância envolvente.

The shape of the plan plays freely under the perfect rectangular roofs. The program is spread across the site and the design of

O tom cinza predominante na paisagem prolonga-se na casa, que incorpora pedra local no chão, em betão. As paredes

interiores são revestidas a madeira de pinho dourado que caracteriza a atmosfera presente. A forma da planta vive livremente sob os telhados rectangulares perfeitos.

O programa ocupa todo o terreno e o desenho dos espaços exteriores estabelece a ligação entre o novo e o pré-existente, o exterior e o interior, e a natureza com o construído.

ATELJÉ Ö

01. Glulam timber 02. Insulation 03. Wooden plank sheeting 04. EPDM, with gravel cladding 05. Wooden plank ceiling 06. Steam breaker 07. Wooden rafter 08. Curtain rod 09. Curtains 10. Trim pieces 11. Locally made wooden doors/ windows 12. Un-insulated overhanging roof 13. Plywood

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SAVANNEN 8 Gotland, Sweden

Savannen 8 is named after the architect’s nickname for the small, barren field the project is built next to. Tall grass, singular bushes and a few crooked junipers, a little Swedish version of a savannah. Situated in Bungenäs, right next to the ocean on the island of Gotland.

But the inspiration for the house comes not from nature but from industry. An everyday life image of a transformer substation kiosk was the first reference image when the conceptual work began. On site a couple of old concrete blocks was found and worked around. The harsh expression matches the surroundings, as the house is next door neighbour with bunkers and other remnants of military activity.

The project was a dream assignment.

A restricted budget but complete artistic freedom meant both an obvious framework in one aspect as well as no framework at all. The limited budget forced clever solutions.

Prefabricated concrete walls were used for the rectangle shaped house. In close cooperation with a local concrete factory a special method was created for the house to get the right roughness for the facade.

As a counterweight to the industrial way of working a handful of tiles were pressed upside down into the concrete blocks as they were being cast. An element of ornamentation to break away from the prefab atmosphere.

A maior parte dos projectos do Ateljé Ö são customizados. Savannen 8 não é excepção, a grande diferença é que tudo foi produzido industrialmente. A exaustão na cozinha, por exemplo, foi construída a partir de uma grelha em aço galvanizado.

Savannen 8 é a alcunha atribuída pelos arquitectos ao pequeno e árido terreno situado ao lado do terreno no qual o projecto foi construído, situado em Bungenäs, junto ao mar na ilha de Gotland.

Vegetação alta, arbustos e alguns zimbros tortos caracterizam o local, como que uma versão sueca de uma pequena savana.

O espaço interior foi deixado em betão bruto aparente. As instalações técnicas e os elementos estruturais da casa são exponenciados em vez de escondidos.

Ao contrário do expectável, as referências para este projecto não provem da natureza, mas sim da indústria.

A imagem quotidiana de uma subestação transformadora foi a primeira referência do trabalho conceptual. Foram encontrados alguns blocos antigos de betão no local, e a sua expressão áspera adequada com a circunstância envolvente, uma vez que é vizinho de bunkers e outros resquícios de actividade militar.

O projecto foi uma missão idílica.

Um orçamento restrito, e uma total liberdade criativa e artística representavam simultaneamente quer uma estrutura óbvia por um lado, quer uma total ausente estrutura por outro. O orçamento limitado forçou soluções inteligentes.

A lot of Ateljé Ö`s projects contain custom made components. Savannen 8 is no exception, but the difference is that everything in the house is industrially produced. The kitchen fan for example was Paredes de betão pré-fabricadas foram made from a galvanized steel foot grate. usadas para construir a casa, em forma rectangular. Em estreita cooperação The interior consists of raw concrete com uma fábrica de betão local, foi and plywood. Technical installations desenvolvido um método especial and structural elements in the house are para encontrar e conferir a rugosidade exaggerated instead of hidden out of sight. pretendida à fachada.

Como contrapeso ao processo industrial de trabalho, alguns ladrilhos foram cofrados ao contrário nos blocos de betão, no processo de moldagem. Um elemento de ornamentação que rompe com a atmosfera pré-fabricada.

ATELJÉ Ö

ELEVATION

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2021 - underconstruction

Ö17

Gotland, Sweden

Ö17 is a formalized vision of a house for an art collector. The project has developed through the interweave of architecture and art, an experimental process between architect and client. The drawing and the placement of architectural objects has been tools in generating the plan, where we took off in the works of Bernard Tschumi and Francis Bacon. By reading the project bit by bit and as a whole has enabled a design process where we create separate parts to test in composition to others.

The site sits within the perimeter of an old stone quarry on Gotland. The landscape is a grey gravel canvas and dug out of the hill, the plot sits at a plateau. The only possible location for the house is pushed back against the rocky steep, where it must become one with the topography.

As a gallery the spaces create sightlines, and the view is framed by the architecture.

Architectural objects generate phenomena where we see the tectonics as art. Likewise the material palette, balanced by perfection and imperfection, creates an additional layer to the experience. This is a project dreaming of a mystical space that evoke all senses and invites to a life in harmony with nature, art and architecture. Ö17 é o reflexo formal de uma casa para um coleccionador de arte. O projecto desenvolve-se através do cruzamento disciplinar entre arquitectura e arte, num processo experimental entre os arquitectos e o cliente. O desenho e o posicionamento de objectos arquitectónicos representaram ferramentas na construção do conceito inicial, a partir de obras de Bernard Tschumi e Francis Bacon. A leitura do projecto parte a parte ou como um todo, permitiu um

processo no qual criamos peças separadas para testar a composição de outras.

O terreno de implantação é um planalto, e está inserido no perímetro de uma antiga pedreira em Gotland. A paisagem natural é como um quadro de cor cinza escavado na montanha. A única localização possível para a casa é contra a encosta rochosa, na qual se deveria fundir com a topografia natural.

Como uma galeria, os espaços estabelecem linhas de visão que são emolduradas pela própria arquitectura. Peças que geram fenómenos que permitem entender a morfologia tectónica natural como arte. Da mesma forma que a paleta de materiais escolhidos, equilibrada pelo contraste entre perfeição e imperfeição, proporciona uma experiência imaterial adicional. Um projecto que sonha com um espaço místico que evoca todos os sentidos e convida a uma vida em equilíbrio entre a natureza, a arte e a arquitectura.

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ABOUT THE AUTHOR

Moisés Puente is an architect, curator and translator and editor of architecture books.

He is director of the international architecture magazine 2G and the essay collection 2Gessays (Verlag de Buchhandlung Walther un Franz König, Cologne).

In 2016 he founded his own independent publishing house, Puente editores, dedicated to texts on contemporary art and architecture. His writings were gathered in the book Cháchara and other architectural stories (2020).

BY MOISÉS PUENTE

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JOHANSEN SKOVSTED

Natur, nobis moloria dese duci Uciet ut et ma qui berumqui nit omnis at fugia sequaeptat laboribus voluptatus ma cum quodi cone qui si dem quiam aut explita quibus porunda in reperrore eosam, aut ut hilitiore vollor re viditiorerio aut voluptis dolore, volo inctiatem teseque la deles molupta temque lauda qui custo dem quatur, ut et sam et, ut dipsam quam, ommodic que velit pos rem num eos apedige te cus. ndesequo consed quid quiat ullut Ibus doluptatur as moluptaque aut la inienest maxim qui unte sam, soluptam faccaestibus ma siminct to et odit volore nos porrum que ecepedit anducipicias es dolor sam nullia esti dis veles esequatet es consecto beatectur, vollend elestiis evenest estemporit acipis simaximus doluptum im quissit od et, ut latiunt estium imi, venis am vendae doluptio mo ereius nonseque ipient laborest maximpos autatur aborupt am, nes simaion nos illaudi omnimil ionesedis sequisquat. intotas mo dolorep ratur? Apitat.

