Wunderstadt

Participation • Planning • Urban Space

Wunderstadt Aedes

Participation • Planning • Urban Space

Wunderstadt Aedes

SLA

SLA

SLA is an interdisciplinary team designing spaces for

SLA ist ein interdisziplinäres Team, das neue städtische

new urban experiences. SLA create genuine amenity val-

Erlebnisräume gestaltet. SLA schafft öffentliche Ein-

ues that in an unorthodox way add a new layer of mean-

richtungen mit »Annehmlichkeitswert«, die unseren all-

ing to the everyday environment.

täglichen städtischen Lebensraum auf unorthodoxe

SLA, founded by the landscape architect Stig L. Anders-

Weise mit neuem Sinngehalt füllen.

son in 1994, has realised a significant numer of lands-

SLA wurde 1994 vom Landschaftsarchitekten Stig L.

cape architecture and urban development projects in

Andersson gegründet und hat seitdem eine bedeu-

Denmark and abroad. SLA was the first office to be aw-

tende Anzahl von landschaftsplanerischen Arbeiten

arded the Topos European Landscape Award 2002 for

und Stadtentwicklungsprojekten in Dänemark, aber

its focus on sensory urban spaces.

auch in anderen Ländern realisiert. Als erstes Büro

SLA comprises 25 landscape architects, art historians,

überhaupt erhielt SLA den Topos European Landscape

architects, and planners developing urban interventions

Award 2002 für seine Schwerpunktarbeit im Bereich

on all scales - from masterplans to installations - in Den-

sinnlich erlebbarer Stadträume.

mark and elsewhere. SLA explores innovative methods of

Das SLA -Team besteht aus 25 Personen – Landschafts-

design and research, and has developed distinctive ap-

architekten, Kunsthistorikern, Architekten und Stadt-

proaches on themes such as participatory planning and

planern. Sie alle entwickeln Projekte – von Master-

innovative preservation.

plänen bis hin zu kleinen Installationen – für Städte in Dänemark und im Ausland. SLA untersucht innovative Entwurfstechniken und Forschungsmethoden und hat gezielte Strategien und Mittel entwickelt, um partizipatorische Planungsprozesse und innovative Denkmalpflege umzusetzen.

2

Wunderstadt

Wunderstadt

»Wunderstadt [‘vunder∫tat] (City of Wonders)«: Name

»Wunderstadt [‘vunder∫tat]«: – Bezeichnung einer Visi-

for a vision of the physical environment. As a de-

on für die gebaute Umwelt. Als Entwurfsstrategie impli-

sign strategy Wunderstadt implies a broadening of the

ziert die Wunderstadt eine Erweiterung des programma-

programmatic approach to the urban environment. To to-

tischen Ansatzes zur Gestaltung des städtischen

day’s rationality is added a way of thinking that is ana-

Raums. Zur Rationalität unserer Tage gesellt sich ein

logue to the Wunderkammer, the private collections of

Konzept, das dem der Wunderkammer, des privaten Ku-

the late Renaissance.

riositätenkabinetts der Spätrenaissance, ähnelt.

As in the Wunderkammer there is no obvious hierarchi-

Wie in der Wunderkammer gibt es auch bei der Wun-

cal organisation of elements in Wunderstadt. A thea-

derstadt-Vision keine klare hierarchische Ordnung der

trum gloriae rei (stage for objects’ glorification) is pre-

Objekte, sondern es wird ein »theatrum gloriae rei«

sened. The objects appear in a spatial composition, that

(Bühne zur Verherrlichung der Dinge) präsentiert. Die

draws attention to the particular or the sensuous expe-

Objekte erscheinen in einer räumlichen Komposition,

rience. Moving through spaces such as these, one

die auf das persönliche, sinnliche Erlebnis hinweist.

steps simultaneously in and out of different worlds.

Wenn man sich in Räumen wie diesen bewegt, geht

In Wunderstädte the urban spaces offer the citizens

man in verschiedenen Welten aus und ein. Die Räume

sensuous experiences and surprises. Whether it is

von »Wunderstädten« bieten den Einwohnern sinn-

naturalia ( - natural objects), artificialia ( - man-made

liche Erlebnisse und Überraschungen. Ob es sich um

objects) or a combination that appear is immaterial.

»naturalia« (natürliche Dinge) oder »artifcialia« (vom

The sense of curiosity is awoken as a response to the

Menschen gemachte Dinge) handelt, oder um eine Mi-

fundamental human desire to gain knowledge of the

schung aus beiden, ist dabei nebensächlich. Die Neu-

world, to wonder. Being-in-the-World.

gierde erwächst aus dem grundlegenden menschlichen Drang, mehr und möglichst alles über die Welt zu erfahren und zu staunen. In-der Welt-sein.

3

An Urban Awakening to the Sense of Life

1 See Jacques Rancière, Le partage

du sensible, esthétique et politique, Paris: La fabrique, 2000 2 Louis XIV,

Manière de montrer les jardins de Versailles,

text edited by Simone Hoog, Paris: Editions de la Réunion des musées nationaux, 1992. ill. 1 Ankarparken: distributing differential sensations © M. Conan

4

The gardens of Stig L. Andersson breathe a new life into

ber calls attention to differences between them, and their

Scandinavian cities. He seeks to re-awaken the senses

vicinity to geometrical objects made of concrete, techni-

of town dwellers living in or visiting his gardens by intro-

cal objects of metal, and engraved designs in the pave-

ducing a new regime of sensitivity that assumes equiva-

ment, invites attention to a whole range of qualitative

lence between human work and natural life.1 Trees,

differences beyond the ones they exhibit by themselves.

grasses, wood, stones, sea-shells as well as cast iron,

In a baroque garden, forms are either repetitive: topiary

corten steel, wire nets, neon glass tubes, concrete or

trees, hedges, elements of broderie, or cut pieces of par-

tarmac are some of the materials he uses in a way that

terre, or highly distinctive: statues, fountains, pavilions,

is sometimes reminiscent of Isamu Noguchi’s explora-

grottoes. Only the last ones are supposed to call the at-

tions of the various textures of sculptural stone. Yet

tention of visitors, as it was so tellingly illustrated by the

even the stones he has set into the concrete pavement

instructions Louis XIV gave for the visits of ambassadors

of the walk along the canal at Ankarparken in Malmö do

in his gardens at Versailles.2 Only the absolutely unique

not stand only as sculptural objects. (ill. 1) Their num-

form was worthy of esthetic contemplation. On the con-

trary in Stig L. Andersson’s gardens, users’attention is

as the days pass by. Other projects call attention to the

called to the infinite variations produced by the interplay

play of different sensitive qualities: the small boulder

of his design, natural growth, meteorological phenom-

rocks and the crushed oyster shells at Frederikssunds

ena – wind, rain, ice, snow, and users’ interventions or

havneplads, or the variations of slight slopes in the ceme-

random transformations by water jets, artificial light or

tery of Assistens in Copenhagen. There, it is the sense

sound. And each user builds in his memory a system

of balance that is stimulated – a sense ignored in the

of cues over which these variations are at play. At La-

Western world, and yet the most worthy of attention

degårdsparken in Holbæk, for instance, Andersson has

in some African countries since it embodies moral vir-

planted sixteen hundred cherry trees of the five varie-

tues. The same attention for slope is forced upon the

ties that allow the longest blooming season in Denmark.

