Architecture and urban design have played a decisive role in the development of the Nordic welfare societies.

All along, a strong commitment towards the public domain and our common physical environment has been key to social innovation. With the challenges to the cities of the 21st century, public space is more than ever the focus point in the creation of socially and environmentally sustainable communities, In this book C. F. Mller Architects, one of Scandinavias most renowned practices, founded in 1924, presents a wide range of their award-winning public design. It includes hospitals, universities and schools, public administration, masterplans, and housing, all conceived with a constant eye to social innovation through architecture. cific users of a design, but also towards those who are typically not involved in the design process, but are nonetheless affected by the outcome the public.\\ Public is composed of five sections of work presentations each prefaced with an introductory essay by architectural historian and critic Christian Bundegaard, and includes an interview conducted by Kent Martinussen, director of DAC (Danish Architecture Centre).

public \\ C. F. Mller ArChiteCts public \\ C. F. Mller ArChiteCts

C. F. Mller ArChiteCts

\\ As architects, we are acutely aware of our commitment and responsibility, not only towards our clients, or the spe-

contents proJects preface \\ 4 interview \\ 6 tradition and large spaces \\ 14

the university of aarhus auditoriums, the university of aarhus vitus bering innovation parK, horsens crystal clear towers, oslo navitas parK, aarhus fields - shopping centre, copenhagen incuba science parK, aarhus extension of the panum complex at the university of copenhagen technical faculty, odense university

function and humanism \\ 62

aKershus university hospital, oslo randi-line Kom series new university hospital, aarhus harbour stones - masterplan, gothenburg hospice dJursland, rnde

materiality, impression and expression \\ 100

siloetten - silo conversion, aarhus symphonic concert hall, aarhus cfm Karma - furniture series fleetbanK house, london ameriKa square, copenhagen nordlyset - housing, copenhagen camillo eitZen house / the anchor, copenhagen second phase of the darwin centre, london lille vildmose - visitor centre, storvorde sterbrogade 105 - housing, copenhagen museum of modern art, warsZawa

technology and forethought \\ 158

housing+ - Zero-energy housing, aalborg research & Knowledge parK, odense gas-insulated switchgear station, denmarK emergency & infectious diseases unit, malm swedbanK stadium, malm bagsvrd parK - regeneration masterplan biomass chp station, sKive norra dJurgaardstaden - housing, stocKholm gh3 - ceiling-mounted hoist system

coherence and lightness \\ 202

continental towers, stocKholm alviK tower, stocKholm hothouses, the university of aarhus new bislett stadium, oslo music & theatre hall, odense ferry terminal, stocKholm Zipp - seating series vendsyssel museum of art, hJrring vendsyssel museum of art - extension, hJrring opera & culture centre, Kristiansund the a. p. mller school, schleswig

company profile \\ 258 biographies \\ 260 c. f. mller team 2005-2010 \\ 262 colophon \\ 264

Museum of Liverpool [Competition 2005]

preface
For more than 85 years, C. F. Mller Architects has contributed to the shaping of the Danish and Nordic welfare societies. We have developed programmes, spaces and buildings for hospitals, universities and schools, public administration, masterplans and housing from an evolutionary point of view and with a constant eye to social innovation through architecture. With our roots in the Scandinavian modernistic and democratic traditions, and our handson approach to the new paradigms and challenges of eco-friendly construction, we feel we bring a unique contribution and perspective to the recent success of Danish architecture worldwide. The last decade has seen our work becoming increasingly globalised, and our practice has evolved with new areas of expertise and research. In a time when the rapid global growth of cities is fast becoming the new agenda of the 21st century, the development and re-thinking of the public domain in a broad sense the very glue of the urban realm is a key point in the creation of long-term socially and environmentally sustainable communities. This book focuses on recent examples of our work in architecture, landscape and design, and their courteous interaction with their surroundings and users. The projects included are not necessarily all public buildings in the traditional sense, but they are united by the strong intention to engage and enrich the public domain from the large scale of urban and landscape planning, down to the smallest details such as a door handle. Public spaces and public architecture may be defined as all structures which concern or address people beyond the private sphere a vast field indeed. As architects and decisionmakers for our common physical environment, we are acutely aware of our commitment and responsibility, not only towards our clients, or the specific users of a design, but also towards those who are typically not involved in the design process, but are nonetheless affected by the outcome the public.

\\ C. F. Mller Architects

Architectural models at the C. F. Mller Architects Headoffice in Aarhus. Siloetten [2010] in the foreground and the University of Aarhus [1931- ] in the background.

7
interview
C.F. Mller Architects is one of Scandinavias largest and oldest architectural practices. But does this long and wide-ranging experience reveal itself in the practices architecture? Is a special method required to absorb new ideas while simultaneously respecting the quality of what has been handed down? In this conversation between Director of the Danish Architecture Centre, Kent Martinussen [Km], and two of the partners in C.F. Mller Architects, Anna Maria Indrio [ami] who joined the practice in 1990, and Julian Weyer [Jw] who became a partner in 2007, a clear picture emerges of the significance of experience in architectural expression. The key terms include an inherited sense of quality with a personal touch, tacit knowledge, and the seriousness of the task. way in which we see the task, and we stand by our views and our choices. We would maintain that you can see this in our buildings: the earnestness and sincerity is visible throughout. Its not just a style that you can change at will its rather more binding than that. So seriousness in a very broad sense pervades, not just our approach to our tasks, but the whole company. JW - Interestingly, this is in essence what we feel our work is about. The roots of our company are in Scandinavian modernism, and this has always been based on an architectural dialogue with the history and building tradition of the surrounding context. At the same time, both our work and the entire modern movement in Scandinavia has continuously embraced new tendencies and trends from around the world. But rather than shifting our direction altogether, these influences are subtly merged into the continuous evolution of our specific design philosophy and values. So new technology, international trends and the changing ideals of society inspire us and are interpreted and translated into our architecture. Through all this, simplicity and humane scale remains all-important in our projects.

Sincerity - the root of our identity

KM \\ Lets start by talking a little bit about your identity as an architectural practice. Leafing through your projects, one gets an impression of a certain coherence, a continuity, something robust and durable. Many architects create architecture with a specifically and stylistically uniform expression and form vocabulary. That is not the case with you. You clearly work in a different manner with the concept of identity. In both the individual projects and in the practices identity as a whole, there appears to be a great openness towards the aesthetic and functional instruments. This naturally raises the question: What is your relationship to the concept of identity? AMI \\ When I was a young person in Italy, pragmatism was a term of abuse. You werent supposed to be a pragmatist you were supposed to have an ideology, a mission. But in fact I think that the way we work is similar to what in the old days used to be called pragmatism. We have a culture at the practice, a way of doing things, that is probably a bit unusual. Were a little slow, in the sense that we allow ourselves to consider things thoroughly to go over them an extra time. Being pragmatic means that you treat the reality and the relevant conditions more seriously than as just some notion or other. You also have to familiarise yourself with the way the reality is structured and the demands of the task, which takes time. We try to see everything from several points of view and explore various options before we make a decision. That in itself may not be terribly uncommon, but the unusual thing about us is that our long tradition of careful consideration has given our corporate culture and working practices a sense of the durable, which is invaluable. Being judicious is a central part of our identity. JW \\ And you might add, as a concrete example of what Anna Maria was saying, that until the global economic crisis came along the construction industry was in a vortex, where things sometimes moved very quickly. But we allowed ourselves to hesitate not because we did not wish to take part, but because we attach great importance to things being well thoughtout. We want to participate, but strictly with a view to quality rather than quantity. Another important feature of our identity is that we do not have an aesthetic programme which is set in advance. We see this as a clear strength. The way in which we read programmes, and the way in which we interact with our clients, is fundamentally a process without preconceptions. This gives us an open mind towards the aesthetic aspects, and towards the solutions we need to find in general. This attitude of not imposing a particular architectural point of view on our clients is the tradition upon which we build, and which constitutes our identity. All our designs are site-specific and brief-specific we do not believe in the generic. Every project is the result of a unique design process, starting with the site and clients requirements, and developing solutions from there. KM \\ So if you were to define your identity, it would be probably lie in your methods?

form emergeS from neceSSity

KM \\ To examine a little more closely the recognisable aspects of your style, I would argue that one finds a pronounced compositional confidence which manifests itself in spatial clarity, some relatively functionalist planning, and a certain degree of orthogonality. I would probably argue that out of the more methodical aspects you mention, a clear awareness nonetheless emerges of what this specific building you are working on should look like. So on the one hand you work with an aesthetic tabula rasa and take a completely open approach, but not quite?

\\ We do not produce similar designs, but our designs

are produced in a similar way. Theres an important difference. We do not impose a random style on the project, precisely because we take the context and conditions of the task seriously. \\
AMI \\ The seriousness of our approach to the project gives us a recognisable aesthetic identity. There is a logic in our analysis of the task, its functionality and its relationship with its surroundings that causes us to design in a similar manner. We do not produce similar designs, but our designs are produced in a similar way. Theres an important difference. We do not impose a random style on the project, precisely because we take the context and conditions of the task seriously. We do not choose a particular solution or a specific form from the start. We allow the forms to emerge from the necessities which each task contains. To point out a few characteristics, there are two parallel strands in the companys aesthetics. Firstly, there is the brick architecture that has characterised the practices expression for many years; and secondly, there is the more romantic strand, which makes use of white surfaces, glass and steel. KM \\ Romantic, you call it? AMI \\ Yes. Take for example a building like Nordlyset, which Christian Bundgaard [the author of this books thematic section] calls rather feminine the white plaster, the fine details, etc. It contains some fairly simple concepts which have been given a slight twist. And then look at sterbrogade 105, which makes use of the brick architectural tradition, but also gives it a new, artistically formed and processed look. The differences between the two buildings are driven by our general, pragmatic approach to all our projects namely that the context, the task, the programme, the conditions and the artistic possibilities must all be taken equally seriously. They are all equally important. Nordlyset creates the place, while sterbrogade respects the place. Thats an important difference. With Nordlyset, the project is located in a rather diffuse context, while with sterbrogade 105, the building must incorporate the new into an already strong relationship. This is a difference which is quite crucial to understanding how we work and why the two buildings are different but parallel. They are two different tasks, and they therefore

INTErvIEW

National Gallery of Denmark - extension, Copenhagen [1998]

AMI \\ Yes, and I could sum it up it in a single word: seriousness. We take our tasks seriously, and that is the root of our identity. It is by virtue of their seriousness that our projects are recognisable as something we have produced. Seriousness in this context means both earnestness and sincerity. Earnestness, because we know that we are designing buildings for real people to use, in an everyday life in which things should function well and be pleasant and beautiful to look at. You cant just do whatever you like as an architect, because you have a responsibility towards the people for whom you are designing and towards the building in which they may spend every day. But seriousness also means sincerity. We communicate the

