ie School of Architecture

'me encanta, uno de mis favoritos'

arquitecto:
Halldor Gunnløgsson

Halldor Gunnløgsson was son of the merchant Halldor Johannes Gunnløgsson and the actress Else Sten. He graduated from senior school in 1937 and continued at the Royal Danish Academy of Fine Arts, School of Architecture, in Copenhagen, from which he graduated in 1942. Among his teachers were Kay Fisker and Steen Eiler Rasmussen. Just after his final examinations during the Second World War he left for Sweden and stayed in the neighbouring country during the years 1942-44.
During his career he travelled to North and South America, Japan, and the Near East, and the inspiration found on these trips are delicately conditioned to a Scandinavian design fundamental to his buildings. He spent his teaching career at the School of Architecture of the Royal Danish Academy of Fine Arts in Copenhagen, where he was initially employed as an instructor, before becoming a lecturer in 1956. He was appointed professor in the building arts in 1959, and dean in 1969. From 1961-62 he was employed as a Visiting Professor at Massachusetts Institute of Technology in the United States. Gunnløgsson was one of the leading figures in the Danish modernist architecture, especially in the field of detached houses. His personal interpretations of the modernist Western-American and the traditional Japanese architectural traditions were shaped by a consciousness of specific local qualities and demands. Using materials like wood and stone combined with a limited range of colours the impression of his works is simple and minimalist, though at the same time very precious.

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'me encanta, uno de mis favoritos'

1958-1960

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'me encanta, uno de mis favoritos'

The commission for the construction of a church to be named after the Danish philosopher and hymn writer Nikolai Frederik Severin Grundtvig was decided through a competition, won by Peder Vilhelm Jensen-Klint in 1913.[1] The foundation of the new church was only laid after World War I, on September 8, 1921, Grundtvig's birthday. Building took place mainly from 1921 to 1926 when the tower section was completed, leading to the initial inauguration of the so-called Tower Church in 1927. Further work on the interior and on adjacent buildings continued until 1940 and was completed by Klint's son Kaare Klint after his father's death in 1930.[2] The church stands at the centre of a residential development (1924-36), also in yellow brick, designed by Jensen-Klint in harmony with the church.[3]

Jensen-Klint's design for Grundtvig's Church is a synthesis of architectural styles. In preparation for the project, the architect studied many Danish village churches, particularly those on the island of Sealand with stepped gables. Their traditional building techniques, materials and decoration inspired his design. Klint merged the modern geometric forms of Brick Expressionism with the classical vertical of Gothic architecture.
The most striking feature of the building is its west facade, reminiscent of a westwork or of the exterior of a church organ. It includes the 49 m (160 ft) tall bell tower. The imposing facade with its strong verticality guides one's eyes towards the sky. The bottom half of the tower is simple brick while the upper reaches present the appearance of one solid, rippling surface. [4]
Klint decorated the nave with a version of the stepped gables common on Danish churches, but reinterpreted by doubling the apex. The nave was designed with generous dimensions: The triple-aisled hall church is 76 m (259 ft) long in total and 35 m (115 ft) wide; the nave has a height of 22 m (72 ft).

The interior, inspired by Gothic architecture and comparable in size to Copenhagen cathedral, fits a congregation of 1,800. Some six million yellow bricks, a typical Danish building material, were used for the edifice. In its floor plan, the interior resembles that of a typical Gothic church with a nave, two lateral aisles and a small transept. Its proportions are also Gothic: a long, narrow nave, an extremely high ceiling, the columns which rise up to pointed arches and the ribbed groin vaults above the nave and aisles. But it is the yellow brick and the lack of ornamentation which contribute to the Gothic verticality while adhering to the minimalist modern aesthetic.[4]

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ie School of Architecture lo descubrió en septiembre de 2011

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architects
JØRGEN BO
CLAUS WOHLERT
OLE NØRGAARD
WILHELM WOHLERT

de mimoa.eu
Louisiana is not merely an experience in modern and contemporary art, but a congenial reflection of the interplay between art, architecture and landscape. Situated in Denmark on the North Zealand coast in a spacious, old park with a fine view across the sound of Sweden. The park serves as an ideal setting for displaying the museum’s collection of modern sculptures. Similarly the prominent museum buildings, constructed between 1958 and 1998, offer a fascinating background for the permanent collection of 20th century art. It houses an exquisite collection by international artists such as Arp, Francis Bacon, Calder, Dubuffet, Max Ernst, Sam Francis, Giacometti, Henry Moore, Picasso, Rauschenberg and Warhol. Architectonically, the new wings are still in harmony with the first Louisiana. But the architects have naturally changed their ideas during the many years that have passed since 1956. New stylistic elements have been introduced here and there, but the continuity has been retained.

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Architect: Peter Zumthor
Project Name: Spittelhof Housing
Date: 1996

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Jacques Herzog & Pierre de Meuron 1985

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residence 1984-88

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