attention of visitors to Glostrup town hall park, yet it is

This creates an infinite world of variations in the Spring,

combined with the contrasts between the smooth and

making the appearance of the whole neighborhood eve-

shiny surfaces of slate, the slightly rolling forms of grass

rywhere different at any hour, and ceaselessly changing

slopes, and the roughly hewn forms of broken slates out ill. 2 Glostrup: passer-by intrigued by the soil in which the tree grow © M. Conan

5

ill. 3 Nørresundby: exchanging artifice, art, and nature in an infinite game © SLA

6

of which trees seem to be growing. (ill. 2) Moreover, the

traying their natural frailty. (ill. 3) Visitors move along the

categories of the natural and the artificial are ceaselessly

path between parterres planted with grasses and trees

put to question by the rambling gaze of users or visitors

that interlace with parterres of tarmac in which large

strolling in these garden sceneries: are the broken slates

carefully designed puddles – maintained with random

more or less natural than the grass lawn, is the gentle

jets of artificial mist when rain defaults – reflect the sky

rolling lawn more or less natural than the smooth slate

and the clouds. Some visitors are confused and, seeing

surface? Yet the equivalence of natural and artificial ma-

the tarmac as more artificial than the sea-shell covered

terials is best evidenced in a very recent urban gar-

pathway, try to pursue their visit on its surface, discov-

den in Nørresundby (Aalborg.) Here one enters from the

ering that the puddles force them to unexpected detours

city on its northern side through a metal gangway that

and lead them to places where they are exposed to be-

heaves deep groans, betraying its artificial nature, as

ing soaked by random water jets along their way, as if a

one walks and enters into a garden path strewn with

garden could present visitors with artificial rain showers

thousands of sea-shells that creak under the feet, be-

in lieu of statues or flowers.

ill. 4 Charlottehaven: moving along the lines of a puzzle.

Family crossing the garden by the lawn. © M. Conan

The spatial design of the gardens reflects Stig L. Anders-

morial in Washington DC – and directs the movements

son’s attention for preparing a range of subtle sensual

of the crowd of visitors into an ever-changing choreog-

experiences. Yet this attention does not dictate the de-

raphy that sets the landscape into motion, Andersson

sign. The sources of sensual experiences are scattered

aims at a larger range of experiences of motion calling

throughout the garden, each highlighted by some visual

upon landscape forms to stimulate personal flights of

cue. And visitors are triggered by a few clearly marked

imaginary motion and a sense of duration that extends

paths and serpentine lines running through the design

over several visits. This results in completely different

to explore the interlacing of the puzzle-like areas that

garden forms. Far from Halprin’s brutalism Andersson

make the garden surface. Andersson shares with Law-

privileges undulating forms – calling to mind designs by

rence Halprin an interest in the movement of visitors

Jean Arp, Wassily Kandinsky, and sometimes Roberto

and the creation of sensual experiences. However, while

Burle Marx – that he overlays with objects or plants

Halprin creates dramatic settings – mostly cascades

responding differently to the rhythm of meteorological

gushing forth over cliffs of concrete, as in the FDR me-

changes over the year.

7 / Essay

3 Bernard Lassus, The Landscape

Approach, Philadelphia: University of Pennsylvania Press, 1998 Theory of Faults 62-64 and The Garden of Returns 131-140.

4 Gaston Bachelard, L’Eau et les

Rêves, Essai sur l’intuition de l’instant, Paris: Livre de Poche, 1993

8

A window with a garden view over Charlottehaven or

deserves explanation.

any of his residential gardens, invites gazing at differ-

Andersson’s design approach embraces the diversity

ent speeds over the puzzle of the garden’s surfaces and

of city life dynamics. At Mølleparken in Aarhus, for in-

attending to changes in texture with time of the year,

stance, he acknowledges the historical transformation

weather, wind, and light. (ill. 4) As any public place, these

of the site and highlights the heterogeneity of the traces.

gardens are also designed to allow their users to pursue

Very much like Bernard Lassus’ landscape approach at

the ritualized duties of everyday life: going to school, us-

La Corderie Royale in Rochefort, he stresses the limits

ing the playground, running errands, walking the dog,

between different traces, and proposes and inflection of

taking a walk with friends or family. They call for the

the dynamic course of historical changes in accordance

design of paths and spaces to provide various ameni-

to present concerns.3 Thus, they allow new practices to

ties. Andersson pays respect to function while avoiding

take place, and flights of individual imagination to make

the trapping of modernist functionalism because he is

sense of them. This leads both of them to spurn the

often called upon to remedy the muffled dramas that ac-

search for a balanced spatial composition or for a style in

crued from the social democrat politicians’ embrace of

their design expression, and yet they achieve completely

modernist urban planning ideals. He sees both the per-

different results. Andersson’s designs afford visitors a

sonal comfort that results from a city endowed with a

dream-like experience of the extension over time and

network of well-designed institutions and the esthetic

space of nature. Ankarparken provides an illustration.

qualities of many modernist spaces, as in Albertslund

The frames of surfaces, the canal, its winding embank-

for instance. Yet he can also see the dulling impact of

ment, the flat mosaic of interlocking patches of grass

institutional power and of the disciplines of urban life at

and reeds, and the idealized biotopes of Scandinavian

work, at home, or in public encounters. His work pays

wilderness seem to extend indefinitely beyond the limits

respect to the disciplines of every day life in a Danish

they impose on the gaze of a pedestrian as if the build-

town by providing expected amenities and pedestrian

ings all around had recently encroached upon them. The

paths throughout his gardens, but it always distances

paths encourage visitors to engage in a rambling dis-

itself from a purely functional solution as if the location

covery of its innumerable fragments, each evocative of

of his design resulted from the will of nature rather than

personal memories of nature. The links – these strange

from the demands of an institution.

sailing boards floating above ground – invite visitors to

In fact his gardens introduce a rêverie of the infinite

abandon the earth surface to explore a meandering path

extension and transformations of nature. This is not an

that leads into another world, a world of wild nature

echo of the post-modernist fascination with the sublime,

– oak or alder grove, swamp, or seaweed colony – sug-

but a new design esthetic conducive to engagement

gesting abandonment to dreams of unfathomed depth

with nature and leading to communicative action. This

as Gaston Bachelard has taught us.4 The garden does

ill. 5 Ankarparken: inviting an imaginary flight into the wilderness © M. Conan

not offer a representation of the ascent of a mountain

this composition of curves, links and natural or artificial

or the descent to a lake, but an abstracted experience

objects mean? And to whom is it addressed? Visitors

of motion: a jump or two up or down, inviting a rêverie

who speak to one another to answer these questions

of vertical

flight.5

(ill. 5) It moves the visitor from the real

create both the sense of place and their own identity as

to the imaginary. Each visit contributes to an interlacing

a group of urban dwellers on the move. This is how Stig

of these rêveries and everyday life, leaving the memory

L. Andersson’s gardens renovate garden art and give a

of a pleasurable sense of freedom. As visits go by, these

new life to Scandinavian cities.