8
acquire two different expressions. But the two forms of expression are parallel within the same method or approach an approach that emphasises serious interaction with the reality. So you are probably right; there is an aesthetic coherence to our work. When people look at our projects, I dont think they are in any doubt that they are works by C.F. Mller Architects. But its not that we make forceful statements. We dont draw attention to ourselves, just for the sake of inscribing ourselves on peoples mental maps with a few simple tricks. Thats not serious. Our architecture is not characterised by exaggerated technology or exaggerated forms. I think I would say that what characterises it is that it provides a sensible answer to a problem. AMI \\ We reflect a diversity that also exists in society, and which you cannot simply ignore. New trends, new ways of looking at things you have to be able to absorb all of that if a company is to survive, and if its traditions are to be prevented from hardening into dogma. A key feature of our way of working is that one of the partners always keeps track of a specific project. Because we are so large, you might get the idea that C.F. Mller is one big corporate machine. But there is actually a great deal of commitment to each individual project; everything gets the attention it deserves. Obviously we are not all equally involved in everything, but for each project, there is a partner who is intimately engaged in the project planning. We all draw upon the same common heritage, but we each have our own tone that colours the projects. KM \\ So you approach the tasks with an overall quality concept that emerges from your methods, your working culture and your handed-down experience? And the basic expression that this methodology creates is coloured differently by each of you in the individual projects for which you are responsible? Like a kind of stucco lustro? AMI \\ Stucco lustro, exactly. We each colour the projects with our own temperament. And we follow them through to completion through the project planning. So there is tradition and continuity at both levels both the methodological and the substantive. KM \\ Could one say that your work is also influenced by vernacular architecture? By which I mean building traditions, forms and methods of tacit knowledge, and craftsmanship? JM \\ Yes, I think you could say that our architecture contains elements of the vernacular knowledge about what will last and work, and which for that reason also often looks right. Thats an important legacy when we are analysing the potential of a task, and thereby also in the everyday life of the practice. In our daily work, we draw upon accumulated experience and certain ways of doing things without having to think about it very much. We reflect a great deal on the concrete tasks and the context to which they belong, but we dont have to discuss a lot about style or our own professional foundation. That consists of some cultural forms of experience which, in a way, we know very well without having to put it into words. It is something that lies both in the hand and the mind. And just as our work in Scandinavia is closely related to the historic architecture of these countries, we look for inspiration from traditional and historic buildings wherever we design projects but we reject the idea of creating purely nostalgic pastiche. We are also very keen to retain the sensitivity to context, whether it be the built or the cultural environment, as one of the main distinguishing features of our work and as such, we have also always been outspoken opponents of both the generic modernism found everywhere in the world, and the new brand of star architecture, creating easily recognisable but autonomous and detached objects oblivious to their surroundings.

SuStainable by nature
JW - When we talk about simplicity, it is not necessarily synonymous with the minimalistic, austere or bare there is much in the Nordic tradition which is the exact opposite. rather, simplicity should be perceived as straightforwardness, legibility of form and construction etc. a quality often described as honesty, meaning that designs can be perceived clearly for what they are. I think this has gradually led to a specific approach in Nordic architecture, be it in values or designs, which is distinguishable by the ability to create architecture from, or rather through, restrained means. It is a question of using the relatively few resources at hand in a reasonable, but also artistically coherent way instead of relying on an artificial division between the building itself and its aesthetics. Creating added value should not be about resorting to the superficial in other words, working with an economy of means. Sometimes it can be better to spend less! For us, this approach has increasingly become an advantage, especially in an international market where the focus is more and more on sustainability. KM \\ Could one perhaps say that the workmanship, the architects actual skill, creates so to speak an aesthetic field in itself, because good techniques prevent excesses of form? JW \\ Our process certainly tends to weed out that kind of thing, because it focuses on the serious and the explicable. There is an underlying consensus to everything we create. We can certainly argue and disagree, but we basically share the same perspective, so there are many things that we dont need to discuss at all. It is a culture that has been handed down, and which we are comfortable with and fundamentally believe in; a rational approach that does not exclude but rather allows room for the artistic side of things, because what is necessary is taken care of.

\\ We can certainly argue and disagree, but we

basically share the same perspective, so there are many things that we dont need to discuss at all. It is a culture that has been handed down, and which we are comfortable with and fundamentally believe in.\\
AMI \\ It is also the case that when new, gifted talents join the partner group, architects who come with their own aesthetic baggage, they help to colour the aesthetic field set by the companys traditions. KM \\ Such as Lone [Wiggers], who created Nordlyset ... AMI \\ And I brought a little piece of rome to the design of the National Gallery of Denmark, yes. JW \\ You could say that in this way with our partnership including ten people there is a certain diversity in the company, but interestingly enough there is also quite a degree of overlap between the different temperaments. Nordlyset housing, Copenhagen [2006]

no double StandardS
KM \\ As a company, C.F. Mller Architects has Scandinavias longest unbroken tradition of producing architecture. And you are among the few companies in the world that has successfully completed projects for the same clients for more than 70 years. It is obvious that you have developed a special expertise and sensitivity with regard to continuity, and perhaps timelessness. What is your view of what is lasting in architecture? JW \\ The basis for what is lasting is a narrative; a story that is strong enough to be passed down and retold. It is a story which on the one hand we cherish, because we know it is a rather interesting story to continue, and which on the other hand we elaborate upon with great curiosity. It is this curiosity, amongst other things, which causes us to approach all our tasks with an open mind and ask many questions: what is it that we have here? AMI \\ There are two types of continuity in our approach. One is our methodology, which makes clients feel secure and pleased that we care about them and their well-being. That in itself is enough to ensure they will return. The second form of continuity consists of our artistic awareness or ambition, or whatever you would like to call it: the aim to do things a little better every time.

sterbrogade 105 housing, Copenhagen [2006]

63
function and humaniSm
Christian Bundegaard The most important balance in modern architecture is that between the functional and the human scale. In the high-modern masterpieces of Le Corbusier, Mies van der rohe, Arne Jacobsen, etc., however, it is far from a foregone conclusion that that which is designed to appear as though it has sprung directly from industrial functionality will actually work in peoples everyday lives. Chairs you cannot sit on, lonely and windswept buildings standing like spacecraft from outer space, and urban plans more suitable for motorway traffic and helicopters than for human interaction are the norm rather than the exception. But in the ambitions of modern architecture, there nonetheless lies a great hope to liberate humanity through its physical surroundings. It is this sense of freedom that has caused all modern architects since Frank Lloyd Wright to let the inside and outside coalesce through the extensive use of glass, together with light horizontal building lines that reach for the horizon. Today, all architects claim to work on the basis of a thorough analysis of surroundings and needs in the construction programme. We cannot afford to ignore dialogue with users, or allow purely aesthetic and formalist arguments to determine the design. In reality, however, many architects are rather selective about which parts of the surroundings they choose to relate to, and which user needs they are prepared to meet. The humanistic element in architecture thus arises as the result of an interpretation a process which affords quite some considerable leeway. Since buildings tend to remain standing for many years, it is fairly important that this interpretation is based on a certain level of expertise just as you would expect the doctor who treats you in hospital to be informed by professional skill. In what we might call the architects humanistic expertise lies another of the public duties of architecture. When classical modernism not to mention the container architecture, discount version of it failed the task of trying to reconcile the functional with the human, it was undoubtedly because it was trying to do too much. You cannot do away with societys social divides or turn people into ideal citizens through architecture. Besides being a designer, the architect is also expected to be an anthropologist, a social worker, an engineer and a planner. This is quite a handful, and when you add utopian social ideals to the mix, it is frankly too much. But what architects can do in specific instances is create a better physical environment for the free expression of individuals, and that is quite enough. Many of C.F. Mllers building designs reveal that the practice takes the question of expertise extremely seriously. One of the reasons why the practice has won numerous architectural competitions for major public construction projects in recent years is that it allocates the necessary resources within the relevant areas of expertise when submitting a proposal for a new hospital, university, museum, residential area, prison or other project in any of the many categories to which it has contributed. It is not necessarily a guarantee of success, let alone a masterpiece, to consult doctors and nurses in both the initial drafting and the project planning of a new hospital, but since such preparations provide an improved foundation for dialogue with users in a specific project, it represents in itself an investment in the public aspects of the user consultation process. It is not a given that the users will always know which architectural solutions will be best for them, but they know the working procedures, the situations in the daily routine, and the technical challenges for which space must be created. And professionals, such as architects, can only become experts in such relationships by studying the everyday routines and listening to other experts. Functionality is often a matter of something being clear and obvious: easily accessible and intuitively simple to use. What we perceive as progress in the evolution of civilisation has not least been associated with the creation of better tools and a more comfortable and healthy physical environment, allowing people to concern themselves with more enjoyable matters than merely ensuring their own security and survival. The freedom that the early modernist architects dreamed of providing through the built environment is still a matter of achieving the right balance between the technical-functional aspects and those that are humanistic-functional. Akershus University hospital is a fine example of C.F. Mllers quite special sense for this balance. In a hospital, functionality is quite literally of vital importance. The design must harmonise precisely with the working procedures. Sources of error or potential misunderstanding must be dispelled. All of the technology must function flawlessly and reliably. Everything must be easy to understand, easy to use, and easy to repair or replace, and it must be possible to keep it spotlessly clean. But at the same time, a hospital, perhaps more than anywhere else, is a place where the encounter between people and architecture is at its most delicate. On the one hand, the staff have to be able to work quickly, efficiently and quite often hard and intensively. On the other, patients and their families must feel safe and welcome. You cannot, therefore, merely build something that resembles a well-functioning factory or laboratory. The aesthetic tension between the functional and the human encompasses elements of the briefs of the hotel, the home, the restaurant and of educational institutions. In Akershus, an efficient workspace has been created which encompasses all of this, and which is neither overly clinical nor unprofessionally ambiguous. Sober materials such as glass and steel are visible, the lines are clean and orthogonal, and the expression leaves one in no doubt that this is a hospital. But through the use of sturdy wooden columms and wooden claddings, as well as wood in parts of the facade expressions, the seating and in selected parts of the flooring, and by using supplementary lighting in the form of long, simple, tubular lamps with frosted glass and a varying colour scheme, it has been possible to make the building a welcoming and recognisable house. Not an anonymous building complex of inhuman scale, but a place in which you immediately sense that you can stay and feel, if not at home, then at least welcome. This is probably what humanistic architecture, at heart, is all about. Functions directly reflect human behaviour, and although the study of such behaviour is inexhaustible, we can come a long way by applying the so-called tacit knowledge accumulated through daily use. The spaces inside and outside the integrated kindergarten Dragen (The Dragon) in Odense are equipped with ramps that help to promote the childrens motor skills, which is a good thing in itself but they also help to enhance the childrens learning ability and promote competence in their social skills. Dragen was awarded a municipal prize for a particularly successful design. The prize may also be regarded as a recognition of the practices many years of effort to accommodate the legitimate demand of the public that architects should take seriously the need for immediate, pragmatic functionality in peoples everyday lives.

