All You Need Is Architecture 28-02-10

ALL

YOU NEED

IS ARCHITECTURE

Cen

tre fo

r Strategic Urban Research University of Copenha

gen

This book is made byStudents at Skov & Landskab, University of Copenhagen

PublisherSkov & Landskab

Copyright 2010 Skov & Landskab

Gengivelse er tilladt med tydelig kildeangivelseI salgs- eller reklameøjemed er eftertryk og citering af rapporten samt

anvendelse af Skov & Landskab´s navn kun tilladt efter skriftlig tilladelse.

150 s. ill.

ISBN978-87-7903-438-9 (internet)

ALL

YOU NEED

IS ARCHITECTURE

Cen

tre fo

r Strategic Urban Research University of Copenha

gen

08 FOREWORD- Getrud Jørgensen-09 INTRODUCTION- Clément Blanchet & Mads Farsø -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

ContentAll You Need Is Architecture

All You Need Is ArchitectureStudio 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 of 2008.

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 theoretical and practical knowledge on urban development, -planning and -design, the students must be able to analyse a given urban context and conceive solutions to the problems they find in the area, not only from a tradtional planning perspective, but also as creative designs. This is what was trained in this course.

We were lucky to have two guest professors to conceive and undertake the course, architect Clement Blanchet from Office for Metropolitan Architecture (OMA) in the Netherlands and landscape architect Mads Farsø - in cooperation with lecturer Richard Hare from University of 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 specific place. As will be seen in this booklet, the results were bold and imagi-native - and some of them also very handsome. They embrace many diferent views on the area in play - the Metropolitan Zone in Copenhagen - and the course has given important inspiration to the master’s programme in urban design, starting 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 editing and laying out this booklet. I hope it may inspire other students in their work.

Gertrud JørgensenProfessor, Head of Division Urban & Landscape StudiesMarch 2010

ALL YOU NEED IS ARCHITECTURE08

Foreword

09

The city is changing. The urban is all over and nowhere at the same time. Landscape archi-tecture faces an explosive reality. The profession needs to be trimmed, to change gear, to scale up, to dig down. To compete, to improve, to intervene. As urbanism is blurred, lost, be-ing reborn. Somehow architecture survives. After the fire, a new forest always grows up. The postmodern is now related to modernism. Potentials are arising. Hope is formulated. How to nurture new conditions of urbanity? How to enable future generations of designers? How to unleash the unexpected potentials? How to model a new urbanism, when the condition of postmodernity has rejected all models?

Our goal was to develop a prototype for the new urbanity. Making a frame to improve uto-pian pragmatism. Crash ideas, formulate arguments, identifying unexpected moments re-peatedly, over a period of eight weeks. Question experience and build on intuition. Teaching the evaluation of your concept, your approach. Challenge the statement of change. Make your design grown out of individuality, of a feeling of community. Nurture an environment of critique. Work on a core site of neglect. A central place for experiencing the placelessness of modern culture. Deal with the culture of consumption, the consumption of place, the consumption of architecture. Focus on the individual, the unexpected, your plan. Shoot on the different scales, reevaluate your statements, and strengthen the line of argumentation. Think urbanism as architecture. Experience the city as a series of flows. Imagine constraints as 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. Redefine the idea of a ‘plan’.

In the meanwhile we will be floating in space; our ‘city’ is still 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 are ignorant of our possible failures; because we need to be the architects of tomorrow; because urbanism survived; still it is, there. If postmodernism couldn’t smash the idea of the city, we can’t fail. We have to gain power. Our original task is to develop new conditions which would perform 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 Jørgensen and Richard Hare who have been key personalities and players as intellectual and creative minds, without mentioning the fact that they built up and made this amazing story possible.

Clément Blanchet and Mads FarsøRotterdam and CopenhagenMarch 2010

Why ?

Sct. Jørgens Lake

Central Station

Rådhuspladsen

500 m

SiteCopenhagen is a contested ground. Some brand the unique situation 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 stuff they learned that they couldn’t 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-park continue to dance limbo between history, tourists numbers and turnovers, where the public space 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 promotions. The municipal called it ‘the metropol zone’. For the sake, or the hope, of the better: To give an idication of bigness. To borrow a feeling of urbanity. To brand a stench, to call for the sexy.


Tivoli

Christiansborg

Rådhuspladsen

Medieval Copenhagen

To make urbanism happen the municipal asked five teams to reevaluate the site and present a vision in 2007. However, the municipal cherrypick in the teams projects. The old way of postmodernism won. The strategy is Still we miss to see a strategy that takes of from the sites unleashed potentials. Therefore we dumped graduate enthusiasm onto the site. To identify, develop and redefine the idea of vision, strategy and project. Disregard politics. On site: Action. Statements. Models. Courage. The idea was to ask for a strategy for the familiar unknown: the Copenhagen modernism.

1500 m

National Museum

11

MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERN-ISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MOD-ERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERN-ISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MOD-ERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERN-ISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MOD-ERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERN MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNIS MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERN-ISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MOD-ERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERN-ISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MOD-ERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERN-ISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MOD-ERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERN-ISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MOD-ERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERN-ISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MOD-ERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM We find it hard to see a continuation without putting things in perspective. We are not alone. Someone was before us. But we are maybe the first. Please let us know what you think. What you see. What you experience. Is it a totality? Is everything relative? Or does something need to be decided upon. We believe in form, in character, in process, in plans, in design. We believe in the individual and feeling of the community. We find objectivism in sub-jectivism. We see modernism in postmodernism. We like the smell of bigness. We believe that other do as well. We find the complete openness to be fool’s belief in urbanism. Power still prevails. We question the egos. We see a new coordinative role for planner. We study history. We interpretate the role of form. We experience the different shapes. We see the same programs over and over again. We work for integration, hybrid forms and the connectivity. We see it all part of the same story: Modernity. It is not our fault that it was misused. Please let us find our way back the first thoughts, the idea of a potential. Unformulated, undersigned, undiscovered. However conceptualized in a thought, formulated in statement, communicated, and remembered in an image. What we have learned is necessarily not enough for our urbanity. It is beyond ‘the trained’. The city is generic (we know that now) it just happens. How will we make it happen? MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MOD-ERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERN-ISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MOD-ERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERN-ISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MOD-ERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERN-ISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MOD-ERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERN-ISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MOD-ERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERN-ISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MOD-ERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERN-ISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MOD-ERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERN-ISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MOD-ERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM MODERNISM

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We believe in architecture. We love modernism. We like the modern project. We believe in infrastructure. We trust our intuitions. We


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We believe in architecture. We love modernism. We like the modern project. We believe in infrastructure. We trust our intuitions. We

MODERNISM 15

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are young. We dance. We party. We question. We built on history. We approach the urban. We step back to go forward. We question.