5 Gaston Bachelard, L’Air et les

Songes, Essai sur l’imagination du movement, Paris: Livre de Poche, 1992

memories weave into one another, and yet because no cultural meaning has been inscribed here, as opposed

Michel Conan

to classical, baroque, picturesque or ecological garden,

Director of Garden and Landscape Studies,

visitors are confronted with two conundrums: what does

Dumbarton Oaks

9 / Essay

Client Kolding Municipality Location Kolding, DK Type of comission Competition by invitation, 1st prize Creative Director Stig L. Andersson Project Manager Lisbeth Westergaard (Competition phase) Stine Poulsen Design team Stig L. Andersson Lisbeth Westergaard Stine Poulsen Jonas Rune Sangberg Svava Riesto Karen Margrethe Krogh (Model: Daniel Ludwig Peter Larson) Collaborators Hansen & Henneberg Lighting Engineers Lemming & Eriksson Engineers Design phase 2005 Area 12,000 m2, part 1: 4,500 m2 Cost of construction Part 1: 1,5 mill. EUR

10

Kolding Railway Plaza

Bahnhofsplatz von Kolding

Shining circles lit from below, asphalt surfacing with

Glänzende, von unten beleuchtete Kreise, Asphalt-

thermoplast in distinctive forms and strong colours.

flächen mit Thermoplasteinlagen in ungewöhnlichen

Kolding Railway Plaza is characterised by the use of

Formen und kräftigen Farben: Der Bahnhofsplatz von

familiar, inexpensive materials – and the courage to

Kolding zeichnet sich durch gängige, preiswerte Mate-

stand out.

rialien – und den Mut zum Anderssein aus.

What today is characterised by through-traffic to the

Was heute ein Platz mit Durchgangsverkehr zum Bahn-

railway station, will be provided with a number of fea-

hof ist, wird mit einer Reihe von Elementen ausgestat-

tures which provide interesting experiences, and thus

tet, die für interessante Raumerlebnisse sorgen und

establish itself as a place. Spouting water columns, co-

den Platz zum attraktiven Ort machen. Wasser spru-

loured circles and better facilities will give Kolding’s

delnde Säulen, farbige Kreise und bessere infrastruk-

citizens and visitors passing through the opportunity to

turelle Einrichtungen sowie Straßenmöbel geben den

sit in the sun and watch the sky reflected in the pools of

Bürgern und Besuchern von Kolding die Möglichkeit

water. Kolding’s proximity to the Fjord is accentuated

bei schönem Wetter nicht nur in der Sonne zu sitzen,

by the direct connection from the town centre to the

sondern auch und die Sonne sich im Wasser spiegeln

beautiful palace lake, where varying path sequencing

zu sehen. Die Nähe zum Fjord wird mit einer direkten

and height differentiation accentuate the sky, the sea

Verbindung vom Stadtzentrum zum wunderschönen

and the horizon. The mediaeval city’s varying spaces

Schlossparksee betont; Das Wegenetz und Niveau-

and multiplicity of impressions find their place in a cou-

änderungen stärken die Beziehung zum Himmel, zum

rageous interpretation.

Meer und zum Horizont. Die verschiedenen öffentlichen Räume der mittelalterlichen Stadt mit ihren unterschiedlichen Impressionen finden ihren Platz in einer kühnen Neuinterpretation.

Material Material

11

Kolding / 12

Frederiksberg Town Centre

Stadtzentrum Frederiksberg

Frederiksberg town centre comprises five different spa-

Das Zentrum von Frederiksberg umfasst fünf unter-

ces that are linked but each have a distinct character.

schiedliche Stadtplätze, die zwar miteinander verbun-

Solbjerg Square is the largest central space with water

den sind, aber jeweils ihren ganz eigenen Charakter

wall, glowing clouds of water vapour and circular reliefs

haben. Der Solbjergplatz ist der größte zentrale öffent-

in the concrete flag stones to collect pools of water. In

liche Raum mit einer Wasserwand, glitzernden Gisch-

contrast Falkoner Square has a rough concrete floor,

twolken und kreisrunden Vertiefungen in den Boden-

subtle changes of level and shiny red autumn leaves.

platten aus Beton, in denen sich das Wasser sammelt.

A pinetum forms a bright, fragrant space with different

Im Gegensatz dazu hat der Falkonerplatz einen rauen

kinds of conifers in a soft, rolling landscape, and a gar-

Betonboden mit fast unmerklichen Niveauänderungen

den within Solbjerg Square shimmers white in spring

und mit Bäumen, deren Blätter im Herbst rot leuchten.

with flowering trees. There is room, not only in space,

Ein »pinetum« (lat. Fichtenwald) bildet eine helle, duf-

but also in time with the shift in weather and season,

tende, sanft gewellte Landschaft mit verschiedenen Ko-

for sensations and change. With variation in planting,

niferenarten; ein Garten auf dem Solbjergplatz erstrahlt

Lighting Engineers Design phase 2002-2003 Construction 2003-2005 Area 8,000 m2

both in the squares and in the pinetum, and recordings

im Frühjahr im Flor weiß blühender Bäume. Es gibt

of sounds of nature, the sensory density is a reminder

Raum – nicht nur physisch, sondern auch zeitlich – für

of the area’s connection with the Agricultural University

sinnliches Erleben und für Veränderung je nach Wetter

and private villa gardens.

und Jahreszeit. Mit abwechslungsreicher Bepflanzung

In prioritising the outdoor space in relation to the mas-

von Platz und »pinetum« sowie Vogelzwitschern vom

Cost of construction 4,7 mill. EUR Funded by The Realdania Foundation

sive volumes of the library, Copenhagen Business

Band verweist die Fülle all dieser Sinneseindrücke auf

School and the large shopping centre in the centre of

die nahegelegenen Landwirtschaftliche Universität und

Frederiksberg, a series of compact spaces, each with

die privaten Villengärten in diesem Quartier.

its distinct character has been created, which gives a

Durch die starke Betonung des Außenraums in Relation

feeling of context and familiarity.

zum massiven Bibliotheksgebäude, zur Copenhagen

Client Municipality of Frederiksberg Location Solbjergvej, Frederiksberg Type of comission Project commissioned by the Municipality of Frederiksberg Creative Director Stig L. Andersson Project Manager Hanne Bruun Møller Design team Stig L. Andersson Hanne Bruun Møller Stine Poulsen Lars Nybye Sørensen Collaborators GHform Hansen & Henneberg

Business School und zum großen Einkaufszentrum mitten in Frederiksborg entstand eine Reihe kompakter Stadträume mit jeweils eigenem Charakter, die ein Gefühl von Zusammengehörigkeit und Vertrautheit erzeugen.