\\ The building fully meets our needs and

requirements towards a hospice. It accommodates both life and death, it reflects the light in the sea and the sky in the garden pool, and it provides a close view of nature. Clouds and stars can be observed through the skylights. Our co-operation with C.F. Mller has been stimulating and inspirational. Throughout the process, our ideas and wishes have found a ready response. The practice has acted in a creative and visionary manner, and through this valuable co-operation, we have given life to a building which will be of great importance to our terminally ill fellow human beings.\\ susanne hogrefe, Member of the supervisory Board, and Dorit simonsen, Manager, hospice Djursland (Denmark)

FUNCTION AND hUMANISM

Dragen (The Dragon) Kindergarten, Odense [2009]

Dragen (The Dragon) Kindergarten, Odense [2009]

Hospice Djursland, Rnde [2007]

Akershus University Hospital, Oslo [2011]

highrise to enrich the urban domain

CrYSTAL CLEAr TOWErS, OSLO
client \\ Klp eiendom as Size \\ 92,000 m (75,000 m2 above ground)
2

33

Crystal Clear Towers is a high-rise development, located at Norways most important traffic hub in central Oslo with fantastic views of the waterfront and the fjord landscape beyond. The idea is to create a landmark sculptural ensemble of towers, yet observe the harmony with the surrounding, low-rise urban fabric of the capital. The three towers, approximately 110, 65 and 55 m in height, are arranged along the edges of the site, and the tallest tower is aligned with the existing nearby Oslo Plaza and Postgirobygget towers, while the lower buildings form the link to the city. Crystal Clear ties in with the citys skyline and with the string of developing landmark projects that will help to turn Oslo into one of Europes most modern capitals. The project has been adapted to Nordic regional conditions, and focuses on allowing high-rise developments to enrich the urban domain.

address \\ oslo, norway construction period \\ 2009architect \\ c.f. mller architects in collaboration with Kristin Jarmund arkitekter engineer \\ atKins, erichsen & horgen as collaborators \\ mir (illustrations), oslo modellverksted (model) Prizes \\ 1st prize in competition, 2009

facts

34

35

The three towers have clear-cut and vertical elevations to the exterior of the site, with large openings and setbacks forming windows to selected viewpoints. By contrast, the elevations towards the interior of the site are composed of stacked, glazed volumes, freely arranged to form a prismatic and crystalline appearance. The layout secures the views over the water, not only for the three new buildings but also the city beyond. In between the towers, a two-storey base containing shops and restaurants forms an undulating landscape that connects to street level via ramps, plateaus and stairs. This base creates a calm urban garden, framed by the tall buildings, with recreational space and cafes for the city and the buildings occupants. The towers are designed with a high degree of flexibility to contain offices, hotels and possibly housing.

Podium-level plan

Facade/section detail

36

37

Cross section

ExTENSION OF ThE PANUM COMPLEx AT ThE UNIvErSITY OF COPENhAGEN

science meets city

53

client \\ the danish university and property agency and the university of copenhagen Size \\ 35,000 m2 (30,000 m2 laboratories and and common functions, 3,500 m2 canteen and classrooms, 1,500 m2 auditoriums) address \\ nrre campus, copenhagen construction period \\ 2010-2014 architect \\ c.f. mller architects landscape \\ sla engineer \\ rambll collaborators \\ aggebo&henriksen, cenergia, gordon farquharson and innovation lab Prizes \\ 1. prize in competition, 2010

54
The extension of the Panum complex has been designed with the aim of creating the best possible environment for modern research and teaching. A parallel objective has been to create a building which will stand out as an identity-creating, sculptural linchpin for the entire Panum complex and the universitys North Campus as a whole. The new complex is also intended to act as the generator of a positive urban development in its immediate neighbourhood and in relation to the entire city. At sixteen storeys tall, the Science Tower will provide the complex with a unifying and dynamic focal point in a clear and readable form. But just as a tree has its root network, the tower rests upon on a series of smaller buildings which contain the common functions: the auditoriums, classrooms, canteen, show lab, conference rooms and book caf. The most striking part of the root network is the extensive science plaza, which will form the new social hub of the complex. The plaza accommodates the main entrance and will serve as the main social meeting-place, linking all functions between the new and the existing Panum complex. The new Panum complex will have an open and outward-looking appearance, with a transparent ground floor that will help to blur the boundaries between the building and the city. The public will also be invited to visit the top of the tower, where there will be a caf, lounge and viewing points. Between the buildings, new plazas will arise, together with internal garden spaces equipped with alcoves and seating. These will function as an extension of the study rooms and offices, but will also add new green oases to the city. A campus thoroughfare passing through the area, together with pedestrian and cycle paths, will create a vibrant urban park with intimate links to the surrounding city. With its organic forms, the building expresses signal power and innovation, but is also adapted to the existing Panum complex through its colour scheme, rhythm and gravity. The facade is built up in the form of a grid structure of storey-high window fields that break up the buildings large scale. The project will be pioneering in energy usage, with Denmarks most energy-efficient laboratories, in which waste energy from the ventilation system will be recycled in the overall energy balance of the building to a hitherto unprecedented degree.

55

56
PERSONKRSEL

GOODS FLOW

SURFACE PARKING

57
MASTERPLAN FOR PHASED EXTENSION: A - SHARED MAIN ENTRANCE B - RESEARCH AREAS C - REPRESENTATION ETC. D - SERVICES & SHARED FACILITIES E - GOODS DELIVERIES F - CANTEEN & KITCHEN G - TEACHING AREAS H - AUDITORIUMS (Above covered deliveries yard) X - FUTURE EXPANSION OPTION CA. 3200 m2 CA. 22000 m2 CA. 1600 m2 CA. 3300 m2 (m2 PART OF A) CA. 2100 m2 CA. 1400 m2 CA 1500 m2

PEDESTRIANS

VAREKRSEL

CYCLE AND FOOTPATH BICYCLE PARKING PARKING AT GROUND LEVEL

MATERIALFLOW

EXISTING RAMP

PARKING
GARAGE LEVEL -1

HELHEDSPLAN FOR ETAPEVISUDVIDELSE A - FLLES HOVEDINDGANG CA. 3200 m2 B - FORSKNINGAREALER CA. 22000 m2 C - REPRSENTATION MV. CA. 1600 m2 D - TEKNIK, CORE- OG FLLES FAC. CA. 3300 m2 E - VAREMODTAGELSE (m2 INDEHOLDT I A) F - KANTINE & KKKEN CA. 2100 m2 G - UNDERVISNINGSLOKALER CA. 1400 m2 H - AUDITORIER (Henover overdkket varegrd) CA EXISTING 1500 m2 BUILDINGS X - Fremtidig etapeudvidelse

x
EXISTING BUILDINGS

COVERED DELIVERIES YARD DELIVERIES KITCHEN

G H E B F C F
EXISTING CANTEEN & TEACHING

FREIGHT ELEVATOR GOODS FLOW

C A

SCIENCE TOWER

BICYCLE STORAGE

GARAGE LEVEL -1

SJLLA

NDSGAD

EKSISTERENDE NEDKRSELSRAMPE

EXISTING RAMP

P-PLADSER

P KLDER NIVEAU -1

x
EKSISTERENDE BYGNINGER
N RR

EA

LL

OVERDKKET VAREGRD

VAREGRD KKKEN

ACCESS DIAGRAM: DELIVERIES & PARKING GARAGE

GODSELEVATOR MATERIALE FLOW

CAMPUS FLOW, flow, Pedestrians, Bycycles SURFACE PARKING Access diagram: CampusPEDESTRIANS, BICYCLES & Surface parking

ACCESS DIAGRAM:

PHASES
EKSISTERENDE BYGNINGER

H E B F F C D C A

FORSKERTRN

CYKELKLDER EKSISTERENDE NEDKRSELSRAMPE

P KLDER NIVEAU -1

Eksisterende kantine & undervisningsbygning

BEVGELSESDIAGRAM: SERVICE & BILER TIL P-KLDER NIV -1 (KLDER - NIVEAU 01)
GREEN ROOFS ON ALL BUILDINGS GREEN ROOFS ON ALL BUILDINGS FOR RAINWATER MANAGEMENT FOR RAINWATER MANAGEMENT

ETAPE BEVGELSEDIAGRAM: CAMPUS FLOW, GENDE, CYKLER & P-TERRN

BERG SGAD E GULD
RR EA LL E

DAYLIGHT DAYLIGHT GOOD CONDITIONS WITH LIGHT CUTS PROVIDING GOOD CONDITIONS WITH LIGHT CUTS PROVIDING DAYLIGHT DEEP INTO THEINTO THE BUILDING VOLUME DAYLIGHT DEEP BUILDING VOLUME

DE GAMLES BY
TAGE NS V E J

13

240 bicycles

GOOD VISUAL CONNECTIONS BETWEEN GOOD VISUAL CONNECTIONS BETWEEN FLOORSFLOORS - STRENGHTEN THE COMMUNITY - STRENGHTEN THE COMMUNITY OF THE VERTICALLY STACKED RESEARCH UNITS UNITS OF THE VERTICALLY STACKED RESEARCH ROUNDED BUILDING SHAPE AND ROUNDED BUILDING SHAPE AND SURROUNDING LOW BUILDINGS AS WELL WELL SURROUNDING LOW BUILDINGS AS AS PLANTING AROUND THE SCIENCE TOWER TOWER AS PLANTING AROUND THE SCIENCE ENSUREENSURE GOOD DEFLECTION OF WINDS GOOD DEFLECTION OF WINDS

MLLEGADE

12

BIOTOPE

13

MLLEGADE
100 bicycles

BIOTOPE

BIOTOPE

HEALTHY LIFE HEALTHY LIFE ACTIVE USE OF OPEN INTERNAL STAIRS STAIRS ACTIVE USE OF OPEN INTERNAL REDUCTION OF ENERGY CONSUMPTION FOR LIFTS LIFTS REDUCTION OF ENERGY CONSUMPTION FOR
R N RE

TABLE TENNIS 12

EXISTING RAMP

RAMBLA
150 bicycles

AL

LE

100 PARKING SPACES

AMORPARKEN

BIOTOPE
11 13 12 PUBLIC PATH 13,5

VARIED BIODIVERSITY VARIED BIODIVERSITY

PUBLIC LIFT PROVIDES VIEWS OF PUBLIC LIFT PROVIDES VIEWS OF RESARCH COMMUNITY RESARCH COMMUNITY
10

SGA GULDBERG

TABLE TENNIS 10 14.10 9 DELIVERIES YARD URBAN FURNITURE

GREEN ROOFS ON ALL BUILDINGS GREEN ROOFS ON ALL BUILDINGS FOR RAINWATER MANAGEMENT FOR RAINWATER MANAGEMENT

A PUBLIC PATH RUNS THROUGH THE COMPLEX, A PUBLIC PATH RUNS THROUGH THE COMPLEX, CREATING A FULLYA FULLY ACCESSIBLE SHORTCUT TO CREATING ACCESSIBLE SHORTCUT TO THE CAMPUS AND SCIENCE TOWER 7/24 7/24 THE CAMPUS AND SCIENCE TOWER

10

DE

CAMPUS PARK PARK CAMPUS BLEGDAMSVEJ BLEGDAMSVEJ

BIOTOPE
PUBLIC PATH

SCIENCE TOWER
VIEW POINT

URBAN SPORT

8.70

100 bicycles
9

MAIN ENTRANCE

ST JOHANNES CHURCH
100 bicycles

BIOTOPE
EXISTING . R AMP

RAMBLA

PUBLIC PATH

BIOTOPE
URBAN FURNITURE

TAGE NS V E J

100 bicycles

150 bicycles

BLEGDAMSVEJ

IMPACT IMPACT OF DELIVERIES REDUCED BY OF DELIVERIES REDUCED BY INTEGRATION INTO COVERED BUILDING INTEGRATION INTO COVERED BUILDING BASE BASE

