cand. arch. hans h. bĂŚrholm
dagmarsgade 19, apt. 119 dk-2200 copenhagen n denmark
phone mail web
(+45) 26365355 firstname.lastname@example.org http://idiotsavant.dk
//Introduction The body has always been used as an image in architecture (and science) ’the heart and lungs of the city’ etc., the human body navigates, so to speak, itself through the architecture. The Constructed Body is about the body used as a map to act within, as a point of departure from which to discuss architecture as a series of positions, architecture internalized. The body becomes a metaphor of the city, through this a directnes in the discussion is acheived, while at the same time delaying the architecture as a concrete implement. The body becomes a case; fracture, prosthetic, surgical instrument, and the language of medicin are the ways in which the project developes into an operational/performative format, a construct. The construct is an organ to be transplanted into the city, the construct discusses program and appearance at a prototypical level, the architecture appears as the product of a cascade of sequences, cell to organ. The project utilizes the body as a paralell structure, an ocular from which the architectural is viewed, a filter, a shift in scale. The purpose is to pursue a discussion which is direct; the body and the implement, this discussion is direct and is carried through in a principal discussion which deals with function as ’pure factors’. This is of course done to provide a temporary negation of scale, which will then be renegotiated when the implement meets its new host, the city. //City In the city the organ is transplanted into a homologous scenario, the schematic modus operandi seeks to establish a form of congruency as it is introduced into the host. From this the project will evolve into an actal architectural proposition. Prosthetic and surgical instrument are used as categories describing two, although related, different ways of operating in or relating to the body . In this way they contribute to defining a terminology and/or hierarchy in dealing with the subject matter. The project is a continuous iterative sequence, starting with a composite x-ray as the point of departure, subdivided in order to sum up and delineate specific attributes of the work. In this way linearity and measurability is inscribed into the work, assisting in both the work and the communication. The mapping of the body acts as a form of productive analysis. The body is traced through and through, specific contours and events become detatched through the the drawing, and their internal oparational attributes unfold. The linearity of the program is confronted with the intuitive nature of the (act of the) work, in order to provide mutual support, the body holding the prosthetic holding the body. //X-Ray The x-ray is the map of the body, exposing complementary systems, erasing boundaries. Through this image the body dissolves into purely relational factors, firm elements, soft (visceral) elements, that which can be stretched, that which is able to transport. The body is stripped of its unity and is instead presented as a composite, a construction. In which was can the x-ray, whith its flat depiction of what is recognized as depth, be utilized as a mode of conception.
//City segment ’Børskaj’ Copenhagen The implement is developed in the drawings as a stiching together of overlapping sequences. The site is positioned as a narrow wedge, along the canal, from the intersection of ’Knippelsbro’ and ’Chr. IV’s bro’ over to ’Børsbroen’.The site is approx. 150meters long and 2-3meters wide Towards ’Børsgade’ the site is split level, going from 3 meters at ’knippelsbro’ to 0 meters at ’Børsbroen’.Presently the site appears as a strange mix of curious potential and derelict space. Squeezed in, on one hand, between massive flows of car, bicycle and pedestrian traffic, and on the other delicately perched on the edge of the canal.
The Constructed Body |Siteplan and elevation|
//Initial mapping The weak differentiation of the x-ray is transformed into signatures and relations The drawing is opened up. A way of letting largely tangled and signature driven notations develop operational qualities.The events specify while at the same time acheiving new attributes through the development of new connectivities.
//Table The table isolates specific strands from the splicing phase, here the informations are strung together as smaller (syntactic) meanings, describing chains of events of a lesser complexity. Short sentences. These â€™greatest hitsâ€™ are of a syntactical lenght which sits inbetween the isolated signature and the elaborated compostion. In this way they contain a short sentence like structure , while at the same time maintaining a sort of deficit or meaning or openness which enables/facilitates connectivity.
//Construct_2 The construct is developed as a direct adaptation of the drawing, a plastic relief. The directly translated nature of the construct does not discuss its appearance as something reflected upon, here architectural meaning is shunned in favor of the direct morphological potential.The implementation of the construct into the site seeks to, through the crudeness of the grafting to uncover latrent potentials, not as a way to draw lines in the internal logic of the site, but in the confrontation, the overlapping, in a mutualtransaction which seeks to point out moments of slipping, friction and overlapping between the site and the construct. In other words the construct acts as a marker, entrenching specific positions and through this (clash) producing the potential, as the potential exists as a purely interstitial product. //Implementing Plan_Section The plan and secton drawings are configured from the shorter syntaxes of the table.
