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A M A G A Z I N E A B O U T B R I C K W O R K A N D R E S P O N S I B L E A R C H I T E C T U R E

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GLASS AND STEELMAKE WAY FOR BRICKCOAL-FIRED BRICK IMPORTED FROM DENMARK FINALLY MAKEA BUILDING IN WESTMINSTER LOOK AT HOME IN ITS NEIGHBOURHOOD

Shortly after the project was completed,passers-by were heard to say “I can’t even re-member what the building looked like before”.And indeed, that is what you think the firsttime you see it. The front of the building onthe corner of Page Street and John Islip Streetnow made of brick – the classic buildingmaterial in Westminster – and its harmoniousproportions and refined details radiate adiscreet and understated elegance that seemsobvious and natural in the heart of one ofLondon’s oldest and finest neighbourhoods.

And it is no coincidence that the buildinghas specific similarities – ground-floor façadesof sandstone, dark bronze window frames andthe play on colour in the red brick wall – withthe imposing Horseferry House, diagonallyacross Dean Ryle Street. Both buildings areowned by Derwent London, which some yearsago decided that the property in Page Streetshould be renovated and converted so that itsmaterials and look would reflect its upscaleneighbour.

For more than 30 years, Derwent Londonhas been buying and sprucing up high-endproperties in Central London, mainly for theoffice rental market. The company invests ex-clusively in buildings and land in distinctiveareas such as Soho, Clerkenwell, Farringdon,Victoria and Westminster. Derwent works closelywith a variety of talented architectural firmson its various projects, and it is the hallmarkof their mutual relationships that most ofthese partnerships were established 20–30years ago.

Horseferry House was owned by the Britishgovernment and used by one of the ministrieswhen Derwent London invested £33 million inthe property in 2005. “The building, which isfrom the 1930s, was in a tired condition so theinterior was comprehensively renovated. Themajor change before the new tenant took overthe lease was the incorporation of a courtyardcovered by roofing over what was previouslyan open atrium,” says Simon Silver, director ofDerwent London. “The Page Street building,which we bought in 2011, has been refurbished

several times over the years. The dark glassand steel cladding dates from the late 1990s.We were certain the look and materials did notfit in with the neighbourhood. PLP Architecturedrew up a proposal for conversion, includingnew façades in coal-fired, muted-grey brick. Atthe same time, the tenant in Houseferry Houseneeded more floor space, so they expressed in-terest in renting the Page Street building too.But they wanted the look and colour schemeto more closely reflect their headquarters,Horseferry House. PLP Architecture started workon a new proposal that would involve the twobuildings looking as if they were part of asingle campus,” explains Simon Silver.

To achieve the desired kinship between thetwo buildings, it was crucial to find the rightbrick. “We make no secret of our enthusiasmfor Petersen bricks, which we have used in anumber of London projects. The people at thebrickworks are just as passionate as we are.They don’t rest until the right brick is foundfor each building – and everything is possiblein terms of colours and custom formats,” Silversays. Amy Holtz, director of PLP Architecture,adds: “The tolerance of the bricks is alsohugely important. All Petersen bricks areslightly different in size, and this results in anirregular and rich façade. Also, the coal firinggives each brick a crystalline surface thatreflects light, and in turn contributes to therichness of the effect.”

Sample after sample was sent to London –but, as ever, Silver and the architects went tothe brickworks in Broager to make the finalselection. They wanted a brick with its ownidentity, but that also had the shades presentin Horseferry House and would work with theother brick buildings in the street.“At first, wewere prepared to mix multiple bricks,” saysRon Bakker, partner in PLP Architecture, “butduring the visit, we spotted one that was notonly red but also had the hints of purple andblue we were after. It had been discontinueda decade ago, but Petersen was, of course,willing to resume production specifically forour project.”

“The people at the brickworks are just as passionateas we are. They don’t rest until the right brick is foundfor each building – and everything is possible in termsof colours and custom formats.”Simon Silver, Director, Derwent London

The beautiful big windows with dark bronze frames are retracted into the wall,reminiscent of early industrial buildings.

The building on the corner of Page Street andDean Ryle Street has been refurbished. In the 1990s,it was covered with glass and steel.

Extensive renovation completed in 2013included new brick façades and the additionof a penthouse floor.

Amy Holtz (director) and Ron Bakker (partner) ofPLP Architecture worked intensively on the detaileddesign of the brickwork for the Page building faça-des. A range of special bricks had to be produced toget the bond that the architects wanted.

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People who live in the area find it hard to rememberwhat the building in Page Street looked like before

the conversion. The limestone cladding and red brickmean it finally looks at home in the neighbourhood– and fits in well with Horseferry House, diagonally

opposite.

The upmarket Horseferry House,which was built in the 1930s,

underwent major renovation beforeit was rented out in 2005.

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The trick was to make something complicatedappear obvious and easy. When you look atthe Page Street building’s regular and beautifullyproportioned façades, you don’t get a sense ofthe enormous planning that went into it. RonBakker explains: “Normally, the size of abuilding is based on the dimensions of thebricks. In this case, the façade was adapted tofit the existing concrete frameworks behindit. We had three extra formats specially made,as well as the regular runners and headers,and every brick was drawn in elevation tomake the bond work. Due to the irregularcorner in John Islip Street, reflected in thebuilding design, a special brick with an angleof 115 degrees was produced by Petersen.Since the ceiling height varies throughout thebuilding, we also had to intervene in thevertical plane – not that it’s visible in the fin-ished façade – to get the bonds on it towork.”

The new building on Page Street is theresult of a huge amount of effort by all in-volved.“Derwent London puts a lot of energyinto beautiful architecture with deliberatedetail and in natural and sustainable materials.And fortunately, society as a whole and indi-vidual tenants are becoming increasingly qualityconscious, which is very inspiring for ourwork. As always in our projects, the positiveoutcome is due to the partnership between allinvolved: tenants, architects, contractors, en-gineers, artisans and the public sector – inthis case, Westminster Planning Department –which played a very proactive and positiverole throughout the process.”