RAINWATER COLLECTION FOR RAINWATER COLLECTION FOR TOILETSTOILETS AND IRRIGATION AND IRRIGATION

TRANSPARENT BASE IN BASE IN DIALOGUE WITH TRANSPARENT DIALOGUE WITH SURROUNDINGS AND CITY SURROUNDINGS AND CITY

CROSSING COVERED BICYCLE STORAGE IN COVERED BICYCLE STORAGE IN CROSSING PATH IS PATH IS DIRECTLY CONNECTED TO DIRECTLY CONNECTED TO DIRECT CONNECTION WITH GOOD GOOD DIRECT CONNECTION WITH PUBLIC BICYCLE LANES LANES PUBLIC BICYCLE CHANGING-ROOM FACILITIES CHANGING-ROOM FACILITIES
F LLE

E DV

Sustainabbility diagram
SUSTAINABILITY DIAGRAM SUSTAINABILITY DIAGRAM
N

BICYC LE

RAMP

SKT HANS TORV

NRR EBRO GADE

SITE

friendly, informal and full of art

AKErShUS UNIvErSITY hOSPITAL, OSLO
client \\ helse sr-st rhf Size \\ 140,000 m2 (117,000 m2 new building) address \\ akershus, oslo, norway construction period \\ 2004-2011 architect \\ c.f. mller architects landscape \\ bjrbekk & lindheim and schnherr landskab engineer \\ multiconsult , sweco , hjellnes cowi /interconsult asa artist \\ troels wrsel, gunilla Klingberg, mari slaattelid, Knut henrik henriksen, Jan christensen, tony cragg, birgir andrsson, petteri nisunen, tommi grnlund, Julie nord, per sundberg, vesa honkonen, Janna thle-Juul, Kristine halmrast, mikkel rasmussen hofplass Prizes \\ 1st prize in competition, 2000 building better healthcare award 2009 - best international design

65

The Akershus University hospital just outside Oslo is not a traditional institutional construction; it is a friendly, informal place with open and well-structured surroundings. These surroundings present a welcoming aspect to patients and their families. Akershus University hospital has been designed to emphasise security and clarity in experientially rich surroundings, where everyday functions and well-known materials are integrated into the hospitals structure. The material expression of the development is rich in variation. Nonetheless, this expression is united into a whole by means of a general architectural theme centred on panels and transparency. In this way, a unity is created between the individual parts of the complex, which thereby receive a subtle effect of transparency and depth. A central, glass-roofed main thoroughfare links the various buildings and departments. This glass street begins in the welcoming foyer of the arrivals area, where the main reception desk receives visitors. The street runs several hundred metres in length and concludes in the foyer and the separate arrivals area of the childrens department.

structured like a town The glass street is the unifying heart of the development. here, various local materials wood, stone, and glass - are united in an overall composition. Large coloured panels designed by the Icelandic artist Birgir Andrsson form a natural element and provide a palette for the colour scheme of the whole hospital. Art is visible everywhere throughout the Akershus University hospital. It has been integrated in many forms, shapes, and sizes, and creates a deliberate contrast to the traditional, functional image of hospital construction. The glass street provides a town-like structure with squares and open spaces, and is also where you will find the everyday functions of such a town: the church, pharmacy, hairdressers, florists, caf and kiosk, as well as traffic nodes and other services for the benefit of patients, relatives and staff. In natural continuation of these functions, a number of other services, such as health information, polyclinics, and out-patient surgeries, are located near the street level of the thoroughfare.

66

67

68

69

All treatment wards are located to one side of the glass street and are centred on four courtyards. These ensure a well-defined daily life for patients, with a manageable level of social contact and contact to staff. All bed wards are located to the southwest side of the glass street, providing them with ample daylighting levels and beautiful views of the landscape. The wards of the childrens department are equipped with windows which give the children and young people individual views of both the sky and the surrounding greenery from their beds. The well-equipped facilities for parents secure excellent contact between the children and their families. The hospitals structure helps to ensure that the patient remains the natural focus of the physical design, despite the strict and demanding logistical requirements which underlie all hospital construction. Just as the overall complex is constructed from clear and comprehensible units, so the individual wards are built up from smaller elements. The most important characteristic in the physical design of the Akershus University hospital has been the central requirement for high-quality daylighting throughout the entire complex right from the experientially rich main thoroughfare, via glass roofs and the impressive glulam and glass sections in the middle of the street, to the generously-sized windows of the wards and treatment departments.

This creates a strong interplay with the hospitals surroundings, from the mossy green, lichencovered terrain in the courtyards to the views of the local granite formations and nearby fields and woodlands. The scheme aims at a high degree of sustainability, in terms of energy consumption, social sustainability and economic liability. This includes making use of locally-sourced materials and geothermal energy to provide 85% of the hospitals heating and more than 40% of the total energy consumption. Besides the short distances between functions and a clear organisation, the complex possesses advanced technology with many automatic functions, such as pneumatic dispatch and robots, to give staff more time for the patients. Despite this, the hospital has an intentionally non-institutional character. It is a building where plentiful daylight, beautiful surfaces, integrated artworks, and harmonious sequences of spaces play important roles, without neglecting the requirements of logistics, operations and functions.

70

71

72
Chapel

73

Emergencies

Treatment Bed wards Childrens ward

Plaza Treatment Entrance/ Auditorium

Emergencies

Parking

Courtyard/playground Chapel

Courtyard

Courtyard

Courtyard

Auditorium

Glazed street

Glazed street

renewable energy sources The total energy consumption of the hospital is approx. 20 GWh/year, similar to the consumption of 1,300 single-family houses. The use of renewable energy is based on a ground-heat exchange system, combined with thermal storage capacity in the bedrock, where surplus heat (for instance from solar gain, people, technical equipment, cooling and ventilation plants) can be stored in 350 energy wells drilled to a depth of 200 m. The plant is one of the largest installations of its kind in Europe. It generates 85% of the energy used in heating, and covers over 40% of the total energy consumption of the hospital, including cooling. This reduces CO2 emissions by over 50% compared to the former hospitals performance. healthy materials All materials used in the hospital are healthy materials with a good indoor climate performance. Locally-sourced materials such as wood and stone are used extensively, which helps to create a home-like and secure atmosphere . In the construction phase, very high priority was given to reducing waste and recycling materials, as well as to reducing energy consumption in the construction process.

Caf Childrens ward

Entrance

Bed ward

Bed ward

Bed ward

Bed ward

Ground floor

Hot water

Heating

Condensator/Vaporizer

Surface

Bedrock Surplus energy from technical equipment Borehole thermal energy storage system Geothermal heat source

75

rANDI-LINE KOM SErIES

manufacturer \\ randi year of project \\ 2007 Prizes \\ if product design award, 2009 designpreis deutschland nominee, 2010

Architecture, function, and ergonomics comprise the knowledge foundation for this new series of handles which encompasses door handles, thumb turn locks, rosettes and backplates. The material is stainless steel, brushed to a silk-like surface. The simplicity and symmetry of the door handle design ensure that it will blend in with the horizontal and vertical lines of the architecture. The vertical edges and sloping surfaces give the handle its distinctive expression and create a poetic play of light and shade. The angled surface for the thumb quite simply makes it good to use.

linking port and city

The master plan for Aalborg waterfront links the citys medieval centre with the adjacent fjord, which has previously been difficult for citizens to access due to the industrial harbour and the associated heavy traffic. By tying in with the openings in the urban fabric, a new relationship between city and fjord is created, and what was formerly a back side is turned into a new, highly attractive front. The qualities of the approximately one-kilometre stretch of quayside are emphasised with a tree-lined and unusually detailed boulevard to accommodate cyclists and pedestrians. The medieval Aalborg Castle once again becomes the harbours centrepiece through the establishment of an extensive green area to frame the historic embankments. At the same time, Aalborg receives a harbour promenade with steps and recessed terraces, allowing people to get close to the water. various kinds of urban gardens facilitate activities such as markets, ball games and sun-bathing. The aim is to create robust and attractive spaces which will benefit many different users. Planting pattern of the urban gardens

77

AALBOrG WATErFOrNT

78

79

Size \\ 170,000 m2 address \\ aalborg, denmark construction period \\ 2005-2010 architect \\ c.f. mller architects landscape \\ c.f. mller architects and vibeke rnnow landskabsarkitekter engineer \\ cowi Prizes \\ 1st prize in competition, 2004 the honorary award det gyldne sm, awarded by the danish construction industrys professional network byggesocietetet, 2010 aalborg municipality architecture award, 2010

facts

client \\ aalborg municipality

80

81

The central activities field is designed to accommodate various games and sports, from beach volleyball in the summer to ice skating in winter, surrounded by dramatically-angled netting and lighting masts. The adjacent gardens form a calm, slightly sunken green space with a dense planting of trees and flowers. A planned floating harbour bathing area will be located along the waterfront, next to Elbjrn a former ice-breaker vessel which has been converted into a floating restaurant/workshop. The materials chosen are as raw as the fjord itself, including asphalt, rubber, cor-ten steel, concrete and wood, while at the same time containing subtle references to the sea through wavy pavement patterns - an architectural quote from the famous Copacabana Beach promenades by roberto Burle Marx.

Plan of the activities field

SECOND PhASE OF ThE DArWIN CENTrE, LONDON

more than an addition - a transformation

133

Steel reinforcement bars were bent on site and spanned between the floor slabs to create the form defined by the 3-D model.

As the form was created, a fine mesh was fixed to the inside of the cage to provide a backing for the sprayed concrete.

The sprayed concrete was trowelled by hand working to markers defined in the 3-D model to gauge the required thickness.

Survey points were marked on the surface defined by the 3-D model to create the fields of polished plaster.

Rigid insulation was mechanically fixed to the shell before the application of a flexible render.

To form the expansion joints, the insulation and render was routed out on site with a bespoke tool developed by the subcontractor and architect.

The interior of the Cocoon is lit by double curved windows made from chemically toughened glass.

Glass manipulators assisted in the delicate installation.

The final polished plaster coat was applied by hand working within the defined fields.

The facade was prefabricated to ensure an exceptional finish and delivered just-in-time for installation.

The bespoke cladding systems demanded rigorous off site testing prior to delivery.

The existing Waterhouse period building fabric was meticulously restored by experienced craftsmen.

134

135

The second phase of the Darwin Centre is an extension of the famous Natural history Museum in London, taking the form of a huge eight-storey concrete cocoon, surrounded by a glass atrium. The Natural history Museum is both one of the UKs top five visitor attractions, and a world-leading science research centre. The architecture of the Darwin Centre reflects this dual role, and reveals to the public for the first time the incredible range and diversity of the Museums collections and the cutting-edge scientific research they support. The second phase of the Darwin Centre completes the western site of the Natural history Museum, uniting Alfred Waterhouses terracotta construction from 1881, with the first phase of the Darwin Centre which opened in 2002. The brief for the building had three key objectives: to provide a home for the museums unique collection of 17 million insect and 3 million plant specimens, to provide a working area for the research scientists and to enable the public to interact with the scientists and the collections. This has been achieved by providing visitors with an opportunity to go on self-guided tours in and around the cocoon, which gives glimpses of the research facility and the extent of the collections.

The collections housed in the Natural history Museum are among the worlds most extensive and treasured. In order to adequately preserve, maintain and represent this collection, a structure suitable in both its expression and physical construction was necessary. The Cocoon does this by creating an icon, which represents preservation, protection and nature. It is constructed of 300mm thick sprayed-concrete walls, with a defined geometric form based on mathematical equations. The surface finish is made up of ivory-coloured polished plaster, resembling a silk cocoon, around which a series of expansion joints wrap, resembling silk threads.. The shape and size of the Cocoon are such that it cannot be seen in its entirety from any one position, emphasising its massive scale and giving the visitor a tangible understanding of the volume of the collections contained within. The collections areas within the Cocoon are of world-class importance, and the regulation of temperature and humidity reduce the risk of pest infestations, ensuring that the collections will be protected and preserved for many years to come. The exposed thermal mass of the continuously-sprayed reinforced concrete shell maintains a stable internal environment, and minimises energy usage.

