Portfolio, 2021

The Royal Danish Schools of Archit

Throughout this portfolio, I will show

a

vary

of

different

works,

f rom completed and ongoing projects, to sketches, analyzes, art installations and furniture.

Being a BA graduate at the Royal Danish

Academy,

chitecture

but

Schools

also

a

of

Ar-

joiner,

my

methods and focus varies. In order for

me

to

understand

and

chal-

lenge the whole scale spectre in my work and the respective place.

Here my knowledge of and work with materials is a natural and essential part, in exploring and creating sensitive and atmospheric architecture, in every possible scale.

Regardless the scale, I always consider the local surroundings and context as a vulnerable and partly awe-inspiring landscape, that deserves the needed respect, in order to preserve it’s character and determine the existing qualities.

Personal information Andreas Bonde Pilgaard B.arch.MAA / Joiner Born 25.08.1993 Silkeborg, Denmark Based in Copenhagen / Aarhus. anpi1816@edu.kglakademi.dk

0 0 4 5 2 7 2475 8 9

Education

The Royal Danish Academy of f ine arts, school of arhictecture.

2018 - 2021

Bachelorprogram: Architecture’s Anatomy and Fabrication, Institute of architecture and technology.

Supervisors 2018

Sebastian Skovsted, Sophie Sahlqvist, Kalle Jørgensen

2019

N i n i L e i m a n d , Stine Sundahl

2020

Karsten Gori

Field work 2018

Stege, Møn

2019

Porto, Portugal

2020

Nordvest, København

H e r n i n g s h o l m Te c h n i c a l Co l l e g e Studying joinery and working as an apprentice.

2014 - 2016

TH. Langs HF & VUC - High school Student, music & math

2010 - 2012

Achievements

Prizes and nominations 2021

Nominated for Bachelor of the year prize, by the Danish Association of Architects.

2018

Wo n t h e Cu l t u re Pr i z e o f t h e yea r , B y A a r h u s m u n i c i p a l i t y, w i t h I n s t i t u te Fo r ( X ) .

2018

Wo n t h e Cu l t u re H o u s e Awa rd , T h e G o l d e n S h ove l w i t h I n s t i t u te Fo r ( X )

2

Work experience Christian Kerez

2021

Architect intern.

Cocurating and building models, for Kerez’ participation at “In Muharraq”, the Bahrain Pavilion at the 17th International Archite c t u re Ex h i b i t i o n - L a B i e n n a l e d i Ve n e z i a . Po r t r a y i n g , s t u d y i n g a n d specifying his work with the multi-storey car parks project, Bahrain Parking for the Pearl Path in Muharraq, Kingdom of Bahrain.

Meyer-Grohbruegge

2021

Architect intern.

Wo r ke d o n t h e p l a n s a n d i n te r i o r p ro p o s a l s f o r t h e t r a n s f o r m a t i o n o f Leipzig Spinnerei. Assisted the team for the competition at Muellers t r a ß e 1 6 8 , We d d i n g . U p d a t i n g t h e s t u d i o s p o r t f o l i o.

Bureau Detours Joiner, carpenter, designer.

A cooperative architecture, crafts, design and art organisation, fo-

2015

now

cussing on 1:1 rethinking and the creating of social, urban and public spaces.

Build a 40 square meters studio for woodwork and soundproduction, which i still curate and manage at Institut for (x).

Carlsberg Byen Project Manager, Carpenter.

Optimization and maintenance of the old halls in Carlsberg, including

2018

the old machine central and the main boilerhall.

Curation of artists in residency, workshops, events etc .

ARoS - Aarhus art museum Exhibition technician, carpenter Wo r ke d o n t h e t r i e n n a l - T h e G a rd e n a n d t h ro u g h o u t t h e w h o l e ex h i -

2017

bition.

Main focus were on the ad-hoc build up, of the piece Not Red But Green II, in cooperation with Per Kristian Nygård.