14

Complement Erg채nzung

15

16

17 / Frederiksberg

18

19 / Frederiksberg

Client Bjørvika Utvikling AS Location Bjørvika, Bispevika, Lohavn, Oslo Type of comission Open competition, 1st prize won in collaboration with Gehl Arcitects Creative Director Stig L. Andersson Project Manager Lisbeth Westergaard (Competition phase) Hanne Bruun Møller Design team Stig L. Andersson Hanne Bruun Møller Lisbeth Westergaard Jonas Rune Sangberg Stine Poulsen Thomas Kock Marie Priem (Model: Halvor Weider Ellefsen Peter Larson) Collaborators Hansen & Henneberg Lighting Engineers Gehl Architects Design phase 2004-2005 Construction 2005 Area 18 hectares

20

Bjørvika New Urban Spaces

Neue Stadträume in Bjørvika

What came first – the buildings or urban spaces? In

Was war zuerst – die Gebäude oder die Stadtplätze? Im

the new harbour area in Oslo both the building proc-

neuen Hafenviertel von Oslo wurde der Entstehungs-

ess and the seven urban spaces have been convoluted.

prozess der Gebäude mit sieben offenen Plätzen ver-

Here the planning starts from the outdoor spaces, then

quickt. Hier ging die Planung von der Platzgestaltung

the buildings are added. The plan connects town and

aus; die Gebäude kamen später. Der Plan verbindet die

water in three tangible elements: contouring, edges

Stadt und das Wasser mit Hilfe von drei Elementen:

and water. Angles and slopes create variety on the way

Konturen, Kanten und Wasser. Winkel und Abhänge

through Lohamn, Akerselva and Bjørvika, the edges

sorgen für Vielfalt auf dem Weg durch die Stadtteile

of buildings and changes of level create seating and

Lohamn, Akerselva und Bjørvika. Gebäudekanten und

paths, while gushing, trickling or vaporised water ac-

Höhenunterschiede schaffen Sitzgelegenheiten und

centuates the unique positioning by the fjord. Every

Wege. Wasser – in Form von Springbrunnen, Rinnsalen

place has its own identity in an individual combination

und künstlichen Nebelschwaden – betont die einzigar-

of water, edges and contouring. A continuous floor of

tige Lage am Oslofjord. Jeder Ort ist individuell gestal-

black basalt rolls out and forms a unifying space for the

tet. Durchgehendes schwarzes Basaltpflaster bildet die

seven central urban spaces.

Verbindung zwischen den sieben Plätzen in der Innenstadt, so dass sie einen vielgestaltigen zusammenhängenden Stadtraum bilden.

Convolution Verquickung

Bjørvika / 22

Trekroner School

Trekroner-Schule

Client

Creating spaces, not monuments. And to give children

Räume schaffen, nicht Denkmäler! Kindern und Jugend-

Municipality of Roskilde Location

and young people the possibility of inventing new games

lichen die Möglichkeit geben, neue Spiele zu erfinden,

and new ways of moving, new ways of being in the

sich auf neue Art zu bewegen, hier auf Erden zu leben!

world. This movement, that is so important to the ability

Die Art Bewegung, die so wichtig für die Fähigkeit ist,

to sit still and learn when the break is over.

wieder still zu sitzen und zu lernen, wenn die Pause

Trekroner School playground is the playground of pos-

vorbei ist.

sibilities. Architecture that can be touched, trampled on

Der Pausenhof der Trekroner-Schule ist der Spielplatz

and smelt. There are no rules governing how to play on

der Möglichkeiten. Man kann die architektonischen

the coloured rubber-coated mounds, and there are lots

Elemente anfassen, riechen und auf ihnen herumtram-

of opportunities to run, hop or even roll. There are undu-

peln. Für das Spiel auf den bunten, mit Gummi be-

lations in the asphalt to allow water splashing and low

schichteten Asphalthügeln gibt es keine Regeln, son-

walls to sit on or hide behind in the breaks. In the sand

dern nur die Gelegenheit zu rennen, zu hüpfen und

garden there is an island with mosses, bracken and large

hinunter zu rollen. In den Vertiefungen sammelt sich

stones. Open areas are available for interpretation and

Wasser, in dem geplanscht werden darf; auf niedrigen

re-interpretation, ready to be occupied in different ways;

Mauern kann man sitzen, man kann sich auch dahinter

there can be flower and vegetable gardens, ball games,

verstecken. Im Sandgarten gibt es eine Insel, auf der

water games, hopscotch and snow-ball fights. Large and

Moos und Farne wachsen und große Feldsteine liegen.

small worlds can be created between the classrooms: to

Freiflächen lassen sich verschieden nutzen: zum An-

get from room to room you have to cross the playground

legen von Blumen- und Gemüsebeeten, für Ballspiele,

in the fresh air, and experience the continuity between

Wasserspiele und im Winter für Schneeballschlachten.

learning and physical activity. The different spaces that

Zwischen den Klassenzimmern lassen sich verschie-

are created should be seen as possibilities offered to

dene große und kleine Welten schaffen. Von Raum

children and adults ready to enter into a special story.

zu Raum gehen die Kinder an der frischen Luft über

Trekroner Alle, Roskilde Type of comission Open competition, 1st prize Creative Director Stig L. Andersson Project Manager Stine Poulsen Design team Stig L. Andersson Stine Poulsen Hans Kragh Collaborators Vilhelm Lauritzen Arcitects Design phase 1999 - 2001 Construction 2001 - 2002 Area 22.000 m2 Cost of construction 1,1 mill. EUR

den Spielplatz und erleben, dass Lernen und körperliche Bewegung zusammengehören. Die verschiedenen Räume sollten als Angebote an Kinder und Erwachsene gesehen werden, die bereit sind, in eine besondere Geschichte einzutauchen.

24

Appropriation Aneignung

25

26

27 / Trekroner School

Client Municipality of Solrød Location Trylleskoven, Solrød, DK Type of comission Shared 1st prize in competition by invitation of ideas Creative Director Stig L. Andersson Project Manager Lisbeth Westergaard (Competition phase) Stine Poulsen Design team Stig L. Andersson Lisbeth Westergaard Stine Poulsen Jonas Rune Sangberg Svava Riesto, Filippa Berglund (Model: Daniel Ludwig Peter Larson) Collaborators Hansen & Henneberg Lighting Engineers Design phase 2004 Area 40 hectares

28

Trylleskoven (The Magic Forest)

Trylleskoven (Zauberwald)

Life in an ice-crystal. An ice crystal is always unique.

Leben in einem Eiskristall. Jeder Eiskristall ist einzigar-

From the centre it branches out and can develop in

tig. Er verzweigt sich von der Mitte aus, einer inneren

endless variations from an inbuilt structure. The siting

Struktur folgend, in unzähligen Variationen. Die Plat-

of buildings in the development Trylleskoven takes its

zierung der Bauten in der Siedlung Trylleskoven folgt

shape from the serrated branches of the ice crystal to

dem Muster der gezackten Eiskristallverzweigungen,

create homes with optimal possibilities for views and

um Wohnungen mit optimaler Ausrichtung zum Son-

access to outdoor experiences. The existing meadow

nenlicht und den schönsten Ausblicken zu schaffen.

and wetlands become a resource of life and movement,

Jeder »Gebäudekristall« bietet private Räume im Freien

which the housing crystals merge with. In every crystal

wie Veranden und Balkone, und zusätzlich einen Ge-

there is the possibility of private outdoor space such

meinschaftsraum an der frischen Luft für rund fünfzig

as verandas and balconies, as well as outdoor space

Menschen. Zum Bahnhof hin mischen sich die Wohn-

for the ca 50 occupants in each crystal. Towards the

blöcke mit Versorgungseinrichtungen und öffentlichen

train station the housing is mixed with employment and

Gebäuden. Trylleskoven wird hart versiegelte Flächen

institutions. Trylleskoven will have both compact areas

haben, auf denen man Rollschuh und Rad fahren und

with hard surfacing for roller skates, stiletto heels and

auf Stilettoabsätzen laufen kann, aber auch Rasenflä-

cycles, and soft communal meadow areas, where there

chen zum Spielen und Sonnenbaden.

will be space for personal development, exploration and movement.

