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INDHOLD - Danske Landskabsarkitekter

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landskabsarkitekt MDL

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DK - 1415 København K

Tel. +45 39 69 06 33

landskab@arkfo.dk

www.arkfo.dk

Redaktionsudvalg

Ulrik Kuggas (fmd.), Caroline

Andersen, Charlotte Horn, Karen

Margrethe Krogh, Liv Oustrup,

Lulu Salto Stephensen.

Nordisk repræsentation: Malin

Blom qvist, Finland; Valdimar

Hardarson, Island; Kari Laaverud

Mangset, Norge; Camilla Anderson,

Sverige

73

78

84

90

93

94

96

Indhold

Grønnegadekonkurrencen i Odense

Har du vært på operaen?

Snøhetta

Nyt havneområde, Urban Mediaspace, i Århus

Kristine Jensen

Bogomtale

Steen Høyer: Landskabskunst

Hans Ovesen: Snit i storbyen

Lise Nevstrup Andersen: Den gode legeplads – ud fra børns perspektiv

Havekulturfondens Hæderspris 2009

En femårsbog om dansk landskabsarkitektur 2003-08

Summary

Pete Avondoglio

Diverse A30, A31, A32

Abonnementsændringer

Arkitektens Forlag

Overgaden oven Vandet 10,1

DK-1415 København K

Tel. 70 25 12 22 (10.00-12.00)

Fax 32 83 69 41

Giro 9 00 31 34

abonnement@arkfo.dk

Abonnementspriser 2009

I Danmark 850 kr. inkl. moms og

forsendelse.

Norden, Grønland og Europa og

resten af verden 584 kr.

Priser uden for DK er eksklusive

moms og porto.

Løssalg 100 kr. inklusive moms,

eksklusive porto.

Landskab udkommer 8 gange

om året

Annonceafdeling

Steffen Petersen,

Per Christensen,

Lone Andersen

Annoncebestilling:

Tel. +45 32 83 69 69

la@arkfo.dk

s. 80

Landskab udgives af:

Danske Landskabsarkitekter i

samarbejde med Arkitektens Forlag

Danske Landskabsarkitekter

Strandgade 27A, 1.

DK - 1401 København K

Tel. +45 33 32 23 54

www.landskabsarkitekter.dk

Landskabs artikler og illustrationer

må ikke gengives helt eller delvis

i andre blade og tidsskrifter uden

tilladelse.

Produktion P.J. Schmidt, Vojens

Forside: Grønnegadekonkurrencen

i Odense.

Forslag tildelt 1. præmie,

udarbejdet af Ma-Su-Planning

ISSN 0023-8066

s. 87

L A ND S K A B 4 2009

27


HAR DU VÆRT PÅ OPERAEN?

Snøhetta

Fra åpningen i april 2008 har operataket hatt

over en million besøkende, – mange i, men

mange flere på operaen i Bjørvika. Operaens

karakteristiske marmorlandskap har blitt et yndet

utfartssted og en ny scene for teater, dans

og utendørs konserter. Allerede i Snøhettas konkurranseutkastet

i 2000 ble operaen beskrevet

som et hvitt landskap som møter fjorden. En av

de grunnleggende ideene var å gi den bebygde

tomten tilbake til byens befolkning. ’Teppet’

78 LANDSKAB 4 2009

som dekker operaens funksjoner skulle være offentlig

tilgjengelig.

Byplanmessige forhold

Operaen er det første viktige elementet i Bjørvika,

den nye og sentralt beliggende bydelen som

skal omfatte boliger, kontorer og kulturbygg. En

omstridt rekke av kontorbygg, de såkalte Barcode-byggene,

er under oppføring, mens det nylig

ble avholdt arkitektkonkurranse om nytt Deich-

manske bibliotek og nytt Munch-museum. E18

legges i tunnel under Bjørvika fra 2010, og fjerning

av Bispelokket og Nylandsbroa forventes å

være ferdig i 2012.

Hoveddisponering

Bygningen er delt i to av en nord-sørgående

gangforbindelse, – ’Operagata’. Den vestre delen

av bygget rommer publikumsområder, mens

den østre delen rommer produksjonsområder. ....

fortsættes


1:5000

L A ND S K A B 4 2009

79


SUMMARY

Grønnegade competition in

Odense, p. 73

In spring 2008 Odense Municipality

arranged an open international

project competition for the Grønnegade

area, which today lies as

a somewhat diffused urban space

and for some time plans have existed

to produce a comprehensive

design treatment. The submitted

proposals can be organized in

three main groups: 1. The unifying

element: the band and runner as a

surface treatment or spatial structure.

2. The division of the urban

space in two parts: the traffic space

and the recreational and activity

space. 3. A unifying floor: the division

of the urban space in enclaves

each with its own program.

The principal discussions have

centered on the space and the surfaces,

experienced on eye level.

Three projects have distinguished

themselves and created references

through a number of detail considerations.

These three projects were

rated quite equally by the jury. The

final deciding factor in selecting

the winner was the proposal’s surplus

in relation to the judgement

criteria and the treatment of the

ambient elements.