It parum nis endi ut laborehenis et Itate nissi doles nim la entis id exernatquis ea nempore si doluptu Com a irrupção das redes sociais, remporiostia cones doluptas as imagens de arquitectura mincium quod utationse voluptu propagaram-se de uma forma resectati dignatia eum ut hitate ide instantânea e transversal pelo doluptiuria sim eic tenis dolorat. mundo, a ponto de às vezes Aribusa nullorecum nisquam acabarmos por misturar de forma doluptio. Henduci aeptasped imprudente, diferentes arquitecturas molorrovitae voluptiis est alia e geografias que nada têm a ver ipsamus ut eati optatur? Nam, umas com as outras. quosapist, sedit ipsandist, ut officium nonsedigenis voluptam hil imenis No entanto, entre toda esta ipsa quatur reria alitatemos ea superabundância de imagens videssi restiis si ipicil inume videlit icónicas em que parece assentar volorec aeptius, occae volorrum a produção da arquitectura essunt. contemporânea, as imagens aqui Hit verati odi quaeped undem as apresentadas da obra de Johansen moluptam quae expelendit lamet Skovsted Arkitekter reflectem e eos sum venihit id modis ut ipsa ilustram tempos de construção velent. lentos, alheios à velocidade

do instantâneo Instagramável, com imagens construídas “em lume brando” capazes de se impregnarem tanto de toda a tradição construtiva local como da paisagem a que pertencem, natural ou urbana. Entre toda esta actual confusão de géneros e influências mútuas, a arquitectura de Johansen Skovsted Arkitekter representa uma resposta inteligente aos desafios da acção, que estabelece uma relação consistente com a contemporaneidade, sem renunciar ao que por muito tempo foi conhecido como “genius loci”, o espirito do lugar.

Moisés Puente é arquitecto, curador, tradutor e editor de livros de arquitectura. Director da revista internacional de arquitectura 2G e da colecção de ensaios 2Gessays (Verlag de Buchhandlung Walther un Franz König, Colônia). Em 2016 fundou a sua própria editora independente, Puente editores, dedicada a textos sobre arte contemporânea e arquitectura.

Os seus textos e ensaios foram reunidos no livro Cháchara y otras historias de arquitectura (2020).

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2014 - 2016

NØRREHUS

Nørrebro, Copenhagen, Denmark

The project for Ejerforeningen Nørrehus transformed the residents’ common courtyard from being a purely utilitarian space to being oriented towards leisure and community. The first stage dealt with all the surfaces, new planting and playground.

The Second phase dealt with a new house for the common facilities including, room for prams, the house keeper, and waste and recycling.

The transformation is financed by the surplus on the housing association’s maintenance budget and has only been feasible by keeping the previously paved areas. Therefore, the original contours of the courtyard still stand, but with a new outline, which gives an interesting tension between new and old, straight lines and curved. The polluted urban ground, which is expensive to dispose of, has been used to create the hilly landscape covered with new topsoil, and traversed by two diagonal paths in oversized standard concrete slabs connecting the courtyards different functions.

An existing glass covered steel structure is enclosed by a new wooden structure turned inside out, exposing the structural members, to make the pavilion reminiscent of a garden pavilion rather than a garbage shed. The rhythmic structure coheres the building yet breaks it down into smaller segments, not to appear too big.

The workshop roof opens towards the sky through a standard circular skylight, exposing a beam for suspending machines for reparation. Alterations to the structure add variation to the volume. A recess creates a cover in front of the room for prams. Insulated parts are covered in external boards, with an espalier repeating

the rhythm of the diagonal braces. The side facing the courtyard is clad in mirrors with espaliers, expanding the experience of the green landscape.

O projecto do Ejerforeningen Nørrehus consistiu na transformação de um pátio comum de um espaço puramente utilitário, num espaço direcionado para o lazer e comunidade.

confere coerência ao edifício, e divide-o em segmentos menores para evitar parecer demasiado grande. O tecto da oficina abre-se para o céu através de uma clarabóia circular que acolhe a viga de suspensão das máquinas de apoio ao jardim, quando necessitam de reparação.

Alterações na estrutura permitiram diferentes variações do volume. Um recuo na fachada deu lugar a um espaço coberto para carrinhos de bebé. As áreas isoladas foram A primeira fase do projecto abordou o tratamento de todas as superfícies, o novo revestidas com painéis de madeira, e uma armação que repete o ritmo dos barrotes plantio e o espaço de recreio. A segunda diagonais. A face voltada para o pátio é fase, a construção de um novo espaço para instalações comuns, incluindo espaço revestida com espelhos que ampliam a para arrumação de carrinhos de bebê, lixo presença da paisagem verde, natural. e reciclagem.

A transformação foi financiada pela associação dos moradores de acordo com o orçamento de manutenção previsto, e só foi viável mantendo as áreas pavimentadas pré-existentes. Os contornos originais do pátio foram mantidos, ainda que um novo contorno tenha sido construído conferindo uma tensão significativa entre o novo e o antigo, linhas rectas e curvas.

Por uma questão financeira de escassez de orçamento, o solo urbano pré-existente contaminado foi coberto com um novo piso e usado para a criação de um desnível “montanhoso”, atravessado por dois caminhos diagonais em lajes de betão de grandes dimensões, que relacionam as diferentes funções dos pátios.

Uma estrutura de ferro e vidro préexistente, foi circunscrita por uma nova estrutura de madeira, que confere ao novo pavilhão uma reminiscência de uma estufa de jardim em vez de um espaço de acolhimento de lixo. A estrutura rítmica

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01. 30 x 45 mm wooden profile 02. 27 x 125 mm wooden board 03. Pest proofing 04. 18 mm plywood plate, pine 05. 27 x 100 mm wooden profile 06. 45 x 45 mm angle fillet 07. Roof felt 08. Cavity for ventilation 09. Wind barrier 10. 120 mm mineral wool, thermal insulation 11. 45 x 120 mm wooden rail / beam / post 12. Reinforced on site cast concrete plinth 13. On site cast concrete floor plate 14. 22 x 120 wooden rail 15. Attachment, bolt and not 16. Concrete tiles 17. 65 x 167 roof beam, glue laminated

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2015

SKJERN RIVER

Skjern River, West Jutland, Denmark

As a result of the restoration of the Skjern River basin in 2002, a vast and rich natural area has arisen, becoming an attractive visitor destination. A framework for the new life of the area has been provided with the rebuilding and extension of three pump stations, in the form of exhibition spaces, indoor and outdoor viewpoints to look out over the landscape, rooms for the organisation of events, and better accessibility.

The extensions and the new interior building elements are mainly simple wooden constructions and reiterate the dimensions and rhythm of the original pump stations’ concrete relief. This creates a direct link between the old structure and the new, while adding a new material and another texture that is pleasing to the touch. With this detail, the cladding and the main structure become one, reducing the complexity of the building, which is reflected in the budget as well as the final expression.

Myhrwold and Rasmussen engineered the original pump stations from 1966 to be unsentimental and raw in their materiality, and the vertical relief of the concrete façades reminds us of the surrounding ploughed furrows of the fields, and profiles of the soil that control the run of the river.

By building on this motif the anchoring of the buildings into the surroundings and the history of the site is strengthened.

