architecture is all you need

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ALL

YOU NEEDIS

ARCHITECT

URE

Cen

tre

forStrategicU

rbanR

es

earch

Univ

ersityofCopenhagen


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This book is made by

Students at Skov & Landskab, University of Copenhagen

Publisher

Skov & Landskab

Copyright 2010 Skov & Landskab

Gengivelse er lladt med tydelig kildeangivelse

I salgs- eller reklamejemed er eertryk og citering af rapporten samt

anvendelse af Skov & Landskabs navn kun lladt eer skrilig lladelse.

150 s. ill.

ISBN

978-87-7903-438-9 (internet)


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ALL

YOU NEEDIS

A

RCHITECTURE

Cen

tre

forStrategicU

rbanR

es

earch

Univ

ersityofCop

en

hagen


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08 FOREWORD

- Getrud Jrgensen-

09 INTRODUCTION

- Clment Blanchet & Mads Fars-

10 SITE

-

-12 1st seminar MODERNISM

- posters

-

38 2nd seminar DYNAMICS

- movies

-

62 3rd seminar SYSTEMS

- models

-

86 4th seminar UNEXPECTED

- collages

-

112 ALL YOU NEED IS ARCHITECTURE

-

-

156 CONTRIBUTORS

Content

All You Need Is Architecture


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All You Need Is Architecture

Studio work by students @Center For Strategic Urban ResearchUniversity Of CopenhagenThis book is the result of a special studio course - All you need is Archtecture - held at the

Landscape Architecture programme at the University of Copenhagen in the autumn of2008.

In this year the Landscape Architecture programme was extended with an urban design line,

and this course was a spearhead in the process of discussing how to design this line, and

what competencies the students must get through the programme. Apart from theorecaland praccal knowledge on urban development, -planning and -design, the students mustbe able to analyse a given urban context and conceive soluons to the problems they nd inthe area, not only from a tradonal planning perspecve, but also as creave designs. Thisis what was trained in this course.

We were lucky to have two guest professors to conceive and undertake the course, architect

Clement Blanchet from Oce for Metropolitan Architecture (OMA) in the Netherlands andlandscape architect Mads Fars - in cooperaon with lecturer Richard Hare from Universityof Copenhagen.

The students - mainly from landscape architecture - went through a process of sensing, ex-

periencing, and analysing the area, followed by choosing a design concept and an actual

design for a specic place. As will be seen in this booklet, the results were bold and imagi-nave - and some of them also very handsome. They embrace many diferent views on thearea in play - the Metropolitan Zone in Copenhagen - and the course has given important

inspiraon to the masters programme in urban design, starng 2010.

I thank Realdania and Centre for Strategic Urban Research for giving us the possibility to re-alise this course, and for the possibility to publish the results in this booklet. And, not least, I

thank the teachers and students for their commitment in eding and laying out this booklet.I hope it may inspire other students in their work.

Gertrud Jrgensen

Professor, Head of Division Urban & Landscape StudiesMarch 2010

ALL YOU NEED IS ARCHITECTURE8

Foreword


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09

The city is changing. The urban is all over and nowhere at the same me. Landscape archi-

tecture faces an explosive reality. The profession needs to be trimmed, to change gear, toscale up, to dig down. To compete, to improve, to intervene. As urbanism is blurred, lost, be-

ing reborn. Somehow architecture survives. Aer the re, a new forest always grows up. Thepostmodern is now related to modernism. Potenals are arising. Hope is formulated. Howto nurture new condions of urbanity? How to enable future generaons of designers? Howto unleash the unexpected potenals? How to model a new urbanism, when the condion ofpostmodernity has rejected all models?

Our goal was to develop a prototype for the new urbanity. Making a frame to improve uto-

pian pragmasm. Crash ideas, formulate arguments, idenfying unexpected moments re-peatedly, over a period of eight weeks. Queson experience and build on intuion. Teachingthe evaluaon of your concept, your approach. Challenge the statement of change. Makeyour design grown out of individuality, of a feeling of community. Nurture an environmentof crique. Work on a core site of neglect. A central place for experiencing the placelessnessof modern culture. Deal with the culture of consumpon, the consumpon of place, theconsumpon of architecture. Focus on the individual, the unexpected, your plan. Shoot onthe dierent scales, reevaluate your statements, and strengthen the line of argumentaon.Think urbanism as architecture. Experience the city as a series of ows. Imagine constraintsas ideal features. Formulate a cohesion out of chaos. Demonstrate there is always a future.Work on it as if it was a garden of neglect. Irrigate it so it may be self-sustaining. Redenethe idea of a plan.

