Shaping the Future

SHAPING THE FUTURE

Architecture, Design & Conservation KADK 2014

The Royal Danish Academy of Fine Arts, Schools of Architecture, Design and Conservation

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CONTENT Welcome to The Royal Danish Academy of Fine Arts, Schools of Architecture, Design and Conservation.

With this publication, we would like to tell you about KADK's new structure after the merger of the School of Architecture, the School of Design and the School of Conservation, about our seven new institutes – and about the 33 undergraduate and postgraduate programmes originating from KADK's special approach and DNA: Science, Practice and Art. Our history goes back to 1754 – and reaches far into the future.

We educate tomorrow's architects, designers and conservators and contribute to shaping future life, everyday living and identity. From concrete buildings and urban spaces, furniture and digital platforms to settings for our behaviour, culture and welfare society. We work with research and development that can be converted into practice and production.

Welcome to new students, partners and users.

Lene Dammand Lund, rector

Graduates and knowledge shaping the future

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Facts about KADK

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KADK students tell their stories

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Rector interview

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KADK's structure

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The creative professions are job-makers 14 Institute of Architecture and Technology

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Institute of Visual Design

20

Institute of Conservation

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Former KADK students tell their stories

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Institute of Architecture, City and Landscape

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Institute of Product Design

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Institute of Architecture and Design

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Institute of Architecture and Culture

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FOTO DSB: RENÉ STRANDBYGAARD | TAK TIL ANNE LUND, GRY FAGER, SARAH LINDKVIST, ANITA JOHANSEN, KVISTGÅRDHUSENE OG ANDERS HØJMOSE

You come across KADK around the clock. From the cup you hold in your hand in the morning, via your children's institution to the interior design of your office landscape. On the move, at work, at the museum, in your spare time – physically and online. KADK's graduates shape your home, your town, your cultural history, the settings for your welfare and the new ways in which technology plays a part in your life.

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SHAPING THE FUTURE KADK educates tomorrow's architects, designers and conservators.

We teach on the basis of research – and with our hands firmly buried in the materials. In drawings and textiles, concrete and bits. We also work from a unique artistic and cultural dimension. Our basic DNA consists of science,

practice and art. Our work unfolds in laboratories, in workshops, at drawing tables, in the field and in all screen formats.

Architects, designers and conservators shape your life. They shape city districts, buildings and urban spaces around you, the things you use and wear, your communication and your entertainment. They contribute to shaping your understanding of the past and your visions about the future. They make your values fit your actions and experiences.

Every year, we have 250 new graduates within architecture, design and conservation. Our many specialisations combined cover the physical settings and objects for the life you live. Your life is a whole, and we therefore work together across specialisations and degree programmes.

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DID YOU KNOW THAT... ... graduates from the School of Conservation achieved average graduation marks of 10.3 in 2013. ... fashion designer Anne Sofie Madsen, who has worked for Dior, among others, graduated from the School of Design in 2009. ... In 2013, the School of Architecture was elected the second best school of architecture in Europe by Graduate-Architecture.com – only surpassed by the Architectural Association in London. ... Arne Jacobsen studied at the School of Architecture, Hans Wegner studied at the School of Design, and Børge Mogensen attended both schools. ... it was conservators who saved the Jelling runic stones in 2011 after a graffiti attack. ... In 2010, the School of Design was included on the worldfamous lifestyle magazine Monocle's top 5 list of future schools of design. ... In 2013, KADK had 2,989 applicants for 387 places in the undergraduate programmes in architecture, design and conservation. ... In 2013, 59 students at KADK were working on a PhD degree. ... Many of KADK's teachers come directly from the business community and practice. For instance, the School of Architecture has approx. 120 and the School of Design approx. 80 parttime teachers each term who teach for a short or longer period of time in addition to their work in practice and in the business community.

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THE DANISH DESIGN SCHOOL IS FOUNDED THE ROYAL DANISH ACADEMY OF FINE ARTS, SCHOOL OF CONSERVATION IS FOUNDED

2010

2011. THE DESIGN SCHOOL MOVES ITS COPENHAGEN CAMPUS FROM ØSTERBRO TO HOLMEN

MOVES

2012

THE SCHOOL OF ARCHITECTURE AND THE SCHOOL OF DESIGN PRESENT THEIR FIRST JOINT GRADUATION EXHIBITION AT HOLMEN

KADK'S FIRST BOARD IS APPOINTED BY THE MINISTRY OF CULTURE

ONE RECTOR

FIVU 2011. KADK PASSES FROM THE AUSPICES OF THE MINISTRY OF CULTURE TO THE MINISTRY OF SCIENCE, INNOVATION AND HIGHER EDUCATION (FIVU)

THE SCHOOL OF ARCHITECTURE, CONSERVATION, AND THE DANISH DESIGN SCHOOL MERGE INTO THE ROYAL DANISH ACADEMY OF FINE ARTS, SCHOOLS OF ARCHITECTURE, DESIGN AND CONSERVATION (KADK)