View of the newly renovated building – in the heart of prestigious Westminster – seen from a small parkon Page Street.

ABOUT BOND AND BRICK DIMENSIONSTypically, brick buildings are set out modularly, based on brick dimensions. Because thestructural grid was already established by the existing concrete frame, an irregular, wild bondwas used. We used three additional brick formats, on top of standard stretchers and headers, tobe able to moderate the dimensions of the brickwork to suit the existing frame. Even though theresulting pattern is irregular, the dimension and position of each brick in the building was pre-determined.

Vertically, we were more restrained by the fixed height of the brick courses. Each of thelevels of the existing building had a different floor to floor height. For the sake of appearancewe strictly limited any difference of joint sizes between floors and established a regular andharmonious façade pattern for the six floors, which we could slip up and down to define aposition which worked for each floor. The result is a variation of sill heights, but well withinlimits of practicability. The brickwork ended up looking harmonious also thanks to very precisebricklaying, in which all of the vertical and horizontal joints are exactly the same width.

1a Page Street, Victoria, LondonClient and developer: Derwent London

Architect: PLP Architecture

Contractor: BAM Construction

Brick: D45

Tekst: Ida Præstegaard, cand.arch.

Photos: Philip Vile

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Moss is a historic town on the east coast ofOslo Fjord, 60 km south of the capital. It is animportant traffic hub with a population of30,000, an international airport and ferry linksacross the fjord.

The new ‘Skoggata Bo- and Servicecenter’care home in the centre of Moss welcomed itsfirst residents in 2012. The location is unusual.Most Norwegian care homes are in suburbs,where land is usually cheaper. But the localauthority in Moss listened to the new genera-tions of older people who want to continue tolive an active life in surroundings that haveas little of an institutional air to them as pos-sible and provide easy access to shops andcultural facilities.

The central location meets both requirements– urban life is just outside the door. Thelocation also meant that the architecture,layout and functions had to be designed toface outwards, which helps make the homefeel less institutional.

Built on a steeply sloping site on Skoggata,the care home is a four-storey, two-wingedcomplex shielding a south-facing garden. Thetop three floors house 50 apartments of 40m2

and two of57 m2, organised into six groups,each of which has its own common roomfacing the garden. In the wing facing Skoggata,part of the fourth floor consists of a large,communal roof terrace with views of the townand fjord.

The ground floor on Skoggata is built intothe slope and only faces outwards to thepublic sphere. As a result, it seems only naturalthat the outward-facing communal functions– the main entrance, café, gym, physiotherapy,shop, hairdressing and pedicure – are all con-centrated here. After all, none of these aredesigned solely for the use of the care home.They are for all of the senior citizens in Moss.

Dyvik Arkitekter AS designed the building,deliberately stressing both the urban andprivate aspects of the care home, which ismade of Petersen bricks in shimmering red-yellow shades. On Skoggata and to the north-east, the façades appear tightly modulated,with distinctive double-height copper framesaround the windows. Half of the ground flooris at street level, and is set back from thepavement and fronted with glass, which notonly adds lightness, but adds to the urban

idiom and provides opportunities to interactwith life on the street outside. The facadestowards the garden are less rigidly arranged,which gives them a more private air. Overall,the way it fits into the steep slope and itsprotruding and recessed sections mean thatthe overall effect is of a care home that fitsits site and surroundings. The choice of brickwas a deliberate attempt to fit into the urbansetting, according to architect Anders SølverRitto. “The main reason we chose PetersenTegl was that we wanted a really beautifulbrick façade that will become even more beau-tiful with time and require a minimum ofmaintenance. The location in the centre of anold town placed great demands on aestheticsand design in order to fit in with the existingcontext. We chose D76 from Petersen Tegl pre-cisely because its materiality and texture area good fit with the existing buildings and thecolour palette of the surroundings in general.Combined with the copper window frames, thebrick gives the building a down-to-earth dignitythat suits the site in a compelling way.”

CARE HOMEWITH AN

URBAN FEELTHESE DAYS, MANY TOWN AND CITY

DWELLERS DON’T WANT TO GIVE UP THEIRURBAN LIFESTYLE AS THEY GROW OLDER.

A NEW CARE HOME IN MOSS, SOUTH OFOSLO, CATERS FOR THIS DEMAND

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Skoggata Bo- og Servicecenter in Moss is built on a slope facing the townto the north-east and its own big garden to the south-west.

Three of the façades have a tightly modulated look,with distinctive double-height copper frames around the windows.

In consultation with the developer, the architect chose coal-fired brickwith a golden play of colour that reflects the surrounding colour palette.

Ground-floor plan 3. level 4. level

Behind the ground floor’s glass façade, which faces Skoggata, are a café, gym, physiotherapist and shop.

Skoggata Bo- og Servicecenter, Moss, NorwayDeveloper: Moss Council

Architect: Dyrvik Arkitekter AS in collaboration with

Rambøll Norge AS.

Engineer: Rambøll Norge AS

Landscape architect: Rambøll Norge AS

Brick: D76

Text: Tina Jørstian, architect

Photos: Nils Petter Dale

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THE CREMATORIUMAT THE WOODLAND

CEMETERY

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“A STONE IN THE FOREST” WAS THE NAME OF JOHAN CELSING’SDARING COMPETITION ENTRY FOR THE NEW CREMATORIUM

AT THE WOODLAND CEMETERY (SKOGSKYRKOGÅRDEN)IN STOCKHOLM. THE FINISHED BUILDING, WHICH OPENED

A FEW MONTHS AGO, RESEMBLES A MIGHTY ROCK FORCED UPOUT OF THE GROUND BY TREMENDOUS GEOLOGICAL PRESSURE.

OR HAS IT ALWAYS BEEN THERE?MAYBE WE JUST HAVE NOT NOTICED IT BEFORE

The dark roof of Asplund’s 1940 crematorium is just visible at the top of the photograph. Below, surrounded by conifers,the new crematorium – a large reddish-brown brick bloc – shoots out of the ground. Photo: Erik Hugoson

As you pass the cross at the entrance to the cemetery, Asplund’s old crematorium and chapelcomplex, complete with protruding peristyle, hoves into view.