Den Jyske Opera Prop Maker Making the props for Den Jyske Operas 70 years gallashow and turné.

2016

MOMU - Moesgaard Museum Joiner Wo r ke d o n t h e b u i l d u p o f t h e s to n e a g e ex h i b i t i o n a t M O M U .

2016

Skills

Software Rhinoceros / AutoCad / V-Ray / Photoshop / Illustrator / Indesign / Inventor / Enscape

Crafts Joinery / Carpentry / Drawing / General craftsmanship knowledge

Language Danish-fluent / Norwegian-fluent / English-fluent / Swedish-intermediate / German - beginner

3

A house for rest and recovery Bachelor

Based on an investigative f ieldwork in the au-

space for hotel guests and a common activity

tumn 2020 in Copenhagens Northwest district,

hall with a balcony for workshops, rehabilita-

we were entering Martin Nyrups pavilion hos-

t i o n , e v e n t s e tc . Yo u w i l l e x p e r i e n c e a c h a n g e

pital and its clear axial development plan f rom

of

1913. Symmetrically buildings and gardens form

opens and invites its guest in, to be among

the f ramework of a hospital that today is pro-

its visible construction structures and relata-

tected,

ble, tactile warm materials. The house is built

but

also

under

massive

development

with new and modern facilities.

scale

in

the

double

height

rooms,

which

i n a l i g h t C LT c o n s t r u c t i o n , w i t h a n o u t e r t i l e cladding and lifted on a plinth of bricks that

The projects core values are based on initial

moves in the multileveled terrain and becomes

conversations hospital

as

about

an

how

we

institution

and

experience

the

the wall that guides you. Exactly as we experi-

curiously

how

e n c e wa l k i n g a ro u n d i n N y r u p s f a c i l i t y. Wa l l s

we challenged ourselves in our own prejudices,

which

habits, and experiences in the encounter with

and levels. The materiality of the houses builds

healthcare

architecture.

Nervous

spaces

becomes

the

mass

that

def ines

zones

and

on close relations to the visible construction in

environments where you feel at home, uplifted

the form of half-timbering, which characterizes

and in bed - where you build for the healing

the other pavilions of the facility and Nyrup’s

p ro c e s s . We a n c h o re d t h e p ro j e c t i n a f i e l d o f

work with the heavy and the light.

work that relates to the themes: The relationship between home and institution and the re-

The houses are placed in such a way that they

lationship between the anatomical and the at-

create a ridge towards the busy intersection

mospheric.

and on the opposite side opens up and orientate

themselves

towards

the

garden

and

the

Nyrup designed with the idea of ensuring as

administration building. In the gables of the 2

much light, air, and silence as possible for the

houses, they are connected in a sunken court-

needed recovery and in recreational surround-

yard,

ings. An intention we take very seriously, and

pause and calmness in the facility’s recreation-

in which we in our work re-established and in-

al

terpreted in the spatial disposition and organ-

courtyard, the guests are led along a colonnade

ization. The project consists of a maternity and

under a large balcony, which leads on to the

a patient hotel with an accompanying midwife

hotel’s cafe building and the two arrival zones.

consultation, a cafe and a common, hilly garden

The route and the gardens newly laid out zones

facility following the landscape and splits into

are def ined by a tile covering, and a course is

different

created between the extroverted and introvert-

levels.