2011

1973

THE DANISH DESIGN SCHOOL MERGES WITH THE SCHOOL OF GLASS AND CERAMICS AT BORNHOLM

2011

THE SCHOOL OF ARCHITECTURE STARTS ITS MOVE FROM KONGENS NYTORV TO HOLMEN

1996

1875

1754

THE ROYAL DANISH ACADEMY OF FINE ARTS, INCL. THE SCHOOL OF ARCHITECTURE, IS FOUNDED

2012. KADK GETS ONE JOINT RECTOR, AND LATER THAT YEAR, A JOINT STRATEGIC MANAGEMENT TEAM

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2014

2013. KADK GETS A NEW ACADEMIC HEADS OF INSTITUTE

MANAGEMENT WITH

AND THE BOARD AGREES ON A JOINT VISION

AND STRATEGY FOR KADK KADK IMPLEMENTS A NEW ACADEMIC STRUCTURE WITH 7 NEW INSTITUTES AND 33 NEW PROGRAMMES: 12 UNDERGRADUATE PROGRAMMES AND 21 POSTGRADUATE PROGRAMMES

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WE ARE KADK - STUDENTS' STORIES KADK educates tomorrow's architects, designers and conservators. Find out about their personal reasons for applying for enrolment at KADK – and about their best experiences as students and their dreams for the future.

Astrid Tolnov Larsen, Student at the School of Design

”An installation course at the Arts Folk High School in Holbæk opened my eyes to the pleasure of building and creating forms with storytelling properties. During my stay at the folk high school, I decided to apply for enrolment at the Danish Design School, now the Royal Danish Academy of Fine Arts, School of Design, and suddenly, I was about to start at the school, an experience that today I would not have been without.

The best thing about attending KADK is that I have had the opportunity to work with my hands, work creatively, and that I have had the chance to experiment with both form and materials. The school has excellent workshops where we can realise our many different projects, and teachers and workshop managers are always ready to guide you.

I have spent a lot of time experimenting and gaining insight into my subject. I hope that I will be able to make a living by designing my own, functional furniture, but also that I can design furniture that is closer to an artistic and experimental world.”

9 Louise Lodal Askekilde, Student at the School of Design ”I have often asked myself: "What am I doing when I am happiest?" in order to find out what career to choose. As a child, this meant immersing myself in a creative world where I would, for instance, spend many hours drawing and learning how to do layouts of anything from school papers to birthday invitations etc. on my dad's computer. Although the admission process for the School of Design seemed intimidating, it was an exciting and great challenge.

The best thing about studying at KADK is the sense of community. There is a nice informal atmosphere between teachers and students. If you accept all of the offers and options that crop up, you will go far. You learn a lot about yourself and develop mentally. Maybe that is because there is no list of correct answers here. I want to use my education to become a graphics designer. A designer who can create strong and innovative concepts and change the view of classical graphic design.”

Birk Daugaard, Student at the School of Architecture

”I have always been interested in design and originally wanted to apply for enrolment at the furniture line. Instead, I ended up working with larger scales.

I think it is great to have a fixed place at the school surrounded by other students, including international students. This creates an open and inspiring work environment in which you collaborate and exchange ideas with fellow students. You are at eye level and therefore become each others' best teachers. Due to the variety in school departments, we all come out with different approaches to architecture. However, one thing is common for all of us, and that is that we learn how to solve problems in a creative way, which opens up for numerous job opportunities afterwards. I am quite sure that after graduation, I want to work in an architectural firm – a place with lots of ambitions and dynamics.”

BETWEEN ARCHITECTURE AND POETRY MARIA SØLVTOFTE, GRADUATION PROJECT, 2013

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INTERVIEW WITH THE RECTOR

Lene Dammand Lund

1. What is special about the new, combined KADK? The new KADK is a merger of the School of Architecture, the School of Design and the School of Conservation. We have science, art and practice in common. We collaborate across the disciplines and aim for the highest international level. KADK educates people who together shape the Danish welfare model. We work on creating a close connection between the values our society is based on and its physical environments and objects. Everything that surrounds us. This is evident, for instance, in open, functionally mixed urban environments where well-preserved historical traces are mixed with modern urban spaces for all. Or in schools that exude respect for children and create optimal settings for the latest teaching principles.

2. What characterises the students at KADK? Our students are inquisitive, bold and ambitious. They want to learn, create and think new. They want to explore the past and the present in order to shape the future. They have a wide interest in society and they are solution-orientated. They are not afraid of throwing themselves in deep, and they are incredibly persistent when it comes to realising their ideas.

3. Which role does KADK play in Danish art and culture?

We are the largest artistic degree programme in Denmark – and as such, we carry the responsibility of a cultural institution. We have a responsibility to hold on to homo generosus, the generous man, who by giving creates value, both for the community and for himself.

4. Which work/product or place do you associate with KADK? It could be 24 hours in Denmark – because architects, designers and conservators help create and define the settings we live in. Both towns and cities and the buildings, spaces and objects we use and with which we surround ourselves. But also knowledge, signalling effect and behaviour. We see the results that KADK helps create, right from the early morning in our kitchen, when we get dressed and go to work, everywhere in the private and public business community – and when we are off work – or participate in public debates about our society. KADK is everywhere. Just as 24 hours in Denmark.