A requalificação da bacia do rio Skjern, em 2002, proporcionou o crescimento de um grande e significativo novo espaço natural, que rapidamente se tornou num destino turístico atraente. O enquadramento do novo espaço e da sua nova vivência,

foi assinalado com a reconstrução e ampliação de três estações de recolha e elevação de águas, que dão lugar a espaços expositivos, miradouros interiores e exteriores para observação da paisagem e salas para realização de eventos, e naturalmente de melhor acessibilidade.

As ampliações e os novos elementos são sobretudo construções simples de madeira que reforçam as dimensões e o ritmo do betão das estações originais, o que proporciona simultaneamente uma relação directa entre o preexistente e o novo, ao adicionar um novo material e outra textura agradável sensorialmente ao toque.

Com este detalhe, o revestimento e a estrutura principal fundem-se reduzindo a complexidade do edifício, o que se reflecte também no orçamento e expressão final.

Myhrwold e Rasmussen construíram as estações de recolha e elevação de águas originais em 1966, com um carácter bruto e cru na sua materialidade, remetendo-nos o relevo vertical das fachadas de betão para os sulcos arados característicos e presentes na circunstancia envolvente dos campos e através dos quais se controla o curso do rio. Ao construir sobre estas premissas, a ancoragem dos edifícios ao seu contexto e história local é reforçada.

JOHANSEN SKOVSTED

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PUMP STATION NORTH SOUTH ELEVATION

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01. 20 x 80 mm planed spruce board 02. Angle fillet 03. Roof felt 04. 21 mm plywood, spruce 05. 40 x 40 mm wooden profile 06. 45 x 410 mm ridge beam, glue laminated.

07. Spacer block, steal ring.

08. 45 x 120 mm spruce rail.

09. 10 mm translucent glassfiber board 10. Attachment, bolt and nut, spacer block, steal tube.

11. 40 x 40 mm agle bar, galvanized steal 12. 25 mm asphalt on roof felt 13. Existing concrete roof slab 14. Alu profile 15. 15 mm plywood, spruce

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PUMP STATION EAST SOUTH ELEVATION

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2017

TIPPERNE

Ringkøbing Fjord, Denmark

Introduction The bird sanctuary at the tip of the peninsula in the southern part of Ringkøbing Fjord is, with its unique nature, an important stopping point for migratory birds and home to Europe’s oldest continuous bird counts. Previously, public access to the area has been very limited, but through establishing new facilities the area has now been opened to visitors. These facilities consist of simple instrument-like additions in the landscape: a bird hide, watch tower, workshop, walking routes and a conversion of the Tipper House research station. The new structures are imagined as free-standing objects in the landscape, each with distinctive characteristics and subtle mutual relationships to one another and their surroundings.

Research Station The existing Tipper House has been transformed into a visitor center and a research station. The building now hosts exhibitions, a multipurpose room, dining room and kitchen on the ground floor, a library with work space on the first floor and alcove sleeping areas in the gables. In order to retain the quality and character of the existing building, the renovation was realized through a number of subtle interventions. A new external ramp is the only visible alteration from the exterior, internally new beams and columns replace and reinforce the loadbearing walls, a specially designed table and benches feature in communal areas, red pipes, radiators and wind gauges draw attention to the research function of the building. Built-in furniture made from OSB among other things, forms a new archive for bird counts which has a textural quality reminiscent of the plants in the landscape and thatch of the roof.

Tower The bird watching tower was developed through the synthesis of the open, flat wetland geography and dense moisture in the air, and the techniques of a local factory specialising in the production of masts in solid cylindrical iron bars. The platform provides an elevated framing of the landscape, a space which can be either closed to offer a secluded position for bird counters, or opened-up to the view.

The structural system is designed as a jettying frame expanding in width as it rises, allowing a small footprint to incrementally widen to support a larger platform above.

Horizontal elements of galvanised iron plates have been bolted and welded together, whilst vertical and diagonal galvanised cylindrical iron bars span between the plates.

50 mm and 65 mm diameter columns and diagonals take compression forces, whilst 22 mm diameter cylindrical iron bars, which form both the balustrade and handrails, transfer tensile forces. All individual elements, including handrails, stairs, landings and balustrades, form a part of the tower’s overall structural system.

Workshop The workshop building refers to a small local settlement of improvised hunting huts.

It is built as a simple timber frame structure stiffened and sealed by 3 mm aluminum plates on the inside of the structure.

The exterior is painted in contrast to the untreated aluminum revealed internally. Light penetrates the structure through translucent fiberglass boards.

Bird Hide The bird hide is a triangular steel structure which acts as a stopping point along a walking trail. Visitors can enter a raised hidden platform, from which wildlife can be seen up-close through a narrow slot opening. The structure is assembled using

6 mm plates of corten steel, with edge reinforcements which simultaneously function as assembly profiles and gutters whilst connecting the structure into the terrain.

Introdução O santuário de pássaros situado no estremo da península sul do fiorde de Ringkøbing é, pela sua natureza única, um importante ponto de paragem de aves migratórias e a residência das mais antigas contagens contínuas de aves da Europa. De acesso público muito restrito, as novas instalações permitiram a sua abertura ao publico.

Estas instalações consistem em elementos de caracter simples e fácil integração na paisagem: um esconderijo de pássaros, uma torre de observação, um espaço para trabalho e manutenção, percursos pedestres e a reconversão da estação de pesquisa Tipper House. Os novos elementos são pensados como objectos independentes na paisagem, cada um com características distintas e relações mútuas e delicadas entre si e a sua circunstância.

Estação de pesquisa A preexistente Tipper House, foi requalificada e transformada num centro de visitas e numa estação de pesquisa, passando a acolher uma sala polivalente de exposições, uma sala de jantar e cozinha no rés-do-chão, uma biblioteca com espaço de trabalho no primeiro andar e alcovas com zonas de dormir nas extremidades. As intervenções no edifício foram realizadas de forma delicada garantindo o carácter pré-existente. A única alteração visível no exterior é uma nova rampa exterior. No espaço interior foram construídas vigas e pilares para reforço das paredes e desenhado o mobiliário das áreas comuns: uma mesa e bancos. A presença de tubos vermelhos, radiadores e medidores de vento, reflectem e reforçam a função de pesquiza do edifício. A textura dos móveis de

arquivo construídos em OSB, assemelha-se visualmente ao colmo de revestimento da cobertura e à paisagem natural envolvente Torre A torre de observação foi desenvolvida através da síntese entre a geografia aberta e plana do território, a densa humidade atmosférica, e as técnicas de uma fábrica local especializada na produção de mastros em barras maciças de ferro cilíndrico.

A plataforma permite uma apropriação e um enquadramento geral da paisagem, um espaço que pode ser fechado para garantir uma posição protegida aos contadores de pássaros, ou aberto para a sua observação.

O sistema estrutural é pensado como uma estrutura de cais que se expande em largura, à medida que sobe, permitindo que uma pequena área de implantação se amplie gradualmente e gere uma plataforma de área superior. Elementos horizontais em chapa

de ferro galvanizado foram aparafusados e soldados entre si, e barras de ferro cilíndricas galvanizadas verticais e diagonais constituem o suporte das chapas de revestimento.

Tubulares cilíndricos e diagonais de 50 mm e 65 mm de diâmetro recebem as forças de compressão, e as barras de ferro cilíndricas de 22 mm de diâmetro, que formam a balaustrada e os corrimões, transferem as forças de tracção. Todos os elementos individuais, incluindo corrimãos, escadas, patamares e balaustradas, fazem parte do sistema estrutural da torre.