The aim is to enable the material to have a greater span and flexibility than the more anchored couplingg and adhesions in the splicing phase. These had a greater density of information, but at the same time they were of a more locally causal nature. //construct_3 The marker is developed from the first phase to embody an actual programmed architectural entity. The architectural entity is comprised as a syntactic chain of markers, each of which are manifestations of specific unit type programmatics. In this second phase the marker has then taken on the form of a true architectural manifestation, while at the same time, the development of the project attempts to hold on to it as a marker, here the marker is not seen as an abstract unit or object of reflection but rather as a modality, which is of course supported by the appearance of the organ/ construction of the architecture.Hereby the flexibility of the previous phases is sought to be preserved in a more comitted tone.
//Iterations Here the aim is to focus on smaller problems in the project in a very concrete way, while through the sequential/multiple enabling a loosening of the grip, precicely enough to be able to negotiate different factors in a more limber way, thus enabling once more the project to expand and preserve larger relations in the material. The positions between site and construct intersect with program, in sublimated events and specific intersections. The construct is developed through the intervention of program, specific programmatic points and flows become controlling factors. Through a dense weaving of differentiated elements/ components, the construct evolves as a programmatic â€™cadavre escuiseâ€™. A notion that in applied to and read into the object. Object, because until its actualisation, it has no scale. The constellations of the objects, define a series of potential relations/scenarios.
//Complex The complex consists of three parts; a main building and two pavillions. The main building is placed in the ’vortex’ of the site. Within the main building are the ’wide appeal’ programs; restaurant, bar and a small stage (for intimate concerts, poetry readings etc.) The stage is situated in the end of the main buliding so that it can be directed towards the ’plaza’ which lies in extension of the main building and curls up to provide access to the gallery. The pavillions contain a gallery and an auditorium/art house cinema.The gallery is placed in the middle og the complex, a station between, on one side a split level nad on the othera form of crescendo, a cumulative knot that nchors the plaza. The auditorium/art house is placed in the ’darkest nook’ of the site, like a hidden speakeasy in an alley up against the bridge, pure film noir. Towards the water the auditorium opens up and reveals a second character. From here a promenade extends, below the gallery and linking up with the plaza.
|Gallery| Exhibition space
|Varieté| Restaurant, bar and stage
|CNC mold for vacuum forming|
//Hydra Hydra is a four year research project headed by Cort Ross Dinesen and Claus Peder Pedersen, consisting of four one month workshops on the greek island of Hydra. Structured as a continual Q&A, the aim is to uncover productive potentials in an iterative process from mapping to output.
/elaborated relations in the matrix/
/initial reading Hydra4/
/final drawing Hydra4/
//Urban Landscape /Thinking upside down! /After 200 years of activity the Faxe Quarry is facing reestablishment. A residual landscape of the industrial era that affords new aesthetic and programmatic possibilities.
/A grid spanning the chasm of the quarry, defines a field of opportunity, meeting the mega scale of the quarry with a violence to match. Within this, readings of urbanism and landscape are articulated as insertions, which is carried and woven together in a counterstructure: the artificial landscape.
/three local moments of density, crystallized across the map. The disparities between map and model, exemplified in three types, pointing towards a possible actualisation. Local events weave together in unprivileged meetings. The simultaneous breakdown and articulation of the mass, the mechanic interplay between disparate elements, the biopsy as
an index, highlighting a changing striated character. Collaboration with Flemming Rafn Thomsen
//A Room Without Interior
Workshop based on a drawing by Josef Albers. Tho project sought to explore the spacial potential in the trompe lâ€™oeil drawing. Exhibited at the Charlottenborg Spring Exhibition in Copenhagen. (group project)
/completed structure in workshop/
[formal/programmatic polarity langebro jernbanebro] /langebro jernbanebro Position. ca. 55° 40,2´ N. 12° 34,7´ E. Details. Langebro Jernbanebro (swiweling bridge) taken away. The two pylons of the railway bridge adjacent to Langebro have not been taken away and are now illuminated. Minimum depth at Langebros two main pylons is 2,8 m.
The entire genetic identity of an individual, including alleles, or gene forms, that do not show as outward characteristics.
The visible properties of an organism that are produced by the interaction of the genotype and the environment.
/rowing club view1/
//Obstructions Provisional position: The intention of the project is to explore in which way a set of â€™dogmaâ€™ like rules can be applied to a project in order to guide its transformation. A goal in this must be to uncover certain ways of thinking/acting, and through the obstructions, to block these ways in order dto develop new ways of negotiating the content. Another goal should be to examine in which way the linguistic formula determines and frames a new interpre-
tation of the (in this case) house. The making of rules amounting to a sort of equation, in which the unknown factors are f.x. the interpretation of the formula , the results of which bearing witness to the precision of this, and in which way it is legible. How many answers to a precise formula.