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, KADK S STRUCTURE

A BA: Complexity Handling in Practice

MA: Art and Architecture MA: Cultural Heritage,

Transformation and Restoration MA: Political Architecture: Critical Sustainability

BSc: BSc:

BSc: BSc:

Graphic Art Object Conservation Pictorial Art Monumental Art BSc: Natural History

MA: Cross-disciplinary master programme

VISUAL DESIGN

BA: Experience and Interaction Design BA: Visual Communication MA: MA: MA: MA:

Game Art, Design and Development Production Design Type Design and Wayfinding Visual Culture and Identity

BA: Fashion Design BA: Industrial Design

and Ceramic Form BA: Craft – Glass and Ceramics PRODUCT DESIGN

ARCHITECTURE AND TECHNOLOGY

MA: Spatial Design, Perception and Detail MA: Architectural Lighting Design MA: Furniture Design MA: Textile Design

D

BA: Architecture's Anatomy

and Fabrication MA: Settlement, Ecology

and Tectonics MA: CITAstudio: Computation in Architecture MA: Architecture and

Extreme Environments

C

BA: Architecture and Design – Whole and Part BA: Furniture Design BA: Spatial Design BA: Textile Design

CONSERVATION

MA: Architecture, Space and Time MA: Landscape Architecture MA: Urbanism and Societal Change BA: Taking Place

ARCHITECTURE AND CULTURE

AD ARCHITECTURE AND DESIGN

ARCHITECTURE, CITY AND LANDSCAPE

NEW INSTITUTES AND PROGRAMMES

MA: MA: MA: MA:

Fashion Design Ceramic Design Industrial Design Co-design

13 INSTITUTE OF ARCHITECTURE, CITY AND LANDSCAPE

INSTITUTE OF ARCHITECTURE AND CULTURE

INSTITUTE OF ARCHITECTURE AND TECHNOLOGY

INSTITUTE OF ARCHITECTURE AND DESIGN

UATE PR OGRA G RAD MM T S E PO TE PROGR A U D A R G AMM D ER E UN

A C

INSTITUTE OF CONSERVATION

D

INSTITUTE OF PRODUCT DESIGN

INSTITUTE OF VISUAL DESIGN

THE CREATIVE PROFESSIONS ARE JOB-MAKERS

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In my view, the merger of the Royal Danish Academy of Fine Arts is clearly an example of how academic environments that might have been a bit exclusive before, are now opening up to each other and to the surrounding world, so that the environments can benefit to a much higher degree from each other's KNOWLEDGE and expertise for the benefit of the Danish society. Collaboration across different degree programmes reflects the very world that the graduates will face. And the abiltiy to COLLABORATE across academic disciplines on a day-to-day basis is a competence that is in high demand on the labour market.

Architects, designers and conservators are important to our society: It is your knowledge that will create a living for us in the future. It is your IDEAS that are to contribute to creating new JOBS. Denmark is already known internationally for both design and architecture, and this is a position that the Government would like to strengthen.

MORTEN Ă˜STERGAARD, Minister of Science, Innovation and Higher Education (Soc. Lib. Party)

The Institute of Architecture and Technology allows architecture and technology to interact in a new generation of architects. Architects who have comprehensive knowledge about technology's possibilities and limitations – in relation to both small and large scale projects.

Architects who can use digital tools and develop sustainable solutions. Architects who will be able to contribute to today's and tomorrow's challenges locally and globally – for instance in relation to construction, flooding and rural development along the Danish coastline, which is gradually disappearing. The Institute of Architecture and Technology is close to both practice and research. Technology opens up for a new, spatial language, and this language the students at the institute learn to speak.

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INSTITUTE OF ARCHITECTURE AND TECHNOLOGY

David García, Head of Institute

1. What is special about your institute?

We have a special relation to technology and to how it can enrich society in critical interplay with architecture. We open new doors to knowledge and find new solutions to national and global challenges, e.g. climate change, energy efficiency measures and much more. We maintain a constant dialogue with other relevant players – from leading international research platforms to material developers, from NASA to the Technical University of Denmark.

2. What characterises the students at your institute?

They want to have their say in the debate about how architecture relates to technology. They are eager to create. They ask critical questions and gain access to a network of knowledge that they can use every day. They become familiar with technological solutions that can open up to new aesthetics and a new understanding of the concept of space.

3. Which role does your institute play in Danish art and culture?

Technology must also be owned by architects, and with this institute, we show what an amazing field technology is when you collaborate with experts. The synergy between architecture, science and technology means that we can come up with solutions that will benefit Danish society.

4. Which work/product or place do you associate with the institute?

The University of Svalbard (UNIS), which was built with an understanding of the context – an Arctic climate with permafrost and snow accumulation. The building works with nature and the surrounding city, and it was created in close dialogue with biologists, botanists and glaciologists, with the use of digital simulation tools. It was designed with nature, not against it.

18 BACHELOR PROGRAMMES:

1

Architecture's Anatomy and Fabrication

Based on an experimental practice, students learn that there is a direct tectonic relation between the way in which an architectural project is developed, the way in which it is constructed, and its viability. The programme involves in-depth studies, a dissection and transformation of architecture's many components and expression forms – its anatomy.

MASTER PROGRAMMES:

2

Settlement, Ecology and Tectonics

Towns/cities and settlement are the focal point of the study, which is based on an architectural approach. Projects never stop at the cadastral plot, but consider the whole, asking questions such as: "What are we giving back to the town/city?". The students learn to consider issues constructively and critically at a time where urbanisation and corresponding depopulation raise demands for sustainable solutions.

3

CITAstudio: Computation in Architecture

CITAstudio provides an International Masters level architectural design programme that places special focus on examining architectural issues through critically situating computation and digital technologies in the processes of thinking, forming and producing architecture. A special focus is put on the intersection between computation, fabrication, material and performance.

4

Architecture and Extreme Environments

This course aims to explore the potential of architecture to be informed by cutting edge science and technology to critically enhance architectural performance and resilience in present global sites under stress, while exploring new aesthetic and spatial languages in an interdisciplinary approach. The course engages in world-wide expeditions to test its designs.

