Culture Bunker report by SKJULTE STEDER

CULTURE BUNKER Report

CONTENTS Page 2 INTRODUCTION Page 2 Culture Bunker Page 2 Historic review Page 3 - 8 THE ARCHETURAL FRAMEWORK Page 3 Shelters in general Page 3 Construction, measures and dimensions Page 7 Renting the concrete Shelters Page 7 State of the rooms and practical conditions Page 8 Urban context types Page 9 - 20 CULTURE BUNKER Page 9 Rooms, and locations Page 11 Structure forms Page 11 Design solutions and furnishing of the rooms Page 11 Insatllational /Scenographic structure Page 11 The raw room Page 18 Dissemination strategy Page 19 Program Page 20 Statistics Page 20 Conclusion and future initiatives Page 22 - 32 THE EUROPEAN DIMENSION Page 22 Four large shelters • Bunkr Parukářka • Bunker Berlin • X- Bunker • The Gurre Bunker The Concrete Mushrooms of Albania Page 25 • Bed & Bunker Defence bunkers – the atlantic wall Page 27 Contemporary Culture Page 27 • The line – the light and Peace Sculpture • The Bunker Secret 1995 • Bunker Love Focus on art work Page 28 Interior – The internal space Exterior – The external frames Stage / Backdrop Dekonstruktion A control bunker Page 32 The Potential Page 32 Page 33 - 34 Historic images Credit Page 35

INTRODUCTION CULTURE BUNKER

HISTORIC REVIEW

In Aarhus there are app. 300 reinforced underground shelters, bunkers, hidden beneath plant covered earth mounds. They have been ‘dormant’ here since World War II and the Cold War era. Very few passersby have been aware of their existence. It is obvious, that these bunkers have an unused potential, available to creative minds, which may develop specific ideas or rethink new ways to use the many small, subterranean rooms.

Only very few people know that the major Danish cities have an extensive array of shelters or bunkers. In order to protect the citizens in the best possible way, the shelters placed as close to the people as possible, and here they are to this day.

Using the bunkers for temporary cultural purposes and incorporating them as part of the identity of the city, will partially contribute to the maintenance, just as the more extrovert activities in the bunkers will contribute to inform the citizens about the presence of the shelters in the city. Furthermore there will be an implied focus on the cultural heritage of the city of Aarhus, and the global history suggested by the very presence of the bunkers in the city space. In 2012 the Cultural Association ‘Hidden Places’ decided to take up the challenge with a trial endeavour to transform the shelters into cultural platforms for micro events. The result was the project CULTURE BUNKER, which took place from the 16 th of October – 11th of September 2013. ‘Hidden Places’ chose to test the possibilities and limitations of the shelters as cultural platforms. In the CULTURE BUNKER project the architectural framework were weighted as highly as the content. The architectural framework became the element motivating the cultural operators to adjust their course of action as opposed to traditional thinking. We posed the questions: Can we conquer the city in a new way? Can we create unusual expressions in new frameworks? Can we establish precedence for a more permanent use of the subterranean rooms? What are the possibilities and what are the limitations? The test project showed, that there is good potential in the small subterranean rooms, which is what this report aims to describe. Project Manager Annette Damgaard

Only 30 years ago a totally devastating world war was still a very real threat. The country’s preparedness to defend its population was at the ready. Today such a scenario is a lot less likely and to many people it is a forgotten chapter of our history. The building of the reinforced shelters was already started during World War II in order to protect people from air raids. Subsequently the bunkers were modernised and enlarged during the time of the Cold War and new shelters were added. In Aarhus the dome-shaped bunkers were built during the Second World War, but the tubular bunkers were added during the cold war era (1945 – 1989). It was assumed that the devastation during a future war would be even more extensive than during World War II, which is why the shelters were also adapted and modernised. The purpose of the shelters were to protect civilians against the consequences of an air raid, The rooms had to be safe from crashing, explosions and gas, provide protection against fire and radioactive fallout, and give reasonable escape opportunities. In case of war the shelters had to protect the citizens from radioactive fallout. During the time, when it was lethal to be outside, people would have to stay in the shelters and wait until evacuation was possible. These precautions, naturally, have resulted in rooms with a certain vacuum and very special acoustics. It is apparent that a great unused potential is inherent in the many centrally placed shelters. The Emergency Management Board is even prepared to make the shelters available for public use during time of peace, such as now.

It is an architectonic challenge to make use of the minimal spaciousness and it takes creativity to exploit the potential of the rooms and transform them into efficacious rooms. Cand. Arch. Jesper Urup Ruban

FACTS ABOUT ”HIDDEN PLACES” The group behind Culture Bunker is ‘HIDDEN PLACES’. ‘Hidden Places’ is a project within the programme for Aarhus European Capital of Culture 2017, under the theme ‘The City – Routes and Traces’. ‘Hidden Places’ was formed in 2009 during Culture Night Aarhus as a consequence of the cooperation with Aarhus European Capital of Culture 2017 to map the city. Since 2009 ‘Hidden Places’ have focused on a ping pong with the citizens of Aarhus – partly through photo competition, which resulted in 300 photos of hidden places; partly through a Facebook group, where the members take active part with input, comments, photos, films, questions and sharing; partly through guided tours to the hidden identity of the city of Aarhus. During the years leading up to 2017 ‘Hidden Places’ will investigate how we may apply the unused parts of the city as active cultural platforms. Culture Bunker is the first in a line of city-space investigations. Later we will focus on other hidden potentials in f. ex. abandoned buildings, surplus rooms, roof top terraces, back yards or parking basements; all places with hidden potentials.

THE ARCHETURAL FRAMEWORK Popularly, the subterranean shelters are called bunkers, but the technical term is actually reinforced concrete shelters. A bunker is the term for a construction built to withstand shooting in order to protect the people or equipment within. In broad terms, a distinction is made between shelters, command bunkers, and defensive bunkers. In CULTURE BUNKER the focus was on the reinforced con-

crete shelters.

SHELTERS IN GENERAL To gain insight into the potentials and the limitations of the shelters it is necessary to know their function, construction and situation in the city space. Shelter is a general name for all types of reinforced rooms, which are used to protect people against air raids. Generally shelters may be subdivided into three groups: Combined Public Shelters (CPS-facilities) is the term for large public shelters with some other function. It may be public parking basements, pedestrian tunnels, storing facilities and the like, which have been built in recent times. Security Rooms are private shelters. Usually they are reinforced basement rooms in a block of flats built after 1950. Reinforced concrete shelters are small public shelters situated by roads, schools, parks, industrial estates and residential areas.

CONSTRUCTION, MEASURES AND DIMENSIONS There are 45 dome-shaped and 227 tube-shaped reinforced concrete shelters in Aarhus municipality. In addition there are 2 box-shaped concrete shelters with rectangular rooms, one of which is used by a restaurant for wine storage.