In a convincing fashion, the

winning proposal creates an outdoor

foyer to the Brandt building

scheme, where plinths and trees

furnish the space and invite seating

and social activity for the local

citizens and visitors. With its

winding paving pattern, soft seatplay

plinths, the trees light veil

and twinkling play of shadows an

expression is introduced that differs

from the other urban spaces

in Odense. On the surface, five

plinths are placed and twelve locust

trees in beds, which together

create a spatial sequence. In

front of and together with Brandt’s

Square, a coherent surface was created

that can offer a better overview

in relation to the new entrance

area. The proposal employs

a simple technology for a water

organ that controls an area with

water columns and atomized water

as well as a light carousel connected

to the glass elevators, so

that light reflects the activity. After

a further treatment the winning

proposal will be able to be realized

within the project budget.

96 LANDSKAB 4 2009

Have you been to the opera?, p. 78

Snøhetta

Since the opening in April 2008

more than one million people

have visited the opera, – many of

them the opera at Bjørvika, whose

characteristic marble landscape has

become a popular place to visit

and a new venue for theater, dance

and outdoor concerts. Already in

Snøhetta’s competition proposal

from 2000, the opera was described

as a white landscape running

down to the fjord. One of

the basic ideas was to return the

built site to the local population.

‘The carpet,’ which roofs the opera’s

functions was to offer public

access.

The opera is the first important

element in Bjørvika, the new

and central city quarter, which will

include housing, offices and cultural

buildings. Highway E18 will

run in a tunnel under in 2019.

The building is divided in two

by a north/south running traffic

path, the left side of the building

houses public areas, while the eastern

part houses production facilities.

A marble paved arrival plaza

leads the public to the foyer and

the other public areas. The opera’s

landscape work includes the

marble roof, the arrival plaza, the

courtyard and the area facing the

surrounding streets. Access to the

arrival plaza is via a bridge across

the Opera Canal.

Snøhetta’s architecture is narrative.

The material forms the

space defining surfaces, it is the

meeting between the materials

that articulates the architecture via

different details and precision. For

the demanding stone contract, a

test program was carried out with

the different types of stone. After

an evaluation of price, technical

and aesthetic qualities and the

skills of the supplier, it was decided

to employ the Italian Carrara marble

‘La Facciata,’ which now covers

the arrival plaza, the sloping surfaces

and the interior floors in the

foyer and restaurant. The granite

‘Ice Green’ from Rennebu in Sør-

Trøndelag was used on the north

facade and on the zone down toward

the water.

Together with the artist committee,

different alternatives were

discussed and ideas tested in terms

of form, production and economy.

The paving patterns, rises, gutters,

different surface treatments and especially

the details and transitions

control and enrich the complicated

geometry. The marble surfaces

are all machine-treated, – fine

peck hammered, coarse peck hammered,

ground and grooved.

New harbor area, urban media

space, in Århus p. 84

Kristine Jensen

The new urban waterfront and the

new Multimedia house are a manifestation

of the city’s magnificent

location. Århus is a city by the water,

and its history is closely tied

to the spot where the stream flows

out into the Århus Bay. Through

a grand, unifying touch, the city’s

special location by the water is recreated,

as a place that connects

the city and the Multimedia house

with the north/south direction of

the bay and the stream’s east/west

connection both in terms of traffic,

horizontally and vertically. Here, at

a new urban position protruding

out between the stream and the

bay, a junction is established as

a covered square for culture and

knowledge.

The idea of re-creating the

edge of the city toward the water

is the basic theme in the planning

of the adjacent harbor areas. This

vision is continued in this proposal

as a contact between the city

and the water, which is summed

up around the stream’s landscape

and mouth. By organizing the urban

touch around the stream, it is

possible both to sum up and communicate

the city’s grand landscape

narration: The east-west running

stream landscape is hinged to

the recreational connections from

the forests in the north and south

around a large coherent urban area

by the Harbor.

With a summarizing urban

touch, a new urban position is established

that protrudes like a ‘bastion’

between the stream and the

bay to a series of squares for the

local citizenry. An architectural

narration – where level 0 solves

the vertical movement up to the

Multimedia house and horizontally

to the city and the harbor.

The two bastions, which eventually

will frame the city’s new

harbor basin are interpreted here

as special positions. Here the bastion

concept is developed as a protruding

podium, on which the local

citizens can climb up, get a

view and the total experience of

the water surface, the bay and the

horizon, which can be experienced

and discovered when one

rises up off the city floor. The recreational

connection to the water

is exploited – the strategic connection

across the squares and

lengthwise via the edge of the city

and the water.

The Garden Culture Foundation’s

Award of Honor 2009, p. 93

In May 2009, editor and landscape

architect MDL Annemarie Lund

was awarded the Garden Culture

Foundation’s Award of Honor. In

the motivation, the foreman for

the Garden Culture Foundation,

Thomas B. Randrup, emphasized

that “through the work as a teacher,

designer and not in the least as

an intermediary you have been the

driving force behind the creation

of a modern Danish landscape architecture

professional identity.”

A five-year book on Danish

landscape architecture 2003-08,

p. 94

Landscape architects projects are

being reformulated at the moment

with an agenda that is far more

extensive than previously. Not only

has the palette of projects been

enlarged; the role of the landscape

architect has achieved an autonomy,

which it has not previously

been privileged with.

Today, the landscape architect

is also “the green city planner”;

the profession, which should unite

and vitalize the deconstructed and

incoherent urban environments

that remain in the wake of industrialism,

and which city planners

and architects still design.

The examples in the book

stretch over a period of five years

from 2003-08 and were selected

out of about one hundred projects.

It is the hope that this book will

not just be a one-off affair, but offer

a recurrent status of a profession,

which despite the ongoing

crisis has become a mega trend.

Pete Avondoglio

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