Inspired

by

Nyrups

pavilion

which

gardens

refers and

to

sunken

Nyrups

work

courtyards.

with From

the the

structure, the two houses are built as a reflec-

ed spaces

tion of one another in a 2 and 3 storey tall brick

.

and wood structure. In that way, our project

The

follows and relates to Nyrups pavilion site plan

ple that stands in the middle of life-changing

structure, which is also mirrored over its own

events far away f rom what they know as home.

central axis. The reception, café and midwife

Guests are invited to spend time in the patio,

consultation house are a top-up on an already

time in the communal dining hall, time with

existing bicycle shed and works as a connec-

family or just casual meeting with fellow pa-

tion between the garden and the administra-

tients in the hallways, which on all floors have

tion building as well as a welcoming structure,

built-in benches, deep windowsills that invites

by meeting guest and patients at eye level. The

you in for a break.

two hotels share a common dining hall with

4

houses

must

accommodate

f ragile

peo-

Context model, 1:200 • Longitudinal section, 1:1000 • 5

• Context model, 1:200 6

Situationplan Bispebjerg hospital, 1:2000 • 7

• Ground floor plan, 1:100 8

9

Visualization • Colonnade in the southwest facing facade showing the route down to the courtyard

• North elevation, 1:100 • Section through the maternity hotel, 1: 100 10

Visualization • Activity Hall in the maternity hotel 11

• 1st floor plan, 1:100 12

• Modelphoto, 1:200 13

Visualization • Corridor area with inserted benches, access to rooms and balcony

• Elevation East, 1:100 • Section through the patient hotel, 1: 100 14

15

Visualization • Entrace to the dining hall in the patient hotel access to the sunken courtyard

T h e Wo o d e n Pa v i l i o n Institute For (X) The Pavilion is still being build and is an ongoing study in materials and the craft and knowledge of building.

Back in 2014, in parallel with my studies, I bought an old house pavilion f rom 1980, that was left to die on a too short semitrailer, close to my hometown. Since then I have worked on / off with 1:1 cultural city planning in and around Aarhus city and developed and completely renovated this pavilion, in a mix of recycled and new materials and on my own. It is located at the platform Institute For (x), by the old DSB grounds and f reight train areas in Aarhus.

Insititute al

For

platform

(X)

founded

non-prof it

cultural

is

an

in

2009,

cultural, and

association

business

works

as

derived

an

f rom

and

education-

independent civic

and

initiatives.

From the beginning, the mission has been to create the best possible

neighborhood

Promoting

and

for

everyone

enhancing

cultural

and

the

district

activities

by

of

Aarhus

combining

K.

artis-

tic creativity with business, public debate and public education.

A

dynamic

ments,

organization

where

initiatives

and grow

a

laboratory

organically

for and

urban the

experi-

small

pro-

jects are allowed to grow. The outdoor areas and park areas are public and are daily used f requently by the whole city of Aarhus.

Approximately 600 active members, 90 studios & workshops, 43 companies, 15 associations and member of 5 global and national networks.

The whole platform has been required that its units must be f ire approved, according to the national f ire regulations by the year 2022.

It being the only unit on the platform completely made out of wood, I found it important and interesting to try to continue and abide this dogma as much as possible and challenge the usage of f ireproofed materials. Fire-retardant pine plywood walls, cement-bonded wood wool panels for the ceiling, recycled wooden doors and windows, recycled spruce flooring and a facade made of f ire impregn a t e d a n d Ya k i s u g i t r e a t e d w o o d p a n e l s m a d e o u t o f r e c y c l e d w o o d s c r a p s , f ro m t h e t h e l o c a l re c yc l i n g s t a t i o n . To d a y i a m c u r a t i n g a small architecture and leather studio, a music studio and a music rehearsal room, with music teachers, local orchestras and producers playing and working on a daily basis. The music studio works as an independent and self taught studio and recordings, demos and records are made with people f rom in and around Århus. Århus K, the area around the platform, is being built and developed at high speed, in a various of scales and the neighbors count, among other things. Aarhus' new school of architecture and its 750 daily

students,

Æggepakkeriets

combined

residential

and

business-

house, Aarhus' new production school and Lidls new headquarter.

The pavilion is a non-prof it project and the importance for me, is to create something 1:1 and to keep it being a study of materials, space and craftsmanship. Also to be able to provide a cheap space for small companies to try entrepreneurship and at the same time create a f ree space for hobbies and creativity in the city center.