The Dome-shaped Room

The first reinforced concrete shelters were built towards the end of the 2nd World War with the purpose of protecting the public against air raids. Material availability was limited due to the restrictions laid upon the Danes by the German occupiers. The dome-shape shelters were cast in situ applying the obligatory wooden formwork, but using very little iron reinforcement, which was in short supply. The domes were either cast singularly, as twin-bunkers with a shared entrance or as triple-bunkers. Originally the dome-shaped shelters were furnished with wooden benches and a wooden ladder, providing access to the escape route placed at the top of the dome. During the Cold War the domes were modernized and fitted with sand filters, which were supposed to clean polluted air. The dimensions of the rooms are 664 cm diameter and 250 cm height in the middle of the room.

The Tube-shaped Rooms

During the Cold War from approx. 1947 â&#x20AC;&#x201C; 1990 a nuclear war was considered a very real risk, involving far greater devastation than during the 2nd World War. From 1945 through the 1960â&#x20AC;&#x2122;ies a new type of cylindrical or tube-shaped concrete shelters were built. In Copenhagen these shelters were cast on site using wooden formwork, but in Aarhus prefabricated, iron reinforced elements were assembled on site. These shelters are known as the Aarhus-tube. Most of the cylindrical concrete shelters are furnished with a wooden floor and a row of wooden benches on either side. Originally the shelter was fitted with an earth toilet or privy. The length of the cylinders is 1600 cm, the entrance and the escape exit taking up 150 cm.

Afdækning af betondækningsgrav. Foto: Annette Damgaard

Crowded shelter, Kongens Have, Odense. Photo: FynskeBilleder.dk

RENTING THE CONCRETE SHELTERS The construction of the concrete shelters is so sturdy, that they are still considered appropriate for protection purposes. They cannot be used directly, but must be able to be prepared within a short period of time, in case the Defence Minister deems it necessary. The Emergency Management Board has decided to let the shelters be available to the public during time of peace, on the condition that it does not impair the primary protection purpose of the shelters. Additionally the rooms must be able to be reverted to the original function with a short notice. According to the Aarhus Fire Department short notice is a week. Covering a concrete shelter. Photo: Annette Damgaard

In Copenhagen as well as in Aarhus the shelters have mainly been rented to musicians for rehearsal purposes, storage, e.g. wine storage, storage for craftsmen, bicycle parking and exhibitions. The concrete shelters are rented out by the Fire Departments of both Aarhus and Copenhagen. In time of peace there is room for 15 people in each room, but in life-threatening emergency situations 50 people per room are allowed in.

STATE OF THE ROOMS AND PRACTICAL CONDITIONS

Cleaning the concrete shelter. Photo Annette Damgaard

Dehumidification of concrete shelter. Photo: Annette Damgaard

Some shelters are dry and in good condition while others are marked by the ravages of time and show certain defects and shortcomings. Moisture, leaks, mud and water are some of the problems you may meet in the old shelters. Also litter and graffiti added by people, who have made their way into unlocked or forced open rooms. Furthermore some of the remaining wooden benches and floors are in a poor condition in certain places. The shelters are usually without electricity and heating, necessitating the borrowing of electricity from neighbouring buildings or fitting a generator. Another possibility is to open an electrical power port or a well. In Aarhus you may contact EL:CON and /or â&#x20AC;&#x2DC;Traffic and Roadsâ&#x20AC;&#x2122; in order to open a power port.

URBAN CONTEXT TYPES Cand. Arch. Jesper Urup Ruban estimates in an urban planning analysis regarding reinforced concrete shelters in Aarhus, that the location of the shelters may be categorised into seven types of urban contexts. The analysis provides a good picture of both possibilities and limitations. 1. Traffic: Shelters located in traffic areas are appropriated to road users. These shelters are difficult to access, as they are often located in the median strips. 2. Nature and Parks: The shelters are often located in small enclaves in park areas and are therefore suitable for common design solutions. 3. Sport and Leisure: Shelters located in connection with sport facilities making them suitable for sport and club activities. 4. School and Education: Shelters next to schools and other educational institutions may be used with great advantage for play, learning or social meeting spaces. 5. Industry: Shelters located in close connection to the industrial harbour area are limited by the functions of this harbour and are therefore not suitable. 6. Urban: Shelters located in the urban space on squares and commons. There are only a few left in the central part of the city, but they have great application value because of their central location. 7. Residential Areas: Shelters in close proximity to residential areas, stretching from public to private space. These shelters are useful for residential activities or public activities in close cooperation with the residents.

AfmĂŚrkning af bunkere i Aarhus, Jesper urup Ruban.. Foto: Annette Damgaard

CULTURE BUNKER In CULTURE BUNKER we focused on explorative, site-specific and interdisciplinary aesthetic events, in order to challenge the stringent frames the bunkers offer. We wanted to find out if the shelters are useful as small platforms of culture for micro-events and social meeting spaces. The project therefore put equal emphasis on content and frames – CULTURE and BUNKER. The bunkers served as the framework for exploratory ‘Laboratories’ which focused on exploring the sonic and spatial possibilities of the rooms. The project’s working group consisted of the architect company, Stephan Gustin, Theatre Fluks, Literature on stage (LIPS), Danish Institute for Digital Music (DIEM). Additionally an OPEN CALL was made, providing 12 participants, who offered exhibition, readings, workshop, lectures among other things.

ROOMS AND LOCATION For the trial runs we made use of three dome-shaped and three cylindrical-shaped concrete shelters located in four different places within the inner Ring Road – i.e. Aarhus C.

Building and construction, ATLS. Photo: Annette Damgaard

1. A dome-shaped twin bunker by Aarhus Lawns Tennis As sociation – ATLS (Context type 3: Sport and Leisure). 2. A dome-shaped single bunker by Læssøesgades School and the school’s football field (Context type 3 + 4: School and Education/ Sport and Leisure). 3. A dome-shaped twin bunker on the corner of Nørre boulevard/Nørrebrogade (Context type 6: Urban). 4. Three cylindrical bunkers on Regensburgs Plads (Context type 7: residential area). The distribution of the bunkers in the city area combined with the condition of some of the bunkers made it impossible to assemble the events in a cluster, where both types of bunkers were available. The advantage however was that the events were offered to local citizens in the north, west and south parts of Aarhus C.