Application Applikation 100m2 Builing Block

3000m2/3 legs

6000m2/3 legs

6000m2/6 legs

9000m2/3 legs

15000m2/3 legs

Building site catalogue scale 1 : 5000

29

Employment uses Employment and/or apartment blocks Station centre with mixed uses School Low compact housing Low open housing Housing for the elderly Housing for young people Childcare insitutions

31 / Trylleskoven

Client Harald Simonsens Ejendomsselskab Lokation Hjørringsgade 12 C, København Type of comission Competition by invitation, 1st prize Creative Director Stig L. Andersson Project Manager Hanne Bruun Møller Design team Stig L. Andersson Hanne Brunn Møller Lars Nybye Sørensen Collaborators Lundgaard & Tranberg Architects Hansen & Henneberg Lighting Engineers Hampus Naturleg Design phase 2003 Construction 2003-2004 Area 13,950 m2 Cost of construction 1,1 mill. EUR

32

Charlottehaven (The Charlotte Garden)

Charlottehaven (Charlottengarten)

From still-frame to motion picture. Take an object and

Vom Standfoto zum Film. Man nehme einen Gegen-

divide it into all its variables – and move around amongst

stand, zerlege ihn in alle seine Einzelteile und gehe

them. The housing development in Charlottehaven is a

zwischen ihnen herum. Die Wohnsiedlung in Charlotte-

garden where the spaces are defined by grasses. Tall

haven ist ein Garten, dessen verschiedene Räume von

grasses wave above prickly bluish mounds. The com-

Gräsern gebildet werden. Hohe Gräser wiegen sich

position of different varieties of grasses in iron frames

über niedrigen, stacheligen Blaugrasbüscheln im Wind.

evokes an image of salt marsh in the centre of the town.

Die Komposition aus Beeten, in denen unterschied-

The nuances of colour and movement create a vibrant

liche Grasarten wachsen, wirkt so als gäbe es ein

space that changes from blue to green to brown as the

Stück Salzmarsch mitten in der Stadt. Die Gräser bie-

seasons pass. The relief effect from the apartments is

ten ein lebendiges, vom Wind bewegtes Bild, dessen

in constant transformation, and the open, amorphous

Farben im Lauf der Jahreszeiten von Blau und Grün

figures do not dictate a favoured viewpoint. Like a sea-

bis zu Brauntönen wechseln. Von den Wohnungen aus

scape – calm, but with subtle variations and smooth

gesehen verändert sich die Reliefwirkung ständig. Die

transitions. Small, intimate garden spaces open up

offenen, amorphen Formen der Anpflanzungen dik-

without hierarchy, whilst the playground and café bring

tieren keinen bevorzugten Blickwinkel – wie das Meer,

the neighbourhood together. The sensory effects on the

dessen Fläche selbst bei ruhiger See in ständiger flüch-

body on the way through the garden encourage pres-

tiger Bewegung sind. Kleine intime Gartenräume er-

ence and attention.

schließen sich ohne einer Hierarchie zu folgen, während der Spielplatz und das Café die Leute aus der Nachbarschaft zusammenbringen.

Variation Variation

33

Client Municipality of Aarhus Location

Mølleparken (The Mill Park)

Mølleparken (Mühlenpark)

Has a place one or more histories? Which count in the est-

Hat ein Ort eine einzige Geschichte oder mehrere Ge-

ablishment of spaces? With a concept of history as an un-

schichten? Welche von ihnen zählen für das Entwickeln

Mølleparken,

finished process and of time as elastic and qualitative,

von Räumen? Das Mølleparken-Projekt ging davon aus,

Aarhus C Type of comission

the project in Mølleparken examines how stories disap-

dass Geschichte immer ein noch nicht abgeschlos-

pear or reappear in a historical context, in constant ex-

sener Prozess ist und Zeit ein dehnbarer, qualitativer

change and interchange with the citizens’ appropriation

Begriff. Der Entwurf untersucht, wie Geschichten in

of the place. By understanding history as a series of

einem historischen Kontext im ständigen Wechselspiel

Competition by invitation on developing ideas for Mølleparken.

Project recommended by the professional jury Creative Director Stig L. Andersson Project Manager Lisbeth Westergaard (Competition phase) Design team Stig L. Andersson Lisbeth Westergaard Svava Riesto Thomas Kock Malin Blomqvist (Model: Daniel Ludwig) Design phase 2005 Area 4,200 m2

equivalent stories, Mølleparken shows that small ad-

mit der Aneignung eines Ortes durch seine Bewohner

justments can have the same significance as large up-

verschwinden oder wieder auftauchen kann. Das Er-

heavals.

gebnis zeigt, dass kleine Anpassungen ebenso wirk-

The history of Mølleparken consists of a series of mark-

sam sein können wie radikale Umwälzungen.

ers in time: The working mill and the winding paths of

Die Geschichte des Mølleparken lässt sich an einer Rei-

the romantic garden have influenced the project. The

he chronographischer Merkzeichen ablesen. Die noch

choice of plants, spatial disposition and incorporation of

betriebene Mühle und die geschwungenen Wege des

water evoke the meadow landscape while granite sett

romantischen Gartens haben den Entwurf beeinflusst.

paving laid in the thirties, and the sculpture »Love’s bat-

Die Bepflanzung, die räumliche Gliederung einschließ-

tle« find new places in the continuing intertwining of his-

lich der Wasserflächen sind einer Wiesenlandschaft

torical layers. These markers point to a common time

nachempfunden, während das Granitsteinpflaster aus

– and past – and function as personal sign-posts that

den 1930er Jahren und die Freiplastik »Kampf der Lie-

are still open to new layers of stories and meanings.

benden« an diesem Ort sich ständig vermischender historischer Schichtungen neue Plätze gefunden haben.

Diese Zeichen sind Fingerzeige auf die gemeinsame Zeit und Vergangenheit und fungieren als persönliche Wegweiser, denen immer wieder neue Geschichten und Bedeutungen hinzugefügt werden können.

34

Equivalence Gleichgewicht Narrative preservation

Physical preservation

The origin of Mølleparken (the Mill Park) is a drained meadow landscape.

Existing trees are reflected by water planes, which accentuate their growth, age and spatial changes

Tufts with meadow characteristics

Mirroring lakes

Winding paths

Re introduction

Reuse of highroad stone

Tufts with meadow charactheristics

Reintroduction of the fauna of the surrounding mill.

Preservation of the sculpture "The Love Fight"

The winding paths are of a paraphrase of the landscape gardens that lay here in the 19th century.

Ice scating

Preservation of existing trees

Introduction of a contemporary layer

In 1873 the lake Møllesøen was used for ice skating.