Oficina O espaço da oficina é uma pequena cabana de caça improvisada. É construído com uma estrutura simples de madeira reforçada, revestida a chapas de alumínio de 3 mm. A superfície exterior é pintada em contraste com a interior deixada em bruto. A entrada de luz na estrutura é assegurada através do uso de

placas de fibra de vidro translúcidas.

Esconderijo de Pássaros O esconderijo de pássaros é uma estrutura triangular em ferro, que funciona como um ponto de paragem e observação. Os visitantes podem subir para uma plataforma escondida, a partir da qual a vida selvagem pode ser observada através de uma abertura estreita. A estrutura é montada com chapas de aço corten de 6 mm, e uma cantoneira de reforço no encontro dos seus limites, que desempenha simultaneamente uma funçao de perfil de montagem e calha de suporte e ligação da estrutura ao terreno.

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01. Sliding track and ball bearing weels 02. Frame, galvanised steel 03. Handrail, galvanised steel, 5 mm 04. Sliding track and guide 05. Nylon profiles 06. Galvanised hollow steel profile Ø 50 mm 07. Galvanised hollow steel profile Ø 25 mm 08. Handle, galvanised solid iron bar Ø 22 mm 09. 3 mm plate, stainless stell / glassfiber 10. Frame, galvanised steel

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DETAIL A

01. Step for children, 10 mm corten steel 02. Step, 10 mm corten steel 03. Floor plate, 10 mm corten steel 04. Bended corten steel plate, 6 mm corten steel

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2018

BAKKEDRAGET Denmark

The cottage is located within a protected landscape alongside historic vacation homes, carefully placed in slopes of overgrown moraine and sand dunes that rise from the surrounding flatlands.

The reconstruction’s ambition is to recreate the quality and atmosphere of being in the old cottage before it was left unused and timber infestation made a rebuilding unavoidable.

Built in 1905 as two detached log houses later merged by the addition of a kitchen, the cottage was gradually transformed, including architect Ivar Bentsen’s addition of a stove and chimney, and introduction of a new shed.

The structure is rebuilt as a lightweight timber frame construction, allowing the exterior to maintain the protected expression of the old cottage. The new interior interprets the memories and accumulated features for contemporary conditions, informed by the modern structure, and expressed through partly painted wooden surfaces, peculiar alcoves and niches.

Exterior walls are internally clad in wide horizontal boards referring to formerly exposed logs. The walls separating rooms are clad in thinner vertical boards. Pressure resistant roof insulation enable the rafters to remain exposed under the roof. The original disposition of rooms is slightly altered; walls separating shared spaces are removed, though the separation they created can still be traced through material changes. A tiled grid is laid out in the hallway, kitchen and bathroom, shifting in colour between the spaces. Wooden walls are left untreated or painted in colours drawn from the former

interior. Niches and alcoves are recreated by leaving wooden surfaces unpainted.

These strategies allow rooms and the overall disposition to be continuous yet self-contained, introducing a density of personal unconventional spaces.

The original cottages’ complexity is reinterpreted as a clearly defined patchwork of shifting materials and colours, visible from one room to the next, creating a contemporary space pragmatically reinterpreting the past.

As paredes exteriores são revestidas internamente com largas réguas horizontais de madeira que se assemelham as preexistentes. As paredes divisórias interiores são revestidas com tábuas verticais mais finas. O isolamento do telhado, resistente à pressão, permite que as vigas permaneçam expostas sob o telhado. A disposição original dos quartos é ligeiramente alterada; as paredes que separam os espaços de uso comum são removidas, embora a separação que estabeleciam possa ainda ser sentida por alterações materiais. O chão é revestido O terreno de implantação do projecto com azulejos de diferentes cores entre os está inserido numa zona de paisagem espaços de corredor, cozinha e quarto protegida, junto a uma área histórica de banho. As paredes de madeira são de casas de permanência temporária, deixadas sem tratamento ou pintadas cuidadosamente inseridas nas encostas com cores presentes no antigo espaço de dunas das planícies envolventes. O interior. Nichos e alcovas são recriados objectivo da reconstrução, é recriar a deixando as superfícies de madeira sem qualidade e a atmosfera de comum das pintura. Essas estratégias permitem que antigas casas de campo, antes do seu desuso e da deterioração da madeira que os quartos e os espaços sejam contínuos, mas autocontidos, introduzindo uma torna a sua reconstrução inevitável. densidade de espaços pessoais não convencionais. A complexidade das Construídas em 1905 como duas casas de isoladas, posteriormente fundidas pelo casas originais é reinterpretada como uma clara colcha de retalhos definida pela acréscimo de uma cozinha, a casa foi alteração visível de materiais e cores de gradualmente transformada, incluindo a intervenção do arquitecto Ivar Bentsen com um espaço para o outro, e dá lugar a um a introdução de um forno e chaminé, e um espaço contemporâneo que reinterpreta pragmaticamente as origens do passado. novo galpão.

A estrutura é reconstruída como uma estrutura leve de madeira, permitindo que o exterior preserve o carácter protegido da antiga casa de campo. O novo interior interpreta as memórias acumuladas e responde as necessidades actuais de forma visível e expressa, através da estrutura e das superfícies de madeira parcialmente pintadas, e da presença de alcovas e nichos peculiares.

PROJECT IN COLLABORATION WITH LASC STUDIO

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01. 120/360 Mm lam. Pine ridge plate 02. Roof construction: Bituminous sealing layer on 20 mm pine boarding 32/50 mm pine battens 22 mm ‡ 200 mm wood-fibre insulation; Vapour-retarding layer 20/110 mm pine boarding planed smooth 100/100 mm lam. Timber rafters 03. Steel angle for fixing rafters to 4 04. 2x 145/45 mm laminated pine rail 05. Double-sash window in spruce frame: Single-glazed outer sash Double-glazed inner sash 06. Wall construction: 38/38 mm spruce cover strips planed smooth 21/180 mm spruce tongued-and-grooved boarding; 37/45 mm pine battens; 32/56 mm pine counter-battens: 22 mm soft board 45/145 mm pine posts with wood-fibre sheet insulation between vapourRetarding layer 15/45 mm battens 25/180 mm pine boarding planed smooth 07. 25/140 mm spruce boarding planed Smooth at 25° angle sheet-aluminium covering 08. 15 Mm plinth rendering 230/600/200mm lightweight concrete-block walling Bituminous sealing layer 35 Mm mineral-wool thermal insulation 09. Floor construction: 20/137 mm wood boarding, bleached and oiled heat-distribution Slab underfloor heating 45/75 mm squared timbers with mineral-wool thermal insulation between 100 mm reinf.

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NORRØN

NORRØN specializes in destination development focusing on creating authentic and qualitative architecture aimed at tourism and experience economy, both as a strategic tool and within the individual architectural work.

but this powerful economic engine is often accompanied by a wellfounded fear that its implementation will result in the alienation of the local community and its self-image.

However, when anchored locally, tourism has the potential to be used to achieve positive development in Destination development initially an area otherwise under pressure. addresses what is special in any For us, it is about another way of given location; subsequently what is thinking in order to help reinvent a connecting the individual locations location in its own image through across a distinct geographical curiosity, innovative interpretation entity. Every destination has a of the Nordic aesthetic, and a style unique collection of local stories of civic engagement. – An ability to and potentials. It is the ability to articulate compelling stories and turn identify, refine and further develop challenges into new opportunities. these positions of strength that makes it possible to create strong NORRØN centra a sua prática na destinations with an international produção de uma arquitectura perspective. Consequently, autêntica e qualitativa, direccionada destination development is at once a para o turismo e para a geração local, regional and national concern. de valores económicos, enquanto ferramentas estratégicas.