Concrete Shelter, Læssøesgade Skole Photo: Annette Damgaard

Architectural Drawing. Photo: Annette Damgaard

Concrete shelter. Photo: Svend-Ă&#x2026;ge Ekberg

STRUCTURE FORMS

As a starting point we decided to test the rooms in three different structural forms: 1. The designed and architecturally furnished room 2. Location specific, scenographic interior 3. The raw unaltered room

DESIGN SOLUTIONS AND FURNISHING OF THE ROOMS The starting point was to change some dome- or tube-shaped bunkers into public spaces beneath the ground obtaining small urban breathing holes, where you are channelled into the evocative atmosphere of an underground world similar to ‘Alice in Wonderland’. These underground environments have potentials for multifunction rooms, social meeting space, café settings, rooms for contemplation, mini-conference rooms and event rooms for the cultural operators of the city and the citizens in general. The focal point was a multipurpose urban interior or furniture specially designed for the Aarhus bunkers. The new urban multi furniture was to create poetic, sensory and innovative experiences in the city’s new spaces. This furniture also takes into account some of the issues contained in the new types of rooms and provides a direct and innovative guide to, how this subterranean environment may be occupied. Based on this concept the architects Stephan Gustin in collaboration with architect Jesper Urup Ruban and students from Aarhus School of Architecture developed three different structural forms for the three spaces and relative to the type of events to be presented in the rooms. 1. One of the three cylindrical, tubular bunkers on Regensburgs Plads was reinterpreted with an installational piece of furniture, constituting an untraditional bench or seating area. By using fixed braces one had the opportunity to hang, sit, stand, and lie. This alternative way to be in room made the spectators part of the decor. In addition to providing new interpretations and user activating arrangement possibilities, the construction also served as a spatial light installation

in alternating colors. The light installation worked as an evocative processing of the room decor and was made up of LED lights divided into approx. 10 zones, fitted with about 1000 LEDs programmed individually in a 40 minute cycle. The room would change its character from cold to warm. The installation interacted with the aural representation of the readings arranged by ‘Literature on Stage’ (Litteraturen på Scenen). The space by the emergency exit at the end of the tube was the stage for ‘Literature on Stage’, who held two evenings of readings. By the end of the project a video installation ‘Poetic Geometrics’ by the artist duo Gravengaard and Hvid was shown.

2. The dome-shaped twin bunker by Aarhus Lawns Tennis Society (Tennis Selskab) was designed as a studio space and concert platform for DIEM (The Royal Academy of Music, Jutland). The concert room was built up by sections of wooden lounge furniture, inviting to either sit or lie down. The addition of LED lights under the constructions created an evocative room with indirect lighting, which emphasized the arch of the room. In this room you experienced the music and the accompanying digital picture projections. The adjacent room appeared as a place-specific total installation with blue LED light and a mirror dome enhancing the dome effect. A circular bench sloping towards the walls made it possible to sit or lie down, while exploring the being of the bunker or just being sociable. The concerts and the digital pictures were streamed to this room, connecting the rooms and providing a complete experience. 3. The single dome-shaped bunker by Læssøesgade School was designed and put to use as a multi function room for Open Call events of various kinds. The diversity of the events demanded a certain level of mutability of the room. This was solved by building an integrated, circular piece of furniture, forming a centre with room for a small stage or a round table in the middle. The surplus space behind the bench was filled with large transparent fitness balls, which may be moved around in the room and used for seats. The balls were a con

trast to the heavy, angular room and were lit up by blue LED lights fitted beneath the bench. The light filtering through the balls softened the atmosphere of the room. The decor provided the possibility of choosing between the intimate experience of the event and the relaxing, more distancing experience in the peripheral lounge area on the balls. In this way it was possible to accommodate the varying needs of both actors and audience. The room was tested as a classroom, a playroom for children, a room for lectures, readings, workshops and as a chill-out room for adults.

INSTALLATIONAL / SCENOGRAPHIC STRUCTURE The dome-shaped twin bunker on the corner of Nørrebrogade and Nørre Boulevard was the location for the performance installation ‘B13’, staged by Theatre Fluks (Teater Fluks). The starting point of ‘B13’ was the last day of the Mayan calendar and the following critical period of transition into a new era in time. The rooms were decorated as a mythical scenario uniting performance, installation, song and sensory perception into a collective expression – a Gesamtkunstwerk. The installational work emphasized the interaction between the two rooms of the bunker. On the one hand the traditions and the fix points of time gone by and on the other hand the dreams desires and utopias of the new age. The keeper and the seer. The twin domes were staged as a temple for these dialectic energies. As a guest in the bunker you were invited into the temporary powerhouse, which balanced the oppositional powers of the Universe. You had the opportunity to interact with the inhabitants of the powerhouse, contribute to the new calendar or be present as a quiet observer.

THE RAW ROOM

Two of the tubular bunkers on Regensburgs Plads were used for exhibitions in their raw, original and unaltered form. Four different exhibitions were located here.

Regenburgs Plads, Opholdszone. Foto: Jesper Urup Ruban

Regenburgs Plads, Installationary Furniture. Photo: A.Damgaard

Regenburgs Plads, Litteraturen pĂĽ Scenen. Foto: Svend-Ă&#x2026;ge Ekberg

Regenburgs Plads, Poetic Geometrics. Photo: Jesper Urup Ruban

Regenburgs Plads, Installationary Furniture. Photo: A.Damgaard

Aarhus Lawns Tennis Association, DIEM. Photo: Svend-Ă&#x2026;ge Ekberg

Læssøesgade Skole Bunker Perleplade Syndikatet. Photo A. Damgaard

Læssøesgade Skole Bunker, Børn af Byen. Photo Annette Damgaard

Læssøesgade Skole Bunkeren, Arkitektteamet. Jesper Ruban Læssøesgade Skole Bunker, Arkitektteamet. PhotoFoto Jesper UrupUrup Ruban

Læssøesgade Skole Bunker, Arkitektteamet. Photo Jesper Urup Ruban

B13 Teater Fluks. Photo Skipper Photography

Tænketank - Efter Hånden by Vibeke Rønsbo. Photo Annette Damgaard

Under Jorden, Opgang2’s Billedspor: Photo Annette Damgaard

Pink Army Control bunker. Photo Annette Damgaard

Højere Vande by Lisbeth Hermansen: Photo Annette Damgaard

Infrastructure

Vejlby

Skejby

Tilst

s der Ran

Aarhus is located in a river valley, surrounded by the city’s rising hills with Holme Mountains and Skåde Hills to the south and Lisbjerg hill to the north. From the west Aarhus River cuts its way through the centre of the city and debouches into the Aarhus Bay. The form of the landscape with the long hills and consequently steep roads, provides an infrastructure, which makes it difficult to decentralize cultural events. People gather in the centre of the city, and do not readily move uphill for cultural events in the outskirts of town or in the suburbs. Part of this problem is due to the fact, that Aarhus is a university city with many young people, who travel by bicycle.

located in the central area. The choice fell on the concrete shelters situated within the Inner Ring Street, encircling Aarhus C. Nevertheless the selection of good bunkers would have been optimized by including areas stretching out to the Outer Ring Road. However, the distance between the chosen bunker locations would have been too far and logistically complicated. Risskov