In the meanwhile we will be oang in space; our city is sll there. We trust in Hope. Again.Once more. Work to be done: Around, over, under, behind. Branded, yes, perhaps: Because

powers are less visible; because designs are consumed like TV-commercials; because we areignorant of our possible failures; because we need to be the architects of tomorrow; becauseurbanism survived; sll it is, there. If postmodernism couldnt smash the idea of the city, wecant fail. We have to gain power. Our original task is to develop new condions which wouldperform as a human, social generator for the futur. In other words to create architecture.

Probably this is all we need...

We would like to thank Gertrud Jrgensen and Richard Hare who have been key personaliesand players as intellectual and creave minds, without menoning the fact that they built upand made this amazing story possible.

Clment Blanchet and Mads Fars

Roerdam and CopenhagenMarch 2010

Why ?


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Sct. Jrgens Lake

Central Staon

Rdhuspladse

500 m

Site

Copenhagen is a contested ground. Some brand the unique situaon of bicycles, pedestrians

and public transport. Others complain about the lack of renewal and blame the narrow jack-ets of history. In the meanwhile the architects go abroad and try to do the stu they learnedthat they couldnt do at home. Copenhagen, however, carries on.

We focus on a site of contested modernism in Copenhagen. Where Arne Jacobsen challenged

the ideas of a Danish architecture in his Mies-inspired SAS hotel, where Tivoli leisure-parkconnue to dance limbo between history, tourists numbers and turnovers, where the publicspace appears to be in abundance without really being, there, and where context is some-

thing to be discovered beneath the thick walls of ghost-like promoons. The municipal calledit the metropol zone. For the sake, or the hope, of the beer: To give an idicaon of bigness.To borrow a feeling of urbanity. To brand a stench, to call for the sexy.



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Tivoli

Chrisansborg

Medieval Copenhagen

To make urbanism happen the municipal asked ve teams to reevaluate the site and present

a vision in 2007. However, the municipal cherrypick in the teams projects. The old way ofpostmodernism won. The strategy is Sll we miss to see a strategy that takes of from thesites unleashed potenals. Therefore we dumped graduate enthusiasm onto the site. Toidenfy, develop and redene the idea of vision, strategy and project. Disregard polics. Onsite: Acon. Statements. Models. Courage. The idea was to ask for a strategy for the familiarunknown: the Copenhagen modernism.

1500 m

Naonal Museum

11


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MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM

SM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODER

DERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MO







DERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISMMODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MO









DERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MOMODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM





DERNISM We nd it hard to see a connuaon without pung things in perspecve. We are not alone. Someo

a totality? Is everything relave? Or does something need to be decided upon. We believe in form, in characte

vism. We see modernism in postmodernism. We like the smell of bigness. We believe that other do as well. W

dinave role for planner. We study history. We interpretate the role of form. We experience the dierent shape

part of the same story: Modernity. It is not our fault that it was misused. Please let us nd our way back the mulated in statement, communicated, and remembered in an image. What we have learned is necessarily not e

e it happen?MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM








DERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MOMODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM









MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISMSM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODER





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ERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MO

MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNIS

SM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERN






ISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODER

SM MODERNISM MODERNISM MODERNIS MODERNISM MODERNISM MODERNISM MODERNISM MODERNIS










SM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MO





s before us. But we are maybe the rst. Please let us know what you think. What you see. What you experienc

ocess, in plans, in design. We believe in the individual and feeling of the community. We nd objecvism in sub

the complete openness to be fools belief in urbanism. Power sll prevails. We queson the egos. We see a ne

see the same programs over and over again. We work for integraon, hybrid forms and the connecvity. We se

oughts, the idea of a potenal. Unformulated, undersigned, undiscovered. However conceptualized in a thoughh for our urbanity. It is beyond the trained. The city is generic (we know that now) it just happens. How will w









SM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MO









ERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MOMODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNIS





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Theintentwastoengageconversaonastowhethercommercialized

logosbelonginthecentralcitysquare.