19 ”To me, the new KADK represents a break with an overgrown and in some cases, unrealistic department structure. In my view, the new Institute of Architecture and Technology is an important element in a contemporary school of architecture. The Institute of Architecture and Technology will be able to turn out excellent architects that the industry can employ. In addition, the institute will be able to involve the surrounding world in improving the dialogue and collaboration between academic research and innovative thinking in practice.”

Kasper Guldager Jørgensen, Director and Partner at 3XN

The Institute of Visual Design works with visual identity – physical and digital – universes for TV and film, and the development of games and digital products. Good design is carried by the context in which it forms a part – by the world in which we move. That also applies to visual design. The institute forms the backdrop for research and development of all forms of visual design and the context this creates.

The institute investigates concepts such as identity, experiences, interaction and design for e.g. the TV media. It scrutinises computer games – what is a good game, what are emotions and feelings, thoughts and associations. It analyses fonts such as Times New Roman, Helvetica and Din and develops new bespoke fonts. And it works with everything from screens to concerts, signs for street corners, and LISA LUNDØ STRØANDER, CLASS OF 2013

games as well as apps for the next smartphone.

Visual communication everywhere in everyday life.

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INSTITUTE OF VISUAL DESIGN

Tine Kjølsen, Head of Institute

1. What is special about your institute?

We fine-tune the study programmes and deliver even more clear-cut programmes under the umbrella of visual communication and cross-media.

Under this umbrella, we create a common culture and synergy for visual design of all types.

2. What characterises the students at your institute?

The students are ambitious, hard-working and inquisitive about the surrounding world. They are trained to ask critical questions and propose relevant design solutions. And they become a part of one big design family, which draws on a global network, but also nurtures local relations.

3. Which role does your institute play in Danish art and culture?

We contribute solutions that society and the cultural scene may not yet be aware that they need. This could be new fonts for road signs that make it easier for people to find their way. It could be learning apps for the primary and lower secondary school. It could be computer games that will one day become a part of a new canon of Danish art and culture.

4. Which work/product or place do you associate with the institute?

Kontrapunkt's work with the Danish State Railways (DSB) is a good example of how visual design can leave its mark on our everyday lives. Although the typography is several years old, we still relate to it all the time.

22 BACHELOR PROGRAMMES:

1

Experience and Interaction Design

Teaching and working with computer games, digital interaction, production design and visual experience design. Also teaching in design for visual media with an association to dramatically narrative content – e.g. computer games, film, TV and other digital platforms.

2

Visual Communication

Focus on the development of visual concepts and solutions the programme includes teaching in graphic, visual communication disciplines. Students acquire theoretical, artistic and practical competences for handling and communicating issues and solution models within visual communication.

MASTER PROGRAMMES:

3

Game Art, Design and Development

Design of computer games, board games and cross-media for digital platforms. The programme includes teaching of interactive content as well as processes, navigation, information architecture and graphic interface design for web, social media, mobile applications etc.

4

Production Design

Main emphasis on methods, tools and theories related to the design of live images with dramatic, narrative content. Teaching and work with the development of design for visually narrative image media, such as film, TV and cross-media.

5

Type Design and Wayfinding

Focus on type design and wayfinding as well as visual identity and exhibition design. Projects that focus on the interplay between graphics, space and outfitting, and a starting point for collaboration with other postgraduate programmes at KADK. The programme is for design and architectural students.

6

Visual Culture and Identity

Focus on the development and use of concepts and visual design solutions based on studies within visual communication, culture and identity. Aims to strengthen theoretical and practical knowledge about images and the visual language's significance in modern communication.

23 �KADK is a productive place that combines comprehensive academic competences with a modern work approach such as design thinking. The new Institute of Visual Design is a really good example of this. Here, students can design not only beautiful visual identities for brands, but also complex solutions for the Danish infrastructure, e.g. road signs and digital services. At Kontrapunkt, we work with integrated design solutions, and the new institute's structure with its focus on interdisciplinarity and an understanding of the context fits perfectly into our way of thinking.�

Mads Quistgaard, Creative Director and Senior Partner at Kontrapunkt

STINNE MARIE WILHELMSEN, CLASS OF 2012

SARA LILLIE GORNITZKA

The Institute of Conservation deals with conservation and preservation of art, culture and nature. Of city square statues and church murals, of coins at museums and uniforms from the royal family. But also of artwork consisting of half-rotten pigs, of digital computer parts and other contemporary works.

Conservation is like surgery: theoretical knowledge combined with concrete craftsmanship. Insight into history, materials and the context, as well as the ability to study details with anything from a small scalpel to large, expensive microscopes. The Institute of Conservation is research into the past and safeguarding of the future. History-telling and preservation of history.

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INSTITUTE OF CONSERVATION

Mikkel Scharff, Head of Institute

1. What is special about your institute?

We handle the conservation of cultural heritage and natural heritage in Denmark – of anything from small silver coins to huge murals in Danish churches. We help unravel the origin of specific items – for instance, we can see from the blue colour in a mural painting in a church in Jutland that it comes from Afghanistan and has probably travelled via Venice to Denmark. We work with technical art history that can both safeguard the future and help uncover the past.

2. What characterises the students at your institute?

They are interested in art and cultural history as well as our both theoretical and practical approach, where students work with objects from the National Museum of Denmark, the National Gallery of Denmark and other museums, libraries and archives. They get the opportunity to conduct projects that deal with real objects. Work with both knowledge and craftsmanship.