Celsing’s crematorium can be seen as a monolithic complete contrast to Asplund’s column-lined courtyard. Thedichotomy between the old and the new crematorium is, paradoxically, what forms the link between the two.

1. Chapels of Faith, Hope and the Holy Cross2. Woodland Chapel3. Chapel of Resurrection4. Visitor Center, previously service building5. The New Crematorium

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The Woodland Cemetery is “holy ground” forarchitects and landscape architects. Interna-tionally recognised as one of Nordic modernism’sabsolute masterpieces, it has long since beenadded to UNESCO’s World Heritage list. ErikGunnar Asplund and Sigurd Lewerentz designedthe cemetery and its buildings for an interna-tional competition in 1914. The two Swedeswere only 29 when they won the competition.A century after it was conceived, the place re-tains a grandeur and a poetic force that arequite unique. It is a literally breath-taking ex-perience to stand at the main entrance andlook up at the cross on the hill and the colon-nades on the old crematorium to the left. Thisis truly great architecture and landscape art,fused together into a wonderful, self-evidentensemble.

The last addition was Asplund’s crematorium,in 1940. Since then, little has changed –apart from the new graves added over the

years. So what do you do when commissionedto build a new, more modern crematorium onthe same site? Well, according to Johan Celsing,he didn’t really give much thought to it being“holy ground”. He was mostly concerned withcoming up with a crematorium that workedwell and fitted the location. The new crema-torium is concealed by the woods, just east ofthe old one. It is part of a large, almostsquare plan, covered by one big, contiguousroof. The roof inclines in three directions froma flat point sticking out toward the south-west corner. All the building’s exterior surfaces,including the roofs, are covered with a red-dish-brown Kolumba brick that blends beautifullywith the shades of the surrounding pine forest.The bond on the façades is uneven, but trueon the roofs and the ceiling above the openfoyer.

The long, narrow shape of Kolumba perfectlyreflects the building’s horizontal character,

which in turn is highlighted by the slightly re-cessed bed joints. There are no eaves. Only avery slight slope along the top edge of thewall testifies to the transition to the slopingroof. From a distance, this endows the complexwith a monolithic air. What you see is amassive, angular brick building with variousincisions and holes in the façades and roofs.However, up close, you become aware of theslight variations, not only between the individualbricks, but also between the different waysthey are used – on façades, roofs, ceilings andthe ground. The large floor at the entrance isalso covered with Kolumba bricks, alternatingbetween top surfaces and edges depending onwhether the terrain is under cover or in theopen air. This adds to the rich but unobtrusivevariation that characterises the entire “lump”.One of these minor variations, on the south-west-facing long side, consists of perforationsin the brickwork, which provide necessary ven-

tilation for the technical facilities. Along thisside of the building, the edge of the roof de-scends all the way down to head height,drawing attention to the fact that the guttersare discreetly concealed behind the third brick,starting from the façade. Rainwater from theouter brick is simply allowed to run down thewalls. In winter, the roof edge will sometimesbe decorated by icicles.

Kolumba bricks have also been used in thefoyer floor, but otherwise the internal surfacesconsist of white cement. The offices close tothe entrance are grouped around the openatrium. The foyer provides access to a smallchapel with a barrel-vaulted ceiling in whitecement. Along the back wall, which is coveredwith white, glazed hollow bricks, light seepsdown from a skylight. From the chapel, thereis access to the big furnace room, in whichfour large furnaces have been installed inrows. The room has two portrait-format cut-

Loose, granite-paved paths lead the way to the main entrance of Johan Celsing’s crematorium.

The graves are integrated into the natural surroundings,strewn around like small seeds.

Sigurd Lewerentz’s resurrection chapel from 1925 is one ofthe finest works of Nordic neo-classicism.

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It is embedded in the forest in a natural way, but also radical and monumental. Subtle variation characterises the apertures: a deeply recessed window, a window flush with the façade, and a big, empty entranceway.

The entrance from the south-west.The entrance, in all its severity, is perceived as a modern paraphrase of Asplund’s peristyle,in which the play of light and shadow, the opening and closing, is exquisitely choreographed.

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out windows with views of the pine forest, andtwo skylights carved out of the white concreteceiling. From the inside, the windows and sky-lights don’t appear to have frames – however,the strong, black, oxidised copper frames arerecessed in the exterior brickwork. The floorsin the furnace room and the chapel are coveredwith a very beautiful, Swedish Brännlyckegranite with a mottled grey-green tinge.

Johan Celsing accompanied me on my visitto the crematorium. As we sat in the chapeland talked about the building, he began – inbeautiful Stockholm Swedish – to recite IngerChristensen’s requiem Valley of the Butterflies.Afterwards, he explained that the mood andrhythm of the poem were a source of inspirationwhen he was working on the crematorium. Thepoem was written in the classical sonnet form,with 14 lines divided into two stanzas of fourlines and two stanzas of three lines. The sonnetsare linked together to form a so-called cycle,

consisting of 15 sonnets, in which the last lineof each one is repeated as the first line in thenext one. These lines are repeated in the finalsonnet, forming a kind of conclusion that alsoopens up new possibilities – a new beginning,perhaps? The rhythm of the sonnet cycle hasnot been directly translated into the form ofthe crematorium, but as you walk through andaround the building, it becomes clear that it isendowed with some kind of intrinsic rhythm,that some themes are repeated, and that newelements are introduced within the same strictformat. The building also has a poetic dimension,which in the exterior stems from its location inthe forest clearing and from the dark brick’s vi-brant, textural surfaces. In the interior, lightplays a major role. It pours in from the sides,from above and through cracks, illuminates thewhite and glazed surfaces, and perhaps makesthe experience of death a little less difficult tobear for those left behind.

New Crematorium, the Woodland Cemetery,StockholmDeveloper: Stockholms Kyrkogårdsforvaltning

Architect: Celsing Arkitektkontor AB

Contractor: Skanska

Engineer: Tyréns AB

Landscape architect: Müller Illien

Landschaftsarchitekten GmbH

Brick: K48

Text: Associate Professor Thomas Bo Jensen,

architect maa, Ph.D.