This activity is reintroduced.

Communication

Spot light on trees New trees

Landscaping

Pools

The enclosure as a social meeting point Café pavilion New trees

Guided tours and preparation of folders, exhibitions, festivals etc. for information and dialog about the history of the park and the river.

Open space and stairs facing Åpromenaden (The River Promenade).

35

"EFORE THE AREA IS CHARACTERIZED BY A BIG POND WEST OF 6ESTER !LLE AND ¿RHUS -ILL TO THE EAST 3LUICES ENSURED THAT THE WATER LEVEL OF THE POND WAS RAISED M -ILL POWER LOST IMPORTANCE IN FAVOUR OF STEAM POWER AND IN AGREEMENT WITH MILLER !NDREAS 7EIS THE SLUICES WERE ABOLISHED BECAUSE OF THE POSSI BILITY OF EXTRACTING DRINKING WATER FROM THE RIVER AND A WISH TO EXPAND THE CITY TO THE WEST

&IRST TIME THE MILL IS MENTIONED IN A WRITTEN ACCOUNT

@(USET 4HE (OUSE THE FIRST BUILDING IN -Â’LLEENGEN -EA DOW OF THE -ILL WAS DESIGNED AS AN ART MUSEUM BY 6 4H 7ALTHER n THE SITE DONATED BY 7EIS

4HE STREETS IN THE AREA WH CONNECTED TO THE REFUSE DUMP FARTHER DOW ARE NAMED AFTER ARTISTS /WNERSHIP OF THE AREA IS ASSIGNED

THE MILLER !NDR 7EIS DIES (IS SON %R !UGUST 7EIS TAKES O

-EADOW WITH MOUNDS AND VIGOROUS GRASSES

36

6IEW OVER ¿RHUS 2IVER TOWARDS 3LUSEBROEN THE 3LUICE "RIGDE

¿RHUS -ILL THE -ILL 0OND AND 6ESTERBRO -ILL

"EFORE THE S 4HE -Â’LLEPARK 4HE -ILL 0ARK AREA IS A ZONE IN BETWEEN THE CITY AND THE COUNTRYSIDE

S !CTIVITY IN AND AROUND THE FOUNTAIN BEFORE THE RENOVATION OF THE BASE

WERE PREVIOUSLY HE -Â’LLEENG MEA

THE CITY OF ¿RHUS

¿RHUS -ILL IS CLOSED DOWN

4HE .EW 4HE SITE OF THE MILL 4HE SITE OF 4HE OPENING OF THE NEW #ARLSBERG &OUNDATION AND A PART OF "ISPETOFTEN THE MILL IS ASSIGNED -’LLEPARKEN AND THE 0UBLIC ,IBRARY DONATES THE BRONZE ARE SOLD TO THE MUNICIPALITY TO ¿RHUS #ITY OF ¿RHUS 4HE LIBRARY WAS DESIGNED SCULPTURE @ %LSKOVS OF ¿RHUS FOR $++ BY !LFRED -OGENSEN AND (ARALD 3ALLING KAMPEN @4HE "ATTLE -ORTENSEN WITH THE MOTTO @4EMPLE OF OF ,OVE BY * "ERG KNOWLEDGE

% ! 7EIS DIES (E BEQUEATHS THE MILL TO @$EN 'AMLE "Y 4HE /LD 4OWN .ATIONAL /PEN !IR -USEUM OF 5RBAN (ISTORY AND #ULTURE

3IEGFRED +NUDSEN IS SURPRISED BY HIS OWN DISCOVERY OF WATERCRESS IN THE -’LLEPARK !LONG ¿RHUS 2IVER HE REGISTERS %KSTREMRIGKAER -ARSH PEA (AIRY 6IOLET (OARY 0LANTAIN #LUSTERED BELLFLOWER AND -ARSH (ELLEBORINE +NUDSEN ENTHUSIASTICALLY WRITES A NOTE ABOUT THE DISCOVERY IN HIS COPY OF THE BOOK &LORA $ANICA

.EW LAYER ADDED TO THE PARK BY 3,!

WHICH STRIVES TO MEDIATE AND DEVELOP THE HISTORICAL MEANING AND IDENTITY OF -Â’LLEPARKEN

4HE NEW -Â’LLE PARKEN DESIGNED BY MUNICIPAL GARDENER , 3ANDBERG

S !BOLITION OF THE FOUNTAIN YET THE SCULPTURE OF @%LSKOVSKAMPEN ,OVE S "ATTLE REMAINS

37 / Mølleparken

Client Københavns Kirkegårde Location Assistens Cemetery Nørrebro, Copenhagen Type of comission Project comissioned by the Danish Arts Foundation Creative Director Stig L. Andersson Project Manager Stig L. Andersson Morten Stræde Design team Stig L. Andersson Morten Stræde Stine Poulsen Collaborators Morten Stræde, Klaus Hoeeck Design phase 2001 Construction 200 - 2004 Area 400 m2 Cost of construction 210.000 EUR Funded by Danish Arts Foundation

38

A Plot / MEGARON

Ein Feld / MEGARON

With time as the key, A Plot/MEGARON opens itself to

Zeit ist der Schlüssel zum Raumkunstwerk »A Plot/

the visitors at Assistens Cemetery in Copenhagen, as a

MEGARON«, das als Raum im Raum die Besucher des

space within space. The pattern/patchwork of grass and

Assistens-Friedhofs in Kopenhagen empfängt. Der Fli-

red sandstone corresponds to the 1 by 2 metres grid of

ckenteppich aus Gräsern und rotem Sandstein basiert

the cemetery, defined by the grave sites. The figures on

auf dem 1x 2-Meter-Raster einer Grabstättenfläche

the sculpture are abstractions of the form and decora-

der Friedhofsanlage. Die Figuren auf der Plastik sind

tion of the graves. The construction period stretched

Abstraktionen der Formen und Ornamente auf den Grä-

over three years, and when the last squares completed

bern. Die Bauzeit betrug drei Jahre. Als die letzten Qua-

the work of garden art in 2004, the first stones were

drate dieses Gartenkunstwerks 2004 fertiggestellt wa-

already marked by frost, sun and visitors who had sat

ren, hatten Frost, Sonne und die Besucher die darauf

and walked on them, as visible traces of the time of the

gesessen hatten und herumgelaufen waren bereits

place and the people. Through daily use the place is in

ihre Spuren hinterlassen – als sichtbare Zeugnisse der

a state of constant change and transition.

vergangenen Zeit. Aufgrund der täglichen Nutzung ist

The work is a reflection of the dual purpose of a cem-

das Werk ständigen Veränderungen unterworfen. Es

etery in the heart of the city that functions both as a

spiegelt die Doppelfunktion eines Friedhofs mitten in

sanctuary for contemplation and a place for recreation

der Stadt wieder, der als Ort der Kontemplahou, aber

and social interaction.

auch der Erholung und der Begegnungen dient.

A Plot/MEGARON is a collaboration between SLA (Et

Ein Feld/MEGARON ist eine Gemeinschaftsarbeit von

Felt) and Artist Morten Stræde (MEGARON)

SLA (Ein Feld) und dem Künstler Morten Stræde (MEGARON).