3. Which role does your institute play in Danish art and culture?

We help ensure the preservation of Danish art and culture. From ancient statues, coins or other historical works over DNA found in animals and plants to modern products such as digital photos and materials, or Irma's arts bags that may some day be of significance to Danish art history. All works crumble and disappear unless something is done to preserve them.

4. Which work/product or place do you associate with the institute?

It can be the old Greek statues from antiquity, where small colour particles from the statues show us that at some stage, the statues were coloured and not just white. Tiny little specks of colour – one millionth of a metre – enable us to uncover history.

26 BACHELOR (BSC) PROGRAMMES:

1

Graphic Art

Preservation of paper, print, photos, films and other forms of graphic material. From drawings and posters to dye chemistry, mounting of graphical images and fibre science and paper history.

2

Object Conservation

Preservation of objects of archaeological or historical origin – such as glass, metals, ceramics, animal skins, bones and much more. From conservation of metal and textiles to knowledge about animal and vegetable materials.

3

Pictorial Art

Preservation of paintings on wood, canvas and other surfaces – in large and small scale. From preservation techniques for contemporary art and untraditional materials to insight into decoration techniques and preservation-worthy architecture.

4

Monumental Art

Preservation of sculptures – made of metal, stone, limestone and other materials – murals and architectural surfaces. Insight into mountain materials, ceramic materials, limestone, plaster and cement – and all other kinds of materials.

5

Natural History

Conservation of animals, plants and fossils. Botany, zoology, geology and nature-historical conservation. Theoretical learning and teaching in the field, at museums and out in nature.

MASTER PROGRAMMES:

6

Cross-disciplinary master programme

The master programme is the same for all students who are offered joint classes. In addition, subject-specific teaching is offered as seminars.

The School of Conservation accepts new students to the bachelor programme every three years. The next enrolment will be in 2016.

27 �With the new KADK, I expect that a dynamic and inspiring study and research environment will be created, where the three schools will inspire and influence each other. They will be able to stimulate senses and find possibilities for sparring, while at the same time, the individual institutes optimise their potentials and profiles. Cultural objects found in museums and collections need disciplines that can interpret and act on their complex material fragility. Conservators contribute to decoding objects' and works' silent knowledge and varied works genesis. Through this, they can contribute to creating possibilities for prolonging the works' significance and inspiration. Knowledge about and preservation of cultural heritage contribute to a cultural self-awareness, which is indispensable in a multicultural society.�

Jørgen Wadum, Head of the research centre CATS and Professor at the University of Amsterdam

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WE WERE KADK – FORMER STUDENTS' STORIES An education from KADK will open many doors. Read here what former students think about their education and what they have used it for.

Frida Vang Petersen, Architect at Domus, Class of 2012

�I chose to study architecture because I think that design processes are exciting; being faced with a task, doing research and solving problems by means of a physical form. At the school, we had the opportunity to experiment with creating. We had the posibility to have great influence on the composition of the degree programme, and the freedom to pursue our interests.

Our teaches challenged us, saying 'don't play it safe'.

This is how you learn to believe in yourself, trust that your ideas are good enough. This develops your personality, and it gives you confidence to stand on your own two feet when school is over.

Today, I work for an architectural firm in Copenhagen.

In 10 years' time, I will definitely be working with architecture, maybe I will have my own business. I like to take responsibility and having the chance to influence our physical spaces and contributing to creating exciting places for the people who are to live, work and play in them."

29 Cecil K. Andersen, Painting Conservator at the National Gallery of Denmark, PhD from the School of Conservation 2013

”I was looking for a degree programme where I could combine the craftsmanship dimension with theory. I quickly discovered that I like to place the object at the centre and explore its history. In this programme, I learnt to ask questions about culture, ethics and chemistry.

It all went well together. I also thoroughly enjoyed the school's fantastic environment, where we were practically one large family of conservators across the different study years.

One of the best things was when I discovered that it was possible to do research, to find out how I can do something better and pass on this knowledge to others. Quite early, I decided to take a closer look at what humidity does to paintings, and that was also what I worked with for my PhD. Today, I have specialised in the relining method, which has to do with strengthening the canvas on a painting.”

Rasmus Lund Mathisen, Visual Communication, Class of 2014 ”Originally, I started at Aarhus School of Architecture, but I wasn't quite comfortable with rulers and regulations. I therefore applied to the School of Design in Copenhagen where the environment is more open, which suited me better. I thought that I was going to be an illustrator, but I was really hooked on graphic design. The span between art and design appealed to me. You have great latitude at the school, and there are many possibilities of finding yourself as a designer. You also have a high degree of freedom, which I think is something very Danish, but you are not left to fend for yourself. And you can always have a chat with the teachers in the workshops.

Font design is my speciality, and I look forward to using it in real life.

Preferably with a design agency where they create visual identities. Right now, I am working on publishing old fonts on my blog CphType. I find this incredibly fascinating.”

At the Institute of Architecture, City and Landscape, we talk about the great scale span: from the design of a local children's institution to the planning of university areas in the knowledge city. From the design of an exhibition place or a green area to a strategy for an entire region's experience economy. From the individual senior housing unit to the development of a city with great population-related differences. The challenges span from global urbanisation, climate change and resource scarcity to growing demands about mobility and flexibility. The objective is a higher quality of life and an improvement of the city's and society's connection and cultural self-perception. Comprehensive solutions to society's big issues.