Photos, page 6-7: Anders Sune Berg

Photos, page 8-9: Ioana Marinescu

From the foyer, the big, south-east facing wall, with its angular profile, is almostimposingly monumental. However, the high-up windows endow the building with scale.

Reminiscent of antiquity, a single, round concrete column supports the dark cover over the entrance,behind which the sunlight pours in.

The window almost looks like a section cut out ofthe landscape, a still life of the outside world.

The small waiting room has a solemn air,but also a delicate and intimate atmosphere.

The furnace room is sober, but not without atmosphere. This may be where life ends, but the landscapeoutside, constantly changing signifies continuation and the passage of time. Photo: Anders Sune Berg

Two large boulders stand in the courtyardat the building’s south-west corner

– a symbol of the weight of eternity perhaps?

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CHANGINGDIRECTION –USING BRICKSTHE FIRST HOUSE IN AUSTRALIA BUILT INPETERSEN BRICKS HAS NOW BEEN COMPLETED,AND THE OWNERS HAVE MOVED IN.IT IS A VILLA JUST OUTSIDE MELBOURNEFACED WITH CHARCOAL GREY KOLUMBA

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Ian and Nicola Minchin were discussing theexterior finishes with their architect RobertSimeoni. The Melbourne-based architect useszinc for many of his houses. While zinc wassomething the Minchin’s were open to, theywere not quite convinced it was what theywere after for their new home in South Yarra.The decision could have gone a number ofways, had it not been for a series of images ofa new brick that was about to arrive inAustralia.

Peter Robertson, who has a long historywith bricks and is now the Australian distributorfor Petersen Brick from Denmark, showed thecouple images of the Kolumba K55. Robertson,

a friend of the Minchin’s and director ofRobertson’s Building Products, has been atthe forefront of the brick industry for decades.The slim, charcoal grey, handmade brick, madethe Minchins, as well as Simeoni, rethink theirscheme. “It wasn’t that we were adverse tousing bricks. Robert showed us a number ofthe houses to which he had delivered variousbricks. But it was either the colour or theirtexture that didn’t capture our imaginations,”says Nicola.

While the images of the Kolumba K55 wereenticing, the Minchin’s were completely ‘sold’when the samples were handed to them. “Eachhandmade brick is slightly different, with each

one displaying a set of thumbprints. None ofthem are perfectly straight. But that givesthem that sense of artistry,” says Ian.

For Simeoni as well, the decision to changeto brick was immediate after seeing thesamples: As each length of brick varies, thejob required highly skilled bricklayers. “Itmade the process a little more complex, butthe result has been worth it. Kolumba hasadded texture to the house and this brick alsosuited the more abstract nature of the archi-tectural composition.” says Simeoni, whosebrief was a striking contemporary home usinga simple palette of materials, with clean andminimal lines.

The Victoria suburb of South Yarraoffers a fine view ofthe Melbourne skyline.

In order to reduce themassive impression, the

villa has been brokeninto two volumes.

The small courtyard thatseparates these offersspace for a eucalyptus

The brick houses in the area stemfrom very different eras, but allhave handmade and irregularfaçades, a feature they havein common with the newKolumba home.

The architect for the South Yarra villa, RobertSimeoni (right), in conversation with PeterRobertson (left), whose family has been in theAustralian brick industry for five generations.The company, Daniel Robertson Pty Ltd., wasfounded in 1880. Over the years, the brickworks grewinto one of the largest in the world, not onlysupplying Australia, but exporting to Japan, HongKong and Singapore. Peter Robertson sold thebrickyard in 2005 and is now an agent.His clients include Petersen Tegl in Australia.

At ground-floor level, the façade facing the gardenconsists of large windows with sliding doors that

open onto the wooden-deck terrace.

Ian and Nicola Minchin asked thearchitect Robert Simeoni to designan expressive, modern family housedefined by clean lines andsimple materials.

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Unlike the charcoal grey façade, the interiorof the two-storey home is entirely white.“White was never in discussion. It was alwaysgoing to be white,” says Nicola, who, withIan, was keen to create a pristine white‘canvas’ to display their fine contemporarypaintings. White also appears in the whitefour metre-long white corian bench which isused for most meals, from breakfast throughto dinner.

The home’s rear elevation features generousglazing, with large aluminium and glass slidingdoors leading to the garden and terrace. Acomposition of bricks from the past on theboundary of the property also provides a fas-

cinating dialogue between bricks from thepast and present. The rear boundary, forexample, features what was previously a walland fireplace, once part of a Victorian homefrom the late 1800s. And on another boundaryis a brick wall, which once formed part of astable. Although these bricks and the Kolumbabricks are decades apart, there’s a sense ofthe handcrafted, with slight irregularities ineach, beautifully adding to the rich patina ofthe Minchin’s home and the neighbourhood.

Villa in South Yarra, Melbourne, AustralienClient: Ian and Nicola Minchin

Architect: Robert Simeoni

Structural Engineer: Perrett Simpson Stantin

Contractor: McMahon + Utri Builders

Brick: K55

Text: Stephen Crafti

Photos: Trevor Mein

The interior issimple and tight,with downlights

built into thesuspended ceiling.

For the owners,it was essential that

the interior was white,to create a neutral

backdrop for acollection of modern

paintings.

Section

First-floor plan

Ground-floor plan

“Each handmade brick isslightly different, with each onedisplaying a set of thumbprints.None of them are perfectlystraight. But that givesthem that sense of artistry.”Ian Minchin, client

THE AUSTRALIAN BRICK MARKETBrick is the most common material used forcladding in Australia. More than 85% of salesare for use on residential properties. Morethan 80% of all new homes are brick-clad.Turnover is approximately 1.5 billion bricksp.a., equivalent to 30 million m2 p.a., ofwhich about 3% are exported.