We believe in architecture. We love modernism. We like the mode



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TheareaaroundNyropsgade

isstronglysegregatedinto3dierentlayers:urbannature,c

orporatewastelandandcitylife.

project. We believe in inrastructure. We trust our intuitions. W

MODERNISM 15


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e young. We dance. We party. We question. We built on history.



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e approach the urban. We step back to go orward. We question.

MODERNISM 17


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We ocus on the metropolitan. Our concept may appear banal. O



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MODERNISM 19


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s a study to break the box. To cancel aspirations. To step up by h



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ng hard on design. To motivate. Work through a destruction o

MODERNISM 21


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mages. To raise by blocking innovations. To rule out the idea o n



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mal: Eat your context. Swallow your history. Dump your pride.

MODERNISM 23


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lieve in the banal. Work towards the less obvious. Attack the ob



25/158us. Win the battle. Lose your temper. Cry your desire. Crash

MODERNISM 25


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ur models. Depart rom your rationality. Stick to your path. Fo



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w it up by going down. Dont be araid. Greet the less. Love the

MODERNISM 27


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ore. Shock the rest. Seize the unworthy or presentation. Impress



29/158e depressed. Forget what you have learned. Or believe narrow

MODERNISM 29


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ur architecture. Get ready to get killed. Stand up on critique.

MODERNISM 31


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oot ater being shot at. Dont shoot back. Reevaluate eorts. Ch



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ge design. Block logic. Demand supremacy. Release control. Trus

MODERNISM 33


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revolutions. Get desperate. Kill your supremacy. Work with you



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rony. Strengthen your relentless. Improve your eorts. Dream

MODERNISM 35


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sh your potential. Overdo your renderings. Smash the image.

MODERNISM 37


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AMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMIC


















AMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS Our main queson is if we can keep it owing, oang or

it? How to dene the uid nature of the urban? We experience it but we dont tell it. We hear it but we dont iers, feelings, hookers, streets and squares. We call ourselves architects. We are less in control. We need to relea

e our darlings. Touch our beliefs. Endanger our souls: Our designs, our soluons, our beliefs. We need to be mo

a city? Is there an architecture beyond architecture?DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS

MICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS D


MICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS





























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AMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMI


















assing? Are we really open, are we dynamic (as a city), and are we exible? How to encircle it? How to commun

te it. We smell it but we dont know how to cook it. Urbanism. Cars, people, bikes, business, paths, parks, eventrol to gain control. Swim in an unobvious direcon. Kill our pride. Take down our posters. Challenge our slogan

We need to queson the ow of ideas. We need to queson up front: What makes the city work? What make t

































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rash the idea. Expect the unexpected. Find you way. Anticipate t



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fexible. Put your sel out o the box. Ensure the story. Crash you

DYNAMICS 41


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To a certain degree, this observa-tioniscorrectinthesensethata

iscertainlybeingdisseminatedandsoldallovertheplanet

Someofthemare evenbecomingsocially,

ethnicallyandraciallyghettoised.

Butat thesametime,Europeancit-ies remain placeswhere intergroupencounterscandevelopandwheretakesplace.

Mobilityislinkedtopublicspacesbutitisoenalsoanelementthatisdestroystheirq

ualies.

x. Do not trust your move. Frame the surroundings. Redo your



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Video: daily life in the metropole zone

Storyboard

...a moment of silence appears.

SCENE TWO: a normal rainy night in the metropol zone. a couple is standing

outside of tivoli having a serious conversation about their relationship. The situ-

ation escalates ...

HAPPY END.

kllrr!!!kdi?!!!jwas!!?!!

BAMMM!!

yg??u

m!!

!ms!!??

KISSSSSSS!!

!

then he comes back.

SCENE ONE:

one day in the metropol zone...

... cody takes a head start...

... and kicks the trash can!!!

KAAAABUM!!!!