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INSTITUTE OF ARCHITECTURE, CITY AND LANDSCAPE

Katrine Lotz, Head of Institute

1. What is special about your institute?

We work with architecture and design as a part of the towns', cities' and landscapes' large scale – and thus a decisive part of societal development. Our graduates will have to make proposals about tomorrow's welfare society – in the form of anything from housing, hospitals and cultural buildings to cities and infrastructure. All based on unique professional architectural competences.

2. What characterises the students at your institute?

They are inquisitive and undaunted. They can think analytically, and they simply cannot stop drawing and visualise their thoughts. They have a desire to learn to think of architecture as crucial to the quality of near spaces, urban spaces and landscape spaces. They are full of confidence and faith that they can contribute to making the world a better place to live.

3. Which role does your institute play in Danish art and culture?

Our knowledge about how you create beautiful, relevant and eventful spaces on all scales is decisive for the cultural self-perception with which we as a society meet the world. We contribute to high quality in the communities and to the individual's quality of life in the public space – in buildings, towns/cities and landscapes.

4. Which work/product or place do you associate with the institute?

The Finger Plan from 1949 captures its era's knowledge about the city's enormous complexity, green areas, population, infrastructure, buildings – everything! The Plan constitutes a clear, precise and recognisable figure that points forward, dynamically, yet focused.

32 BACHELOR PROGRAMMES:

1

Complexity Handling in Practice

The students learn to see and understand complex situations, develop a plan and add form to suit society's physical settings. At the programme, students work with all scales of spaces and with plans for buildings, towns/cities and landscapes. The key words are architectural holistic approach.

MASTER PROGRAMMES:

2

Architecture, Space and Time

Advanced studies based on an understanding of urbanity as the framework for the design of the ideal way of making proposals. The students increase their insight into aesthetic theory and the development of architectonics in order to strengthen artistic expression. The programme is aimed at the art of construction and communicates knowledge about an open work understanding with a focus on topology, morphology, programme and action space, urbanity and cartography.

3

Landscape Architecture

Here, the students learn about Denmark as an urbanised process landscape where boundary lines and borders are necessary. The starting point for the teaching is that infrastructure, agriculture and forestry must be reorganised radically as a consequence of globalisation and changes in the environment and climate. The students develop competences for transforming issues into technical, social and artistic strategies and solutions.

4

Urbanism and Societal Change

The programme focuses on immersing the urban project in the conditions of our contemporary society. Students' competences are developed through the entwining of research and design applied to concrete sites within the project process. A prominent international network of collaborators will support parallel studios, seminars and workshops.

33 ”In my opinion, it is important that KADK's new Institute of Architecture, Town and Landscape maintains and further develops the holistic approach to the design of our surroundings. It is about creating stimulating spaces for life and increasing our association with our surroundings with a keen eye for today's challenges. The new institute can gather these aspects and make them more than the sum total – and do so in a wonderful and meaningful way. I am therefore delighted with the new institute, where the holistic, professional architectural approach can be developed in a way where in its own right it is – and is respected as – a specialisation supported by relevant research.”

Ellen Braae, Professor, Landscape Architect, Faculty of Science, University of Copenhagen

The Institute of Product Design takes on the breadth of the design concept. And stretches it to the maximum. Design is more than just nice things on your shelf at home. It has to touch the heart. It has to touch our everyday lives. It is teapots and train carriages.

Women's lingerie and incubators. Design is to create new solutions for public transport. New possibilities for the hospital service. For the environment. And deal with everything from the storage of vegetables and sliced meats to huge containers. Design is to create a better encounter between the individual citizen and the public sector. Give consumers better service and encourage them to try new things. And consider desires and behaviour that we do not even know. The Institute of Product Design embraces diversity. Develops the design concept and places it in new contexts.

MIKA ISHII, AFGANG 2014

Without wearing artistic blinkers.

35

INSTITUTE OF PRODUCT DESIGN

Troels Degn Johansson, Head of Institute

1. What is special about your institute?

We show how design and fashioning meet. The rational and the pragmatic from the technological colleges are united with sensibility and insight into the artistic. We start a motion and allow, for instance, ceramics to unfold in several scales – from the table to the building and out in the city.

2. What characterises the students at your institute?

They want to acquire skills within both worlds. Master the artistic and become precise and have an understanding for context at the same time. Enter into the spirit of both worlds, but also open up towards others. They are not afraid to develop themselves, their ideas or the contexts in which they are a part.

3. Which role does your institute play in Danish art and culture?

We want to rethink and change cultural heritage. We make products that interpret tradition and bring us to a new place. Products and solutions in the Danes' everyday life that grab people's attention, making them think: I hadn't thought of this; I didn't realise this was something you could do!

4. Which work/product or place do you associate with the institute?

First and foremost the workshops within fashion, ceramics and glass, where students and staff meet around the material. And our inspiring seminars, where students freely exchange thoughts and ideas with researchers, artists and partners from the business community.

36 BACHELOR PROGRAMMES:

1

Fashion Design

The programme focuses broadly on clothing and fashion – from fashion as a cultural phenomenon to clothing as the communication of identity and affiliation, from the overall concept to the concrete development of form. The students work with the subject area's many facets and mechanisms, which gives them a clear, professional, theoretical and artistic foundation. The focal point at Fashion Design is the fashion programme's workshops, ”Fashion Form Lab”.