16

17

• Ground floor plan, the pavilion 18

Axonometric site plan, Institut For (X) • 19 19

• Flame-retardant pine plywood - 12mm • Plasterboard - 9mm • Chipboard(original wall) - 12 mm • Pine plywood - 5 mm • Insulation - 150 mm • Grooved plywood - 12 mm • Conlit f ire board - 45 mm • Fixing timber batten - 25 x 50 mm • Distance timber batten - 38 x 73 mm • Facade element - 1200 x 600 mm • Timber sill - 125 x 25 mm

• Axonometric floor plan, the pavilion • Window section, the pavilion 20

Interior details, the pavilion • 21

Brøndby strand The house in the city / the city in the house In the beginning of the 70’s Svend Høgsbro and Thorvald Dreyers 2.5 kilometers long complex is done and situationed at Brøndby Strand near Copenhagen. A dream of the raw concrete as a picturesque and pure canvas, ready to be painted by the peoples lives and plants is manifested in a combination of several storey housing typologies, bound together by a continuous esplanade deck. In 2017 it is chosen by the municipality, that 5 of the existing high-rise buildings, is to be demolished due to high amounts of PCP in the materials of the buildings.

Based on this and the footprints left behind f rom the two 16-storey high-rise buildings connected to Tranumparken, i’ve made a proposal for a new housing development and a re-establishment of 100 new homes. I found it important to look at other facilities f rom the time and also all around the country. Many of the same challenges haunt these facilities around the country and one of these recurring themes, is the unsafe environment in and around the buildings.

For

me

these

it

was

different

important housing

to

try

and

typologies

create

and

a

mediator,

programs,

that

between Tranump-

arken houses. Try to implement this in 1 single high-rise building.

The different housing situations and sizes were an important factor here as well, and therefore each high-rise building contains apartments with 2, 3 and 5 bedrooms. This would also open up for a possible internal relocation, a moving cycle and thus strengthen the relationship between residents, environment and the building itself. The uncomfortable environment that resonates in the people in and around this place, was a natural thing to try and challenge, in which I tried to by studying the mental and physical aspects of transparency as a tool and method. The subconcious safefeeling in the small connections with neighbors, meeting each other in a common stairwell containing small gardens with plants, warm tactile brick and plaster walls and places to sit and overlook the environment.

The large apartments opens up for the possibility, of families and collectives to join the building complex. Here they could act as local gears and a ‘primus motor’, in the common spaces and connections. At the top of each building there’s a larger 2 storey public space, containing a community house, a creative space, a large and a smaller roof terrace. On the ground floor, large, bright and tall spaces

are

inviting

bussiness,

creative

people

and

workshops

in.

The idea here is to bring together the esplanade deck, the high-rise buildings and Tranumparken in a greener and more vibrant collected environment. More and larger openings have been added to the deck, to pull the treetops up and the light down into the parking basement. Finally, a larger open grass area has been added in the old car park, to strengthen life between and around the buildings.

22

P e r s p eScittiuv ae t d i or n a wpilna g n , oBf rtøhned p b ryo Sptorsaanl d • 23

• Sketches of spatial and programmatic concepts 24

A study of light and materials in model 1:20 • 25

• Cross section A-A, 1:100 26

A study of light and materials in model 1:20 • 27

2.

A

A

1.

• Plan drawings of the 1st and 2nd floor, 1:100 28

Diagram of the spatial connections between • floors and apartments 29

18

15

30

Visualization of the stairroom and its materiality • 31

Lehmhaus Rauch Martin Rauch / Boltshauser Architekten This workshop on 3rd semester discussed materiality in architecture and its impact, as well as role in the assigned building. The main focus was on creating, a 1:1 biopsy model of a selected section. In its materiality and design, Lehmhaus Rauch f rom 2008 challenges the work’s primary exposed material - clay soil. The weakness here lies in the material’s climatic hypersensitivity to water and moist, which ultimately results in erosion. Rauch meets and studies this technical challenge in his work, by using bricks and mixing different ratios in the stamped clay soil. Not only are these bricks an aesthetic feature that breaks the house’s solid and cubistic expression, highlights the horizontal lines and creates shadow effects, it also breaks the waters route, resulting in a smaller and more controlled, erosion of the material.