Themetropolzoneisthebackgroundforpeopleseveryda

yaconsandinteracons.

hitecture. Again. Who is your City? What is your system? When

DYNAMICS 43


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TART

Thezoneismadeforcars.T

hezoneismade

forcars.T

hezoneisma

deforcars.T

hezoneism

adeforcars.

your time? We believe in architecture. We love modernism. We



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Bikingthecityme

ansknowingthecity-connecngthecity-explo

ringthecity-takingpartinthecity.

zoom in, experience

the ows, noce

spots and sites.

the modern project. We believe in inrastructure. We trust our

DYNAMICS 45


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Impression

Scene from a video

Thepeopleact

tothebeatofthe4wheeltracwhichisthehea

rtbeatoftheMetropolitanzone.

tuitions. We are young. We dance. We party. We question. We b



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The city as a place that is aracve and

well funconing for the local residents.

Recreaon and healthy environment

with access to physical acvity is very

important in order to keep the residents

of the city healthy and thereby reducing

the risk of illness etc.

The design should contribute to the

humanity of the city.

To movate and support sustainable

behavior to getenvironmental sustainability in the city.

Reducing CO2- emission by replacing

privat car transport with aracve bike

lanes and public transport.

Unite the city values with a green struc-

ture and bring the city back to nature.

The city as an emoonal landscape.

REDEFINING CITY VALUES:

ReadText,R

eadText,ReadText,R

eadText,R

eadText,R

eadText,R

ea

dText,R

eadText,R

eadText,R

eadText

t on history. We approach the urban. We step back to go or-

DYNAMICS 47


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Themovieshowedclipsofthecitylightsinhighspeed

.Iwantedtopayaenonhowpowerfulandpushythelightsare.

ard. We question. We ocus on the metropolitan. Our concept m



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Itriedtocreateatenseic

keringexperiencewithlightsandmovement.

appear banal. Our orm is counterproductive. It goes anywhere

DYNAMICS 49


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Myimpressionofwhatatourist

canseefromthebackstageoftheMetropolzone

...

going nowhere. Its a study to break the box. To cancel aspiratio



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Its good to have George back in

town!

AlthoughnotcompletelysuccessfulGeorgeClooneyh

adthepowertocreateanillusionofbeinginHollywoodslmstudio.

To step up by hitting hard on design. To motivate. Work

DYNAMICS 51


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Ped

estrianswillselewhile

rushingandswarmingthroughthecityandenco

urageanopenmindandcouriositytoexplore.

rough a destruction o images. To raise by blocking innovations.



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There is no connecviy or any

direct act of style in the area_TheMetropole

zoneconsistofmanyabruptedstructuralpieces

,cutthroughbytheroadsystem.

rule out the idea o normal: Eat your context. Swallow your

DYNAMICS 53


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The city is experienced in brief moments

like hidden frames in a movie.

You blink with your eyes

and the moment is gone.

Between moments

trac is the void where you are lost,

giving you tunnel sight

unl the next red light.Stop. You blink,

see a building, see a sign, see a person.

Start. Blink, Lights, bikes, cars.

Poetryinmoon-Po

etryinmoon-Poetryinmoon-Poetryinmo

on-Poetryinmoon-P

oetryinmoon

story. Dump your pride. Believe in the banal. Work towards the



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Night &

Day

Day/Night/Day/Night/Day/Night/Day/Night/Day/Night/Day/Night/Day

s obvious. Attack the obvious. Win the battle. Lose your temper

DYNAMICS 55


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Addingandsubtra

cng;wassupposedtop

icturedynamicsincopenhagen,t

hiscouldbeanycitythough.

ry your desire. Crash your models. Depart rom your rationality



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...the movie:

Everyworkofartisthechildofitsme,oenitisthemotherofouremoons.Kandinsky,Wassilyenee.

ick to your path. Follow it up by going down. Dont be araid.

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SenseofLostness//Noaenon//

Noatracvepoints//N

oleadingpoints//Noid

enty

reet the less. Love the more. Shock the rest. Seize the unworthy o



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Someconvergencepointsaresituated

intheMetropolzone-In

thecentervoliistheexcepon.

resentation. Impress the depressed. Forget what you have

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#ARSTRAFFIC

1

Traclightsnoto

nlyregulateroads

.Itim

posesarhythmforthee

nrearea-Flows,Repeon,O

rder

arned. Or believe narrow stu, your stu, your way. Work, imp



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Untutpateroeuisnonullamnullafeufeugaitprat,veros

nitwisitipiscitemvelulla

WALKERSFLOW

2

e, work, work more. Love your architecture. Get ready to get

DYNAMICS 61


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TEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEM








TEMS SYSTEMS SYSTEMSAt rst hand the system is in your hand. Later is crystallized in a model, in a design. It

To present the idea of an structure. The inuence what is going on. That dene your music, your sound, your voorks. We want to see it work. We want to challenge it. We want to see if it can break. Is it valuable? Is it yours

stem. The system of the city. Include it into the design, city design, urban design. Can we learn from the system

he task of designing the city. That we want to approach. As subjects. As objects. As landscape architects of an e










TEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS







TEMS S SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTE













TEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS S SYSTE












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e driving your design, your city, your intuion. We ask you to formulate it. To show it. To illustrate it. To make

ur way of perceiving. We ask to put the subjecve experience on a formula for everyone. We want to see whatto be everybodys? Is it unique? We nd a need to work towards a new instrumentality. That develops the idea

produce urbanity? Can we idenfy it? How to idenfy it? How to communicate it? How to design it? How to tak

g city, an evolving branch of design. SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEM



EMS SYSTEMS SYSTEMS SYSTEMS S SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEM




EMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEM









MS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTSYSTEM

STEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEM













STEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEM












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Sohereisahigh-risebuilding,containinghigh-risebuildings.

lled. Stand up on critique. Shoot ater being shot at. Dont shoo



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Thebo

ulevardasamonument

.

ck. Reevaluate eorts. Change design. Block logic. Demand su-

SYSTEMS 29


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From

the19thcenturytherehasbeenroomforalltheinfrastructure,technologyandentertainmenta

moderncityneeds.


emacy. Release control. Trust in revolutions. Get desperate. Kill


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SYSTYEMS 129

Theurbanseedsareuniesofcentralityandm

obility.Thevectorsden

eeachelementsmovem

entandgrowth.

ur supremacy. Work with your irony. Strengthen your relentless.


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Landma

rkconnecngmonumen

ts.


mprove your eorts. Dream about architecture. Run through you


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SYSTYEMS 129

Aplaormfor

culturalandsocialtogetherness.

esign. Built your story. Unleash your potential. Overdo your


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Everystructuregrabs

abitofTivoli.BothTivoliandtheMetropolZone

benetsfromthisexchangeofcontent.


nderings. Smash the image. Crash the idea. Expect the unexpect


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SYSTEMS 29

Awa

ytowardscuriosity.

Find you way. Anticipate the fexible. Put your sel out o the


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Rollercoasteranalogy.


x. Ensure the story. Crash your box. Do not trust your move. Fra


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Asymbolicth

readthroughtheMetro

polZone,usingbothhistoricalandnewwaterelements.

SYSTEMS 29

e the surroundings. Redo your architecture. Again. Who is your


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Thesystemdictatesthecountersystemthatreacvatesthecity.


ty? What is your system? When is your time? We believe in arch


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SYSTEMS 29

Thesystemdictatesthecountersystemthatreacvatesthecity.

ture. We love modernism. We like the modern project. We be-


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ve in inrastructure. We trust our intuitions. We are young. We


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SYSTEMS 29



nce. We party. We question. We built on history. We approach


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e urban. We step back to go orward. We question. We ocus on


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SYSTEMS 29



metropolitan. Our concept may appear banal. Our orm is


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SYSTEMS 29

break the box. To cancel aspirations. To step up by hitting hard


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design. To motivate. Work through a destruction o images. To


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SYSTEMS 29



se by blocking innovations. To rule out the idea o normal: Eat


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ur context. Swallow your history. Dump your pride. Believe in


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SYSTEMS 29



banal. Work towards the less obvious. Attack the obvious. Win


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XPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNE








XPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEX

XPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEX

XPECTED UNEXPECTED Do we love our space? Do we dare to queson it? Turn it around? Change it? Will our des

es of the unexpected? How can we make our design the unexpected? How can the unexpected be integrated into

ething that should be out our reach. Otherwise we would fail. We shouldnt do everything. We should control ev

duce the elements of surprise. We should surprise. We should design the unexpected. We should iconize hope. We

are our designs resistance. We should believe it. We should envision it. We should it test it against the unexpected

not be knocked out. Perhaps, we believe of a beer world. Perhaps, we are wrong. Perhaps, we wont know ye