Grenaa

DISSEMINATION STRATEGY

Vib

org

Hasle

Aarhus C

Brabrand

Befolkningstal i Aarhus : 316.326

Åbyhøj

Gellerup Silkeborg

65 - 95 years 40.348 13 %

0 - 19 years 69.398 22 %

Stautrup

g or Viby

an Sk

Hasselager

20 - 40 years 114.624 36 %

Højbjerg Odder

Holme

40 - 65 years 91.956 29 %

Tranbjerg

Dissemination The infrastructure is centered on four ring road systems, the innermost two encircling the heart of Aarhus. The oldest city core, the Latin Quarter, is surrounded by Aaboulevarden, Immervad, Guldsmedegade, Klostergade and Graven, which more or less corresponds to the location of the waterways around the old Viking Earthworks. The next ring road system is positioned along the city gates of the past: Nørreport, Nørre Allé, Nørregade, Vesterport, Vester Allé and Sønder Allé. This is followed by the Inner Ring Street and the Outer Ring Road. The heart of Aarhus attracts people like a magnet and makes decentralizing cultural events extremely difficult. However only very few of the 312 reinforced concrete shelters are

For the dissemination of Culture Bunker we calculated with three challenges: 1. Limited economy, 2. The decentred location of the bunkers, 3. Audience was limited to 15 persons in each bunker. To this end a massive and costly marketing was deselected, which in itself prevented a much too large audience appearing for events with limited room. Alternatively, marketing was carried out via social media, flyers handed out to bicyclists, posters put up in local areas, and press releases to the media. The targeted communication to the local inhabitants in the specific areas turned out to be a positive solution with regard to the decentred location of the bunkers. At the same time the marketing via the viral / social media created a suitable grapevine effect: ‘Have you heard that....’.

PROGRAM AND STATISTICS

Program → 23.sept. 24.sept. 25.sept. 26.sept. 27.sept. 28.sept. 29.sept. 30.sept. 1. okt.

Wednesday

2. okt.

Thursday Friday Saturday Sunday

3. okt. 4. okt. 5. okt. 6. okt.

Monday

7. okt.

20.00: Kati Linek Phaedrus Isaktelefon

Tuesday

8. okt.

20.00: Christian Tronhjem Göran Tesla Coil Brain Beebop

9. okt.

20.00: Dögenigt Sebastian Edin Zack Christ Natal & Milan Zaks

10. okt.

Kl. 20.00: Mads Engell Nicole Pedersen Simon R.Christensen & Xiaogang Zeng Filip Ja

11. okt.

Kl. 20.00: §tasis Andrew Dorman Olga Szymula Thomas Wernberg

Onsdag

Thursday

Friday

DIEM: Aarhus Lawns Tennis Ass.

PPLACE Monday Tuesday Wednesday Thursday Friday Saturday Sunday Monday Tuesday

Theater Fluks: Nr. Boulevard

Warter: 19.00 -23.00:

Milk: 19.00 -23.00

Blood: 19.00 - 01.00

LIPS: Regenburgs Plads

´Pink Army: Regenburgs Plads

Open Call bunker: Regenburgs Plads 14.00 – 17.00: ”Tænketanken: Efter Hånden” 14.00 – 17.00: ”Tænketanken: Efter Hånden” 17.00 – 20.00: ”Tænketanken: Efter Hånden” 11.00 - 14.00: ”Tænketanken: Efter Hånden”

Open Call-bunker: Læssøesgade Skole

16.00 - 18.00: Bunker construction 16.00 - 18.00: Bunker construction

11.00 - 19.00: Sound/ligth installation 11.00 - 19.00: Sound/ligth installation 11.00 - 19.00: Sound/ligth installation 11.00 - 19.00: Sound/ligth installation 11.00 - 19.00: Sound/ligth installation 11.00 - 19.00: Sound/ligth installation 11.00 - 19.00: Sound/ligth installation 11.00 - 19.00: Sound/ligth installation

11.00 - 19.00: Pink Army Control bunker 11.00 - 19.00: Pink Army Control bunker 11.00 - 19.00: Pink Army Control bunker 11.00 - 19.00: Pink Army Control bunker

11.00 - 19.00: Sound/ligth installation 11.00 - 19.00: Sound/ligth installation 11.00 - 19.00: Sound/ligth installation 11.00 - 19.00: Sound/ligth installation 11.00 - 19.00: Sound/ligth installation

11.00 - 19.00: Pink Army Control bunker 11.00 - 19.00: Pink Army Control bunker 11.00 - 19.00: Pink Army Control bunker 11.00 - 19.00: Pink Army Control bunker 11.00 - 19.00: Pink Army Control bunker

19.00 – 21.00: Take Away Artmuseum 13.00 – 17.00 Take Away Artmuseum 13.00 – 17.00 Take Away Artmuseum 16.00 -18.00: UNEDER JORDEN Opgang2s Billedspor

11.00 - 19.00: Sound/ligth installation 19.00 + 21.00 : reading by Bjørn Rasmussen, Mads Mygind and Olga Ravn.

11.00 - 19.00: Pink Army Control bunker

15.00 -18.00: UNEDER JORDEN Opgang2s Billedspor

19.00 - 20.00: Nat. Hist. Museum: Animals down 20.00 – 21.00: Børn af Byen

11.00 - 19.00: Sound/ligth installation 19.00 + 21.00 : reading by Bjørn Rasmussen, Mads Mygind and Olga Ravn.

11.00 - 19.00: Pink Army Control bunker

15.00 -18.00: UNEDER JORDEN Opgang2s Billedspor

19.00 - 22.00: PerlepladeSyndikatet

11.00 - 19.00: Sound/ligth installation 19.00 - 21.00: ”Poetric Geometrics” - Video installation

11.00 - 19.00: Pink Army Control bunker

15.00 -18.00: UNEDER JORDEN Opgang2s Billedspor

18.00 – 19.00: Besættelsesmuseet 19.00 – 20.00: Daniel Boysen – reading

19.00 - 21.00: ”Poetric Geometrics” - Video installation

11.00 - 19.00: Pink Army Control bunker

15.00 -22.00: UNEDER JORDEN Opgang2s Billedspor

18.00 – 19.00: The Occupation Museum 19.00 – 20.00: Food in Bunker 20.00 – 21.00: Daniel Boysen

10.00 - 11.00: Nat. Hist. Museum: School Children 10.00 - 11.00: Nat. Hist. Museum: School Children 13.00 - 14.00: Nat. Hist. Museum: School Children 16.00 - 18.00: Bunkerindretning 16.00 - 18.00: Bunker construction