The last 25 years have seen a huge numberof mergers in the industry. Many of the oldfamily companies have ceased trading or beentaken over, while acquisitions have seen thebig companies grow. The three largest groupstoday are Brickworks, Boral, and CSR/PGH.Only about 12 smaller brickworks are still inoperation.

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KOLUMBA COMBINES OLD AND NEWThe discovery of the Elizabethan Spring was the beginning ofa new era for Homburg. The discovery of the spring in 1834founded the town’s internationally known spa industry, andpaved the way for the establishment of a tennis club, a golfclub – Germany’s first – and a casino. The spa town (namedBad Homburg since 1912) attracted royal families and nobilityfrom all over Europe. In 1888, Emperor Wilhelm II declaredBad Homburg Castle his official summer residence, firmly es-tablishing the town’s status.

Bad Homburg station, designed in a Neo-Renaissance styleby architect Armin Wegner, was inaugurated in 1907 to servethe many guests travelling to and from the town. The same ar-chitect also designed a private building at the station forEmperor Wilhelm, 300 metres further west, so that the courtdid not have to mingle with other travellers. Bad Homburgstation served its purpose for many years, although a few nec-essary alterations were made over time. For example, at onepoint the four waiting rooms – originally designed for first,second, third and fourth class and a fifth for women – wereclosed. The building was also out of date in other ways, andso, approximately a century after it opened, a decision wastaken to renovate it completely.

The combined architecture and engineering company, Mailän-der Consult, with offices in Karlsruhe, Frankfurt, Munich andStuttgart, won the competition, but the commission changedalong the way. Architect Adriane Gunzer of Mailänder Consult

was responsible for the project: “Our proposal was almostfinished when Bad Homburg council decided to extend theproject. The council wanted to bring new life to the stationand surrounding area, and turn it into Bad Homburg’s newcultural centre – and soon we were in the process of developingnew ideas.”

The original station building had to be carefully rebuilt toaccommodate new functions, and extended to a total of 5,600square metres. The solution was to build wings on either sideof the existing building, to the east and west. The two wingsare both single-storey, with façades retracted from the originalstation front. The east wing contains several shops, a travelagency, ticket office and bicycle parking. The western part hasa ground-floor restaurant, bar, foyer, a multi-purpose roomcalled Wintergarten. On the second floor – under the roof ofthe original building – is another big multi-purpose room,Speicher, with space for 300 people. The original main entrancehas been preserved, and leads into the great central hall,which travellers cross to reach the platforms.

The meeting of old and new was the big challenge. “It wasessential that the changes were visible, while the conversionand extension both respected and were subordinate to theoriginal architecture,” Gerd Gröschl, a colleague to AdrianeGunzer explains. The intended effect was achieved via thenatural and functional way in which the two new wings are in-tegrated into the original building. With their simple, modern

The architects chose to clad the new buildings in handmade brick, with a play of colours – in red, grey, brown and golden tones– that reflects the station’s 107-year-old red sandstone cladding.

Under the roof of the western extension, the architects situated a largeconcourse, Der Kultur Speicher, which seats 300.

When darkness falls, the fine lighting makes the sculptural roofon the two extensions seem to float.

The colours of the listed station façade are reflected inthe new building’s red brick and white roofs.

Emperor Wilhelm II’s private railway station – which now houses arestaurant – is 150 metres from Bad Homburg Station, and visiblethrough the glass façade of the western gable. Photo: Fabian Linden

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look and large expanses of glass, the new buildings arearchitecturally distinct from the historic main building.

The façades combine local red sandstone with white plasteredgables and windows. The architects considered sandstone forthe new façades, but ultimately rejected the idea.“We wanteda material that could bridge the gap between new and old andwhich could be given an idiom of its own. Red sandstone isbeautiful in older buildings, but when used in modern buildings,it often lacks the texture and looks dead on the surface,” saysAdriane Gunzer.“We decided to use Kolumba, which comes inseveral versions. All of them had potential, so we looked atmany samples. The one we opted forhas a very big play on colour, withshades of red, grey, brown and gold,and its pink tones hit exactly the sameshade of red as the old sandstone.”

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CREATING A SUCCESSFUL MEETING BETWEEN NEW AND OLD WAS ONE OF THE MAJOR CHALLENGES WHEN MAILÄNDER CONSULTREBUILT AND EXTENDED THE MORE THAN 100-YEAR-OLD STATION IN HESSEN, GERMANY

Bahnhof Bad Homburg v.d. HöheDeveloper: Bahnhof GmbH, Bad Homburg v.d. Höhe

Architect: Mailänder Consult GmbH, Adriane Gunzer,

Andreas Eckmann, Gerd Gröschl, Karlsruhe

Engineer: Loos & Partner, Bad Homburg v.d. Höhe

Brick: K46

Tekst: Ida Præstegaard, cand.arch.

Photos: Paul Koslowski og Fabian Linden

Following extensive restoration, the concourse is once again a centralmeeting place in Bad Homburg Station. Photo: Fabian Linden

The semi-circular windows in Der Speicher face outtowards the big concourse.

The eastern extension, which houses shops, travel- and tourism offices and bike parking,has façades of glass and brick-clad columns.

View to the north of the original station, with new buildings to the east and west.

14 |

SHADES OF NATUREATOP A DUNE, AMONG PINE TREES, STANDS AN ELEGANT VILLA INSPIRED BY THE COLOURS OF SAND AND BARK

Interaction or contrast vis-à-vis the building’s immediate sur-roundings is a consistent theme in architecture, particularly inscenic spots. Decisions have to be made whether to reflect thematerials, colours and shifts in the terrain, or to opt forcontrast and make the building stand out. In modernist archi-tecture, we find the former in buildings by the likes of theAmerican architect Frank Lloyd Wright. One of his most famousand treasured projects, the villa Falling Water, sits dramaticallyabove a waterfall – and both frames and highlights thequalities of nature. Conversely, the Swiss architect Le Corbusier

made a virtue out of the contrast between green surroundingsand the white geometry of his architecture.