The choice of section became the characteristic window in f ront, with the implented hatch. This honest grip shows in its simplicity, how the house relates to its materials, function and expression. The single raw material of the clay soil shoots out of the landscape, in its new form and challenges itself and its materiality, in the composition between the burned and stamped clay soil. The hovering effect of the large window, made by the withdrawing of the hatches in the façade, highlights its static role, and at the same time, makes the heavy clay-stamped gable easier to digest. The complex system of the hatches and its simultaneously simple expression, testif ies to the whole process of creation the house. They emphasize the permeated and strong handmade aura, that surrounds this work.

“Erosion continues all the time; It is a natural cycle of materials, and when we adapt to it’s mechanisms, then this force need not be destructive. ” Martin Rauch

32

Pictures of the process and f inal details • of the biopsy model 33

• Illustration of the modelsection in its context, 1:100 34

Biopsy model 1:1 • 35

Horse stable Amager Building in landscape Kalvebod Fælled is protected and laid out as a recreational nature area for public usage. The purpose of the conservation is to maintain the biological and landscape values a ​​ s s o c i a t e d w i t h t h e a r e a , a s w e l l a s maintaining the right of outdoor life in the area. Among other things, there’s a desire for leisure facilities and spaces for families to visit and use. For horses to be on f ree ground it requires, that the horses have to have access to a shelter or building, where they’re able to rest on dry soil. Pinseskoven with its protected birch trees and Hejresøen at its foot, surrounds the assigned site for the 2nd semester. For this semester we were going to place a structure of buildings, and elements in this marsh landscape and for public use. The program had to include a wooden construction with a horse stable, 9 horse folds and an associated community house with the possibility of sleepovers..

In my project, I chose f rom the beginning to use the protected birch trees, equal parts as a challenge and as a dogma, by placing my structure in between the tree crowns and trunks. Using this principle, the horse stable took shape based on the available a

rea.

Due to large changes in the water level and the surrounding scenic and unspoilt landscape, it was obvious to build the structure on an elevated pier and post foundation, thereby reducing the footprint and raising the structure f rom possible elevated water levels. With these long lasting materials, simple surface treatments and their own resistance against weather and surroundings, the maintenance part would be minimal and at the same time change over time, like the landscape and Pinseskoven itself. In terms of shape, the different heights and the staggered plan would reflect the hilly terrain and encourage movement in, around and on top of the stable. The purp o s e w a s t o t r y a n e n c a p s u l a t e t h e i d e a o f ​​n a t u r e a s a p l a y g r o u n d i n the construction itself and pull the game and movement up among the treetops and thereby expand the f ield. A place for education and entusiasm regarding horses and nature. A place for everyday hikers and families to take the pause and overlook the vast marshland.

36

Situationplan Amager Fælled, 1:200 • 37

N

N

B

B

B

Plan stue 1 : 50

• Ground floor plan of the stable, 1:50 38

B

Visualization • community house L o n g i t u d i n a l s e c t i o n b 3-9b t h r o u g h t h e s t a b l e ,L ifgohct ui ns st hi en g on the Be among the birch crowns Original draw-

30

• Exploded construction diagram of the stable, 1:100 40

Longitudinal section b-b through the stable, 1:100 • 41

32 42

z at e t ixot n 3• 3 R e n d e r i n g o f t h e s t a b l e i nV i ts su ac loi n The stable in its context at Amager Fælled 43