2

Industrial Design and Ceramic Form

Based on collaboration between the programme areas of industrial and ceramic design, the common elements consist firstly of 3D design through modelling and visualisation. The students also improve their knowledge as regards application fields, e.g. sanitary appliances, tableware and industrial production technique, fitting out, mountings and building details etc., as well as knowledge about industrial production.

3

Craft – Glass and Ceramics

A programme that focuses particularly on glass and ceramics on an artistic foundation. Based on comprehensive craftsmanship knowledge about the work with techniques and materials, the students develop qualifications for designing and developing the craft at a high artistic level.

MASTER PROGRAMMES:

4

Codesign

Codesign is an approach to design work that gathers a number of methodological approaches in a cohesive professional profile, which is expected to spread within the design field. The approach is characterised by three views: 1) Design as a way of making proposals in a wide network of players that the designer facilitates; 2) Creating formats for the designer that promote exchange and dialogue within this network; 3) Innovation as a critical engagement.

5

Industrial Design

The students improve their competences through knowledge about new materials, production processes and research within a specific design-related area. They collaborate with companies and institutions on preparing concepts and design proposals for products and on developing their understanding of working as an industrial designer in an organisation.

37 ”I am delighted about the merger of the three schools.

The merger can lift the quality of the degree programmes even further, and I believe that all three parties can gain something excellent from each other. It is a huge step in the right direction. The Institute of Product Design will be able to create some interesting developments of the design concept and produce some attractive graduates who have benefited from the synergy that the new cross-disciplinary environments will entail.”

Mads Nørgaard, Designer, Mads Nørgaard Copenhagen

MARTIN KALDAHL

MADS WIND LEIHØJ, CLASS OF 2012

6

Ceramic Design

Ceramic Design is a specialisation and a postgraduate programme that builds on the undergraduate programme in Design with a focus on plastic silicates, i.e. materials that contain ceramics, concrete, plaster and glass. The programme is in close dialogue with relevant companies and other subject areas in order to develop the ceramic field.

7

Fashion Design

The postgraduate programme in Fashion Design is internationally orientated, but is based in Danish design traditions with a focus on aesthetic value combined with accessibility, quality, functionality, ethics and sustainability.

The study environment is based on scientific and artistic research with a materials-based, experimental approach. Many assignments are carried out at the 'Fashion Form Lab'.

38

39

The Institute of Architecture and Design deals with the immediate life around us. Lighting. Textiles. Furnishing. The quality of buildings. Beauty is in the detail, but also in the greater picture. What our society needs. The institute is close to the health sector, schools and hospitals. That is also where life unfolds.

In general terms, it is about bringing design and architecture together. Where an architect starts with the outfitting of a room, a furniture designer will consider human needs first. The institute gathers the two in one common space and allows them to find each other. For the benefit of both the small and the large context.

41

INSTITUTE OF ARCHITECTURE AND DESIGN

Mathilde Aggebo, Head of Institute

1. What is special about your institute?

We are in-between two subjects and two schools – architecture and design. We enhance the academic specialisations and make the two degree programmes meet in a cross-disciplinary teaching environment. We are a crossfield between two historically very different subjects – a crossfield that contains a great potential for developing new thoughts and methods.

2. What characterises the students at your institute?

They are interested in their surroundings and want to challenge the way in which we live and create homes. They want to take the lead and are not afraid of getting involved and working hard. With materials, phenomena and methods. They choose the institute because they want to design the settings for our society. Our homes. Our lives.

3. Which role does your institute play in Danish art and culture?

Our job is to break down conventional ideas about differences between design and architecture and what the subjects can achieve together – in the immediate scale, in the large scale and in the whole. It is about rethinking interior design, inventing furniture made of decomposable materials, or building schools that fit the pedagogics that will be applied in 50 years' time.

4. Which work/product or place do you associate with the institute?

Herlev Hospital. This is a building project with a very clear global perspective.

From detail to whole, Herlev Hospital is designed to meet people at eye level and to take care of us. Art plays an active role here.

42 BACHELOR PROGRAMMES:

1

Architecture and Design – Whole and Part

Works with the building and its architectural elaboration, detailing and project design – in surfaces, materials and structures. The undergraduate programme develops the crossfield between architecture and design – and through the practical assignments, it introduces the subject areas of furniture design, design of spaces, building textile and lighting design. The programme is for architectural students.

2

Furniture Design

Takes is based in Danish design tradition and is divided into two tracks. One of these focuses on the interplay between man, furniture and space. The other focuses on the production of furniture, industrially and in terms of craftsmanship, and it aims at ensuring that the furniture production is reflected naturally and clearly in every detail. The programme is for design students.

3

Spatial Design

Here, the students learn how to design spaces, space sequences and space components for wholes that link artistic quality and utility value. They learn about spaces' function and layout, furnishing, choice of materials and colour schemes as well as the interplay between daylight and artificial light conditions. The programme is for design students.

4

Textile Design

Gives the students strong skills for working with design issues related to the development of textiles for fashion, interiors and other architectural contexts. Here, close attention is given to colour, tactility and pattern creation.

The degree programme is linked to the TexLab, which is the programme's core and knowledge centre. The programme is for design students.

MASTER PROGRAMMES:

5

Spatial Design, Perception and Detail

Here, graduates qualify to master design of spaces on a 1:1 scale. There will be assignments where existing spaces and buildings are transformed, and assignments where buildings and urban spaces are planned from scratch and thoroughly elaborated to a level where the sensory experience is clearly described. The programme is for architectural students and design students.