We aim to contribute to the Todos os projectos têm como development of our society, especially in light of the changes ponto de partida o lugar e a relação that are taking place throughout the que estabelece com o território world. Changes which means whole geográfico no qual se insere. regions are being depopulated, Cada lugar tem um conjunto único whilst other are experiencing massive de histórias, e é na capacidade relocation - consequently facing the de identificar, sintetizar e potenciar task of reinventing themselves to essas mesmas características survive. Today, tourism is the world’s geradoras de força, que reside largest and fastest growing industry, a possibilidade de uma criação

transversal, uma vez que o desenvolvimento de um lugar, é ao mesmo tempo uma preocupação local, regional e nacional.

Pretendemos contribuir para o desenvolvimento da sociedade, em resposta às necessidades das alterações mundiais e globais, actuais. Alterações que representam a despovoação total de algumas regiões, ou uma povoação massiva de outras – e que provocam a necessidade de um reinventar.

Hoje, o turismo é a indústria de maior crescimento a nível mundial.

Um poderoso motor económico vulgarmente acompanhado do medo fundamentado de que sua implementação resulte na alienação da comunidade local e da sua auto-imagem. No entanto, quando ancorado localmente de forma consistente e conciliadora, tem um papel preponderante e constitui uma ferramenta no desenvolvimento positivo de uma área sobre pressão.

Trata-se de outra forma de pensar e contribuir para o reinventar e adaptar um lugar à sua imagem, através de uma nova interpretação da beleza nórdica e envolvimento cívico.

– A capacidade de articular histórias e transformar desafios em oportunidades.

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2019

THE INSIGHT

Nødebo, Hillerød, Denmark

In the middle of Denmark’s second largest forest, Gribskov, north of Hillerød, a wooden sculptural pavilion appears in the clearing of the trees. The Insight is a new outdoor facility that challenges the framework for learning spaces in nature.

Build completely in wood and standing on big stones placed in the landscape, the design behind The Insight builds upon the principles of nature.

The forest lies on a hilly north-south trend ridge formed by marginal moraines during the last ice age. At the highest points in the middle of the forest are large areas with red spruce. The lower areas to the east and west, where the soil is richer, grow hardwoods such as beech and oak.

Between the hills are marshes and lakes.

The forest is important for different types of production as well as leisure activities and teaching at the Forest School.

The terrain in the area has been the starting point for the design of the structure.

By following the natural slope and letting the new structure emerge from this, it has become possible to create an open shelter that raises the users among the tree crowns and provides space for overview.

The starting point for the project is the hilly terrain, from which the new structure springs as a foundation for many different nature-based activities. The learning space offers a range of innovative facilities that set the framework for new ways of learning in nature. The learning space is designed as a large sloping plateau that almost floats between the treetops. The plateau works as a place for gathering, activities, and learning under the leaves of the trees.

The covered learning space is established under the plateau, where wooden slats

create transparency between the outside and the inside.

The new denser vegetation is growing close to the tree structure, and the tree structure becomes the forest’s new lighting. The lighting accommodates different learning situations and creates a closer relationship with nature, whilst eliminating the line between outside and inside. The relation between raw nature and the manmade pavilion appears on the one hand as fragile and transparent, and on the other hand as structured and unbreakable. The ethos of The Insight is to show new ways of facilitating teaching and pedagogical work. The project is part of the Forest School at Nødebo, a section under the Department of Geosciences and Nature Management at the University of Copenhagen.

Podemos dizer que The Insight, é uma escultura em madeira, inserida no centro da segunda maior floresta da Dinamarca, Gribskov, ao norte de Hillerød. Uma nova instalação ao ar livre que desafia o princípio da aprendizagem na natureza.

A construção integralmente feita em madeira sobre pedra, baseando-se nos princípios fundamentais da natureza.

A floresta situa-se numa crista montanhosa com origem na última era glacial. Nos pontos mais altos, no centro da floresta, predominam abetos vermelhos. Nas áreas mais baixas a leste e oeste, predominam carvalhos e faias que tiram partido de uma maior riqueza do solo. Entre as montanhas há pântanos e lagos. A floresta tem uma importância significativa em diferentes tipos de produção, actividades de lazer e ensino florestal.

O local de implantação, foi o ponto de partida para o desenho da estrutura.

Seguindo a inclinação natural do terreno e deixando que a nova estrutura dela emergisse, tornou-se possível criar um abrigo e permitir que os usuários pudessem disfrutar de uma vista geral sobre a floresta. O espaço permite uma nova forma de aprender com e na natureza. É pensado como um grande platô inclinado, que flutua entre as copas das árvores, e proporciona um local de encontro, actividades e aprendizagem sob as folhas das árvores. A estrutura em ripas de madeira garante a entrada de luz e transparência entre o exterior e o interior.

A nova vegetação, mais densa, cresce junto e apropria-se da estrutura, conferindo ao espaço um caracter simbólico, enquanto espaço de abrigo e de luz no centro da floresta. A íntima relação que estabelece com a natureza, proporciona situações de aprendizagem mais próximas, nas quais os limites entre o exterior e o interior se desvanecem. A relação entre a natureza no seu estado mais puro e o pavilhão construído pelo homem é por um lado delicada e transparente e, por outro lado, estruturada e indestrutível.

The Insight representa uma nova forma de ensino e facilita o trabalho pedagógico.

O projecto faz parte da Forest School em Nødebo, uma secção do Departamento de Geociências e Gestão da Natureza da Universidade de Copenhaga.

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135

2020

ÅSTRUP GARDEN Haderslev, Denmark

Åstrup Garden is a new recreational farmhouse overlooking Haderslev Inlet and was built upon the dream of the countryside. Formed around the principles and practices of biodynamic food production, freely grazing animals, and farm-to-table, Åstrup Garden evokes the region’s vernacular building tradition and with great respect and curiosity reinterprets the traditional Danish farmhouse. The remotely located building, surrounded by a scenic landscape, greets visitors through cut-out gables that rise from the ground and tower into the sky, particularly upon entry from the avenue.

Organized around a central patio that unifies the wings of the building, Åstrup Garden stands as a simple concrete structure.

Each concrete wall is fragmented with an open gate through which the surrounding rural setting reveals itself. The clustered volumes, organized as a band around the central courtyard, are constructed from raw concrete panels with brass-filled dilatation joints laid out as a thin grid in the facade. Resembling a golden relief, the brass fillings soften the otherwise raw panels and resonate with local vernacular architecture, where metal fillings and objects once were embedded in the old facades. When hit by light, a fragile shadow play appears, resulting in a strong contrast between the raw and the refined.

The functional program of the building is organized between residential spaces and culinary facilities with associated programs.

Each of the four wings is dedicated to different programs. Towards the north, the building consists of a garage and a workshop. Facing east is the guest wing where units of minimalistic decorated cells appear. The main program of the building, the culinary facilities, is distributed towards the west and consists of production and educational spaces, a kitchen, and a food distribution area. In the south, supporting the guest and production facilities, the main house hosts small living units and an orangery. In all wings, the interior is composed by a series of diverse spaces varying in height and size and throughout the entire building, where a sacred and harmonized atmosphere unfolds. Oaken details, including the upper-floor circulation, spread down from the interior roof and create a warm atmosphere, which compliments the rawness of the materials.

vernacular local, na qual era comum a presença de preenchimentos e objectos embebidos nas fachadas. Simultaneamente proporciona um jogo de sombras, que resulta num forte contraste entre o caracter bruto e o caracter delicado.