136
Ron Hayes

137

Tangential Geometry Buildup - plan

Berninis colonnade at St. Peters Square is based on Classical geometry. The Cocoons geometry, thanks to modern computer technology, is far more complex, but its aim is the same as Berninis: to achieve the optimum visual tension in three dimensions of the great form. Subsequently, all points of the Cocoon could be calculated to make it possible to construct it with optimal precision.

Public access to the scientific core of the second phase of the Darwin Centre takes the form of a visitor route which leads up and through the cocoon, overlooking the science and collection areas. From inside this cavernous space, visitors can experience the Darwin Centre as a compelling and interactive learning space, and observe the scientific and research activities without interrupting the scientific work in progress. Scenic passenger lifts and ramps of very low gradient ensure that the experience is comfortable and interesting for able-bodied and disabled visitors alike. The second phase of the Darwin Centre is intended to manage the difference in scale and architectural approach, and to create a physical link between the original landmark Alfred Waterhouse museum building and the more contemporary addition of the first phase of the Darwin Centre. It also serves as a landmark building in its own right, the full-height glass wall partially revealing the solid three-dimensional form of the cocoon within.

The public atrium space is dramatic, tall and filled with daylight, and creates a link that completes the western portion of the Natural history Museums property and clarifies the circulation patterns within the museum for both staff and visitors. The new building changes the Natural history Museums relationship with the site from that of an introverted to an extroverted building, and improves and transforms the existing buildings into something more than the sum of their parts by bridging the past, present and future of the museum.

client \\ the natural history museum Size \\ 16,000 m2 address \\ cromwell road, london construction period \\ 2002-2009, 2010 architect \\ c.f. mller architects landscape \\ c.f. mller architects engineer \\ arup, fulcrum consulting, buro happold collaborators \\ bam construct uK. turner and townsend Prizes \\ 1st prize in competition, 2001 winner of the association for consultancy and engineering awards in the category best service engineering project: large firm, 2010 nominated for the mies van der rohe award 2009, 2008 concrete society award - overall winner, 2009

Tangential Geometry Buildup - elevation

plaisterers trophy awards, winner of a highly comended award, 2009 shortlisted for the conde nast innovation and design awards, in the culture category, 2010 structural. award for arts or entertainment structures, 2009 shortlisted for building magazine - project of the year, 2010 shortlisted for an award in the riba london region, 2010 shortlisted for civic trust awards, 2011

138

139

The Cocoons slabs and frame are conventionally constructed. The canted columns provided temporary support before the shell was cured prior to being removed.

140

141

142

143

Waterhouse Way Galleries Galleries

Auditorium Darwin Centre II - 2009

Reception Archives Public space

Darwin Centre I Archives Public outdoor area

Wildlife garden

Lodge

Queens Gate

hOUSING+ ZErO-ENErGY hOUSING, AALBOrG

true zeroenergy collective housing

161
Misc. 18% other electrical equipment

Solar energi 21% incl. heating & electricity Lighting 15% Fridge/freezer17% Solar heating 21% Solar cells 37% Fjord-heat exchange 21% Alternatives: Ground heat exchange Geothermal heating Aquifer heat exchange Local CHP

Heating 13%

Cooking 9% incl. microwave

PC 3% TV/Video 13%

Washing 12% washingmachine/dryer/ dishwasher

Windpower 21% incl. 6 kWh/m2 for electrical cars

Typical pattern of domestic energy consumption

100% Renewable energy ressources for the Housing+

The housing+ concept sets the ambitious target of a zero-energy housing scheme, which also includes the tenants primary household energy consumption. The complex will thus rely 100% on renewables. Central to the project is the use of an integrated energy design to generate the concept of tomorrows housing, producing more energy than it consumes. This is achieved by optimising the inherent passive gains of the main volume, and shaping it to take advantage of the orientation and potential for active solar energy collection. The 60 units take the form of a sloped volume, from 12 to 4 storeys, creating a large southfacing roof plane which is ideal for solar energy collection, and just the right size to supply the housing units. This optimised shape also creates a landmark silhouette, prominently positioned between Aalborgs bridges.

Basic Concept - Need to have Additional Environmental Features - Nice to have

client \\ enggaard Size \\ 7,400 m2 address \\ nrre sundby, aalborg year of competition \\ 2009 architect \\ c.f. mller architects landscape \\ vogt landschaftsarchitekten, engineer \\ moe & brdsgaard collaborators \\ cenergia

162

min. 400 mm INSULATION CONCRETE SLAB

163

EXHAUST VENT ABOVE DOORS IN ALL ROOMS LIGHT FIXTURES LOW-ENERGY LED FIXTURES IN KITCHEN, BATH, LOBBY, AND CLOSETS ENVELOPE GLASAL PANELS DRYWALL CONSTRUCTION 400 mm INSULATION

BALCONIES FIBRE REINFORCED CONCRETE SUSPENDED FROM ROOF OVERHANG LAMINATED GLASS RAILINGS POSITIONED IN ALTERNATE ORDER TO ALLOW DAYLIGHT DEEP INTO ROOMS

HEATING/VENTILATION HEATING VENT FROM UNDERFLOOR DUCTS

SOLAR SHADING LAMINATED GLASS OVERHANGS WITH SOLAR CELL COVERAGE 65% GLAZING ALL GLAZING PANELS ARE FIXED FOR OPTIMUM U-VALUE BALCONY ACCESS VIA INSULATED DOORS IN FACADE PANELS

FLOOR BUILDUP PINE FLOORBOARDS CONCRETE SLAB

164

165

LIVING BEDROOM HYBRID VENT SHAFTS BEDROOM BEDROOM HYBRID VENT SHAFTS BEDROOM

STUDIO FLAT KITCHEN

BEDROOM CONSERVATORY BEDROOM METERS - WASTE STAIRS DRYING BEDROOM (unheated, covered with solar-cell glazing private or public)

BEDROOM

BEDROOM

BEDROOM/LIVING BEDROOM

BEDROOM METERS - WASTE STAIRS

BEDROOM METERS - WASTE STAIRS DRYING DRYING KITCHEN BATH CENTRAL BUFFER TANK

METERS - WASTE STAIRS DRYING BATH DRYING BATH

METERS - WASTE STAIRS

METERS - WASTE STAIRS

SHARED ENTRANCE

KITCHEN KITCHEN KITCHEN

KITCHEN

BATH

PLANT

KITCHEN

BATH

STUDIO FLAT BEDROOM BEDROOM LIVING LIVING BEDROOM LIVING

PRIVATE ROOF GARDEN LIVING LIVING BEDROOM/LIVING

SOUTH-EAST ORIENTATION

UNIT EXAMPLE 1 BASIC DUAL ASPECT LAYOUT GROSS AREA 109,5m2

UNIT EXAMPLE 2 LARGER KITCHEN/LIVING TOWARDS SOUTH-EAST GROSS AREA 109,5m2

UNIT EXAMPLE 3 TWIN STUDIO-FLAT LAYOUT FOR FLEXIBLE USE AND VARIED TENANCIES GROSS AREA 109,5m2

UNIT EXAMPLE 4 KITCHEN COUNTER AND MORE COMMON SPACE GROSS AREA 109,5m2

UNIT EXAMPLE 5 UNITS UNDER INCLINED ROOF HAVE ACCESS TO PRIVATE ROOF GARDENS WITH FJORD VIEWS GROSS AREA 134m2

UNIT EXAMPLE 5 THE TALL END OF THE BUILDING HOUSES LARGER UNITS WITH MULTIPLE OPTIONS FOR FLEXIBLE LAYOUTS GROSS AREA 158,2m2

Longitudinal section

Cross section

The housing is built to passive-house standards, ensuring reduced energy consumption for heating and hot water supply, the needs of which can thus be met by the solar array and heat pumps operating on fjord water temperatures. A 3 metre wide by 12 metre tall, highly-insulated water tank has been integrated to store the energy generated during the daytime. The 1,200 m solar array produces sufficient power to meet the annual 1,740 Kwh electricity demand of each unit, i.e. a total of 104,400 Kwh. The building does need to be connected to an external ChP. Four vertical low-noise wind turbines take advantage of the windy location for additional power generation, and to recharge electric cars.

Living unit concept

167

COMMERCIAL CENTRE

COMMERCIAL CENTRE

ODENSE RESEARCH & KNOWLEDGE PARK

Long views and through-traffic across the site - not desirable

ODENSE RESEARCH & KNOWLEDGE PARK

Shorter views obtained by staggering the plots

Even shorter views obtained by skewing the plots

WOODLANDS

SPORTS LIGHT RAIL LINK

KILLERUP VILLAGE WOODLANDS LIGHT RAIL LINK

SPORTS

KILLERUP VILLAGE

EXISTING RESEARCH PARK

EXISTING RESEARCH PARK ODENSE UNIVERSITY ODENSE UNIVERSITY

rESEArCh & KNOWLEDGE PArK, ODENSE

GOLF COURSE

GOLF COURSE

WOODLANDS

WOODLANDS

compact urbaniSm
FUTURE ODENSE UNIVERSITY HOSPITAL

GOLF COURSE

The central idea behind the new research and Knowledge Park and Portal Zone at the University of Odense is a consistently sustainable approach, creating a dense cluster development, and thus leaving more areas of nature untouched. The concept means uniting the 100,000 m2 of research and scientific facilities with an additional 100,000 m2 of mixed-use public functions, housing, student accommodation, kindergartens and a hotel in a dense urban environment. This concept provides straightforward, simple FUTURE ODENSE service benefits contributing towards sustainability, including compact buildings, shortUNIVERSITY HOSPITAL routings, minimal infrastructure, minimal land use and a good urban microclimate. The plan embodies the ambition to allow knowledge to spread like ripples on water, integrating research and society, and abandoning the historical notion of academics confined to an ivory tower. The dense urban development has great potential to bring the various users into close contact with each other, and to open up scientific research to the surrounding community. Schoolchildren, senior citizens and businesses will be able to meet here, and be inspired by the research that forms the basis for Denmarks future as a knowledge society. The proposal creates a genuinely urban setting, with large and small public spaces in which all of the outwardly-directed activities are located at ground floor level.

The compactness of the plan reduces the footprint of the development, preserving more nature and thereby creating attractive green surroundings for the site. The internal layout is designed to avoid the typical long stretches and views, proposing instead a more complex and irregular geometry with the potential to surprise, and to create sheltered urban outdoor spaces with a good microclimate at numerous points. The urban spacesGOLF COURSE areas are blended together, resulting in a network of shared and traffic space in which no one form of traffic dominates the others. Integrated into the spaces are small wet areas for rainwater runoff, creating green biotopes throughout the development.