19.00 - 20.00: Nat. Hist. Museum: Animals down

PR Statistics

CONCLUSION AND FUTURE INITIATIVES

Web and social medias

Media: Newspaper, TV, Radio

ISSUU.com Program Culture Bunker

Jyllandsposten 24.02. 13

Byens bunkere åbnes for musik.., Louise Bull Nyvang

ISSUU.com Program DIEM

Aarhus Onsdag 18.09. 13

Tag med børnene på underjordisk rejse

aarhus2017.dk 31.01 13: Article

Penge til underjordisk kunst

Aarhus Stiftstidende 21.09.13

aarhus2017.dk 23. 09.13: Article

Kom med på opdagelse under Aarhus

Jyllands Posten 21.09.13

Kom med under jorden, Signe Haahr Lindegaard

facebook.com/skjulte.steder

4900 friends

P4 Østjylland 23.09.13

P4 Morgen, Anja Thordal

Facebooksite,Why Aarhus

4430 friends

TV2 Teen

Teen TV om KULTUR BUNKER

Facebooksite,PerlePlade Syndikatet

2090 friends

VINK 23.09.13

Oplev Aarhus under jorden, Lisa Larsen

Facebooksite, Århus Artillery

2040 friends

Jyllandsposten 02.10.13

Om Morten DD og børn i bunker

Facebook Group, KULTUR BUNKER

1500 members

VINK 9.10.13

Musik under jorden, Lisa Larsen

Facebook event, KULTUR BUNKER

4900 invited

Politiken 11. 10. 13

I Byen, Emma Oehlenschläger

Facebook Group, Institut for X

1500 members

Tv2 Teen

Reportage

Facebook Group, Godsbanen

1900 members

TV2 Østjylland 21.11.13

Reportage, Jakob Kryger

Facebook Group, Frontløberne

830 members

Lukket Facebook Group, Dramaturgi AU

570 members

13 Channels

Facebook Group, InterCulturClub

1250 members

Covering Local Dissemination

Facebook Group, Livet på Trøjborg

45 members

Facebook Group, Visit Aarhus

26 members

Fansite, This is why I <3 Aarhus

6030 likes

Fansite, Aarhus 2017

8500 likes

Fansite, Vi der cykler i Århus

2975 likes

Dænking Primary Network

20 chanals

Bunker at Nørreboulevard/Nørrebrogade Nobelparkennere the Nørreboulevaed bunker

40 posters

University Hospitals Patient Hotel

1 posters

Aarhus Lawns Tennis Association Cantina

4 posters

Læssøesgade School The residential neighborhood around School

150 Flyers

Læssøesgade School intranet

Aarhus Billedkunstcenter

Regenburgs Plads

Aarhus Litteraturcenter

The residential neighborhood Regenburgs Plads

100 flyers + 6 posters

Aarhus Scenekunstcenter

Cultural institutions

48 posters

Cycle route in Bike Baskets

700 Flyers

Covering Guided Tours

100 Posters + 950 flyers

4 guided tours - international students 5.c fra Gammelgaard school

200 students 20 students and teachers

Ialt

220 people

Litteraturen på Scenen

Internet and facebook

DIEM

Primary networks og Program

Teater Fluks

Network, facebook, flyers

School of Architecture

viral dissemination

Covering

7 Networks +

Each bunker can accommodate 15 people

DIEM

5 evenings 3 concerts

app. 35 each evening

175

Teater Fluks

3 days

app. 30 each day

Sound/ligth installation: LIPS

16 days

app. 12 each day

188

Litteraturen på Scenen

2 evenings

app. 25 each evening

Poetic Geometric

2 evenings

app. 60 each evening

120

Tænketank Efterhånden

4 days

app. 10 each day

Take Away Art Museum

3 days

app. 10 each day

Opgang2

5 days

app. 10 each day

Pink Army

13 days

app. 10 each day

130

Museum: School Children

3 hours

app. 15 each hour

Børn af Byen

1 evening

app. 15

Perlepladesyndikatet

1 evening

app. 20

The occupation museum

2 evenings

app. 15 each hour

Daniel Boysen reading

2 evenings

app. 3 each day

guided tour /int. students

4 days

app. 50 each day

Gammelgaards school

1 day

app. 20

Visitors

19 days

6 200 20 1209

Visitors

The CULTURE BUNKER testing show, that the reinforced concrete shelters of the city have a diverse potential for temporary events. The rooms are suitable for a broad range of cultural events as well as social meeting space, rooms for children to play and learn, and many more purposes still to be tested. Primarily, the challenge is in the physical condition of the rooms, subsequently, in the limited number of audience, and last but not at least in the conditions in case of emergency announcements, which means, that you may have to vacate the rooms at short notice, but with this in mind, the possibilities are certainly good and should be included as part of the city’s identity. So far, CULTURE BUNKER has led to increased interest in using the bunkers for various purposes. Firstly, ‘Skrænten’, the SFO for the children from Læssøesgade School, has rented the dome-shaped bunker on the school’s premises for playing and learning activities. A bunker near IT Park in Aarhus converted into a gallery under the name BUNKTYM Gallery Space, and furthermore, The Architect College Aarhus has launched a study of the reinforced concrete shelters of the city and their potentials. In addition two theatre groups have approached us regarding the possible use of the bunkers as stages.

Future Initiatives

For the past four years, the Association ‘Hidden Places’ has collaborated with ‘Aarhus European Capital of Culture 2017’. CUTURE BUNKER is one of the strategic projects which will be executed and developed over the years up to 2017. The idea is for the project to spread rings in the water, spilling over locally, regionally, nationally, and internationally to pass the baton on to the next frontrunner. The role of the Association ‘Hidden Places’ will be to inspire, establish connections, and share knowledge of new bunker projects in Denmark and Europe, drawing on our experience and with collaboration in mind. It is relevant, therefore, to cast a glance at what is happening, and what has already been going on nationally and in Europe.

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125

250 125

The report is distributed to many European networks amongst those are following: ECoC - european capital of culture ECoC - european capital of culture ENCC - european network og cultural centers ENCC - european network og cultural centers In Situ - european network for artisticcreation in public space In Situ - european network for artisticcreation in public space Districts of Creativity Districts of Creativity Others

500 Kilometers 250

500 Miles

Umeå

Tampere Bergen

Helsinki

Tallin Skotland

Glasgow

Riga Region Midtjylland Aarhus

København Vilnius

Bury Terschelling Norwich Rotterdam

Berlin

Flandern Neerpelt Saint-Josse-ten-Noode Nord-pas de calais Mons Prag

Sotteville de rouen Rennes Saint-Barthélemy-d’Anjou

Warszawa

Wrocław

Košice

Baden-Württemberg Wien Linz

Chalon-sur-Saône

Rhône-Alpes Vanaria Reale

Lombardiet

Graz

Budapest Pécs

Zagreb

Valladolid Cantalonien

Pristina

Sofia

Murcia

Paphos

60°0'0"N

THE EUROPEAN DIMENSION In this chapter focus is on a selection of initiatives where different types of bunkers have been used for cultural purposes.

FOUR LARGE SHELTERS Bunkr Parukářka – Underground Music Venue

50°0'0"N

By the entrance to the park Olšanského in Prag there is a complex bunker system built in the 1950ies. The bunker system is a so called ‘fallout shelter’ – a closed room especially designed to protect the citizens from radioactive fallout resulting from a nuclear explosion during The Cold War. ‘Bunkr Parukářka’ will hold app. 2500 people and is connected to a metro system. The bunker complex has several points of entrance. Parts of the complex is still ready for use in case of life threatening situations, while a tenth of the bunkers have been rented out for a music venue, a climbing wall and a museum. In addition there are storage rooms and a radio communication station for emergency messages, which was used in 1968.