Como homenagem à tradição local de Schleswig, e aos edifícios tradicionais Haubarg da região, que serviram de inspiração ao projecto, o telhado é íngreme e desdobra-se como uma estrutura de palha que estabelece a relação com os corpos inferiores. Este tipo de telhados era comum por permitir o armazenamento de grandes quantidades de feno e, ao mesmo tempo, prolongar a vida da cobertura de palha. O corte característico do perfil do telhado proporciona simultaneamente a incorporação de painéis solares, ventilação, chaminés, clarabóias e tecnologia adicional, sem qualquer expressão.

O programa funcional do edifício organiza-se entre espaços de uso residencial e instalações Åstrup Garden é uma nova casa de campo com programas associados. com vista para Haderslev Inlet e foi construída gastronómicas Cada um dos quatro volumes do projecto é sobre um sonho. Com base nos princípios associado a diferentes programas. A norte, e práticas de produção biodinâmica de uma garagem e uma oficina e a leste os alimentos, pastagem livre de animais e do espaços de acolhimento de hóspedes. conceito farm to table, o Åstrup Garden O programa principal do edifício e as reforça a construção tradicional vernacular da instalações gastronómicas, distribuem-se a região e reinterpreta com grande respeito e poente, entre espaços de produção, formação, As an homage to the local Schleswig tradition, curiosidade, a tradicional casa de campo de e uma área de distribuição alimentar. the steep roof unfolds as a thatched structure uma quinta dinamarquesa. O edifício, inserido cozinha A sul, a casa principal acolhe pequenas that binds the concrete body beneath. numa paisagem cénica, organiza-se em torno habitações e laranjal que dá apoio aos The traditional Haubarg buildings of the region de um pátio central e apresenta-se como uma hóspedes e àsuminstalações de produção. have served as inspiration. Commonly, these estrutura simples de betão.

O interior é subdividido numa série de types of houses were equipped with steep roofs, espaços que variam em altura e allowing storage of large quantities of hay Cada parede de betão é fragmentada por uma diferentes dimensões ao longo de todo o edifício, no qual while simultaneously giving the thatching a grande abertura que revela o ambiente rural. a atmosfera comum é de carácter sagrado lifelong span, as rain would be diverted by the Os volumes organizam-se à volta do pátio e sereno.

A madeira de carvalho tem uma angle. The characteristic cutting of the roof central e são construídos a partir de painéis de forte presença na casa, uma profile also allows for solar panels, ventilation, betão aparente nos quais as juntas de dilatação atmosfera agradável e dee proporciona bem-estar, que chimneys, skylights, and modern technology to são preenchidas com latão. A presença complementa por contraposição a dureza be immersed, resulting in a clean and do latão confere um toque de delicadeza sensorial dos restantes materiais. discrete expression. e sofisticação por contraposição à dureza do betão, e remete-nos para a arquitectura

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147

2020

THE DANISH COTTAGE Roneklint (Præstø), Denmark

On the outskirts of the small town of Roneklint, on the Jungshoved peninsula, stands the first version of a new type of housing called The Danish Cottage. It is on the one hand a country house, a retreat from the stress of everyday city life, and on the other hand, a built representation of a housing movement that aims to reinvent the Danish countryside. NORRØN has breathed new life into the housing type that once served an agricultural purpose but today has become increasingly uninhabited.

Over the past decades, building after building has been abandoned across the Danish countryside, leaving much of the architectural heritage decaying. To combat the flight from rural communities into the city, a new national legislation was passed in 2013. The new law made it possible for people to live part-time in properties in the countryside that would otherwise fall into disrepair. The Danish Cottage is the embodiment of this law, acting as an architectural framework for the transformation of this building mass inspired by the regional rural heritage.

As a recreational counterpart to the urban life of a Copenhagen-based family, the first version of The Danish Cottage transforms an existing farmhouse by bridging historical layers, traditional building techniques, and contemporary design. Surrounded by an apple orchard and a strip of small lakes, the barn is the only remnant on the site. The transformation, therefore, revisits the barn and uses the ground floor as a starting point to create a rustic and authentic atmosphere. The exposed brick walls frame the flexible area of the building.

Whitewashed both on the interior and exterior of the building, the bricks draw on regional identity while the concrete-coated floor adds contrast to the interior with a raw, yet polished expression. On the exterior, the roof profile and dark green color resonate with traditional farmhouses in the area.

The ground floor has added a new roof structure that provides a framework for living spaces. The ground floor spaces are intended for use during summer when outdoor and indoor activities merge to a greater extent.

Here major events unfold, friends and family gather, while the large gates open toward the spectacular setting surrounding the house.

Designed for togetherness and modern comfort, the first floor has precise edges and carvings where wood cladding adds smoothness to the space and emphasizes the proportions of the new architectural element. Characterized by an optimized floor plan organized around a central core, the living area on the first floor is covered with oak, adding warmth to the space while contributing to the feeling of home.

Nos arredores da pequena cidade de Roneklint, na península de Jungshoved, esta presente um novo tipo de casas designadas por The Danish Cottage. Casas de campo que representam um refúgio ao stress da vida cotidiana da cidade e um movimento que pretende reinventar a vivencia de campo dinamarquesa. NORRØN devolveu um novo uso a este tipo de casas, que no passado respondiam a propósitos agrícolas, e que actualmente se encontram cada vez mais desabitadas.

Nas últimas décadas, a zona rural dinamarquesa tem sido abandonada, casa apos casa, deixando grande parte do património em degradação. Para combater a fuga das comunidades rurais para a cidade, foi aprovada uma nova legislação em 2013, que permitiu a vivencia a meio termoo em casas de campo, que de outra forma, se transformariam em ruínas. The Danish Cottage é a materialização desta lei, que enquadra a transformação desta casa, inspirada no património rural regional.

Como uma contrapartida recreativa para a vida urbana de uma família em Copenhaga,

a primeira versão de The Danish Cottage transforma uma casa de campo tradicional ao cruzar referencias históricas, técnicas de construção tradicionais e um desenho contemporâneo. Inserida num pomar de macieiras e pequenos lagos, o celeiro é a única presença remanescente do local. A transformação, revisita o celeiro e usa o piso térreo como ponto de partida para criar uma atmosfera campestre e autêntica. Paredes de tijolo aparente acolhem e definem a área de uso polivalente do edifício. Caiadas no interior e exterior do edifício traduzem uma identidade regional no piso térreo. O piso superior em betão aparente na superfície interior, proporciona uma expressão crua, mas delicada. Na superficie exterior, o perfil do telhado e a cor verde escura reforçam o caracter tradicional presente casas de campo comuns no local.

O piso térreo é pensado para responder a um uso sazonal, maioritariamente durante o Verão. As actividades exteriores e interiores fundem-se, acolhendo reuniões de família e festas, que tiram partido das grandes aberturas que permitem usufruir da paisagem circundante que envolve a casa. O primeiro piso, pensado para responder com conforto às necessidades de uso privado, é revestido a madeira de carvalho, que por sua vez confere uma sensação de bem estar, enfatiza as proporções do espaço que se desenvolve em torno de um núcleo central, e contribui para a sensação de lar.