1:10.000

1:10.000

168
COURTYARD CONFERENCE ROOMS PLANTED PARKING BUSINESS FOYER SERVICES PLAZA PLAZA ATRIUM SERVICES ADMINISTRATION ARCADE BUSINESS FOYER BUSINESS COURTYARD KITCHEN CAF

169

SHOWROOM CANTEEN SERVICES KITCHEN R & D - OFFICES, LABS, CONFERENCE ETC. HOUSING HOTEL SMALL & LARGE BUSINESSES CAFS/SH0PS/FITNESS ETC SPORTS ACADEMY DAY CARE CENTRE EXHIBITION/SHOWROOMS FUNCTIONAL LAYOUT GROUND FLOOR

CAF7RESTAURANT

FOYER SHOPS KITCHEN

FOYER SHOPS

PLAZA

CAF STUDENT HOUSING COURTYARD

SHOPS SHOPS

PLAZA

BOOK-CAF

STUDENT HOUSING SUPERMARKET

CAF7RESTAURANT BUSINESS KITCHEN FITNESS

CONFERENCE/ OFFICES

CANTEEN FOYER BUSINESS

SPORT/PARKING

R & D - OFFICES, LABS, CONFERENCE ETC. HOUSING HOTEL SMALL & LARGE BUSINESSES CAFS/SH0PS/FITNESS ETC SPORTS ACADEMY DAY CARE CENTRE EXHIBITION/SHOWROOMS STUDENT HOUSING

PLANTED PARKING FOYER

AUDITORIUM

SERVICES CONFERENCE/ OFFICES RESEARCH LABS

LOUNGE

FUNCTIONAL LAYOUT UPPER FLOORS

URBAN SPACE DETAIL

Main features of the masterplan

URBANCONCEPT URBAN CONCEPT

client \\ freja properties a/s Size \\ 200,000 m2 address \\ niels bohrs all, odense construction period \\ 2010year of project \\ 2009-2020 architect \\ c.f. mller architects landscape \\ sla contractor \\ ncc engineer \\ alectia collaborators \\ christian wickmann matthiessen, professor of cultural geographics, university of copenhagen, preben pamsgaard, former director of scion-dtu research park hrsholm, ncc property development, Kolding Prizes \\ 1st prize in competition, 2009

shared space

motor tra c parking

DENSE URBANITY DENSE URBANITY

The compactness of the plan reduces the footprint of thecompactness of the plan reduces The development, preserving more nature and thus creating attractive green surroundings for the footprint of the development, the site. preserving more nature and thus

CONTACT TO SURROUNDINGS CONTACT WITH SURROUNDINGS

boulevard and is light rail link as the spine The compex thecentered on the main link to the Campus Boulevard and the light of theuniversity and future hospital. Externally, it connects main link to the and cycle paths rail as theto existing footpaths University for easy access to the surrounding areas, together and future hospital. Externally,facilities. with the green landscape and leisure it connects to existing foot- and cycle paths for easy access to the surrounding areas, and the green landscape and leisure facilites. The complex is centred on the spine of the campus

SHARED SPACE IN IN THE URBAN CORE SHARED SPACE THE URBAN CORE
together, resulting in network The urban spacesaand tra ofcshared space areas are in which no one form of traffic dominates the othblended together, to create a network ers. Integrated into the spaces are smallof tra c of shared space where no form wet areas for rainwater runoff, creating green biotopes dominates the others. Integrated into throughout the development. the spaces are small wet areas, for rainwater runo , resulting in green biotopes throughout the development. The urban spaces and traffic areas are blended

FUNCTIONAL MIX FUNCTIONAL MIX

entific facilities with mixed-use public func-tions, The concept means bringing together housing, and science facilities with researchstudent accommodation, kindergartens and a hotel public functions, dwellings, mix-use ofin a dense urban environment. The proposal creates a true urban setting, with student housing, institutions and hotel large and small public spaces, in which all of in a outwardly-directed activities are located at the dense urban environment. ground floor level. The dense urban development The proposal creates a true urban has great potential to and the various users setting, with small bring large public into close contact with each other, and to open spaces where all extrovert activitiesup scientific research to the surrounding community. are located at ground oor level The dense urban development has great potential for bringing the various users in close contact to each other, and for opening scienti c research to the surrounding community. The concept means combining research and sci-

IRREGULAR GEOMETRY = SHORT VIEWS IRREGULAR GEOMETRY = SHORT VIEWS

The internal layout is designed to avoid the typical long stretches and views, proposing to avoid The internal layout is designed instead a more complex andstretches and views, the typical long irregular geometry with the potential to surprise, and to create sheltered proposing instead a more complex and urban outdoor spaces with a good microclimate irregular geometry with the potential to at numerous points.

creating attractive green surroundings for the site

surprise, and to create sheltered urban outdoor spaces with a good micro-climate at numerous points.

SWEDBANK STADIUM, MALM

maximum experience
183

184

185

Siteplan

Swedbank Stadium is a modern and elegant 21,000-seat football stadium, one of the largest sports complexes in Northern Europe, which focuses on providing a close relationship between the players and the public, in order to create maximum experience. The human scale comprises the primary point of departure for an architectural design which is readable and recognisable at various levels in the arena, foyer and exterior. It is a compact stadium with its main focus on audience intimacy, yet at the same time it is designed for public use every day all year round, with a large dinner show restaurant, rental office space, shops, conference and sports training facilities, etc. The stadium meets the criteria for a category 3 stadium under UEFA rules, and is the home ground of Malm FC. The stadium enjoys a central location in the Stadium Area, Malm, immediately adjacent to the classic Malm Stadium, built in 1958. Between the old and the new stadium, a connecting square has been built, the Stadium Square, as a natural meeting point for all visitors to the sports complex. Overlooking the square is a restaurant with room for 2,000 sitting guests. The restaurant like the shops, conference facilities, offices, etc. is open all year round and functions like a new living-room for the citizens of Malm. Simplicity is at once evident in the design of the stadium, where exposed steel trusses emphasise the modern gothic architectural expression, with sharp angles and black-clad exterior facades to create a straightforward impression.

The flat surfaces of the inside roof are designed to amplify the noise reflection from the ceiling. The frames have been fabricated in a maximum of three parts in the factory to minimise transportation costs and provide fast construction. The result is both a cost-effective steel construction and a strong architectural expression. Swedbank Stadium has been modularly designed, with a single, 10-metre broad, repeated main tier and roof section. The typical cross-section has been designed to minimise the footprint and at the same time include requested facilities on each level. The typical section is repeated 49 times into a U-shape form, starting and ending at the short north side where the stadiums main entrance elevation faces the plaza.

186
client \\ fotbollsstadion i malm fastighets ab Size \\ 21000 seats address \\ malm, sweden construction period \\ 2006-2009 architect \\ c.f. mller architects | berg arkitektkontor in cooperation with foJab arkitekter i malm ab contractor \\ peab engineer \\ sweco-bloco, byggteknik i skne Prizes \\ 1. prize in competition, 2006 swedish steel construction prize, 2009 european steel construction prize, 2009

187

Level 0 entrance level

Cross-section Level 1 lower foyer level

Level 3 upper foyer level

SUSTAINABLE GEOMETRY
EFTE cushion

215

hOThOUSES, ThE UNIvErSITY OF AArhUS

East-West tubular profile

North-South tubular profile

client \\ the university of aarhus by danish university and property agency Size \\ 3,300 m2 (1,242 m2 new tropical hothouse and Diagonal cables 2,071m2 renovation and rebuild of existing hothouse address \\ mllevejen, aarhus, denmark construction period \\ 2009-2012 architect \\ c.f. mller architects landscape \\ c.f. mller architects engineer \\ sren Jensen rdgivende ingenirer Prizes \\ 1st prize in competition, 2009 Plinth

216
The project includes a comprehensive restoration of the old hothouse in the Botanic Garden in Aarhus, originally designed by C. F. Mller Architects in 1968-1970. In the restoration, the palm house will become a new botanical knowledge centre, at the same time as the complex is extended with a new, 18-metre tall tropical hothouse, where the public can go exploring among the tree-tops. The existing snail-shaped hothouse was well adapted to its surroundings, and it has been important to bear the existing architectural values in mind when designing the new one. The new hothouse also uses an organic form, which is, at the same time, based on energyconserving design solutions and on knowledge of materials, indoor climate and technology. Advanced calculations have ensured that the form and energy consumption interact in the best possible manner. The domed shape and the buildings orientation in relation to the points of the compass have been chosen to give the smallest surface area coupled with the largest volume, as well as the best possible sunlight incidence in winter, and the least possible in summer.

217

Inclination Design- / optimization criteria

Ellipse

Inflation

Reference model
(simple half-dome)

Variable parameters / Optimization of form

Optimal model

218

219

energy design The design of the new hothouse is based on energy-conserving design solutions and on a knowledge of materials, indoor climate and technology. Using advanced parametric calculations, the buildings structure has been gradually adapted, ensuring that its form and energy consumption interact in the best possible manner and make optimal use of sunlight. The domed shape and the buildings orientation in relation to the points of the compass have been chosen to give the smallest surface area coupled with the largest volume, as well as the best possible sunlight incidence in winter, and the least possible in summer. botanical knowledge centre The total project also includes a comprehensive restoration of the old hothouse, in which the palm house will become a new botanical knowledge centre aimed at the general public, at the same time as the complex is extended with the new tropical hothouse. The project is expected to be completed in 2012.

Educational circuit

Wheelchair circuit

Fast track

FErrY TErMINAL vrTAhAMNEN, STOCKhOLM

continuation of the urban realm

231

232

233

Urban connectivity diagram

client \\ stockholms hamn ab Size \\ 17,600 m2 construction period \\ 2010address \\ vrtahamnen, stockholm, sweden architect \\ c.f. mller architects | berg arkitektkontor landscape \\ c.f. mller architects | berg arkitektkontor Prizes \\ 1st prize in competition, 2010

234
The new terminal for Stockholms permanent ferry connections to Finland and the Baltic nations will be a landmark for the new mixed-use urban development of Norra Djurgrdsstaden, both architecturally and environmentally. The terminal, which will have a facade covered with expanded mesh, recalls the shape of a moving vessel and the architecture - with large cranes and warehouses - that previously characterised the port. At the same time, the terminal has an ambitious sustainable profile, which is characteristic of the entire development. The main idea was to create natural links between central Stockholm and the new urban area in connection with the terminal, so that city life will naturally flow into the area. The terminal has therefore been raised to the same level as the urban zone, to allow easy access for pedestrians and traffic. At the same time, the roof of the terminal building has been designed to provide a varied green landscape with stairs, ramps, niches and cosy corners, inviting both Stockholmers and passengers to go for a stroll or relax while enjoying the view of the ferries, the archipelago and the city skyline. The aim is for the ferry terminal to be predominantly self-sufficient in energy, and thus stand as an environmental model for public construction. The terminals architecture will therefore integrate solar and wind power, while the terraced landscape on the roof will integrate beds of solar cells along with the planting. The plan is to communicate these sustainable efforts to the people who use the building though centrally-located television screens, etc., thereby helping to raise awareness of the potential of sustainable construction.