Time Zeit

39

Client Municipality of Copenhagen Location Sønder Boulevard, København Type of comission Project commissioned by the Municipality of Copenhagen Creative Director Stig L. Andersson Project Manager Karen Margrethe Krogh Design team Stig L. Andersson Karen Margrethe Krogh Filippa Berglund Martin Birch Pedersen Collaborators Hansen & Henneberg Lighting Engineers Municipality of Copenhagen Vej & Park Projektkontoret Design phase 2004 - 2005 Construction 2005 - 2006 Area 16,000 m2 Cost of construction 2,4 mill. EUR

40

Sønder Boulevard

Sønder Boulevard

The central theme of the Sønder Boulevard project is

Das zentrale Entwurfsthema für den Sønder Boulevard

city life. It is about giving the urban space back to the

hieß »städtisches Leben«. Es ging darum, der Be-

public – the cyclists, the pedestrians, and the ones

völkerung diesen Stadtraum zurückzugeben – den

skipping and dancing. People should have the op-

Radfahrern, Fußgängern und denen, die hüpfen und

portunity to move, work and not least live life. Sønder

tanzen wollen. Die Menschen sollten die Möglichkeit

Boulevard in Copenhagen now directs the traffic in a

haben, sich frei zu bewegen, zu arbeiten und nicht zu-

calmer fashion with reduced speed and widening of

letzt zu leben. Der Sønder Boulevard in Kopenhagen ist

the linear recreational space down the centre of the

heute verkehrsberuhigt, der Grünstreifen in der Mitte

boulevard. Through a comprehensive public participa-

wurde verbreitert. In einem umfassenden Bürgerbetei-

tion process the residents of Vesterbro have had the

ligungsverfahren hatten die Einwohner des Vesterbro-

opportunity to put their fingerprint on the urban space

Viertels die Möglichkeit, dem Stadtraum in Form von

in the form of basket ball courts, seating areas, walks

Basketballfeldern, Sitzplätzen, Wegen und versteckten

and small peaceful gardens. SLA have made a proposal

stillen Gartenecken ihren Stempel aufzudrücken. SLA

for the framework, and the residents have determined

legte Entwürfe zum planerischen Rahmen vor, und

which activities should take place. In this way sporadic

die Bürger entschieden, welche Freizeiteinrichtungen

interventions arise, that create inclusive spaces for

realisiert werden sollten. Auf diese Weise kam es zu

everyone and new amenity values for the whole neigh-

spontanen Eingriffen, aus denen kommunikative Gar-

bourhood.

tenräume für alle entstanden, mit denen das ganze Viertel aufgewertet wurde.

Public participation Partizipation

41

Urban Garden in Nørresundby

Stadtgarten in Nørresundby

Client

Let gardens play. Close by the water in northern Jutland

Lasst Gärten spielen! An der Nordküste Jütlands, in

Aalborg Municipality Location

lies an urban garden in the harbour town of Nørresund-

der Hafenstadt Nørresundby, liegt ein Stadtgarten, der

by, which welcomes large and small playmates with in-

große und kleine Kinder mit inspirierenden, sinnlichen

spirational and sensory experiences. The garden plays

Erlebnissen willkommen heißt. Dieser Bürgerpark lockt

along as you explore; footsteps scrunch on the mussel

und animiert, wenn man ihn durchstreift. Die Wege

shell paths but are dampened on the rubber steps to

sind mit Muscheln bedeckt, die unter den Füßen knir-

the harbour. Among the plants are water vaporisers,

schen, während man auf den Gummistufen zum Ha-

and seven times a day geyser-like jets of water spout

fenbecken hinunter auf leisen Sohlen geht. Zwischen

several metres high. The water collects in pools that

den Pflanzen sind Wasserdüsen installiert, die sieben

reflect the clouds in the sky. The garden is enclosed

Mal am Tag meterhohe Geysir-Fontänen ausstoßen.

by a rough steel fence that functions as a transparent

Das Wasser sammelt sich in Becken, in denen sich

Stig L. Andersson

frame, which at the same time screens and allows pas-

der Himmel spiegelt. Das Areal ist von einem groben,

Lisbeth Westergaard Christian Restorff Liliegreen

sers-by glimpses of the green beds of willows, bracken

halb durchsichtigen Stahlzaun umzäunt, der einerseits

and mosses, and which creates a simultaneity with

als Sichtschutz fungiert, andererseits Passanten aber

the rest of the urban space. The urban garden opens

auch Einblicke in den mit Weiden, Farnen und Moosen

towards the harbour with ramps and a blue, rubber-

bepflanzten Park erlaubt und die Verbindung zum Rest

coated stairway. The urban garden in Nørresundby pro-

der Stadt herstellt. Zugang zum Hafenbecken bietet der

vides a unique opportunity for the citizens to enjoy a

Stadtgarten über Rampen und eine Treppe mit blauem

concentration of events and sensory delights.

Gummibelag. Dieser Bürgerpark in Nørresundby bietet

Stigsborg / Nørresundby, Aalborg, DK Type of comission Project comissioned by the Municipality of Aalborg Creative Director Stig L. Andersson Project Manager Lisbeth Westergaard (Competition phase) Christian Restorff Liljegreen Stine Poulsen Design team

Filippa Berglund Stine Poulsen Collaborators Hansen & Henneberg Lighting Engineers Rambøll Engineers Design phase 2002 - 2005 Construction 2004 - 2005 Area 1000 m2 Cost of construction 304.000 EUR

42

den Einwohnern die einzigartige Möglichkeit, mit allen fünf Sinnen vielfältige Erlebnisse zu genießen.

Event Erlebnis

43

44

45 / Nørresundby

Selected references 1995-2005 Master plan for Valby Sports Park. (1st prize, competi-

prize, competition by invitation). Area: 60 ha. Cost of

tion by invitation 2005). Area: 48 ha.

construction: 21.6 mill. EUR.

Pilot studies for at new harbour tunnel in Copenhagen

Master plan for the Town of Ullerød, within the munici-

for the municipality of Copenhagen 2005.

pality of Hillerød, Zealand. (1st prize, competition by

Master plan for new city centre of Bjørvika, Oslo. (1st

invitation). Area: 100 ha.

prize, open international competition in collaboration

Ankar Park in Malmö, Sweden, for the City of Malmö

with Gehl Architects). Area: 18 ha. Construction: com-

(1st prize, competition by invitation). Area: 29.000 m 2.

mencement 2005.

Constructed in 2001. Cost of construction: 4 mill. EUR.

Development strategy for new urban development »Tryl-

Master plan for the new harbour front area of Stigsborg

leskoven«. (shared 1st prize, idea competition 2005).

in Aalborg, Jutland. Structure plan: 2002. Area: 1000 m 2.

Area: 40 ha.

Construction: Urban garden finished 2005. Cost of con-

Master plan and landscape strategy for the new resi-

struction: 304,000 EUR.

dential area and surroundings at the Langagergård site

Creation of new and renewal of the existing landscape

in Greve, Zealand. Area: 120 ha. Construction: com-

of the Motala housing estate in Korsør, Zealand. For the

mencement 2005. Cost of construction: 8-10 mill. EUR.