//Seasonal Structure The basic premise of the project was to site it in a changing condition. The house is based on a notion of temperature as something which expands and contracts. The building is a matrix consisting of a series of vertically opposed cones. Wedge like sections, reveal an ever changing grid structure that run through the house. Spiral circulaton top to bottom, horisontal landings for programmatic spaces.
//WTC Vilnius BIG was comissioned to provide a proposal for the WTC Vilnius after the original proposal by Fuksas had been rejected.
The scheme reimagines the WTC as a megastructure that at the same time unifies and distributes programmes in a series of linked urban spaces
//comp. Henning Larsen Architects
//Nashan, Shenzhen (1st prize) The competition brief for a design consisting of three major programs, theatre, gymnasium and an aquatics centre, along with a range of
commercial programmes. The proposal split the programmes into three parts; two structures that would accomodate the theatre and sportsfacilities, and an artificial landscape, that would
provide subterranean access and parking, a â€™canyonâ€™ containing commercial programmes and a park/plaza tying together the mew programmes and an adjacent library.
P CONFIGURATION 1 THEATRE, DRAMA, BALLET, DANCE
CONFIGURATION 4 - FAC-TO-FACE, ARENA INTIMATE THEATER PLAY, CIRKUS
P CONFIGURATION 2 MUSIC-THEATRE: MUSICAL, OPERETTA, OPERA, BALLET, DANCE
CONFIGURATION 5 MEGA CINEMA
split levels makes a canyon with passages through landscape and buildings
CONFIGURATION 3 - STAGE EXTENSION (TRADITIONAL) THEATRE DRAMA, DANCE, CONFERENCE, SYMPOSIUM
CONFIGURATION 6 CINEMA, LECTURE, PRESENTATION
elevating programs frees up ground space and facilitates pedestrian flow across site
CONFIGURATION 7 - OUTDOOR SCENE FOR PLAZA MOVIE, DANS, EVENTS, OPEN AIR SHOW
plaza amphi theatre foyer
CONFIGURATION 8 - OUTDOOR SCENE FOR AMPHI THEATRE MOVIE, DANS, EVENTS, OPEN AIR SHOW
plaza blends with foyer, framed window doubles as stage for amphi theatre
//Residential remodeling This remodeling of a suburban home from the sixties started as a new roof, but soon evolved into a complete remodeling, the entire house has been gutted. A new floorplan, design of kitchen and bathrooms a new carport are among the changes.
2001-2003 The Royal Academy, School of Architecture dept.11 architecture, design and industrial form teachers: 1st year Erik Werner Petersen 2nd year John Lin, Olivier Ottevaere
2006 Henning Larsen Architects, Copenhagen sports & culture center nanshang china (1st prize)
‘A Room Without Interior’ Charlottenborg spring exhibition 2002
2003-2004 Sydney University, School of Architecture 3rd year Dagmar Reinhardt, Andrew Burgess (masterclass) 2004-2007 The Royal Academy, School of Architecture dept. 6 architecture, space and form 4th-6th year Cort Ross Dinesen 2007 Thesis: The Constructed Body (VOLA prize)
2007 Europan9 w/Bjursten&Witte, Stockholm technical proficiency:
‘Thinking Upside Down’ Urban Landscape exhibition 2005 study trips/research: Hydra 2,3,4 month of march 2005,2006,2007
adobe CS2 Sketch Up form Z 3D studio (rendering) autocad
1999-2000 substitute teacher
2006 Bjarke Ingels Group (BIG), Copenhagen
1999 certified firefighter
residential remodeling 2004- (ongoing) 2000-2001 bike messenger
1979 feb 5th, born
A legend in his own head? Who is this mythical creature? If anyone could be labeled a unicorn (or a sasquatch) it’d be this guy. Little is known about him, he came from humble beginnings (well more like ordinary), but did he go anywhere? Did he do anything special? I guess that’s all in the eyes of the beholder as they say. To himself he was and is important, his whole existence in pinned on himself, for where would he be without himself? Well in all honesty, I would be quite sure that he considers himself a hard working guy, thoroughly interested in his craft (he’s an architect). If he was writing this (is he?), he’d be sure to point out that he has excellent language skills; Danish, swedish, norwegian, that’s al the same to him. He received a travel grant for his thesis project. He also found english to be second nature, as he instinctively cursed the television in this language, one afternoon after his return from the land down under (and his german’s not shabby either). But no one smiled and handed him a vegemite sandwich. What is there left to say about this guy? Well in real life he has a strong dislike for using the 3rd person. He can work (hard, he does), he can talk, he can shut up, sometimes he tells jokes (badly). But most importantly, he wants you to read this and ask yourself, ‘can we use this guy? Are we really in the market for an honest, talented, hard working guy?’ Well, I sure do hope that you are. Sincerely, Hans H. Bærholm