235

Structural diagram

ENTRANCE PASSAGE

ENTRANCE SCREEN CHECK-IN COUNTERS KITCHEN INFORMATIONS EXHIBITION

CUSTOMS CAF ESPRESSOBAR AUTOMATED CHECK-IN

GATES

TERRACE

NEWSSTAND

GANGWAY

Departures level plan

DEPARTURES N 01 5 10m

South elevation

ThE A. P. MLLEr SChOOL, SChLESWIG

CREATED FOR MODERN DEMOCRATIC TEACHING

249
The AP Mller School, a Danish school in Germany, provides 7th-10th grade elementary school teaching and three secondary school years. A combination of a Danish and a German school curriculum called for a hybrid school typology uniting the best of these two worlds: a new school architecture with open spatial sequences, transparent teaching areas and interaction spaces in central locations. The design avoids traditional corridors, instead turning all circulation into open balconies surrounding two large interior spaces: An assembly hall, with canteen, relaxation areas, performance hall and knowledge centre in the southern part, and a gymnasium/multi-purpose hall in the northern part, both spanned by a unifying sloping roof. Both of these central areas are open to daylight and function naturally as community spaces for sports, cultural activities, concerts, etc. The interior is an open Learning Landscape in which not only classrooms, but the entire school provides a teaching environment for individual work, group work and plenary sessions. The schools interior openness and organisation accommodates modern, personalised and democratic teaching in a varied educational environment. site The attractive site, a former naval base closely associated with the Schlei fjord and the town of Schleswig, is an important factor in the buildings location. The great potential of the surrounding nature and landscape prospects have been included in the planning of outdoor areas, and the schools direct access to a protected nature reserve can be included in the curriculum. A sports and learning park embraces the school to the south and west in continuation of the teaching rooms, the canteen and the main hall. Outdoor teaching facilities for science, art and other classes as well as sports and play areas are placed freely in the landscape, and the grounds and facilities are accessible to all citizens as a recreational park. The main entrance and common room are designed to provide a view of the holmer Noor nature reserve and the profile of Schleswig, with the cathedral standing out as a fixed point in the landscape. On further movement through the building, new views continuously open up of the town and the natural surroundings, while the upper storeys, especially the students lounge, offer a magnificent prospect of the entire Schlei fjord landscape. a landmark in brick and copper The schools architecture is simple and timeless, with a clear form and a recognisable profile: a solitary, sculpturally-formed brick body on a wide green lawn, its interior spaces unified by the large sloping copper roof with skylights like a changing sky. The schools facades are a carefully composed play of transparency and mass, to allow maximum use of daylight while preventing overheating and glare.

client \\ the a. p. mller and chastine mc-Kinney mller foundation Size \\ 15,000 m construction period \\ 2006-2008 address \\ schleswig, germany architect \\ c.f. mller architects landscape \\ Kessler & Krmer landschaftsarchitekten clients consultant \\ maersk construction collaborators \\ rambll artist \\ olafur eliasson Prizes \\ riba international award 2010 worldwide brick award 2010 bda architecture award finalist 2009

250
The facades contain two layers: outermost are light yellow bricks with deep niches and cantilevered storey ledges, while behind the bricks lie the glass panels. This deep facade frames the view and provides shelter from the sun, rain and wind. The sub-structure is made of prefabricated concrete parts, with some of the bricks cast in situ, and completed by brickwork laid on-site. The resulting appearance is that of a solid clay mass with carved-out openings, revealing the same material from many angles. The choice of light bricks lends the school a distinctly Danish expression, as the use of yellow bricks (although they are produced in the region) is less common in northern Germany. The bricks are a special colour, produced locally in a coal-fired process. The building is designed to optimise the available natural resources of sunlight, passive solar energy, rainwater, views and ventilation. Materials have been chosen to provide high-quality, durable and low-maintenance finishes. The interior use of brick, solid wood flooring, glass balustrades, acoustic wood veneer panelling and natural stone create a light, warm and comfortable atmosphere. Acoustics play a vital part in the design, to allow the spaces to accommodate multifunctional and simultaneous use all through the day. The high degree of integration (including speciallydeveloped, uncluttered acoustic ceiling systems, or absorbent air-bricks) means that the careful acoustic control remains discreet and unobtrusive in the design.

251

252

253

ADMINISTRATION CLASSROOMS LOUNGE

GYMNASIUM

LOCKERS

MAIN HALL

STUDENTS LOUNGE TEACHERS LOUNGE

CLASSROOMS

ROOF TERRACE

2nd. floor

CLASSROOMS

CLASSROOMS GROUND ACCESS/ OUTDOOR STAGE

GYMNASIUM

LOCKERS

MAIN HALL KNOWLEDGE CENTRE/ MEDIATHEQUE

MUSIC DRAMA PERFORMANCE HALL

CLASSROOMS

1st. floor

MAIN ENTRANCE

GYMNASIUM ENTRANCE CHANGING/FITNESS SCIENCE SCIENCE SCIENCE OUTDOOR STAGE

GYMNASIUM

MAIN HALL SCIENCE LOUNGE SCIENCE

OUTDOOR TEACHING SCIENCE

ARTS

CANTEEN PERFORMANCE HALL

STUDENTS LOUNGE KNOWLEDGE CENTRE MAIN HALL

LOCKERS LOCKERS GYMNASIUM

OUTDOOR TEACHING ARTS

TERRACE

CLASSROOM

Ground floor

SCIENCE

254

255

256

257

259
c. f. mller architectS
With roots dating back to 1924, C. F. Mller Architects is one of Denmarks oldest architectural practices. The company was founded by the late Professor Christian Frederik Mller. Today, more than 80 years later, the firm has nine partners and around 280 employees, and has expanded to include six offices located in Aarhus, Copenhagen, Aalborg, Oslo, Stockholm and London, as well as a limited company in Iceland. The long process of building Aarhus University became the basis for the development of the practice which still, after his death, bears C. F. Mllers name. The practice has since undertaken many other projects, and today is one of the largest firms of architects in Denmark and Scandinavia, well known for landmark projects such as the extension of the National Gallery in Copenhagen, long-term work for flagship industries such as vestas wind turbines and Grundfos pumps, and recently, setting the benchmark for the national health sector with the New University hospital in Aarhus. The 1960s was a period of intense construction activity, and the practice received many new commissions in Denmark and abroad. In 1965, C. F. Mller was appointed principal of the new School of Architecture in Aarhus. The growth of the practice made it necessary to diversify the management of the firm, and since 1966, C. F. Mller Architects has been a partnership. The practices growing international activities led to the establishment of the Oslo branch in 1996, after C.F. Mller Architects won the competition to rebuild the Norwegian national athletics stadium, Bislett Stadium. In 2001, C. F. Mller Architects won the competition for an extension of the Natural history Museum in London, the Darwin Centre, which became the basis for the establishment of the London branch office. In 2007, C. F. Mller Architects took over the Swedish practice Berg Arkitektkontor, based in Stockholm. Berg Arkitektkontor AB was founded by the architect Anders Berg in 1958, and has amongst other things been responsible for Swedens best-known architectural icon, the Stockholm Globe Arena. Today, our work involves a wide range of expertise that encompasses programme analysis, town planning, masterplanning, all architectural services including landscape architecture, and the development and design of building components. It covers key sectors such as healthcare and care facilities, education, research, offices, commercial spaces, retail, industrial plants, cultural buildings, sports, residential/housing and infrastructure. Simplicity, clarity and unpretentiousness, the ideals that have guided our work since the practice was founded, are continually re-interpreted to suit individual projects, always sitespecific and based on international trends and regional characteristics. Over the years, we have won a large number of national and international competitions and awards. Our work has been exhibited locally as well as internationally, at places like rIBA in London, the venice Biennale, the Danish Architecture Centre and the Danish Cultural Institute in Beijing.

viSion
C. F. Mller Architects has created buildings primarily through close co-operation within the practice as well as with clients and fellow design consultants. It is not a question of individual, personal achievement, but rather a process in which everyone involved strives to attain a common architectural goal. As a result, we rely a great deal on dialogue and, in particular, on a shared philosophy - a professional foundation, as it were - to function as our architectural base. This shared architectural base, nurtured by a long history of craftsmanship and the Nordic tradition, has evolved naturally from the extensive activities of the practice. People, places and functions are the sources of our procedural foundation. Our architectural base, which is solely a basic philosophy, not a straightjacket preventing the testing and exploration of new ideas, is an essential ingredient in the communication of a common language. It must, however, be subject to constant discussion and refinement through internal production and debate. Through our philosophy, we strive with artistic vigour for an animated and evolving architecture that celebrates simplicity, clarity and unpretentiousness, but also diversity. International trends and the changing ideals of society inspire us and are interpreted and translated into our architecture. Based on our architectural and philosophical foundation, it is our aim to be globally recognised as one of the best architectural practices in Scandinavia and Europe. The construction industry is in a constant state of flux. We wish to be part of this process by setting new standards for the design and construction of buildings - for example by developing new models for procurement and collaboration.

c. f. mller deSign
As one of Scandinavias largest architectural practices, it is crucial to C. F. Mller Architects to not only create and design architectural spaces, but also to contribute to the continuous development of interiors, fitting out, furnishing, lighting fixtures and other components to complete the built environment. This work is carried out independently under the name C. F. Mller Design. Simplicity, clarity and unpretentiousness are the ideals that guide our design work. however, good forms are achieved only when these are combined with knowledge of the human scale and behaviour, and a strong sense of space, materials and techniques. The basis of our design method is identical to our architectural approach. We work in an unpresumptuous and focused manner, concentrating on the essentials, to create practical, durable and original designs.

Our masterplanning includes greenfield and brownfield site development, urban ecology and urban nature, with a special emphasis on the creation of eco-friendly and sustainable urban environments on a human scale.

c. f. mller healthcare
C. F. Mller Architects experience with health care design and planning spans over 70 years. Our involvement in major hospital projects in Denmark, Norway, Iceland, Greenland and Sweden has contributed significantly to our strong international position. Our approach is humanistic, with the patient at the focal point of our design process. Wayfinding and the use of natural light play an integral part. We believe that good design is also a form of health care, contributing to both patient well-being and organisational efficiency. A successful design development phase for new hospitals, and for renovations and extensions of existing hospitals, requires an adequate programme. The most important part of the programme is the functional planning. Functional planning is based on an analysis of functions, i.e. considering which functions are currently carried out, and which functions are expected to be carried out in the future. Our Department for health Care Planning is specialised in masterplanning, capacity and functional planning, organisational development, logistics and programming. We consider it essential to complete projects which, as they progress, are firmly anchored in the clients organisation. We are also very much aware of the benefits of consulting the management and staff of the organisation.

c. f. mller landScaPe
C. F. Mller Landscape works on a strong professional foundation to create beautiful and functional plans and landscape spaces. In 2008, vibeke rnnow Landscape Architects joined forces with C. F. Mller to form an independent and highly skilled landscape department consisting of both planners and landscape architects. C. F. Mller Landscape possesses experience from a long list of national and municipal projects, including infrastructure, large-scale redevelopment and urban waterfront regeneration.

SuStainability
C. F. Mller Architects regards environmental concerns, resource-consciousness, healthy project finances, social responsibility and good craftsmanship as essential elements in our work, and this holistic view is fundamental to all our projects, all the way from masterplans to the design of individual building components. C. F. Mller Architects is the first major architectural practice in Denmark to have introduced an environmental management system, certified in 2009 under the international ISO 14001 standard. The certification documents our active efforts to minimise the environmental effects of both the companys processes and its services. C. F. Mller Architects is also affiliated with the UNs company network, the Global Compact. The Global Compact is an international initiative started by the UN, with the aim of involving private companies in the search for solutions to some of the enormous social and environmental challenges that have accompanied globalisation. The Global Compact enables companies all over the world to take an active part in the solution of these challenges. The Global Compact itself encompasses ten fundamental principles within the areas of human rights, labour, environmental protection and anti-corruption.