Major changes of level in the terrain drops are rare in theNetherlands, but north of Utrecht runs a ridge of sand formedin the Ice Age and covered by forest. The quite speciallocation, with a vertical drop of six meters, served as the in-spiration for a new home. The theme is interaction rather thancontrast. The house is on the north and east corners of asquare site with a long horizontal wall extending from thegarage to the south. In this way the light from the south and

west is fully exploited. Although tall trees surround the site, asunny spot is always to be found on one of the big terracesthat border the house on three sides. The square constitutes acultivated area injected into the midst of nature, which is leftto its own wild devices on the approach road, the vegetationserving as a kind of natural curtain.

The client wanted a seamless transition between the buildingand the landscape, a house in dialogue with its surroundings.“We were aiming for a connection between place and buildingthrough the use of colours and materials,” the architect, Geert

Billedtekst

A big, horizontal opening in the wall frames a sculptureand provides a view of the pool.

The house sits on the north and east corners of a square site,with a long horizontal wall extending from the garage to the south.

The villa has distinctive horizontal lines, such as the cantilevered concrete deck where the first floor cuts into the slope.

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Bosch, explains. The requirement was a modern home, butnot an arrangement of white boxes. The house is in theforest, so the architect chose natural materials. The concreteis sand-coloured and the bricks reflect the bark of the pinetrees. “The colour of the concrete is the colour of the sanddunes. The bricks are from the Petersen Kolumba range inshades from black to green and orange. We wanted tominimise, so went with concrete, brick, glass and cedar inrustic and toned down finishes,” he adds.

Most of the rooms are on the first floor, to connect thebuilding with the dune and optimise the view of the lushgarden. The large windows and sliding doors make thetransition between interior and exterior as fluid as possible.Interaction with nature is a constant, and it is easy to followthe passing of the seasons. Brick has been used inside andout, including for the big fireplaces, which infuse warmthand cosiness as the days get shorter and colder. The strongtextural effect of the bricks emphasises the homely feelingand makes the architecture unpretentious.

You arrive via a double-height hall, in which the ownerexhibits some of his art collection. The hall can also be usedfor formal events, and is linked to the first floor by asculptural staircase. A large indoor swimming pool is locatedon the ground floor, underneath the rooms. It is surroundedon three sides by sliding doors that can be opened in warmweather and provide direct access to the garden, effectivelyresulting in an outdoor pool under a protective canopy.

Architecturally, a simple and precise dynamics of horizontaland vertical lines has been created. The sand-coloured

The hard-fired Kolumba bricks do not need to be capped.The colours of the brick are also reflected in the sedum on the roof.

To achieve an effect like natural stone, three different lengths wereused, the longest 920 mm. The deep joints emphasise the horizontallines, and a dark mortar has been used so the stones look as if theyare loosely stacked rather than laid with mortar.

The aim was to create a link between nature and building through colours and materials. The concrete is coloured like the sand in the dunes. The brick colours refer to the bark of the pine trees: from black to green to orange.

16 |

concrete deck was cast in situ and has a matte surface,forming a quiet contrast to the bricks’ rich play of colour. Inorder to give the walls a natural-stone look, three differentlengths of brick were used. The deep joints emphasise thehorizontal lines, and a dark mortar has been used, so thestones look as if they are loosely stacked rather than properlylaid.

“When you arrive, you may be reminded of Frank LloydWright’s Falling Water, but you soon spot the differences. Abuilding’s beauty is in the eye of the beholder. You should beable to identify something you know about. Something youlike or something you remember. But there must also besomething that surprises you, something unexpected. Theright mix of the recognisable and surprising makes a buildingunique,” Bosch concludes.

Villa near Utrecht, HollandDeveloper: Private

Architects: Hilberink Bosch Architecten

Contractor: De Visser Bouw en Onderhoud B.V.

Landscape architect: Martien van Osch, Bureau Oslo

Brick: K44, K47 and K49

Text: Martin Søberg Ph.D., architectural historian

Photos: Paul Kozlowski

Fotograf, Craftmanship: Anders Sune Berg

The lump of clay comes out of the machine and is cut. The clay is pressed into the wooden mould. Excess clay is removed.

CRAFTSMANSHIPT O O B T A I N A L O O K O F N A T U R A L S T O N E I N T H E V I L L A , A R C H I T E C T G E E R T B O S C H A S K E D T H E B R I C K W O R K S T O

Kolumba is also used throughout the interior.The stairs to the first floor run between glassand a brick wall.

The sliding doors open up the swimming pool roomto the elements, depending on the season.

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The mould is removed from the clay. The design is finished. The raw brick has to rest for a day prior to drying and firing.

P R O D U C E T H R E E K O L U M B A B R I C K S I N S P E C I A L M E A S U R E M E N T S – T H E L O N G E S T O F W H I C H W A S 9 2 0 M M

Light fixtures and Eames chairs were chosenin shades of brown to match the brick walls.

Ground-floor plan

Section

First-floor plan

18 |

The Bytoften social housing complex in Gladsaxe, north-west ofCopenhagen, had been out of date for a long time. In fact, its123 homes were already pretty spartan when they were builtback in 1955 with exterior walls that were not even insulated.Gradual renovations since the 1970s had improved matters buta 2008 report recommended demolition and a new start.

Virumgaard Architects and the local council in Gladsaxedrew up a plan for the area, and the studio was commissionedto design the new complex. The original terraced houses werein parallel wings around an overflow reservoir on a green.Virumgaard and the building committee/residents decided toretain the overall look and build around the pool and thegreen, but apart from that, the new complex is completely dif-ferent, with an attractive landscaped communal area and ar-chitecturally sound buildings made of quality materials andcompliant with low energy class 2015. The new complexcomprises 114 terraced homes and cost approximately DKK200 million.

Social housing in Denmark, which accounts for more than550,000 of the total housing stock, is run by financially inde-pendent local associations, which are not allowed to makemoney on the rent or sale of property. Residents also have alegal guarantee of democratic influence over the affairs of theassociation. As many of Bytoften’s residents have lived theresince it was built, and have great affection for the place, itwas a highly committed group of residents that worked closelywith Virumgaard to draw up the plans. Over four years and 36meetings of the building committee, every facet of the projectwas discussed by the architects, the residents and the developer,Gladsaxe Housing Association.