Panum institute Eva & Nils Koppel This 5-week course on 4th semester dealt with aesthetics as a tool in architecture. What we understand and experience as beautiful or not, and how this sensual and affect-creating method is produced and works. In studies of selected places, buildings and urban spaces around Blegdamsvej in Copenhagen, we had to work with examples of tools

in architecture and analyze them by using especially

hand drawing techniques. Tagensvej’s large rock Panum Institute was studied and redrawn in an attempt to address and clarify the intentions of this honest and brutal piece of work. As a stronghold in Danish brutalist architecture, this pioneering research institution stands raw and undisguised in its materiality and construction. But as brutal and overwhelming as it may seem, as tender and honest it is, in its way of communicating once you get closer. The way in which the constructive principles are drawn in and out of the façade, in the form of reliefs. Likewise the motif and rhythm of the tower gables, migrates into the surface of the inner walls in a new scale, which all in all testif ies to a strong observance and a clear dialogue between the exterior and the interior. With in-situ cast concrete being the base material throughout the whole structure, it was a natural thing to dive into and study this. The change of the institute over time and the plastic expression of the new f inish on the concrete, compared to the formerly tactile and raw concrete, were also important to convey.

44

Handdrawing with oil pastels of the tower motif at the Panum gable • The transformation of the concrete f inish.

45

• Handdrawings with oil pastels of patinated insitu cast concrete A study of texture and tactility in drawing 46

Formal aesthetic analysis of Panums northeast facade • towards Tagensvej 47

37

The Boundless Kitchen Bureau Detours / Maltfactory in Ebeltoft In 2016, in collaboration with Bureau Detours, I built the orangery The Boundless Kitchen as part of the development of the malt factory in Ebeltoft and a wish f rom local forces to activate this urban space. The project was supported by Real Dania’s fund - Underværker.

The

idea

was

to

use

one

of

the

most

common

glob-

a l to o l s i n m e e t i n g n e w f o l k . To g a t h e r a ro u n d a m ea l . I n a l a rg e transparent

orangery

containing

a

conversation

kitchen

and

a

changeable open plan, a space was created where the community spirit in the local community was strengthened and cultivated, in

the

form

of

communal

dining,

events

and

outdoor

education

for all ages. The structure was intended as an open facility for all citizens, in line with shelters in the nature or tables and benches around the country, were to be the setting for the informal meeting.

The mobile wooden construction was built in modules, as the idea was that it would be able to travel and benef it most people over time, in different parts of the country. A traveling and community-creating pavilion.

48

Interiorphoto of the orangery • 49

• Situationplan of the orangery in its context, 1:200 50

Photo of the main rafter constructon • 51

52

53

Oak sideboard Furniture design The

furniture

is

a

study

of

oak

as

material

and

expression.

The

material meeting between the clean and polished body in homesmoked oak veneer and the raw f ront in one cut up oak plank. The base is with visible knobs and natural ‘flaws’. A study and the challenge of what we in furniture understand and experience as beautiful or not. The drawers are handsawed and cut with pre-covered and ordinary dovetail sinks in ashwood, with milled drawer rails.

54

Photo of the drawer with hand-sawn dovetail joints • and milled drawer rail in ash and oak 55

48 56

57

Not Red But green II ARoS Aarhus art museum During

ARoS’s

triennial

The

G a r. d e n

-

End

of

Times;

Beginning

of Times, I built up in collaboration with Per Kristian Nygård, the temporary

ad

hoc

art

installation

Not

Red

But

green

II.

The

80

squaremeters and 5 meter tall hilly landscape, could be followed growing

continuously

throughout

the

f irst

part

of

the

Triennale.

The installation consisted of a hydroponic construction, with coconut soil as the growth medium and a built-in irrigation system, with 1300 small water drip pipes distributed on six water pumps.

58

59

60

61

Selected projects 2021, Andreas Bonde Pilgaard The Royal Danish Academy, School of Architecture Institute of Architecture’s Anatomy and Fabrication