COMPANY PrOFILE

C. F. Mller Architects is a partnership owned and managed by (left to right) Julian Weyer, Mads Mandrup, Anna Maria Indrio, Klavs Hyttel, Lars Kirkegaard, Lone Wiggers, Mads Mller, and Klaus Toustrup.

261
Kent martinuSSen
Kent Martinussen was born in Copenhagen, Denmark in 1960. Upper secondary examination in languages and social science in 1981; subsequently qualified as an architect at schools of architecture in Paris, Milan and the royal Danish Academy of Fine Arts, School of Architecture in Copenhagen where he graduated with a masters degree in 1989. Kent Martinussen has had his own practice and taught and researched at universities and schools of architecture in Denmark and abroad. has produced a number of independent architectural projects which have all been displayed outside Denmark, e.g. at the venice Biennale of Architecture and at triennals of architecture in Japan and the Middle East. Kent Martinussen has been granted a three year working grant from the Danish Arts Agency, has participated in various committees, boards, has had other positions of trust (Akademisk Arkitektforening, Akademirdet, Dansk Arkitekturinstitut, roskildefondens udviklingsforum, architect panels and juries) and works as an advisor to various Danish municipalities and businesses. Member of the Danish governments Cultural Canon in Architecture. Member of the international jury of the 9th International venice Biennale of Architecture and chairman of the prize award committee of one of the worlds largest prizes in architecture, Nykredits Arkitekturpris. has, as the CEO of the Danish Architecture Centre, together with others received The Golden Lion at the venice Biennale of Architecture for the best national Pavilion in 2006. has received the honorary award from the American Institutes of Architects and henning Larsens honorary award. Since 2001, Kent Martinussen has been Director of Denmarks national centre of architecture, construction and urban development, Danish Architecture Centre, also known as DAC. Kent Martinussen is dedicated to architectures potential to offer solutions and answers to the challenges of globalisation.

chriStian bundegaard
Born in Aarhus, Denmark in 1961. Studies in architecture at Aarhus School of Architecture and trained as a historian of ideas (arts graduate) at the University of Aarhus. Diploma of the writers college Forfatterskolen in Copenhagen. Christian Bundegaard has divided his career between jobs in communication, publication, architecture and research on one hand and on the other, work as an independent author, writer and freelance journalist. he has worked as a literary manager at Denmarks oldest and largest publishers, Gyldendal, as a publishers editor at Arkitektens Forlag, communications manager at 3xN Arkitekter, programmer and sub-editor at Danmarks radio P1, folk high school teacher at Testrup hjskole, Krogerup hjskole and the European Film College, critic at Danish daily papers Information and Politiken and at the weekly paper Weekendavisen, Unicef consultant and attach at Denmarks Mission to the UN in Geneva. his works includes three poem collections, two essay books and a large number of articles and anthology contributions on philosophy, art, literature and architecture. Bundegaard has received several literary grants, including a three year working grant from the Danish Arts Agency. In architecture, he has worked as an architecture and design critic for a number of years, written texts for various practices and competition projects and been the chairman of Dansk Byplanlaboratorium. At the moment, he has a PhD scholarship at the royal Danish Academy of Fine Arts, School of Architecture in openness and architecture.

tom danielsen \\ Born in Aarhus, Denmark, in 1951. Copenhagen Business Academy 1970. The Royal Academy of Fine Arts in Copenhagen, 1971-74. Architect MAA from The Aarhus School of Architecture, 1974-77. Employed at Friis & Moltke Architects, 1977-81. Employed at The Ministry of Local Government, Nairobi, Kenya 1981-83. Employed at C. F. Mller Architects, 1983-87. Partner in C. F. Mller Architects since 1987. Member of The Danish Association of Architectural Firms Export Committee, and The Danish Council of Consulting Architects and Engineers Export Group, 1992-97. Member of the Architects Registration Council of the United Kingdom. Member of the Board of The Danish Association of Architectural Firms, 1994-96. Member of RIBA - The Royal Institute of British Architects. Chairman of The Danish Architects Association Competition Committee 2000-04. Member of The Academy Councils Committee for Architectural Design since 1996. Architectural Prize; Masonry Prize, 1991. Copenhagen Masons Guilds Architecture Prize, 1999. Nykredits Architecture Prize 2006. Klavs hyttel \\ Born in Nymindegab, Denmark, in 1960. Architect MAA from The Aarhus School of Architecture, 1986. Employed at C. F. Mller Architects, 1986-94. External lecturer at The Aarhus School of Architecture, 1991-94. Lecturer at The Aarhus School of Architecture, Department A, Architectural Design, 1994-96. Partner in C. F. Mller Architects since 1997. Member of NAL - The Norwegian Association of Architects. Member of The Danish Architects Association, 1987-1990. Member of The Artists Society since 2000. Copenhagen Masons Guilds Architecture Prize, 1999. Nykredits Architecture Prize 2006.

mads mandrup hansen \\ Born in Aalborg, Denmark, 1967. Architect MAA from the Royal Academy of Fine Arts in Copenhagen, 1999. Employed at Henning Larsen Architects A/S, 1995-98. Employed at KHR arkitekter, 1999-2006. Partner at C. F. Mller Architects since 2008. Architectural teacher at the Royal Academy of Fine Arts from 2003. Member of the Danish Architects Association. Fritz Schlegl & wife Fritze Schlegls scholarship, 2003. Icopal award for the best study project, 1997. Vola award for diploma project, 1999.

mads mller \\ Born in Aarhus, Denmark, in 1941. Bricklayer, 1961. Building Technician, 1962. Architect MAA from The Royal Academy of Fine Arts in Copenhagen, 1966. Teaching Assistant at The Aarhus School of Architecture 1966-70. Employed at C. F. Mller Architects, 1966-69. Partner in C. F. Mller Architects since 1969. Member of NAL - The Norwegian Association of Architects. Member of The Danish Architects Association Competition Committee, 1970-1980. Member of, and alternate for, The Royal Danish Academy of Fine Arts Council since 1987. Member of Aarhus Municipalitys Committee for the Preservation of Buildings and the Environment, 1990-2002. Member of The Aarhus School of Architectures steering & evaluation group, 1996. Prize and silver medal at the World Biennial in Sofia, 1985. Architectural Prize: Masonry Prize, 1991. Copenhagen Masons Guilds Architecture Prize, 1999 Awarded the Eckersberg Medal, 1999. Nykredits Architecture Prize 2006 Julian weyer \\ Born in Berlin, Germany in 1969. Architect MAA from The Aarhus School of Architecture, 1994. Lecturer at The Aarhus School of Architecture 1994-97. Own practice in Aarhus 1994. Employed at C. F. Mller Architects, 1995-2006. Partner at C. F. Mller Architects since 2007. Danish Arts Agency workshop about harbours 2003-04. Member of The Artists Society since 2006. Member of the BDA German Association of Architects. Member of Danish Association of Architectural Firms International Committee. Danish Academy Council prize 2010. AIV Architecture Prize 1994.

anna maria indrio \\ Born in Meina, Italy, in 1943. Rome University, Faculty of Architecture, 1962-65. Employed at Erik Tarquini Mrtensson and Mikael Tarp Jensens practice, 1975-77. Employed at Dissing & Weitling, 1989-90. Anna Maria Indrio & Poul Jensen studio, 1979-89. Anna Maria & ass., 1988-90. Partner in C. F. Mller Architects since 1990. Member of The Artists Society since 1996. Member of the Board of The Danish Architects Association, 1992-94. Member of the Board of The Danish Building Research Institute since 1997. Member of the Wood Prize Adjudication Committee since 1999. Chairwoman of the Art in Public Spaces Committee, 1999. Architecture Prize, Masonry Prize, 1991. Copenhagen Masons Guilds Architecture Prize, 1999. Knight of the Dannebrog. Ordine Della Stella Della Solidariet Italiana (Italian order of chivalry). Nykredits Architecture Prize 2006. lars Kirkegaard \\ Born in Moeskaer, Denmark, in 1947. Accountant, 1967. Employed at Deloitte & Touche (Schbel & Marholt - Holger Nielsen), 1964-80. Employed at Kjr & Richter Architects, 1980-82. Employed at C. F. Mller Architects, 1982-90. Partner in C. F. Mller Architects since 1990. Architecture Prize: Masonry Prize, 1991. Copenhagen Masons Guilds Architecture Prize, 1999. Nykredits Architecture Prize 2006.

Kent Martinussen trained at European schools of architecture and has a masters degree from the Royal Danish Academy of Fine Arts, School of Architecture in Copenhagen and is Director of DAC (Danish Architecture Centre) which is Denmarks national centre of architecture.

Christian Bundegaard has studied architecture at Aarhus School of Architecture; he is furthermore an arts graduate at the University of Aarhus and has a diploma of the writers college Forfatterskolen in Copenhagen. At the moment, he has a PhD scholarship at the Royal Danish Academy of Fine Arts, School of Architecture in openness and architecture.

lone wiggers \\ Born in Helsingr, Denmark, in 1963. School of Fine Arts, Paris, 1986-88. Architect MAA from The Aarhus School of Architecture, 1989. Employed at the Project Design Partnership, London, 1989-90. Employed by Anna Maria Indrio, Copenhagen, 1990-91. Visiting teacher at The Royal Academy of Fine Arts, Copenhagen, 1994-97. Employed at C. F. Mller Architects, 1991-1997. Partner in C. F. Mller Architects since 1997. Chairwoman of The Danish Arts Councils Architecture Committee, 1999-2001. Member/ Chairwoman of The Danish Architects Association Admissions Board, 1997-2002. Member of the Board of The Danish Association of IT Users in Building Construction 1999-2003. Member of the Board of Danish Building and Urban Research since 2002. Member of the Special Building Survey Council, Cultural Heritage Board, since 2003. Member of the National Commission & Cultural Committee for UNESCO - Denmark. Member of The Artists Society since 2005. Chairwoman of The Danish Ministry of Cultures Board of Architectural Canon since 2005. Copenhagen Masons Guilds Architecture Prize, 1999. Nykredits Architecture Prize 2006. michael Kruse \\ Born in Aarhus, Denmark, in 1970. Architect MAA from The Aarhus School of Architecture, 1998. Employed at Schmidt, Hammer & Lassen 1998-2001. Employed at David Chipperfield Architects, London, 2001-2002. Employed at 3XN in 2002. Head of the competitions department at 3XN, Aarhus, 2004-2010. Partner and head of the competitions department at 3XN, Aarhus 2007-2010. Associate Partner in C. F. Mller Architects since 2010. Competition Jury member for AA (Danish Ass. Of Arch.). Visiting Critic at the AA London. Member of The Artists Society since 2007.

BIOGrAPhIES

Klaus toustrup \\ Born in Tarm, Denmark, in 1972. The Aarhus School of Architecture, 1992-95. Architectural Association, AA, London, 1995-97. Employed at C. F. Mller Architects since 1997. Partner in C. F. Mller Architects since 2004. Member of The Danish Architects Association Admissions Panel since 2003. Member of The Artists Society since 2003. Nominated for the Mies van der Rohe Award (Hadsten Kulturhus with Sophus Sbye) in 2002. Fritz Schlegl & Wife Fritze Schlegl scholarship 2001. Scholarships from Knud Hjgaards Fund, Margot & Thorvald Dreyers Fund and the Uni Denmark Fund, amongst others. Nykredits Architecture Prize 2006.