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are young. We dance. We party. We question. We built on history. We approach the urban. We step back to go forward. We question.

MODERNISM 17

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We focus on the metropolitan. Our concept may appear banal. Our form is counterproductive. It goes anywhere by going nowhere.


We focus on the metropolitan. Our concept may appear banal. Our form is counterproductive. It goes anywhere by going nowhere.

MODERNISM 19

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It’s a study to break the box. To cancel aspirations. To step up by hitting hard on design. To motivate. Work through a destruction of


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It’s a study to break the box. To cancel aspirations. To step up by hitting hard on design. To motivate. Work through a destruction of

MODERNISM 21

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images. To raise by blocking innovations. To rule out the idea of normal: Eat your context. Swallow your history. Dump your pride.


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images. To raise by blocking innovations. To rule out the idea of normal: Eat your context. Swallow your history. Dump your pride.

MODERNISM 23

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Believe in the banal. Work towards the less obvious. Attack the obvious. Win the battle. Lose your temper. Cry your desire. Crash


Believe in the banal. Work towards the less obvious. Attack the obvious. Win the battle. Lose your temper. Cry your desire. Crash

MODERNISM 25

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your models. Depart from your rationality. Stick to your path. Follow it up by going down. Don’t be afraid. Greet the less. Love the


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your models. Depart from your rationality. Stick to your path. Follow it up by going down. Don’t be afraid. Greet the less. Love the

MODERNISM 27

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more. Shock the rest. Seize the unworthy for presentation. Impress the depressed. Forget what you have learned. Or believe narrow


more. Shock the rest. Seize the unworthy for presentation. Impress the depressed. Forget what you have learned. Or believe narrow

MODERNISM 29

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stuff, your stuff, your way. Work, improve, work, work more. Love your architecture. Get ready to get killed. Stand up on critique.


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stuff, your stuff, your way. Work, improve, work, work more. Love your architecture. Get ready to get killed. Stand up on critique.

MODERNISM 31

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Shoot after being shot at. Don’t shoot back. Reevaluate efforts. Change design. Block logic. Demand supremacy. Release control. Trust


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Shoot after being shot at. Don’t shoot back. Reevaluate efforts. Change design. Block logic. Demand supremacy. Release control. Trust

MODERNISM 33

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in revolutions. Get desperate. Kill your supremacy. Work with your irony. Strengthen your relentless. Improve your efforts. Dream


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in revolutions. Get desperate. Kill your supremacy. Work with your irony. Strengthen your relentless. Improve your efforts. Dream

MODERNISM 35

about architecture. Run through your design. Built your story. Unleash your potential. Overdo your renderings. Smash the image.


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about architecture. Run through your design. Built your story. Unleash your potential. Overdo your renderings. Smash the image.

MODERNISM 37

DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS Our main question is if we can keep it flowing, floating or trespassing? Are we really open, are we dynamic (as a city), and are we flexible? How to encircle it? How to communi-cate it? How to define the fluid nature of the urban? We experience it but we don’t tell it. We hear it but we don’t integrate it. We smell it but we don’t know how to cook it. Urbanism. Cars, people, bikes, business, paths, parks, events, flowers, feelings, hookers, streets and squares. We call ourselves architects. We are less in control. We need to release control to gain control. Swim in an unobvious direction. Kill our pride. Take down our posters. Challenge our slogans. Snipe our darlings. Touch our beliefs. Endanger our souls: Our designs, our solutions, our beliefs. We need to be modern. We need to question the flow of ideas. We need to question up front: What makes the city work? What make the city a city? Is there an architecture beyond architecture? DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DY-NAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DY-NAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DY-NAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS DYNAMICS

The

inte

nt w

as to

eng

age

conv

ersa

tion

as

to w

heth

er c

omm

erci

aliz

ed lo

gos

belo

ng in

the

cent

ral c

ity

squa

re.

Crash the idea. Expect the unexpected. Find you way. Anticipate the flexible. Put your self out of the box. Ensure the story. Crash your


The

area

aro

und

Nyr

opsg

ade

is s

tron

gly

segr

egat

ed in

to 3

diff

eren

t lay

ers:

urb

an n

atur

e, c

orpo

rate

was

tela

nd a

nd c

ity

life.

Crash the idea. Expect the unexpected. Find you way. Anticipate the flexible. Put your self out of the box. Ensure the story. Crash your

DYNAMICS 41

To a certain degree, this observa-tion is correct in the sense that a

is certainly being disseminated and sold all over the planet…

Some of them are even becoming socially,

ethnically and racially ghettoised.

But at the same time, European cit-ies remain places where intergroup encounters can develop and wheretakes place.

Mob

ility

is li

nked

to p

ublic

spa

ces

but i

t is

often

als

o an

ele

men

t tha

t is

dest

roys

thei

r qu

aliti

es.

box. Do not trust your move. Frame the surroundings. Redo your architecture. Again. Who is your City? What is your system? When


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??um!!

!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!!!!

The

met

ropo

l zon

e is

the

back

grou

nd fo

r pe

ople

s ev

eryd

ay a

ction

s an

d in

tera

ction

s.

box. Do not trust your move. Frame the surroundings. Redo your architecture. Again. Who is your City? What is your system? When

DYNAMICS 43

START

The

zone

is m

ade

for

cars

. The

zon

e is

mad

e fo

r ca

rs. T

he z

one

is m

ade

for

cars

. The

zon

e is

mad

e fo

r ca

rs.

is your time? We believe in architecture. We love modernism. We like the modern project. We believe in infrastructure. We trust our


Biki

ng t

he c

ity

mea

ns k

now

ing

the

city

- co

nnec

ting

the

city

- ex

plor

ing

the

city

- ta

king

par

t in

the

city

.

zoom in, experiencethe flows, noticespots and sites.

is your time? We believe in architecture. We love modernism. We like the modern project. We believe in infrastructure. We trust our

DYNAMICS 45

Impression

Scene from a video

The

peop

le a

ct to

the

bea

t of t

he 4

whe

el tr

affic

whi

ch is

the

hear

t bea

t of t

he M

etro

polit

an z

one.

intuitions. We are young. We dance. We party. We question. We built on history. We approach the urban. We step back to go for-


The city as a place that is attractive and well functioning for the local residents.

Recreation and healthy environment with access to physical activity 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 motivate and support sustainable behavior to getenvironmental sustainability in the city.

Reducing CO2- emission by replacing privat car transport with attractive 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 emotional landscape.