TED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECT


TED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXP


XPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UN




XPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED U

UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECT

TED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UN

XPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECT

TED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UN

XPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECT

TED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNE

XPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED U


TED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPE

ECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNE

















XPECTED UNEXPECTED UNEXPECTED UN TED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECT




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ED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECT








D UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECT

D UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECT

rvive, if we erase individuality, hope, or the common. How can we reach the unexpected? How can we prepare ou

esign? How can the idea of urbanity survive? We feel that something more is needed. Something out of our reac

ng. We should touch all details. We should think everything through. We should leave room for surprise. We shou

d materialize opmism. We should reach borders, and nd our way on the other side. We should do it. We shou

eed to let it fail. We need to open. Perhaps, the unexpected turns into a glamorous compromise. Perhaps, urbanis


EXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNE








ECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPEC


ED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTE





ECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPEC


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e battle. Lose your temper. Cry your desire. Crash your models.


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UNEXPECTED 29

Morelively.Morecolorful.M

oreaenon.

part rom your rationality. Stick to your path. Follow it up by


90/158

FuturePeopleowsguidefromatob

,creangatunnelwitheither;greens,screensorlights.


ing down. Dont be araid. Greet the less. Love the more. Shock


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UNEXPECTED 29

Itisascapethatexpress

thehumanscaleandbeingontheeyelevel.

rest. Seize the unworthy or presentation. Impress the depressed


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Pedestriantowerasaconnecto

r.


rget what you have learned. Or believe narrow stu, your stu,


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UNEXPECTED 29

Theexperienceofthelightsandmusicmakesitaplacewheretostop,s

tayandcome

back.

ur way. Work, improve, work, work more. Love your architec-


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Anewroofforthecity.


re. Get ready to get killed. Stand up on critique. Shoot ater bei


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UNEXPECTED 29

Whiteispure..

Black

isdark..

Letsmakemorewhitestreets!

hot at. Dont shoot back. Reevaluate eorts. Change design.


96/158

Whytravelsofartogetyourfavoriteshoes

anddresses?


ock logic. Demand supremacy. Release control. Trust in revoluti


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UNEXPECTED 29

With

placingthecubesonthebuildingsandmodernisedantespladsthearea

willbecameametropolitanstageofCph.

. Get desperate. Kill your supremacy. Work with your irony.


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rengthen your relentless. Improve your eorts. Dream about arc


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UNEXPECTED 29

Expandand

openupTivoli!

ecture. Run through your design. Built your story. Unleash your


100/158

Theuniforman

ddiverselanguageisconnecngthesegregated

piecesintheUrbanJung

lepuzzle

.


tential. Overdo your renderings. Smash the image. Crash the id


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UNEXPECTED 29

Bringingfunconsofexisngbuildingsoutside.Integraonofslowandfasttracinthe

citypark.

Expect the unexpected. Find you way. Anticipate the fexible.


102/158

Backstage


ut your sel out o the box. Ensure the story. Crash your box. Do


103/158

UNEXPECTED 29

Trac,light

,speed,soundandthecitylifeabove.

trust your move. Frame the surroundings. Redo your architec-


104/158

Interventionsfocusedonbringi

ngpeopleflowstoth

eseotherwisedeadzones.


re. Again. Who is your City? What is your system? When is your


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UNEXPECTED 29

me? We believe in architecture. We love modernism. We like the


106/158

Feelthe

diversityofCopenhagen!


odern project. We believe in inrastructure. We trust our intuiti


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Waterfeaturesemphasisethehorizo

ntalityandpedestriansseemtooatonsurface

water.


story. We approach the urban. We step back to go orward. We


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UNEXPECTED 29

Removinglanesandparkingplacesto

createmorespaceforpedestriansandbikers.W

hynot!?

stion. We ocus on the metropolitan. Our concept may appear


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Thisisaconceptthatables

ustobuildhundredsofmetersvercally

,crean

gluxury,f

uturismanda

feelingofsurrealism.


nal. Our orm is counterproductive. It goes anywhere by going n


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UNEXPECTED 29

Itactsasameengplace.

here. Its a study to break the box. To cancel aspirations. To step


112/158elieve in architecture. We love modernism. We like the modern project. We believe in inrastructure. We trust our intuitions. We are young.

YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS A

D IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITE

RCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE

ECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL Y

E ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NE





























ECTURE ALL YOU NEED IS ARCHITECTURE This is our hope for the future. We believe that we can nurture and sust

the lucky to trespass the borders of diplomacy? That we can unleash the potenals? That we may prefer the unpr

ut the most. With our graphics, plans and perspecves. This publicaon is to be seen as a cluster bomb. Like a ram

e place, architecture and planning in your design. Forget design to do design. Trust intuions. Trust intuions. Beli

mething has changed, that can be changed, will be changed, aer it has been changed. Dene a deadline for you

unexpected. Make it unmarked, dierent, poec, high, long, wide, and crucial. Do NOT be afraid to reveal your ar

NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARC
















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ECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YO

ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEE

OU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS A

ED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITE

ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTU





























ange. Are we ignorant? That we can nd something dierent? That we can redene the eld of urbanism? That w

d? That we can develop stu? See potenals, at once. We focus, trust our intuions, and shot silent at they ones th

on urban design teaching. By which we want to train and develop the imposion of our experience on the city: Rei

d put disbelief into plans. Redene the quesons of doubt. Focus, work and re conceptualize. Play it again, over, s

n aer your deadline of implementaon. Make it dynamic, make it system for the system, make it spacious, expe

nt. Do not be afraid to embarrass us. Convince us. The night is yours. Time is yours. All you need is architecture. A

TURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YO
















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The shape and the use of the site?

Tivoli is a important area in the

Metropol Zone. The shape of the

roof has to underline the axis going

out from Tivolis main entrance and

strength the two parts of Axeltorv.

The new building has to maintainthe openness of the site and be in

contact to Tivoli and the trac.

At night the the roof is highlighted.Aconstruconthatexpresseslight

ness

by hitting hard on design. To motivate. Work through a destru


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Theuseofthesiteis

fprleisureandculturea

roundtheyear

n o images. To raise by blocking innovations. To rule out the


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I have chosen a site where two of the future main

bicycle promenades cross each other.

The bike promenades consist of wide dimensioned

bike lanes, glasstunnels to cross barriers, bicycle

roundabouts, shelters and many more equipment to

support bikers.

Bike and pedestrian promenades dominate thezone. Car trac is highly decreased and redirected.

Bikelanes are yellow coloured. Voids between

bikelanes and roads are dedicated to pedestrians -

and also to bikers. Glassshelters are placed to park

or take a rest. Glasstunnels bridge barriers (for

example) voli.

The car trac is calmed down. Many green urban

spaces are developed. The quality of life in the

whole center of Copenhagen will dramacallyincrease. Many new urban spaces can be developed

and new explored.

Them

ainfocusofmovingaroundinthecityissettobikesandpublictransport

...And Copenhagen will denitely conrm its tle as

the worlds bicycle city number one.

ea o normal: Eat your context. Swallow your history. Dump yo


117/158

Keepongoing!

pride. Believe in the banal. Work towards the less obvious. At-


118/158

Hmm...I

amnotanarchitectbutIwillgiveitatry

ck the obvious. Win the battle. Lose your temper. Cry your desir


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In the proposal water will cut into the

street to break the flat, uniformness and

to define the horizontal spaces. Brought

back from the deep and into the streets,water is now made visible for all to enjoy.

A physical link between the vertical lighting

and horizontal plane will be made through

water. Rainwater down spouts on building

facades will be targted for alteration.

Existing downspouts carry water from the

roof down the sides of buildings and into

underground stormwater pipes. This system

is Ideal for quick removal of water but is

one in which water is treated as somethingto be rid of rather than celebrated. The

vertical drains will retrofitted with lighting

to accent the walls of the corridor, not to

mention celebrate their newly liberated

flows. Lights wil l also be fitted along the

canal ledges overhanging the water surface

to accent the ponds.Thecrisisisover.G

ohomeandgobacktoyourbeds

e the more. Shock the rest. Seize the unworthy or presentation.


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Open Tivoli corner, spread out new fragments

in the same scale that will not destroy axis/

symmetry, add volume to Tivoli that introduc-

es a new public (Art/Culture) room, and sucksup some fragments.

DantesPladshasu

niquelocaonbetwee

architecture is all you need

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