The new Bytoften, which was completed in 2013, compriseslow-rise apartments neatly interwoven with communal spaces.

The houses are in clusters of one- and two-storey terracesgrouped around their own courtyards. Homes are entered fromthe courtyards – communal social space complete with toddlers’playground and parking for bikes and cars. The clusters and

Bytoften, which was completed in 2013, comprises low-rise apartments neatly interwoven with communal spaces.

The houses are in clusters comprising one- and two-storey terraces grouped around their own courtyards, from where residents enter their homes.

Site plan

BYTOFTENNEW SOCIAL HOUSING PROJECT COMPLIESWITH DEMANDS FOR GOOD PLANNING,WELL-APPOINTED HOMES AND HIGH-QUALITY MATERIALS

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The way in which they are offset from each other roots the buildings in their setting and contributes to the dynamic impression

The private gardens face the larger green communal space, where some of the big trees have been preserved.

The windows are in vertical rows on solid brick surfaces, which gives the façade a quiet look.

private gardens face the larger green, where some of the bigtrees have been preserved. From here, green fingers fan outwardto separate the clusters. The former overflow reservoir at thecentre of the development has been transformed into a lake.

To the west of Bytoften is a busy motorway, which isscreened off by a noise barrier. To the north, east and southare smaller roads where visitors can park. From there, visitorsaccess a network of paths on the green that lead them aroundthe lake and in between the clusters of houses.

Almost anywhere on the green, a new and different archi-tectural view awaits. The picture is so varied because thesimply designed and well-proportioned houses are seen fromso many different angles, and because the clusters have beencarefully slotted into the landscape. The way in which they areoffset from each other also roots the buildings in their settingand contributes to the dynamic impression.

Each terraced house consists of two building elements thatform a T when seen from above. The top of the T is the biggest

section, and it protrudes rhythmically to form a prominentgable end in the façades. The stem of the T links neighbouringhouses together. All of the houses have sloping felted roofs.

The local plan required that Bytoften be built in brick,partly to match the yellow ones in the roughly 60-year-oldEgegård School, adjacent to the north-east corner of the de-velopment. However, the requirement for minimal maintenancewas weighted just as heavily. The architects, developer andfuture residents considered a number of different options, butwent for the coal-fired D78 because of the rich play of coloursand the many varied shades of yellow, grey, white, brown andblack.

Bytoften, 114 social housing units, GladsaxeDeveloper: Gladsaxe Almennyttige Boligforening, ved DAB

Architect: Virumgaard Arkitekter as

Landscape architect: Nørgaard and Holcher

Engineer: Teytaud AS

Contractor: Sigma Entreprise AS

Brick: D78

Text: Ida Præstegaard, cand.arch.

Photos: Anders Sune Berg

The article is based on a conversation

with Virumgaard Arkitekter,

architects maa, Eigil Madsen og Ulla Poulsen

Before Tommy Kantner Nielsen and his studentsfrom the brickwork department at KTS Glostrupstarted work on the Winding Wall, they wereworried about how Petersen’s hard-fired brickswould react with the pure lime mortar Iwanted to use. So they did a test at theschool in Glostrup. When I rang them to hearthe verdict, the experienced teacher told methat “this mortar is great to work with.”

Work started on the project in September2013 in the middle of the School of Architectureand Design campus on Holmen in Copenhagen.It was quite a test for the relatively inexperi-enced apprentices, so it was really useful thatthey were still able to nudge bricks into placeeven several days after they had been laid.“There’s nothing quite like the smell of freshlymixed lime mortar,” the teacher told me whenI popped by early one morning as usual.

Patrick, Serhen, Safet and the other apprenticeshad never worked with such beautiful brickbefore. They treated them almost like jewelsas they considered which edge should faceoutwards. And I think their enthusiasm isreflected in the final result.

Work proceeded at a steady pace duringthe autumn, with architecture students watch-ing with interest from the sidelines. We allreally wanted to finish by Christmas. And wedid actually finish by then. Unfortunately, ourbiggest worry also came to pass. Air is whatmakes lime mortar harden but the processmore or less stops when temperatures fallbelow five degrees. As a result, the mortar re-mained wet until the frost thawed in lateJanuary. Several courses and brick-relievingarches had to be dismantled, and jointsscratched out. We waited patiently for better

WINDINGWALL

BRICK HAS MANY MORE PROPERTIESTHAN WE DEPLOY THESE DAYS. REFLECTINGON A BRICKLAYING PROJECT AT THE ROYAL

DANISH ACADEMY OF FINE ARTS SCHOOL OFARCHITECTURE IN COPENHAGEN, ARCHITECT

AND RESEARCHER THOMAS BO JENSENLOOKS AT WHAT HAS BEEN LOST AND HOW

RECOVERING IT WILL BENEFIT BUILDINGWITH THE MATERIAL IN THE FUTURE

20 |

Photos of the bricklayingproject. Anyone can lay bricks,

but doing it well and withprecision takes practice, careand, above all, patience. Theapprentices quickly found out

how seriously to take thelatter if they didn’t want thesupervisor telling them to do

it all again the next day.

The wall is closed off at the top by using master closer bricks in the outer leaf,which allows for building upwards and inwards towards the centre. This means thatthe wall can be closed without the use of any support other than a few extra bricks.

| 21

Winding WallWinding Wall is a research tool by the Royal Danish

Academy of Fine Arts School of Architecture in

Copenhagen by Associate Professor Thomas Bo Jensen.

It is part of the project “Towards a tectonic

sustainable building culture”, which also involves

researchers from the Aarhus School of Architecture

and Aalborg University. Winding Wall was built by

apprentice bricklayers from the Copenhagen Technical

College, Glostrup. Petersen Tegl donated 7,000 D97

bricks to the project. Skandinavisk Jurakalk

donated the lime mortar.

Text: Associate Professor Thomas Bo Jensen,

architect maa, Ph.D.