REDEFINING CITY VALUES:

Read

Tex

t, R

ead

Text

, Rea

d Te

xt, R

ead

Text

, Rea

d Te

xt, R

ead

Text

, Rea

d Te

xt, R

ead

Text

, Rea

d Te

xt, R

ead

Text

intuitions. We are young. We dance. We party. We question. We built on history. We approach the urban. We step back to go for-

DYNAMICS 47

The

mov

ie s

how

ed c

lips

of th

e ci

ty li

ghts

in h

igh

spee

d. I

wan

ted

to p

ay a

tten

tion

how

pow

erfu

l and

pus

hy th

e lig

hts

are.

ward. We question. We focus on the metropolitan. Our concept may appear banal. Our form is counterproductive. It goes anywhere


I tri

ed to

cre

ate

a te

nse

flick

erin

g ex

peri

ence

wit

h lig

hts

and

mov

emen

t.

ward. We question. We focus on the metropolitan. Our concept may appear banal. Our form is counterproductive. It goes anywhere

DYNAMICS 49

“My

impr

essi

on o

f wha

t a to

uris

t can

see

from

the

back

stag

e of

the

Met

ropo

lzon

e...”

by going nowhere. It’s a study to break the box. To cancel aspirations. To step up by hitting hard on design. To motivate. Work


It’s good to have George back in town!

Alt

houg

h no

t co

mpl

etel

y su

cces

sful

Geo

rge

Cloo

ney

had

the

pow

er to

cre

ate

an il

lusi

on o

f bei

ng in

Hol

lyw

oods

film

stud

io.

by going nowhere. It’s a study to break the box. To cancel aspirations. To step up by hitting hard on design. To motivate. Work

DYNAMICS 51

Pede

stri

ans

will

sett

le w

hile

rus

hing

and

sw

arm

ing

thro

ugh

the

city

and

enc

oura

ge a

n op

en m

ind

and

cour

iosi

ty to

exp

lore

.

through a destruction of images. To raise by blocking innovations. To rule out the idea of normal: Eat your context. Swallow your


There is no connectiviy or any

direct act of style in the area_The

Met

ropo

le z

one

cons

ist o

f man

y ab

rupt

ed s

truc

tura

l pie

ces,

cut

thro

ugh

by th

e ro

ad s

yste

m.

through a destruction of images. To raise by blocking innovations. To rule out the idea of normal: Eat your context. Swallow your

DYNAMICS 53

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

traffic is the void where you are lost,

giving you tunnel sight

until the next red light.

Stop. You blink,

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

Start. Blink, Lights, bikes, cars.

Poet

ry in

moti

on -

Poet

ry in

moti

on -

Poet

ry in

moti

on -

Poet

ry in

moti

on -

Poet

ry in

moti

on -

Poet

ry in

moti

on

history. Dump your pride. Believe in the banal. Work towards the less obvious. Attack the obvious. Win the battle. Lose your temper.


Night &

DayD

ay/N

ight

/Day

/Nig

ht/D

ay/N

ight

/Day

/Nig

ht/D

ay/N

ight

/Day

/Nig

ht/D

ay

history. Dump your pride. Believe in the banal. Work towards the less obvious. Attack the obvious. Win the battle. Lose your temper.

DYNAMICS 55

Add

ing

and

subt

racti

ng; w

as s

uppo

sed

to p

ictu

re d

ynam

ics

in c

open

hage

n, th

is c

ould

be

any

city

thou

gh.

Cry your desire. Crash your models. Depart from your rationality. Stick to your path. Follow it up by going down. Don’t be afraid.


...the movie:

”Eve

ry w

ork

of a

rt is

the

child

of i

ts ti

me,

oft

en it

is th

e m

othe

r of

our

em

otion

s.”

— K

andi

nsky

,Was

sily

enee

.

Cry your desire. Crash your models. Depart from your rationality. Stick to your path. Follow it up by going down. Don’t be afraid.

DYNAMICS 57

Sens

e of

Los

tnes

s //

No

atten

tion

//

No

atra

ctive

poi

nts

// N

o le

adin

g po

ints

//

No

iden

tity

Greet the less. Love the more. Shock the rest. Seize the unworthy for presentation. Impress the depressed. Forget what you have


Som

e co

nver

genc

e po

ints

are

sit

uate

d in

the

Met

ropo

lzon

e - I

n th

e ce

nter

tivo

li is

the

exce

ption

.

Greet the less. Love the more. Shock the rest. Seize the unworthy for presentation. Impress the depressed. Forget what you have

DYNAMICS 59

1 2

Traffi

c lig

hts

not o

nly

regu

late

roa

ds. I

t im

pose

s a

rhyt

hm fo

r th

e en

tire

are

a - F

low

s, R

epeti

tion

, Ord

er

learned. Or believe narrow stuff, your stuff, your way. Work, improve, work, work more. Love your architecture. Get ready to get


Unt

utp

at e

ro e

uis

nonu

llam

nul

la fe

u fe

ugai

t pra

t, v

eros

nit

wis

it ip

isci

tem

vel

ulla

1 2

learned. Or believe narrow stuff, your stuff, your way. Work, improve, work, work more. Love your architecture. Get ready to get

DYNAMICS 61

SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS At first hand the system is in your hand. Later is crystallized in a model, in a design. It may be driving your design, your city, your intuition. We ask you to formulate it. To show it. To illustrate it. To make it 3D. To present the idea of an structure. The influence what is going on. That define your music, your sound, your voice. Your way of perceiving. We ask to put the subjective experience on a formula for everyone. We want to see what is at works. 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? Is it to be everybodys? Is it unique? We find a need to work towards a new instrumentality. That develops the idea of a system. The system of the city. Include it into the design, city design, urban design. Can we learn from the system that produce urbanity? Can we identify it? How to identify it? How to communicate it? How to design it? How to take on the task of designing the city. That we want to approach. As subjects. As objects. As landscape architects of an evolving city, an evolving branch of design. SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS S SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTSYSTEMS SYSTEMS S SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS S SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS

So

her

e is

a h

igh-

rise

bui

ldin

g, c

onta

inin

g hi

gh-r

ise

build

ings

.

killed. Stand up on critique. Shoot after being shot at. Don’t shoot back. Reevaluate efforts. Change design. Block logic. Demand su-


The

boul

evar

d as

a m

onum

ent.

killed. Stand up on critique. Shoot after being shot at. Don’t shoot back. Reevaluate efforts. Change design. Block logic. Demand su-

SYSTEMS 29

From

the

19th

cen

tury

the

re h

as b

een

room

for

all t

he in

fras

truc

ture

, tec

hnol

ogy

and

ente

rtai

nmen

t a m

oder

n ci

ty n

eeds

.ALL YOU NEED IS ARCHITECTURE26 SYSTYEMS

premacy. Release control. Trust in revolutions. Get desperate. Kill your supremacy. Work with your irony. Strengthen your relentless.