40°0'0"N

Bunker Berlin – from Underground to Elite Reichsbahnbunker in Berlin Mitte is an air-raid shelter built in 1943 by Nazi-Germany, which functioned as a shelter for app. 3000 Reichsbahn train passengers. The building extends 1000 m2, stands 18 m tall, and the walls are up to 2 m thick. There are 120 rooms on five floors. In May 1945 The Red Army occupied the building and turned it into a prisoner camp, but from 1949 the bunker was used to store textiles and later on tropical fruit was stored here. In the summer of 1992 the place was changed into the roughest hard core techno venue, where Gabba, Hard Trance, House and Break Beat were heard on four floors. Following a couple of police raids in 1995 the venue closed down; now a days the cultural events taking place in this bunker are reduced to irregular occasions. One of the events was the New Years Eve party ‘The Last Days of Saigon’, which was banned, but took place anyway. Another event of a completely different type was The Great Erotic Show: 1. Berliner ‘Sexperimentia’ 1995. (Die große Schau der Erotik: 1.Berliner ”Sexperimenta” 1995.)

In 2003 Christian Boros bought the building for his private collection of modern art, ‘The Borus Collection’ (‘Sammlung Boros’). The building was transformed by the architects Jens Casper and Petra Petersson into a 320 m2 showroom with a 450 m2 penthous on the roof. The transformation was finished in 2007 and the first exhibition opened in 2008 with works by amongst others Olafur Eliasson, Elmgreen and Dragset. In 2012 ‘Sammlung Borus # 2 opened with 130 works by 23 artists.

X-Bunker

X-Bunker, a small scale Danish counterpart to ‘Sammlung Boros’, is administered by Sønderborg Arts Council. During the 1960ies an old railway tunnel was turned into a Cold War shelter with two large rooms of 10 x 20 m and 10 x 16 m respectively. The highest point within the tunnel is 5 m. The rooms have been used for exhibitions of alternative and experimental art of a very high standard. The exhibitions aimed at breaking the conventions and the usual view of what an exhibition space is and how it may be used. There was a special focus on German and Danish contemporary art. Due to burglary and security problems the X-Bunker is currently in a ”standby” position.

The Gurre Bunker

In the Krogenberg Hegn (Hedgerows) near Gurre in North Zealand lies Denmark’s first nuclear safe government bunker from the Cold War. It was built from 1958 to 1961 and was meant to protect the government and the monarch (Frederik IX) in case of attack. It is 670 m2 on two storeys and secured by a 1,75 m thick concrete wall covered by earth, trees, and plants. The complex would only hold 50 people and was soon considered too small. In the 1970’ies the Gurre Bunker was supplemented by a larger government shelter complex in East Denmark. In the 1990’ies The Post and Telegraph Service rented the bunker, which was renovated and decorated by the artist Paul Gernes, who added colouring to the walls, doors, cupboards, and interior. In 2013 it was decided to close down the bunker. The future of the bunker is uncertain, but it still holds the artistic adornments of Paul Gernes.

Reichsbahnbunker BUNKER BERLIN Photo: Wikimedia Commons

Bunkr Parukářka Photo: Honza Groh

X-BUNKER: Resonance Improvisation Laboratory, William Bilwa 2011

X-BUNKER: Anna Borgman. Waiting Room, 2010. Photo: A.B.

The Gurre Bunker, Artistic Decorating by Poul Gernes 1990. Photo:Christian Olesen Obel

THE CONCRETE MUSHROOMS OF ALBANIA From 1950 through 1985 the former communist dictator of Albania, Enver Hoxha, built more than 700.000 concrete shelters in the small country – almost one per citizen. The bunkers shot out of the earth like concrete mushrooms, constructed to protect the citizens against the threat of foreign invasion. The attacks never came and now the bunkers are physical remnants of the Cold War. Nowadays, a few of the ‘mushrooms’ have been turned into shops and outlets, while other bunkers are being used by farmers to store tools or to hold animals. Bed and Bunker BUNKERS & BED was a project based on a PhD thesis written by the Albanian diploma engineer, Iva Shtrepi, while she was studying interior design On FH Mainz in Germany. The research project developed into collaboration between students from FH Mainz and POLIS Tirana University, Albania. The aim was to develop a prototype for changing the bunkers into accommodation and overnight stays for the tourist along a path crossing the entire country from the mountains to the coast. The first prototype was built in September 2012 in Lezhe, Tale in Albania, the opening planned for 21st of September 2012. Immediately before the opening the project was closed down by the state, the reasons for this are unknown. The redesigned bunker is currently not accessible or useable as originally intended. Concrete Mushroom, Albanien. Photo: Bed & Bunker

Bed & Bunker. Photo: Bed & Bunker

Bed & Bunker. Foto: Bed & Bunker

DEFENCE BUNKERS – THE ATLANTIC WALL During the Second World War the Germans laid down an ‘iron chain’ of fortifications, the so-called Atlantic Wall, stretching 4800 km from the northern part of Norway to the southern tip of France. The Atlantic Wall was supposed to protect parts of Europe occupied by Germany from an allied invasion from England. The batteries were surrounded by heavily armed iron reinforced concrete bunkers. The Atlantic Wall Today Today the bunkers are flung helter-skelter along the European coastline due to the strong forces of Nature. In addition to this, the bunkers, which were approx. 100 m from the shore in 1972, are now well out in the sea because of erosion, and in very few years they will sink to the bottom of the ocean. Some are so battered, that the Danish Coastal Directory has decided to have the most dangerous of them removed. In 2003 the Ministry of Transport estimated, that the cost of removing all visible bunkers from the Danish Coast, would be approx. 50.000.000 kr. Furthermore one has realised, that the German bunkers are significant from a cultural heritage point of view. Danish Forest and Nature Agency plan to consult the Danish Heritage Agency before permission is given to remove a bunker. CONTEMPORARY CULTURE The questions arise: How long will the bunkers stand and which cultural contexts can they be part of? Creative thinking is necessary. Firstly, the rooms are full of sand, and secondly they are slowly but surely moving towards the bottom of the sea. However, several artists have focused on the old concrete structures. Below, three significant Danish projects each with its very own outset.