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01. Facade cladding, SUPERWOOD 22 x 95 mm 02. Cross joist 22 x 100 mm 03. Joist 45 x 45 mm 04. Climate shield 12 mm 05. Rafter construction 45 x 325 mm 06. 15 mm plywood 07. Planed formwork boards in spruce 22 x 100 mm 08. Panel up to 900 mm, oak 09. Static construction, window, 45 x 325 mm 10. Externally framing, window, 22 x 95 mm 11. Window, umber green 12. Window casing, oak 13. 45 mm isolation around window 14. Paper wool blown into construction 15. Steel roof, moss green 16. Batting for distance, 38 x 78 mm 17. Cross joist, 38 x 78 mm 18. Ending on eaves footing, 400 x 14 mm 19. Installation for gutter 20. Bird grid 21. Gutter, zinc, 120 mm circumference 22. Eaves footing cloth 23. Facade cladding, SUPERWOOD 22 x 95 mm

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24. Cross formwork, 100 x 22 mm 25. Batting for distance, 45 x 45 mm 26. Climate screen, 12 mm 27. Frame around window, SUPERWOOD, 22 x 95 mm 28. Frame around window, SUPERWOOD, 22 x 95 mm, painted with umber green wood tar 29. Covering of facade cladding and capping, moss green 30. Covering around cladding, zinc 31. Rafter construction 325 x 45 mm 32. Eaves strap, 325 x 45 mm 33. Static construction, window, rafter, 45 x 325 mm 34. 15 mm plywood 35. Ceiling and wall cladding over panel, spruce, 22 x 100 mm 36. 45 mm insulation, around window 37. Cross batten, 45 x 45 mm 38. Floor covering and panel, oak, 15 x 137 mm 39. Window frame, oak, 15 x 137 40. Window, umber green 41. Roller blind hidden in window frame 42. Plaster 43. Covering of ceiling, spruce, 22 x 100 m 44. Existing wall

157

2020

NORRØN STUDIO Copenhagen, Denmark

Located in Copenhagen, NORRØN’s new studio space, Territory for Dreaming, uses the historical layers of a former factory to create an industrial, yet refined aesthetic. With the renovation of the new studio space, the firm saw an opportunity to experiment with both the use of materials as well as questioning conventional office typologies by creating a workspace divided into different zones rather than separate units. The building complex dates to the 1850s and was originally used as a textile factory.

organized around a long pathway running across the studio, where different work zones unfold on one side zones for desk work and digital production, and on the other, a large, open mockup space allowing analog production – a central part of the creative process driving the architectural ethos of NORRØN.

Ultimately, the aim from the beginning was to establish a workflow, allowing for interplay between digital and analog practices. Moving After having removed the existing interiors around the studio thus becomes a part of of the 350sqm space, only old iron columns the everyday practice, in contrast to having remained. As a blank canvas, the floor running enclosed spaces designated for meetings and through the entire space was covered with large model making. The relation between materiality sheets of raw steel plate. Organized around and layout has provided a unique workspace, the existing columns, the raw steel plates were allowing for a constant reflection of daylight, laid out as a pattern resembling the lines of adding one final layer of poetic atmosphere to traditional Japanese tatami floors. And rather the space. Reflecting the architectural practice than dividing the main office space by walls, of NORRØN, the new studio attempts to (re)use the spatial division was made possible by classical elements in a new, contemporary way adding raw concrete blocks. By tiling the leca to emphasize the history of a given space. blocks, the lines between them have come to underline the height of the space. Throughout, Situado em Copenhaga, o novo escritório these elements function as both spatial dividers, NORRØN, Territory for Dreaming, tira partido organizing the studio into different work zones, das referências históricas de uma antiga and add functionality by doubling as cabinets fábrica têxtil datada de 1850, para dar lugar and shelves. a um novo espaço de caracter industrial e cuidado. A renovação do espaço, constituiu To detail the space, a dark shiny green color uma oportunidade para experimentar o uso was chosen to add a certain depth to the de novos materiais e questionar as tipologias architecture of the space, as can be seen both convencionais de escritório, gerando um at the entrance and in the furniture of the office. espaço de trabalho dividido em diferentes Additionally, the use of more refined metal zonas, em vez de diferentes unidades. surfaces such as brushed steel and platinum elements in the kitchen area also help to create Depois de removidos os interiores existentes discrete details. Furthermore, the variety of no espaço de 350m2, permaneceram apenas different textiles made from recycled polyester, as antigas colunas de ferro pré-existentes. appears throughout the office and refers to the O pavimento de todo o espaço foi revestido history of the space, and was applied as an com grandes chapas de ferro em bruto, element to soften the industrial language. organizadas em torno das colunas existentes, dispostas com um padrão que recorda os The layout of the office can be characterized tradicionais pisos de tatami japoneses. as an open space, with only a few doors. The A divisão espacial foi conseguida através da spatial elements and iron columns have been construção de paredes em blocos de betão,

que reforçam a altura do espaço, organizam o estúdio em diferentes zonas de trabalho e simultaneamente se desdobram em armários e prateleiras de arrumação.

A cor verde escuro, com acabamento brilhante, foi escolhida para a porta de entrada e mobiliário do escritório, com o fim de enfatizar a profundidade do espaço. Pontualmente, superfícies metálicas mais delicadas, como ferro escovado e platina na zona da cozinha, contribuem para a criação de detalhes pontuais e discretos que se estendem ate a presença de diferentes tecidos em poliéster reciclado, em todo o escritório, que remetem à história do espaço, e amenizam a linguagem e presença industrial do espaço.

O escritório é um espaço predominantemente aberto e amplo, com apenas algumas portas.

As paredes em blocas de betão reforçam o corredor, ao longo das colunas de ferro préexistentes, que atravessa o estúdio e separa os diferentes espaços que se desdobram de um lado, em zonas para trabalho de mesa e produção digital e, do outro, num grande espaço aberto para exposição de maquetas e produção analógica –parte central do processo criativo que conduz ao espirito do escritório.

Em última análise, o objectivo foi estabelecer um fluxo de trabalho que permitisse a relação entre práticas digitais e analógicas. Percorrer o estúdio torna-se parte da prática cotidiana.

Um grande espaço aberto em contraste com os espaços fechados que acolhem reuniões e espaço de construção de maquetas.

A relação entre a materialidade e o layout proporciona um espaço de trabalho de caracter singular, que permite uma presença permanente da luz do dia, que confere uma atmosfera poética ao espaço. Reflectindo o caracter da prática de NORRØN, o novo estúdio tenta (re)utilizar elementos clássicos de forma contemporânea para enfatizar a história de um determinado espaço.