KAB Building Society. (1st prize, competition by invita-

Master plan for the new city-centre of the Frederiksberg

tion). Area: 14 ha. Construction: commencement 2003.

district of Copenhagen. Area: 18.000 m 2. Construction

Cost of construction: 2,5 mill. EUR.

finished in 2005. Cost of construction: 4.62 mill. EUR.

A garden and sculptural installation in the Assistens

New landscape for elephants in Copenhagen Zoo, in

Cemetery, Copenhagen, for the City of Copenhagen and

collaboration with Fosters & Partners. Area: 11.000 m 2.

the Danish Arts Foundation. Collaboration with the art-

Construction: 2005. Cost of construction: 21 mill. EUR.

ist Morten Stræde. Area: 400 m 2. Construction: 2002-

Revitalization of Sønder Boulevard, Copenhagen. Area:

2004. Cost of construction: 210,000 EUR.

15-16,000 m 2. Construction commenced 2005.

Consultancy for the Municipality of Albertslund South

Revitalization of Kolding Railway Plaza (1st prize in

on revitalization. Brogårds Plads completed 2001.

invited competition, 2004). Detailing starts in 2006.

Area: 900 m 2. Cost of construction: 100.000 EUR.

Area: 12.000

46

m 2.

Renewal of the landscape of the Ladegaardsparken

Renewal of the Frederikssund harbour front, Frede-

housing estate in Holbæk, Zealand. Area: 3.8 ha. Con-

rikssund, Zealand, including the new Harbour Square

struction: 1997-1998. Cost of construction: 1 mill EUR.

(1st prize, competition by invitation). Area: 9.500 m 2.

Renewal of the town centre of Glostrup, for the City of

Construction: 2002. Cost of construction: 700,000 EUR.

Glostrup. Area: 12.500 m 2. Construction: 1995-2001.

Master plan for the Tingbjerg-Utterslev housing estate,

Cost of construction: 1.2 mill EUR.

in the Copenhagen vicinity, participatory planning. (1st

Selected bibliography Stig L. Andersson A cloud is just another sheet of crumpled paper In: Topos 40-2002 Munich: Callwey, 2002 Stig L. Andersson Ein Schauspiel in drei Aufzügen In: Garten + Landschaft 4-2002 Munich: Callwey, 2002 Stig L. Andersson Flowtion In: Tracés 18-2003 Zurich: Bulletin technique de la Suisse romande, 2003 Stig L. Andersson and Jan Gehl (ed.)

Fremtidens Bedre Byrum Visioner og Drømme (On urban Spaces in the Future) Copenhagen: Bedre Byrum, 2003 Stig L. Andersson and Morten Stræde Megaron / Et Felt. Exhibition Catalogue Køge: Køge Art Museum of Sketches, 2003 Stig L. Andersson Nobody asks for water-pools In: www.lexlexlex.net volume 5 Copenhagen Sept. 2003 Paco Asensio (ed.)

Columbinehave in Tivoli In: Garden Design, New York, Düsseldorf: Loft Publications, teNeues, 2002

Nicolaj Carlberg, Søren Møller Christensen and Svava Riesto Idrættens fornemmelse for byrum (on sports in urban spaces) Stig L. Andersson and Svava Riesto (ed.)

Copenhagen: The Danish Foundation for Culture and Sports Facilities, 2004 Gay Cooper and Gordon Taylor The Trekroner School, Copenhagen In: Gardens for the Future - Gestures Against the Wild London: Conran Octopus, 2000 Malene Hauxner et al.

European Landscape Award 2002 In: Topos 40-2002 Munich: Callwey, 2002 Planning for Urban Change Exploration of the Potential of Urban Spaces Studio prof. Stig L. Andersson at the École Polytechnique Fédérale de Lausanne Lausanne: EPFL, 2004

Entwurfsidéen ausgezeichnet In: Garden + Landschaft 10-2002 Munich: Callwey, 2002 Thies Schröder Contemplative Dynamics In: Changes in Scenery. Contemporary Landscape Architecture in Europe Berlin, Boston, Basel: Birkhäuser, 2000 Regin Schwaen Kid Garden Kit – a new instrument In: Topos 12-1995 Munich: Callwey, 1995 Peter Zöch and Gesa Loschwitz (ed.)

Ankar Park, Malmö /»A Plot«, Assistens Cemetery, Copenhagen In: European Landscape Architecture.

Squares, parks and promenades: recent projects, Munich: Callwey, 2005

Svava Riesto and Henriette Steiner Strategies of Brutal Recovery In: Scroope 17. Cambridge Architecture Journal, Cambridge 2005 Robert Schäfer Stig L. Andersson mit dem European Landscape Award 2002 gewürdigt.

Dänisches Landschaftsarchitekturbüro in Oldenburg für individuell begründete

47

Exhibition

SLA are

21.12.2005 - 02.02.2006

Stig L. Andersson (Creative Director) Søren-Leth Nissen (Managing Director)

Aedes West Savignyplatz

Competition team

Else-Ury-Bogen 600 D-10623 Berlin Germany

Malin Blomqvist, Jonas Rune Sangberg, Thomas Kock, Veronica Cheann, Lone Nielsen, Annelie Håkonsson Communication and Development team

Aedes Berlin

Svava Riesto, Kirstine Autzen, Helga Floto, Line Toftsø Nyholm, Martin Søberg

www.aedes-arc.de

Project, planning and construction team

Herausgeber Kristin Feireiss, Hans-Jürgen Commerell Project Management Aedes Isolde Nagel Exhibition and catalogue team SLA Stig L. Andersson, Svava Riesto (Curator), Martin Søberg, Kirstine Autzen, Line Toftsø Nyholm, Mette Kallehauge, Malin Blomqvist

Karen Margrethe Krogh, Malene Krüger, Kim Madsen, Hanne Bruun Møller, Stine Poulsen, Sean Claxton, Rikke Geertsen, Signe Hertzum,

Text Wunderstadt Svava Riesto

Jan Støvring, Frauke Materlik, Martin Birch Pedersen,

Photographs © SLA, Lars Bahl S. 17 (o.), S. 19

Karin Søberg Pedersen, Durota Beres, Friedemann Rüter, Vibeke Lund Jørgensen

English translations Marion Frandsen German translations Annette Wiethüchter

Torben Petersen S. 18 (o.r.)

Jens Lindhe S. 15, 16, 17 (u.), 18 (o.l.), 18 (u.), 46

SLA Refshalevej A 153 DK-1432 Copenhagen K The and the drainage trench show on page 19 is developed in collaboration with Gh Form and the lighting design show on page 16 -19 is developed in collaboration with Hansen & Henneberg.

Design Gudrun Olthoff Production HillerMedien, Berlin Printing Medialis, Berlin

Fon +(45) 33 - 91 13 16 Fax +(45) 33 - 91 18 16 www.sla.dk landskab@sla.dk

© 2005 Aedes and SLA ISBN 3- 937093-58-3

The exhibition and the catalouge were very kindly supported by:

Danmarks Nationalbank’s Aniversary Foundation of 1968 The Danish Arts Foundation - The Committee of Architecture

Politiken Foundation

GHform, Street furniture manufacturing