1. THE LINE – THE LIGHT and PEACE SCULPTURE 1995

One of the largest and most significant art projects in Denmark with focus on the Atlantic Wall is Elle-Mie Ejdrup Hansen’s ‘Peace Sculpture 1995’. The project began in 1990 and was carried out on the occasion of the 50th anniversary of the liberation of Denmark 4th of May 1995, as a prelude to ECoC 1996. The work of art consisted of a line of light, a piece of music, a row of exhibitions, as well as documentation. The artwork The Line – The Light was a line of laser lights, connecting Denmark with its former occupying force, Germany, as a symbol of peace, raising the awareness of the former presence of the war. The light line stretched from the northernmost point of Denmark, Skagen, to the German island of Sylt. The more than 530 km long line of light linked the many bunkers still visible along the coast. The line was accompanied by a musical composition written by the composer, Palle Mikkelborg. The composition involved approx. 1000 musicians from the classical and modern musical stages. Along the coast 22 artists from the involved countries partook in the art project. Many of these artists used the bunkers as the pivot for their art. (See examples of this under ‘Focus on the Art Work’: *‘Bunker Motel/Emergency Womb’ by Nobuho Nagasawa, *‘Earth/ Sky/Peace’ by Geoffrey Hendricks, *’Nothing in Sight’ by Jean Clareboudt and *Krijn Giezen). See also: http://ejdruphansen. dk/peace-sculpture/ and http://ejdruphansen.dk/line-lightsketches/ )

2. THE BUNKER SECRET 1995

In 1994 a group of artists and theorists from Copenhagen formed THE BUNKER SECRET SOCIETY. On the 24th of November the society sealed a secret installation in a bunker near Hirtshals in Northern Jutland. The Bunker Secret was enclosed 50

years after the end of the German occupation of Denmark and will not be opened until another 50 years have relapsed, i.e. in the year 2045. You may enter the bunker and view the sealed door of the chamber, and sense the passing of time on the digital display, showing how many years, days, hours, minutes, and seconds remain until the secret is revealed. A full documentation for the background and creation of the work of art is found on http://www.bunkersecretsite.org/

3. BUNKER LOVE

In order to preserve the old bunkers along the European west coast a group of artist from Northern Jutland have formed the society, BunkerLove. The purpose is to highlight the remains of the war battlefield by transforming them into symbols of peace, intentionality, collectivism, and sustainability. The functions of the bunkers are tested broadly by means of artistic and local endeavours. The first BunkerLove festival was held in 2012 in Furreby close to Løkken and was followed by three festival days in Hirtshals, Grønhøj, and Furreby. The events contain a broad spectre of art genres, and they take place in or on the bunkers as well as in the surrounding nature. (See examples of this under ‘Focus on the Art Work: *’Inversion’ by Christian Skjødt, *‘Cottage for Yemanja’ by Inge Tranter). See also: http://bunkerlove.dk/ )

FOCUS ON ART WORK Largely there are four principle ways of using the defence bunkers of the coast. You can work with 1) Interior 2) exterior 3) Stage/Backdrop 4) deconstruction. Here are a few examples: INTERIOR – THE INTERNAL SPACE

* ‘Bunker Motel/Emergency Womb’ by Japanese Nobuho

Nagasawa centered on one of the 106 bunkers defending the entrance to the Limfjord. Nobuho Nagasawa changed the bunker into a fictional motel of love. The motel was furnished with beds from the army, along with pillows and blankets made from army bags filled with sand and sugar. The sugar refers to the legend of the local fishermen, who supposedly mixed sugar into the concrete in order to reduce the strength of the structure of the bunker. Local children cast 500 plaster eggs corresponding to the approx. Number of eggs a woman releases during her reproductive life. The eggs were placed in the motel as a symbol of birth and renewal in contrast to the traumatic actions of war.

* In a Regelbau bunker Fl277 near Furreby sound artist and composer Christian Skjødt contributed with a solar driven sound installation titled ‘Inversion’. By means of solar panels placed on the beach and connected to boxes within the bunker, which was equipped with analogue electronic circuits and a loudspeaker, you could experience solar energy as an audible and constantly fluctuating frequency. The monotonous and changing sound image in collaboration with the acoustics of the bunker triggered a memory of time and space. *‘Cottage for Yemanja’ completed by Inge Tranter in a bunker by Hirtshals was meant as a tribute to Yeamanja, the goddess of

the sea-faring nation of Brazil. The art work consisted of flowers planted in the room and on the stairs. The overall concept of the appearance of the work of art referred to the fragility and transience of power in contrast to Nature’s ability for change. The massive architecture of the bunkers testifies to an attempt to govern and control humans and Nature, while the floral gush seems to push history aside for a time and provide new energy. EXTERIOR – THE EXTERNAL FRAMES * ‘Earth/Sky/Peace’ by the Amercan FLUXUS-artist Geoffrey Hendricks was based on two bunkers on top of the 41 m high clay cliff of Bovbjerg. The top construction of one bunker, soaring freely to the sky, was painted blue with the words: ‘WHEN DOES THIS BUNKER BECOME ONE WITH THE SKY’. The other bunker lies hidden in a grass covered earth wall and has kept the original concrete-grey earth colour with the inscription: ‘WHEN DOES THIS BUNKER BECOME ONE WITH THE EARTH’. With very simple effects Geoffrey Hendricks has put the presence of the bunkers in the landscape into relief, as a historic left over, which will disappear in the years ahead and maybe become of interest to the archaeologists of the future.

* ‘Nothing in Sight’ was the title of the work of art by the French artist, Jean Clareboudt, on the beach by Vigsø near Hanstholm. By means of flagpoles mounted on a row of bunkers he marked the passing of time, which, according to him, has left traces of horizontal and vertical lines in disruption. The powerful west wind created vibrations in the flagpoles whose tiny movements caused the power of the wind to be both audible and visual – a power redefining the beach in the course of 50 years and to this day, still does.

STAGE/BACKDROP The huge concrete colossuses are often perfect backdrops or stages for musical events, performances, or speeches, and lectures, which has been tested during the BunkerLove Festivals in 2012 and 2013.

DEKONSTRUKTION * In connection with Peace Sculpture 1995 the Dutch artist, Krijn Giezen, wanted to put a focus on the defence functions of the coastal bunkers. His idea was to blow up an old derelict bunker into little pieces and cast the remains in four concrete blocks weighing more than a ton each. Their new function would be to protect the coastline from erosion. The blocks would be dated 5-MAY-1995 and were supposed to be part of the coastal protection. Unfortunately permission to blast was not given.

At the foot of a hill by a lake near Diefdiejk in Holland lies BUNKER 599. In 2010 the bunker was transformed into a monumental work of art by Rietveld Landscape and Atelier de Lyon.By removing part of the concrete construction and directing a staircase through the concrete block and into the nearby lake they have created a landmark, which makes the historical construction stand out formidably in the landscape. The new construction reveals the inner rooms, enhancing the geometrical decoding and experience. The bunker functioned from 1815 to 1940 and is part of The Dutch Waterline, which was first constructed in the 17th century, protecting the cities Muiden, Utrecht, Vreeswijk, and Gorinchem. In 1815 the waterline was modernised and expanded with a large number of bunkers.