SYSTYEMS 129

The

urba

n se

eds

are

uniti

es o

f cen

tral

ity

and

mob

ility

. The

vec

tors

defi

ne e

ach

elem

ent’

s m

ovem

ent a

nd g

row

th.

premacy. Release control. Trust in revolutions. Get desperate. Kill your supremacy. Work with your irony. Strengthen your relentless.

Land

mar

k co

nnec

ting

mon

umen

ts.

ALL YOU NEED IS ARCHITECTURE26 SYSTYEMS

Improve your efforts. Dream about architecture. Run through your design. Built your story. Unleash your potential. Overdo your

SYSTYEMS 129

A p

latf

orm

for

cult

ural

and

soc

ial t

oget

hern

ess.

Improve your efforts. Dream about architecture. Run through your design. Built your story. Unleash your potential. Overdo your

Ever

y st

ruct

ure

grab

s a

bit o

f Tiv

oli.

Both

Tiv

oli a

nd th

e M

etro

pol Z

one

bene

fits

from

this

exc

hang

e of

con

tent

.


renderings. Smash the image. Crash the idea. Expect the unexpected. Find you way. Anticipate the flexible. Put your self out of the

SYSTEMS 29

A

way

tow

ards

cur

iosi

ty.

renderings. Smash the image. Crash the idea. Expect the unexpected. Find you way. Anticipate the flexible. Put your self out of the

R

olle

rcoa

ster

ana

logy

.


box. Ensure the story. Crash your box. Do not trust your move. Frame the surroundings. Redo your architecture. Again. Who is your

A s

ymbo

lic th

read

thro

ugh

the

Met

ropo

l Zon

e, u

sing

bot

h hi

stor

ical

and

new

wat

er e

lem

ents

.

SYSTEMS 29

box. Ensure the story. Crash your box. Do not trust your move. Frame the surroundings. Redo your architecture. Again. Who is your

The

syst

em d

icta

tes

the

coun

ter

syst

em th

at r

eacti

vate

s th

e ci

ty.


City? What is your system? When is your time? We believe in architecture. We love modernism. We like the modern project. We be-

SYSTEMS 29

The

syst

em d

icta

tes

the

coun

ter

syst

em th

at r

eacti

vate

s th

e ci

ty.

City? What is your system? When is your time? We believe in architecture. We love modernism. We like the modern project. We be-

Unt

utp

at e

ro e

uis

nonu

llam

nul

la fe

u fe

ugai

t pra

t, v

eros

nit

wis

it ip

isci

tem

vel

ulla


lieve in infrastructure. We trust our intuitions. We are young. We dance. We party. We question. We built on history. We approach

SYSTEMS 29

Unt

utp

at e

ro e

uis

nonu

llam

nul

la fe

u fe

ugai

t pra

t, v

eros

nit

wis

it ip

isci

tem

vel

ulla

lieve in infrastructure. We trust our intuitions. We are young. We dance. We party. We question. We built on history. We approach


the urban. We step back to go forward. We question. We focus on the metropolitan. Our concept may appear banal. Our form is

SYSTEMS 29

Unt

utp

at e

ro e

uis

nonu

llam

nul

la fe

u fe

ugai

t pra

t, v

eros

nit

wis

it ip

isci

tem

vel

ulla

the urban. We step back to go forward. We question. We focus on the metropolitan. Our concept may appear banal. Our form is

Unt

utp

at e

ro e

uis

nonu

llam

nul

la fe

u fe

ugai

t pra

t, v

eros

nit

wis

it ip

isci

tem

vel

ulla


counterproductive. It goes anywhere by going nowhere. It’s a study to break the box. To cancel aspirations. To step up by hitting hard

SYSTEMS 29

counterproductive. It goes anywhere by going nowhere. It’s a study to break the box. To cancel aspirations. To step up by hitting hard

Unt

utp

at e

ro e

uis

nonu

llam

nul

la fe

u fe

ugai

t pra

t, v

eros

nit

wis

it ip

isci

tem

vel

ulla


on design. To motivate. Work through a destruction of images. To raise by blocking innovations. To rule out the idea of normal: Eat

SYSTEMS 29

Unt

utp

at e

ro e

uis

nonu

llam

nul

la fe

u fe

ugai

t pra

t, v

eros

nit

wis

it ip

isci

tem

vel

ulla

on design. To motivate. Work through a destruction of images. To raise by blocking innovations. To rule out the idea of normal: Eat

Unt

utp

at e

ro e

uis

nonu

llam

nul

la fe

u fe

ugai

t pra

t, v

eros

nit

wis

it ip

isci

tem

vel

ulla


your context. Swallow your history. Dump your pride. Believe in the banal. Work towards the less obvious. Attack the obvious. Win

SYSTEMS 29

Unt

utp

at e

ro e

uis

nonu

llam

nul

la fe

u fe

ugai

t pra

t, v

eros

nit

wis

it ip

isci

tem

vel

ulla

your context. Swallow your history. Dump your pride. Believe in the banal. Work towards the less obvious. Attack the obvious. Win

UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED Do we love our space? Do we dare to question it? Turn it around? Change it? Will our design survive, if we erase individuality, hope, or the common. How can we reach the unexpected? How can we prepare our-selves of the unexpected? How can we make our design the unexpected? How can the unexpected be integrated into our design? How can the idea of urbanity survive? We feel that something more is needed. Something out of our reach. Something that should be out our reach. Otherwise we would fail. We shouldn’t do everything. We should control everything. We should touch all details. We should think everything through. We should leave room for surprise. We should produce the elements of surprise. We should surprise. We should design the unexpected. We should iconize hope. We should materialize optimism. We should reach borders, and find our way on the other side. We should do it. We should prepare our designs resistance. We should believe it. We should envision it. We should it test it against the unexpected. We need to let it fail. We need to open. Perhaps, the unexpected turns into a glamorous compromise. Perhaps, urbanism cannot be knocked out. Perhaps, we believe of a better world. Perhaps, we are wrong. Perhaps, we won’t know yet. UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEX-PECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEX-PECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEX-PECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED 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UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECT-ED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEX-PECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UN-EXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UN TED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEX-PECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEX-PECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEX-PECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED UNEXPECTED


the battle. Lose your temper. Cry your desire. Crash your models. Depart from your rationality. Stick to your path. Follow it up by

UNEXPECTED 29

Mor

e liv

ely.