43 �One of the things that Denmark is known for when it comes to architecture as well as design is the detail. What we expect from the Institute of Architecture and Design is a place where people work in-depth with their projects, thus ensuring the basis for a certain quality in the products that are completed. It is our hope that the Institute of Architecture and Design will create debate and a good dialogue between architects and designers.

However, overall, we also hope that this will become yet another good example of how important interdisciplinarity is in terms of finding new and better solutions for a developing society.�

Kasper Salto and Thomas Sigsgaard, Owners of Salto&Sigsgaard

6

Architectural Lighting Design

The programme is based in both practical and theoretical disciplines within architectural lighting, lighting design and lighting technology. Students work with both daylight and artificial light in products, spaces, buildings and landscapes. The programme is for architectural students and design students.

7

Furniture Design

Research and practice meet in the work with solitary pieces of furniture and furtniture architecture in a wide sense. The programme deals with immediate furniture issues, knowledge about materials, production processes, form and tectonics. The students are also taught about furniture's dialogue with the surrounding world: usage, activity, space and society – including political, social and financial conditions as well as sustainability issues. The programme is for architectural students and design students.

8

Textile Design

This degree programme involves elements of practice as well as scientific and artistic research.

Students resolve problems, experiment and develop products based on usage, function, relation and context. It is about being able to set an agenda for tomorrow's professional textile areas and questions. The programme is for design students.

The Institute of Architecture and Culture works with architecture as a cultural phenomenon with social, ideological, political, historical and aesthetic aspects. It links contexts – historical and contemporary, ideological and aesthetic, concrete and abstract. We work with drawing and theory, with historical and modern architecture, with technology and philosophy, with wooden models and thought models, with door frames and urban plans.

The Institute of Architecture and Culture deals with architecture in which the small details connects with big societal projects.

45

INSTITUTE OF ARCHITECTURE AND CULTURE

Peter Thule Kristensen, Head of Institute

1. What is special about your institute?

We work with the relation between architecture and the weird hotchpotch that culture is. Our interest in the historical is key and forward-looking. For instance, we study how existing architecture can be transformed to meet new needs.

2. What characterises the students at your institute?

They are inquisitive and interested in understanding the mindsets of other subject areas. They see architecture as something that grabs hold of our common memory and plays across the entire scale of our sensory system.

They want to both read, write, draw and build.

3. Which role does your institute play in Danish art and culture?

We demonstrate that architecture means something – that a work is not merely a result of a specific programme or period technology. In our perspektive architecture is about communication and ideology and therefore able to change our outlook.

4. Which work/product or place do you associate with the institute?

Thorvaldsen's Museum from 1848 is a good example. In its own way, it is a mishmash of all kinds of styles and it has multiple meanings, which the architect has managed to weave into a whole. It reaches way back into history and is at the same time a pioneering work. A paradoxical work – wise and imaginative.

46 UNDERGRADUATE PROGRAMMES:

1

Taking Place

Based in architecture's unseparable relation to its context – i.e. physical, climate-related, social, cultural, historical and political conditions. Artistic research, cultural heritage and historical understandning form natural parts of the study course. The programme is preoccupied with the students' study culture and with establishing an understanding of the project concept as something that does not yet exist.

POSTGRADUATE PROGRAMMES:

2

Art and Architecture

Here, the students learn to develop architecture through critical reflection.

The starting point is a basic structure that distinguishes between three types of projects: imaginary projects, project proposals and 1:1 projects. The imaginary considers a ficticious, abstract location, while the project proposal works on the basis of a specific place, and the 1:1 projects are realised. The reflective practice is the common thread that runs through all projects.

3

Cultural Heritage, Transformation and Restoration

Architecture's transformation and restoration have top priority here, where students are taught with a focus on historical understanding, technical insight and analytical competence. The postgraduate programme offers two lines, CTR/Transformation and CTR/Restoration, respectively, which have individual weighting of competences within architecture, restoration, transformation architecture and architectural theory.

4

Political Architecture: Critical Sustainability

The creation of architectural relevance based on the concept of sustainability is the focus in this programme. The students work with sustainability as a scientific object, architectural objective, common everyday challenge, journalistic agenda, financial strategy, political key issue and social criticism.

They also learn how to find architectural solutions within these areas.

47 �At the architectural firm Praksis, we work primarily with additions to and transformations of existing buildings. Understanding the significance of places, the history of architecture and knowledge of materials’ possibilities are essential, and for this reason, the new Institute of Architecture and Culture will also contribute positively to the qualification of architects who have exactly these skills. Students from the new institute will be able to work with complex issues and have an even greater understanding of the cultural context in which they create. To our firm, this will mean fruitful knowledge sharing with both interns and eventually excellent architects whom we get the chance to employ."

Mads Bjørn Hansen, Architect MAA and Owner of Praksis Architects

Published February 2014 | Photos: MAGNUS STIG MIKKELSEN A.O. | Study- and graduation projects: FROM KADK | Printing and production: PRINFO Text and idea: LEAD

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THE ROYAL DANISH ACADEMY OF FINE ARTS SCHOOLS OF ARCHITECTURE, DESIGN AND CONSERVATION PHILIP DE LANGES ALLÉ 10 1435 COPENHAGEN DENMARK

The Royal Danish Academy of Fine Arts, Schools of Architecture, Design and Conservation

Editors: KADK

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+45 4170 1500 INFO@KADK.DK WWW.KADK.DK