Peace Sculpture 1995 The line - the light Elle-Mie Ejdrup 1995. Photo. E-M. Ejdrup

Fredsskulptur 1995: Bunker Motel af Nobuho Nagasawa

Fredsskulptur 1995: arth/Sky/Peace af Geoffrey Hendricks

Bunker Love 2013 Cottage for Yemanja af Inge Tranter. Foto: Chris Brock

Peace Sculpture 1995: Bunker Motel af Nobuho Nagasawa

Peace Sculpture 1995: Nothing in sight af Jean Clareboudt

Bunker Love 2013: , Inge Tranter and Michael Richardt Petersen. Photo: Chris Brock

Bunker Love 2013: , Inversion by Christian SkjĂ¸dt. photo: Chris Brock

Bunker Love 2012 DJ Siri, Photo Bunker Love

Bunker Love Scene

BUNKER 599, Diefdijk in Holland 2010. Photo: Atelier de Lyon

A CONTROL BUNKER An abandoned control bunker from the Second World War located in Ringkøbing, was used in connection with PEACE SCULPTURE 1995 by the principal artist and curator Elle-Mie Ejdrup Hansen for the art installation ‘Inner Space – Outer Space’.

A bunker in decay, documentation, Krijn Giezen

“Untitled”, 1995, Krijn Giezen

Inner Space – Outer Space, E-M Ejdrup

The installation dealt with the original function of the bunker, which was to send and receive information from the outer world into a closed space. This time, however, with the peace sculpture ‘THE LINE – THE LIGHT’ as the focal point. Until 1995 the bunker was used by the Civil Defence Service, and the original furnishing from that time was part of the installation, lending authenticity to the event, when a debate from Parliament about the laser light line, an interview with the theoretician of speed, Paul Virilio, or when Palle Mikkelborg’s musical composition ‘Soundscape’ resounded through the ether via installed telephone lines – or when satellite pictures from Karup Weather Station ticked out of the fax. A number of archived maps in scale 1 – 25.000 with records of the geographical locations of the laser lights, as well as maps with the location of the defence bunkers of the Atlantic Wall were all elements of the installation that pointed back towards the original military purpose of the control bunker and forward towards a new era’s use of the bunker for artistic and peaceful activities.

THE POTENTIAL Undoubtedly, there is a great potential in the many unused and abandoned bunkers, be it control bunkers, defence bunkers, or reinforced concrete shelters. The question is how to rethink their use and involve them in a sustainable society, as cultural platforms or as parts of works of art in their natural surroundings in the future. The dice are cast for a European collaboration project. Coastal protection, documentation, Krijn Giezen

Inner Space – Outer Space, E-M Ejdrup.

HISTORIC IMAGES

Luftalarm, KĂ¸benhavn 1943. Foto Erik Pedersen

Students and bunker 1970ies, Holland. Photo: unknown origin

COLOPHON CULTURE BUNKER

BIBLIOGRAPHY AND LINKS Anvendelse af Koldkrigsbeskyttelsesrum i fredstid: Jesper Urup Ruban

Text: Annette Damgaard, Jesper Urup Ruban, Rasmus Malling Skov Jeppesen Stephan Gustin

Copenhagen Fire Department http://www.brand.kk.dk/Ydelser/Service%20og%20udlejning/Beskyttelsesrum/Bunkere.aspx?allowCookies=1 The Emergency Management Board https://www.retsinformation.dk/Forms/R0710. aspx?id=51956 http://brs.dk/beredskab/idk/beskyttelsesrum_sikringsrum/ Pages/Beskyttelsesrumogsikringsrum.aspx Bunkr Parukářka http://www.expats.cz/prague/article/prague-entertainment/ bunkr-parukarka/ Bunker Berlin http://www.sammlung-boros.de/bunker-berlin.html X-Bunker http://www.xbunker.dk/velkommen The Gurre Bunker http://www.kulturstyrelsen.dk/presse-nyt/gurrebunker-medgerneskunst-melder-udsolgt/ Bed & Bunkers http://www.bedandbunker.org/ http://196plus.com/tag/iva-shtrepi/ Peace Sculpture1995 http://ejdruphansen.dk/peace-sculpture/ The Bunker Secret http://www.bunkersecretsite.org/ BunkerLove http://bunkerlove.dk/ Bunker 599 http://www.archdaily.com/256984/bunker-599-rietveldlandscape-atelier-de-lyon/ http://da.wikipedia.org/wiki/Den_hollandske_vandlinje

Report

Layout: Annette Damgaard Translation Laila Platz Sheridan ISSUU.com februar 2013 PHOTO CREDIT Photos and illustrations without captions page 3: Annette Damgaard page 4: Copenhagen Fire Brigade page 5. Copenhagen Fire Brigade page 8: Tavle: Jesper urup Ruban. Foto: A.Damgaard page 10: Map Annette Damgaard page 18: Map: Annette Damgaard page 20: Map: Annette Damgaard page 25: Drawing: Wikimedia Commons page 27: 1. Bundesarchiv, Wikimedia Commons 2. Bundesarchiv, Wikimedia Commons 3. Bundesarchiv, Wikimedia Commons 4. Bundesarchiv, Wikimedia Commons 5. Søndervig: Rüdiger Wölk, Wikimedia Commons 6. Blåvandshug: Wartourist, wikimedia Commons 7. Hirtshals: Wartourist, wikimedia Commons 8. Vedersø Klit: Annette Damgaard

Team:

Association ‘Hidden Places’: Annette Damgaard, project leader Rasmus Malling Skov Jeppesen, Theatre Fluks Stephan Gustin, Architecht Company Gustin A/S Jesper Urup Ruban, , Architecht Jette Sunesen, Aarhus Centre for Literature

Mads Mygins, Literature on Stage Jonas Bock Michelsen, Literature on Stage Wayne Siegel, DIEM Søren Løngsø Knudsen, DIEM

Thank you to

Students from Aarhus College of Architecture • Simone Foss Brink • Marie Hvid • Julie Hjortshøj • Peter Svendsen • Johan Eg Nørgaard • Jens Vium Skaarup • Mark Konfritz Hansen • Julie Bertelsen • Martin Ulrik Jørgensen • Mathias Svarre Skovbo Open Call • Grauengaard & Hvid • Vibeke Nørgaard Rønsbo • Lisbeth Hermansen • Opgang2s Billedspor • Pink Army • Naturhistorisk Museum • Børn af Byen • Perleplade Syndikatet • Besættelsesmuseet • Daniel boysen • Marlene B. B. Andersen Others • Thorbjørn Jørgensen, Aarhus Fire Department • Trevor Davies • Ib Christensen • René Wiborg • Torlak Hansen • Suulut Hansen • Pappagallo • Læssøesgade Skole • Aarhus Lawns Tennis Selskab • Rebecca Matthews • Gitte Just • Aarhus 2017 Secretariat

Supported by:

Aarhus 2017’s Development Fund The Aesthetic Fund, Den Tværæstetiske Pulje, National ArtCouncil The Cultural Events Fund The Culture Development Fund

Contact Hidden Places Nyringen 30 8240 Risskov Denmark mobil: 60641816 Mail: a.dam@suu.dk https://www.facebook.com/groups/363627197073801/