Mor

e co

lorf

ul. M

ore

atten

tion

.

the battle. Lose your temper. Cry your desire. Crash your models. Depart from your rationality. Stick to your path. Follow it up by

Futu

re P

eopl

e flo

ws

guid

e fr

om a

to b

, cre

ating

a tu

nnel

wit

h ei

ther

; gre

ens,

scr

eens

or

light

s.


going down. Don’t be afraid. Greet the less. Love the more. Shock the rest. Seize the unworthy for presentation. Impress the depressed.

UNEXPECTED 29

It is

a s

cape

that

exp

ress

the

hum

an s

cale

and

bei

ng o

n th

e ey

elev

el.

going down. Don’t be afraid. Greet the less. Love the more. Shock the rest. Seize the unworthy for presentation. Impress the depressed.

Pede

stri

an to

wer

as

a co

nnec

tor.


Forget what you have learned. Or believe narrow stuff, your stuff, your way. Work, improve, work, work more. Love your architec-

UNEXPECTED 29

The

expe

rien

ce o

f the

ligh

ts a

nd m

usic

mak

es it

a p

lace

whe

re to

sto

p, s

tay

and

com

e ba

ck.

Forget what you have learned. Or believe narrow stuff, your stuff, your way. Work, improve, work, work more. Love your architec-

A n

ew r

oof f

or th

e ci

ty.


ture. Get ready to get killed. Stand up on critique. Shoot after being shot at. Don’t shoot back. Reevaluate efforts. Change design.

UNEXPECTED 29

Whi

te is

pur

e.. B

lack

is d

ark.

. Let

s m

ake

mor

e w

hite

str

eets

!

ture. Get ready to get killed. Stand up on critique. Shoot after being shot at. Don’t shoot back. Reevaluate efforts. Change design.

Why

trav

el s

o fa

r to

get

you

r fa

vori

te s

hoes

and

dre

sses

?


Block logic. Demand supremacy. Release control. Trust in revolutions. Get desperate. Kill your supremacy. Work with your irony.

UNEXPECTED 29

Wit

h pl

acin

g th

e cu

bes

on th

e bu

ildin

gs a

nd m

oder

nise

dan

tes

plad

s th

e ar

ea w

ill b

ecam

e a

met

ropo

litan

sta

ge o

f Cph

.

Block logic. Demand supremacy. Release control. Trust in revolutions. Get desperate. Kill your supremacy. Work with your irony.


Strengthen your relentless. Improve your efforts. Dream about architecture. Run through your design. Built your story. Unleash your

UNEXPECTED 29

Ex

pand

and

ope

n up

Tiv

oli!

Strengthen your relentless. Improve your efforts. Dream about architecture. Run through your design. Built your story. Unleash your

The

unifo

rm a

nd d

iver

se la

ngua

ge is

con

necti

ng th

e se

greg

ated

pie

ces

in th

e U

rban

Jung

le p

uzzl

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potential. Overdo your renderings. Smash the image. Crash the idea. Expect the unexpected. Find you way. Anticipate the flexible.

UNEXPECTED 29

Brin

ging

func

tion

s of

exi

sting

bui

ldin

gs o

utsi

de. I

nteg

rati

on o

f slo

w a

nd fa

st tr

afic

in th

e ci

ty p

ark.

potential. Overdo your renderings. Smash the image. Crash the idea. Expect the unexpected. Find you way. Anticipate the flexible.

“Bac

ksta

ge”


Put your self out of the box. Ensure the story. Crash your box. Do not trust your move. Frame the surroundings. Redo your architec-

UNEXPECTED 29

Traffi

c, li

ght,

spe

ed, s

ound

and

the

city

life

abo

ve.

Put your self out of the box. Ensure the story. Crash your box. Do not trust your move. Frame the surroundings. Redo your architec-

Inte

rven

tio

ns

focu

sed

on

bri

ng

ing

peo

ple

flo

ws

to t

hes

e o

ther

wis

e d

ead

zo

nes

.


ture. Again. Who is your City? What is your system? When is your time? We believe in architecture. We love modernism. We like the

UNEXPECTED 29

ture. Again. Who is your City? What is your system? When is your time? We believe in architecture. We love modernism. We like the

Feel

the

dive

rsit

y of

Cop

enha

gen!


modern project. We believe in infrastructure. We trust our intuitions. We are young. We dance. We party. We question. We built on

UNEXPECTED 29

New

can

al a

ttra

ct li

fe li

ke a

wat

erho

le d

oes

in th

e fo

rest

.

modern project. We believe in infrastructure. We trust our intuitions. We are young. We dance. We party. We question. We built on

Wat

er fe

atur

es e

mph

asis

e th

e ho

rizo

ntal

ity

and

pede

stri

ans

seem

to fl

oat o

n su

rfac

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ater

.


history. We approach the urban. We step back to go forward. We question. We focus on the metropolitan. Our concept may appear

UNEXPECTED 29

Rem

ovin

g la

nes

and

park

ing

plac

es to

cre

ate

mor

e sp

ace

for

pede

stri

ans

and

bike

rs. W

hy n

ot!?

history. We approach the urban. We step back to go forward. We question. We focus on the metropolitan. Our concept may appear

This

is a

con

cept

that

abl

es u

s to

bui

ld h

undr

eds

of m

eter

s ve

rtica

lly, c

reati

ng lu

xury

, fut

uris

m a

nd a

feel

ing

of s

urre

alis

m.ALL YOU NEED IS ARCHITECTURE26

banal. Our form is counterproductive. It goes anywhere by going nowhere. It’s a study to break the box. To cancel aspirations. To step

UNEXPECTED 29

It a

cts

as a

mee

ting

pla

ce.

banal. Our form is counterproductive. It goes anywhere by going nowhere. It’s a study to break the box. To cancel aspirations. To step

We believe in architecture. We love modernism. We like the modern project. We believe in infrastructure. We trust our intuitions. We are young.

ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS AR-CHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITEC-TURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED 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IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS AR-CHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITEC-TURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS AR-CHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITEC-TURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS AR-CHITECTURE ALL YOU NEED IS ARCHITECTURE This is our hope for the future. We believe that we can nurture and sustain change. Are we ignorant? That we can find something different? That we can redefine the field of urbanism? That we may the lucky to trespass the borders of diplomacy? That we can unleash the potentials? That we may prefer the unprefaired? That we can develop stuff? See potentials, at once. We focus, trust our intuitions, and shot silent at they ones that shout the most. With our graphics, plans and perspectives. This publication is to be seen as a cluster bomb. Like a rampage on urban design teaching. By which we want to train and develop the imposition of our experience on the city: Rein-state place, architecture and planning in your design. Forget design to do design. Trust intuitions. Trust intuitions. Believe and put disbelief into plans. Redefine the questions of doubt. Focus, work and re conceptualize. Play it again, over, see if something has changed, that can be changed, will be changed, after it has been changed. Define a deadline for your design after your deadline of implementation. Make it dynamic, make it system for the system, make it spacious, expect the unexpected. Make it unmarked, different, poetic, high, long, wide, and crucial. Do NOT be afraid to reveal your argument. Do not be afraid to embarrass us. Convince us. The night is yours. Time is yours. All you need is architecture. ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS AR-CHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITEC-TURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS AR-CHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITEC-TURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS AR-CHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITEC-TURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU

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IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS AR-CHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITEC-TURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS AR-CHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITEC-TURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS AR-CHITECTURE ALL YOU NEED IS ARCHITECTURE This is our hope for the future. We believe that we can nurture and sustain change. Are we ignorant? That we can find something different? That we can redefine the field of urbanism? That we may the lucky to trespass the borders of diplomacy? That we can unleash the potentials? That we may prefer the unprefaired? That we can develop stuff? See potentials, at once. We focus, trust our intuitions, and shot silent at they ones that shout the most. With our graphics, plans and perspectives. This publication is to be seen as a cluster bomb. Like a rampage on urban design teaching. By which we want to train and develop the imposition of our experience on the city: Rein-state place, architecture and planning in your design. Forget design to do design. Trust intuitions. Trust intuitions. Believe and put disbelief into plans. Redefine the questions of doubt. Focus, work and re conceptualize. Play it again, over, see if something has changed, that can be changed, will be changed, after it has been changed. Define a deadline for your design after your deadline of implementation. Make it dynamic, make it system for the system, make it spacious, expect the unexpected. Make it unmarked, different, poetic, high, long, wide, and crucial. Do NOT be afraid to reveal your argument. Do not be afraid to embarrass us. Convince us. The night is yours. Time is yours. All you need is architecture. ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS AR-CHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITEC-TURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS AR-CHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITEC-TURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS AR-CHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITEC-TURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU NEED IS ARCHITECTURE ALL YOU

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 Tivoli’s main entrance and strength the two parts of Axeltorv.

The new building has to maintain the openness of the site and be in contact to Tivoli and the traffic. At night the the roof is highlighted.

A c

onst

ructi

on th

at e

xpre

sses

ligh

tnes

s

up by hitting hard on design. To motivate. Work through a destruction of images. To raise by blocking innovations. To rule out the

The

use

of th

e si

te is

fpr

leis

ure

and

cult

ure

arou

nd th

e ye

ar

up by hitting hard on design. To motivate. Work through a destruction of images. To raise by blocking innovations. To rule out the

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 the zone. Car traffic 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) tivoli. The car traffc is calmed down. Many green urban spaces are developed. The quality of life in the whole center of Copenhagen will dramatically increase. Many new urban spaces can be developed and new explored.

The

mai

n fo

cus

of m

ovin

g ar

ound

in th

e ci

ty is

set

to b

ikes

and

pub

lic tr

ansp

ort

...And Copenhagen will definitely confirm its title as the world’s bicycle city number one.

idea of normal: Eat your context. Swallow your history. Dump your pride. Believe in the banal. Work towards the less obvious. At-

Keep

on

goin

g!

idea of normal: Eat your context. Swallow your history. Dump your pride. Believe in the banal. Work towards the less obvious. At-

Hm

m...

I am

not

an

arch

itec

t but

I w

ill g

ive

it a

try

tack the obvious. Win the battle. Lose your temper. Cry your desire. Crash your models. Depart from your rationality. Stick to your

The tower is in the intersection of Rådhuspladsen that is pumped with life and where is always something hap-pening. It will be 110m high, could include a restaurant and information. It sheds light on different buildings and places. The different programs in the building could be; modernism within the Metropolzone, classical architec-ture, museums, activities, statues enc.

The

land

mar

k co

nnec

ting

mon

umen

ts

tack the obvious. Win the battle. Lose your temper. Cry your desire. Crash your models. Depart from your rationality. Stick to your

The

rede

sign

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pla

ces

will

dra

w p

edes

tria

n flo

ws

to o

ther

wis

e ig

nore

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path. Follow it up by going down. Don’t be afraid. Greet the less. Love the more. Shock the rest. Seize the unworthy for presentation.

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 something to 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 will also be fitted along the canal ledges overhanging the water surface to accent the ponds.Th

e cr

isis

is o

ver.

Go

hom

e an

d go

bac

k to

you

r be

ds

path. Follow it up by going down. Don’t be afraid. Greet the less. Love the more. Shock the rest. Seize the unworthy for presentation.

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 sucks up some fragments.

Dan

tes

Plad

s ha

s un

ique

loca

tion

bet

wee

n tw

o ar

t gal

leri

es a

nd a

cros

s th

e st

reet

is a

n en

tran

ce to

Tiv

oli

Impress the depressed. Forget what you have learned. Or believe narrow stuff, your stuff, your way. Work, improve, work, work more.

A block is cut open and a new structure aligned with the old frames Dantes Plads and stops traffic. The traffic on HC Andersens Boulevard is going under the area in a tunnel. The corner of Tivoli is revitalized with a new building. The building breaks in an angle making it more modest and is elevated so that people can enter Tivoli under the building. A field of grass a two line of trees directs attention to the new entrance and shows the way through the area.

A n

ew h

iera

rchy

is in

trod

uced

to th

e M

etro

pole

Zon

e

Impress the depressed. Forget what you have learned. Or believe narrow stuff, your stuff, your way. Work, improve, work, work more.

Design aims:Break up the canyon structure.Create a space where cars and traffic noise are subtracted and a human environment is added.Design of surroundings that will stimulate the development of social activities

Method/Intervention:A part of a building and a gas station will be removed to make room for a new plaza.Car traffic around the new plaza will be minimized.Use trees for scale transition between the high buildings and the people on the ground.Use historical water references to define the space. Water filter refers to former needs. Air filter refers to modern needs

Wat

er h

as p

laye

d a

maj

or p

art i

n th

e ci

ty’s

his

tory

and

dev

elop

men

t

Love your architecture. Get ready to get killed. Stand up on critique. Shoot after being shot at. Don’t shoot back. Reevaluate efforts.

The

wat

er fi

lter

s w

ill o

nce

agai

n be

a c

atal

yst f

or li

fe in

the

Met

ropo

lezo

ne

Love your architecture. Get ready to get killed. Stand up on critique. Shoot after being shot at. Don’t shoot back. Reevaluate efforts.