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ATELJÉ Ö

JOHANSEN SKOVSTED

NORRØN

VILLA BUTTER project: 2019 - 2021 location: Gotland, Sweden team, head of artistic design: Joel Winsnes and Mats Wahlström Walter building permit: Skälsö Arkitekter construction drawings and execution: Ateljé Ö area: 395 sqm images: © Erik Lefvander

NØRREHUS project: 2014 - 2016 location: Nørrebro, Copenhagen, Denmark client: Ejerforeningen Nørrehus first phase in collaboration: architect Sidse Hald engineer: Okholm ApS contractors: Sven Bech A/S and Kjell Pedersen A/S images: page xxx © Johansen Skovsted page xxx © Rasmus Norlander

HESNÆS HARBOUR project: 2014 location: Hesnæs Havn client: Østdansk Turisme co-lab: Technical Scool EUC, Værkstedet Åvænget and Wienerberger images: © Jens Markus Lindhe

BUNKER 319 project: 2019 - 2021 location: Gotland, Sweden team, head of artistic design: Joel Winsnes and Mats Wahlström Walter building permit: Skälsö Arkitekter construction drawings and execution: Ateljé Ö, Joel Winsnes, Mats Wahlström Walter, Emelie Ahlqvist and Emanuel Ferm area: 210 sqm images: © Martin Brusewitz and © Ateljé Ö

SKJERN RIVER project: 2015 location: Skjern River, West Jutland, Denmark client: Ringkøbing-Skjern Kommune financially supported: Realdania - Stedet Tæller and LAG-Ringkøbing-Skjern in collaboration: Bertelsen & Scheving Arkitekter engineer: Ingeniørgruppen Vestjylland ApS contractor: Hansen & Larsen A/S images: © Rasmus Norlander

ATELJÉ DJUPVIKE project: 2020 - 2021 location: Gotland, Sweden team, head of artistic design: Joel Winsnes and Mats Wahlström Walter building permit: Skälsö Arkitekter construction drawings and execution: Ateljé Ö, Joel Winsnes, Mats Wahlström Walter and Emelie Ahlqvist area: 380 sqm images: © Martin Brusewitz and © Ateljé Ö

TIPPERNE project: 2017 location: Ringkøbing Fjord, Denmark client: The Danish Nature Agency site analysis and programme with: Christoffer Thorborg in collaboration with: Bertelsen & Scheving Arkitekter financially supported: Realdania - Stedet Tæller engineer: Ingeniørgruppen Vestjylland ApS engineer tower: NordBase Engineering ApS contractor: Bendt K Jensen A/S contractor tower and hide: Carl C A/S images: © Rasmus Norlander

SAVANNEN 8 project: 2021 - 2022 location: Gotland, Sweden team, head of artistic design: Joel Winsnes and Mats Wahlström Walter building permit, construction drawings and execution: Ateljé Ö, Joel Winsnes, Mats Wahlström Walter, Emelie Ahlqvist and Sara Patriksson area: 79 sqm images: © Andy Liffner and © Ateljé Ö Ö17 project: 2021 - underconstruction location: Gotland, Sweden team, head of artistic design: Joel Winsnes and Mats Wahlström Walter building permit, construction drawings: Ateljé Ö, Joel Winsnes, Mats Wahlström Walter, Emelie Ahlqvist, Sara Patriksson and John Ridderstolpe area: +600 sqm images: © Visualisations by Ateljé Ö STUDIO SMUTS project: 2022 - underconstruction location: Gotland, Sweden team, head of artistic design: Joel Winsnes and Mats Wahlström Walter building permit, construction drawings: Ateljé Ö, Joel Winsnes, Mats Wahlström Walter, Sara Patriksson and John Ridderstolpe area: 120 sqm images: © Visualisations by Ateljé Ö

BAKKEDRAGE­T in collaboration with lasc studio project: 2018 location: Denmark engineer: Ingeniørgruppen Vestjylland images: © Laura Stamer

THE INSIGHT project: 2019 location: Nødebo, Hillerød, Denmark architect: NORRØN Architects / Marco Berenthz and Poul Høilund client: University of Copenhagen, Department of Geosciences and Natural Resource Management area: 300 sqm images: © NORRØN ÅSTRUP GARDEN project: 2020 location: Haderslev, Denmark architect: NORRØN Architects / Marco Berenthz and Poul Høilund typology: Housing with food production facilities client: Private area: 600 sqm images: © Torben Eskerod THE DANISH COTTAGE project: 2020 location: Roneklint (Præstø), Denmark client: Private engineer: Regnestuen contractor: KØ Entreprise area: 258 sqm images: © Hampus Berndtson NORRØN STUDIO project: 2020 location: Copenhagen, Denmark architect: NORRØN Architects / Marco Berenthz and Poul Høilund typology: Office client: NORRØN Architects area: 350 sqm images: © Simon Baungaard SYNOPAL, COLD HAWAII INLAND project: 2019 - 2022 location: Thisted, Danmark client: Thisted Kommune contract holder /advisor: Spektrum Arkitekter ApS subadvisor: NORRØN A/S architects: Spektrum Arkitekter: Sofie Willems, Joan Raun Nielsen, Jason Nunn, Marthe Myrvoll norrøn: Marco Berenthz, Poul Høilund, Anna Maria Indrio, Jacob Bredahl, Ann Christiansen engineer: A&I Rådgivende Ingeniører, A1 Consult (planning and execution) ISC Ingeniører (during competition) 1º prize competition: 2017 nominated to Mies van der Rohe-prisen, 2021 images: © NORRØN and © Torben Eskerod

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ATELJÉ Ö

JOHANSEN KOVSTED

Ateljé Ö was founded by Mats Wahlström Walter and Joel Winsnes in 2018, but with shared experience both as professionals and educational colleagues reaching back to year 2007.

Johansen Skovsted Arkitekter is an Poul Høilund and Marco Berenthz are architectural office based in Copenhagen, co-founders and partners at the founded by Søren Johansen (b.1981) and architectural office NORRØN. Sebastian Skovsted (b.1982) in 2014.

Poul and Marco have studied architecture The office has been rewarded by several at the Royal Danish Academy of Arts in prizes, such as Dreyer Foundation’s Copenhagen. They both had exchange Honorary Award 2022, The Utzon studies; Poul in Japan and New York, Statuette 2021, Nykredit Foundations’s whilst Marco studied in Seattle. In 2014 Motivation Prize 2021, the Häuser Award - Poul and Marco founded NORRØN Interior Prize 2020, the AD Design Award with a dream of developing sensitive 2018, the Three-Year Working Grant of destinations and architecture that honors the Danish Arts Foundation 2017, The and pay tribute to the specific qualities of Danish Crown Prince Couple’s Stardust the place, landscape, and nature.

Award 2016 and the Bisballe Prize 2015, Today the studio’s work and identity stand named Highly Commended Practice on the shoulders of Marco and Poul’s in the Architectural Review Emerging method of creating genuine and caring Architecture Award 2018 and shortlisted architecture and destinations. for the EU Mies Award 2017.

With a focus on storytelling and character, Poul and Marco create Both Søren Johansen and Sebastian architecture that resonates and adapts Skovsted have studied architecture at to the surrounding environment.

Royal Danish Academy - Architecture.

Sebastian Skovsted has furthermore Marco and Poul are both members of conducted parts of his studies at TU ICOMOS, a part of UNESCO, where they Delft. In 2019 they run a studio at the are engaged as experts in destination Porto Academy. They have lectured development. With a deep professional at institutions such as ETH Zurich, and delicate approach, Marco and Poul EPFL Lucerne, The Barbican, London work for the conservation and protection Metropolitan University, Porto School of cultural heritage places. Along with of Architecture, the Oslo School of their work at NORRØN Marco and Poul Architecture and Design, the University contribute to improving the preservation of New South Wales and the Sydney of heritage, the standards, and the Opera House. They are both members techniques for each type of cultural of The Royal Danish Academy of Fine heritage property.

Arts, the Society of Artists. In 2020 Trema Förlag published Rotunda III – Johansen Skovsted Arkitekter and in 2022 Strandberg published Tipperne, Johansen Skovsted – Ny Dansk Arkitektur vol. 10.

The atelier was recently awarded with the “Young Swedish Architecture Award” by the Swedish Counsil of Architecture for being the best emerging and most promising firm in Sweden.

Mats, born in 1981, is educated at LTH, Lund, Sweden and KADK, Copenhagen, Denmark.

Joel, born in 1982, is also educated at LTH, Lund, Sweden and KADK, Copenhagen, Denmark. Both graduated their Master in year 2012.

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