Poss

ible

iden

tity

can

be

art a

nd c

raft

, ent

erta

inm

ent a

nd a

mus

emen

t

Change design. Block logic. Demand supremacy. Release control. Trust in revolutions. Get desperate. Kill your supremacy. Work with

The

traffi

c is

take

n do

wn

unde

r an

d th

e st

reet

s ar

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ansf

orm

ed to

a g

reen

are

a w

ith

tree

s, p

arks

and

squ

ares

Change design. Block logic. Demand supremacy. Release control. Trust in revolutions. Get desperate. Kill your supremacy. Work with

Crea

te a

hig

h-te

ch a

udio

visu

al r

oom

whe

re p

eopl

e ca

n no

t jus

t see

but

als

o he

ar w

hat i

s go

ing

on in

diff

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t sit

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your irony. Strengthen your relentless. Improve your efforts. Dream about architecture. Run through your design. Built your story.

Is th

is p

roje

ct e

ntire

ly a

rchi

tect

ural

? Ju

st a

s yo

u pl

ease

!

The new idea will change the aspect about the public transport in the MZ. The aim is to create a MZ that offers a wider range of activities and it has been suggested that a visual coherence between the various cultural institutions as well.

The barrel of the plan is a live audiovisual installation about the MZ - for the MZ. The cultural side of the area needs to be made visible and improve its colllaborative skills. The city spaces can be used more effectively and these spaces can be connected with the public transport also. In this way it’s a two-sided relationship between public transport and cultural velues. Public transport makes the cultural institutions more knowledgeable. Culture attract attention to the importance of the public transport.

your irony. Strengthen your relentless. Improve your efforts. Dream about architecture. Run through your design. Built your story.

T

he li

ne o

f the

bri

dge

form

s th

e m

ain

inte

rven

tion

for

MPZ

sha

ping

foun

dati

ons

for

new

type

of u

rban

ism

Unleash your potential. Overdo your renderings. Smash the image. Crash the idea. Expect the unexpected. Find you way. Anticipate

To a

dd a

four

th d

imen

sion

to th

e ar

t of p

aint

wor

k

Unleash your potential. Overdo your renderings. Smash the image. Crash the idea. Expect the unexpected. Find you way. Anticipate

The focus is entirely on the overall structure- The Underlinement. It will always continue its path and it is only disconnected when there is an extrusion.The fragment of line is located near the lakes and therefore it has been influenced by a water concept. The fragment is an element resembling a large transparent wall. The wall is a structural installation and it consist of several elements. There is a water wall for kids and adults to enjoy.

Furthermore there is a large LED-screen. This screen is used to inform the users about The Metropol Zone and about what is going on at the moment in the zone. The screen can also be used for purpose of entertainment e.g. to project movies during Open Air Film Festival or to be a part of an art installation. There are many possibilities and the design of the site is very open to interpretations and is very flexible for further design development.

It is

not

a c

ity

wal

l, it

is a

cit

y un

derl

inem

ent

the flexible. Put your self out of the box. Ensure the story. Crash your box. Do not trust your move. Frame the surroundings. Redo

The

proc

ess

of m

akin

g so

met

hing

out

of n

othi

ng

the flexible. Put your self out of the box. Ensure the story. Crash your box. Do not trust your move. Frame the surroundings. Redo

The

city

par

k pr

ovid

es a

n ex

citi

ng m

ixtu

re o

f cou

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side

, spa

ciou

s gr

assl

and

and

urba

n el

emen

ts

MovementStructure Functions The forest belts provides a clear design principle and a strong super structure for a masterplan of the Metropol Zone. The movement in the city park is the next level of planning and designing.The movement are differentiated by use, speed and function. The functions are the top level of planning and designing the city park. This is best done by involving the city users.

your architecture. Again. Who is your City? What is your system? When is your time? We believe in architecture. We love modernism.

Volu

mes

ver

sus

void

your architecture. Again. Who is your City? What is your system? When is your time? We believe in architecture. We love modernism.

It is

a c

osm

opol

itan

pla

ce a

nd a

inco

nrov

erti

ble

mee

ting

poi

nt w

hich

is c

urre

ntly

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y us

ed fo

r tr

ansp

ort

We like the modern project. We believe in infrastructure. We trust our intuitions. We are young. We dance. We party. We question.

No sidewalk to give more freedom to pedestrian flowThe wood path more accessible to the sides.Terrace shelters located inside of the street Trees associated with water ponds to create dynamic and diversity

In w

hich

dir

ecti

on w

e w

ant t

o go

?

We like the modern project. We believe in infrastructure. We trust our intuitions. We are young. We dance. We party. We question.

Whi

te is

pur

e, B

lack

is d

ark.

Let

’s m

ake

mor

e w

hite

str

eets

We built on history. We approach the urban. We step back to go forward. We question. We focus on the metropolitan. Our concept

Ther

e is

a c

onne

ction

to m

etro

sta

tion

in R

ådhu

spla

dsen

, the

ice

glac

ier

mel

t dow

n an

d m

elts

dow

n an

d ch

ange

to m

etro

We built on history. We approach the urban. We step back to go forward. We question. We focus on the metropolitan. Our concept

Whe

re s

houl

d I l

ead

the

decr

ease

d tr

affic

may appear banal. Our form is counterproductive. It goes anywhere by going nowhere. It’s a study to break the box. To cancel aspira-

At n

ight

it’s

sti

ll sa

fe a

nd d

ecor

ative

may appear banal. Our form is counterproductive. It goes anywhere by going nowhere. It’s a study to break the box. To cancel aspira-


In t

he fi

rst s

cene

the

acto

r di

rect

ly e

ffec

tsth

e ba

ckgr

ound

by

his

acti

ons

tions. To step up by hitting hard on design. To motivate. Work through a destruction of images. To raise by blocking innovations. To

FINAL PROJECT 29

Staying cubic and inspiered by spot-lights are the cubes fexible placed around the Dantes Plads. They give the plaza a higher importance and a modern look. As the green cubes are used as greenhouses and for events they also have a catwalk integrated with a view into tivoli. The yellow cubes are used as office buildings and they give spotlight impression to the happening on the dantes plads. The plaza itself is an public space with “stages” for different urban activities and reflects the cubes on the top of the buildings by picking up color or material.

The Dantes Plads is an urban public space for people to look and to be looked at!

Sing

a s

ong.

You

are

bei

ng fi

lmed

her

e

tions. To step up by hitting hard on design. To motivate. Work through a destruction of images. To raise by blocking innovations. To


Glyptoteket

towards Christiansborg

People Flow is via the bike lane in both directions and along the historical axis. A series of points within each flow directs the eye sight with the use of mirrords towards centers of attention.

The object of the final draft is still to counter the symmetrical force of the Glyptotek and restore the historical axis leading to Christiansborg. The axis ends in a void of traffic leading to nowhere.

Instead of using physical objects to restore the axis mirrors are placed so the Glyptok closes around itself and the historical axis continues infinitely.

You

blin

k yo

ur e

yes

and

the

mom

ent i

s go

ne

rule out the idea of normal: Eat your context. Swallow your history. Dump your pride. Believe in the banal. Work towards the less

FINAL PROJECT 29

Dantes Plades is the symbol of arrogance in the planning of Copenhagen and the Metropolitan Zone. The historical axis is abruptly ended when the Glyptotek was build. All streets were bend and shaped to form symmetry around the new building.

The new design of Dantes Plads reinstates the historical axis and absorbs the symmetry of the Glyptotek. An arch relates to the Glytotek and frames this otherwise beautiful building on one side. On the other side it opens up to historical axis and faces Christiansborg.

Fram

e m

akes

you

aw

are

of p

lace

s of

impo

rtan

ce

rule out the idea of normal: Eat your context. Swallow your history. Dump your pride. Believe in the banal. Work towards the less


A w

ay to

war

ds c

urio

sity

obvious. Attack the obvious. Win the battle. Lose your temper. Cry your desire. Crash your models. Depart from your rationality.

FINAL PROJECT 29

Cope

nhag

en a

s a

met

ropo

le

The new Vesterbrogade is for pedes-trians and cyclists only. The road shall be accessible in the en-tire floor level relating to outlook and general view as well as freedom of movement. It shall be possible to float somewhat from one side of the road to the other in a simpel and easy way. Therefore you will find paths crossing inbetween the buildings and it is pos-sible to walk through the new build-ings lower floors from one side to the other. It is important with dynamics in the street and that is what the new building is essential in creating

obvious. Attack the obvious. Win the battle. Lose your temper. Cry your desire. Crash your models. Depart from your rationality.


In w

hat m

usic

vid

eo a

m I

in?

Stick to your path. Follow it up by going down. Don’t be afraid. Greet the less. Love the more. Shock the rest. Seize the unworthy for

FINAL PROJECT 29

Vis

ual c

onne

ction

bet

wee

n th

e ci

ty a

nd it

s pe

ople

Giving the area unique visual quality. Lights on the ground- in daytime there are shown advertis-ments. In the evenings they are touch screens- change their colour when stepping on them. The more people there is, the more intensive the lightning gets. The lights are some-times rising higher as they are benches. They react with a light change when people sit on them.

Post lights- serve as pedestrian lights but they have speakers and screens in the front. On the screens the lights are chang-ing acording to the music so the lightposts interact together. When there are concerts, the music comes from the speak-ers. During the day post lights are solar panels- they collect the energy to light the area.

Rhythm is made by organized lights- the ground lights posi-tion is like an equalizer that reacts to humans impulse. The positioning of the posts is making another rhythm move-ment. Music is coming from the speakers inside the posts after working hours til midnight. The music “therapy” makes this business and rushing area more relaxed and calm.

Stick to your path. Follow it up by going down. Don’t be afraid. Greet the less. Love the more. Shock the rest. Seize the unworthy for


The

skyl

ine

is ju

st a

shi

loue

tte

but t

he la

yers

are

not

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ible

in fr

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when it comes to 90°, it’s simply an angle.for sure, but it’s functional, and that’s positive. by think-ing function, architects don’t have to question design according to the esthetics. “form follows function” was the early modernists motto. why is it, that these architects created both beauty and function? later on, their ideas was adapted in architecture world wide. the scary part of this is the repetitive pattern that somehow became part of the outcome. concrte slabs, steel frames and reinforced concrete sounds pretty le corbusier. this is a concept that ables us to build hundreds of meters verti-cally, creating luxury, futurism and a feeling of surreal-ism. at the same time we can apply le corbusiers concept when buildig rapid and cheap. in these cases we tend to lack individual design, and repitition is the outcome.

presentation. Impress the depressed. Forget what you have learned. Or believe narrow stuff, your stuff, your way. Work, improve,

FINAL PROJECT 29

The

spac

e is

lim

ited

presentation. Impress the depressed. Forget what you have learned. Or believe narrow stuff, your stuff, your way. Work, improve,


Will

hav

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stro

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igni

fican

t infl

uenc

e on

the

form

, str

uctu

re a

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f the

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work, work more. Love your architecture. Get ready to get killed. Stand up on critique. Shoot after being shot at. Don’t shoot back.

FINAL PROJECT 29

One

sha

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work, work more. Love your architecture. Get ready to get killed. Stand up on critique. Shoot after being shot at. Don’t shoot back.

But B

ut B

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So


Reevaluate efforts. Change design. Block logic. Demand supremacy. Release control. Trust in revolutions. Kill your supremacy. Work

Mor

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FINAL PROJECT 29

Reevaluate efforts. Change design. Block logic. Demand supremacy. Release control. Trust in revolutions. Kill your supremacy. Work

Britta Magdalena Ágústdóttir (p. 12-36--67-120-121)

Maiken Zippora Leth Andersen (p. 12-36--67-120-121)

Joram de Vries (p. 12-36--67-120-121)

Cody Erhart (p. 12-36--67-120-121)

Jürgen Furchtlehner (p. 12-36--67-120-121)

Halldór Birgir Halldórsson (p. 12-36--67-120-121)

Marta María Jónsdóttir (p. 12-36--67-120-121)

Ragnheidur Karadottir (p. 12-36--67-120-121)

Henriette Kia Syrak Lund (p. 12-36--67-120-121)

Veronika Mungenast (p. 12-36--67-120-121)

Reka Nemeth (p. 12-36--67-120-121)

June Paaskesen (p. 12-36--67-120-121)

Janka Emese Paulovics (p. 12-36--67-120-121)

Maj Pedersen (p. 12-36--67-120-121)

Johanna Lovisa Rustad (p. 12-36--67-120-121)

Mikkel Stolz (p. 12-36--67-120-121)

Anders Egebjerg Terp (p. 12-36--67-120-121)

Marie Thomas (p. 12-36--67-120-121)

Häli-Ann Tooms (p. 12-36--67-120-121)

Thibaud Vermillard(p. 12-36--67-120-121)

Katarzyna Wieszczeczynska (p. 12-36--67-120-121)

ALL YOU NEED IS ARCHITECTURE

Contributors

156

DYNAMICS 29

We believe in architecture. We love modernism. We

like the modern project. We believe in infrastructure.

We trust our intuitions. Believe in the banal. Work

towards the less obvious. Attack the obvious. Win

the battle. Lose your temper. Cry your desire. Crash

your models. Depart from your rationality. Stick

to your path. Follow it up by going down. Don’t be

afraid. Greet the less. Love the more. Shock the rest.

Seize the unworthy for presentation. Impress the

depressed. Forget what you have learned. We are

young. We party. We dance. We do it.

All You Need Is Architecture 28-02-10

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