Photos: Anders Sune Berg og Thomas Bo Jensen

weather and commenced repair work in April.On the plus side, this meant that a new teamof apprentices was given the chance to enjoythe project – and we also learned somethingimportant about lime mortar: It is very muchseasonal. Make sure you plan your bricklayingso that it finishes in September or October.

THE PURPOSEWinding Wall is a research tool designed toidentify the tectonic, functional and physicalbenefits of what is known as a diaphragm wall– a homogeneous cavity-wall constructionwith fixed binding bricks. The starting pointis a wall thickness of 2½ bricks, which is thenreduced to 2- and 1½-brick thicknesses. De-pending on the way they are facing and therequirements on load-bearing capacity, thewall thickness can be varied. This creates a

“tectonic musicality” and provides opportunitiesto consider the wall spatially, as a piece offurniture with built-in hooks, niches andshelves. The thick wall also leaves ample roomfor insulation. The diaphragm wall requires nomaterials other than brick and mortar. The ho-mogeneous structure has benefits, in terms ofhealth and how long it lasts, that modern fac-ing-wall constructions cannot match.

The wall follows an internal course thatconstitutes a spatial representation of thewall’s ornamental flat shape. The space isdominated by built-in shelves and niches thatenhance the spatial variation. Looking at thewall as a piece of furniture, rather than just awall or climate envelope, enhances our under-standing of its function.The “furnishable wall”is known from caves and homes dug into theground or carved into cliffs. It is also known

from a lot of vernacular architecture and fromthe early days of functionalism, but nowadays,it has given way to separation and blank sur-faces. Considering the wall as furniture andfurniture as walls and room dividers facilitatesa more integrated form of architecture – allthanks to the nature of brick.

BRICKWORK IS MORE THAN JUST BRICKSBrick gets most of the attention, but mortar isjust as important. Modern cements have adead expression. They lack the crystallinehints of lime mortars and behave inflexibly,like concrete. After decades of total dominanceby cement, greater attention is being paid tothe benefits of lime mortars. Winding Wallwas built with a rough, wet-mixed lime mortar,called a soft mortar, which hardens in the airby absorbing and binding carbon dioxide. This

chemical reaction causes the lime crystals tobe continuously renewed as they absorb rain-water and dry again. This is why air-hardeninglime mortar is said to have self-healing prop-erties. Its crystalline qualities remain dynamicin terms of both construction and aesthetics.Unlike modern cement mortars, lime mortaralso avoids the need for expansion joints, andthe bricks can be recycled after demolition.Winding Wall will only be there for a limitedperiod. Demolition and recycling are a part ofthe concept.

Seen from above, the ornamental plan isclearly decipherable. The wide wall looksmassive, but is filled with cavities thatcan be used for insulation, ventilation, etc.

22 |

The Friedrich Paulsen School in Niebüll, Schleswig, is an up-per-secondary school west of Flensburg and close to the NorthSea. The oldest part was built in the Art Nouveau style anddates back to 1925, but extensions were added in the 1970sand 1990s. The school has about 1,150 students, and theyneeded a modern canteen they can use during the day. As aresult, the latest extension includes a multifunctional canteenand a new library.

The extension is the result of an invited competition, inwhich first place was shared by Architekturbüro SteinwenderArchitekten GmbH. They were subsequently commissioned todo the work, which was completed in 2012.

The complex consists of a freestanding, rectangular buildingmade of grey brick, with sharp edges, a flat roof and a clearand simple design. Brick façades dominate on three sides,while the fourth has large, double-height glass panels onto asheltered courtyard. Overall, the complex looks robust and un-derstated. The three relatively closed sides form a shell thatprotects those inside, while the fourth façade invites open in-teraction with the surroundings. This is a deliberate homageby the architect to the traditional North German mentality and

HOMAGE TO AHARDY CLIMATEA MULTIFUNCTIONAL SCHOOL CANTEEN IN THE NORTH OFGERMANY ACCOMMODATES A RANGE OF MODERN TEACHINGNEEDS WHILE PAYING HOMAGE TO LOCAL TRADITIONS FORPROVIDING SHELTER FROM A HARSH CLIMATE

The largest part houses a 350-m2 double-height room that serves as both a student canteen and a theatre and concert hall with built-in stage.

Friedrich Paulsen School in Niebüll is designed as a rectangular, clearly cut building with a flat roof and a simple design idiom.

Billedtekst

The new building is the resultof an invited competition in 2008.

“Our architecture is designed to work through clear and simple forms and structures that are adapted to their surroundings.

| 23

style of building. Here, close to the harsh North Sea, peoplehave always had to shelter from harsh weather to enjoy lifeand warmth, either on the leeward side or indoors.

At first glance, it may look like a single building, but thecomplex actually consists of three clearly structured volumesbound together by two spacious corridors.

The central and largest part houses a 350-m2 double-heightspace that serves as both a student canteen and a theatre andconcert hall with built-in stage. It has room for 350 diners or500 spectators. In-built cupboards for stacking chairs andtables facilitate easy transformation from one function to theother.

One of the long sides consists of double-height, glasspanels that open up and connect interior with exterior, andentice students and guests to sit outdoors whenever theweather permits.

Flanking the other side is the two-storey part of thebuilding, which contains a kitchen, technical facilities, cold-storage rooms, toilets, classrooms, etc. On the first floor, thecorridor forms open balconies onto the canteen/multi-hall,while folding doors at ground level facilitate flexible traffic

flow in and out of the room. This means that the students areable to eat in shifts, even while rehearsals are taking place onthe stage.

The third part of the building, opposite the stage, comprisesa ground-floor entrance and foyer with a cloakroom and shop,while the new library is on the first floor from where a balconyprotrudes in over the hall.

Like the body of the building, the sub-division into roomsmakes use of materials that are simple and honest. The interiorconsists of grey industrial flooring and white concrete walls,accentuated in places by a fresh green hue. The walls, ceilingand folding doors in the multifunctional hall are covered withoak, which has beneficial acoustic properties and providesadded warmth.

The exterior door and window frames are integrated withoutany fuss – they comprise dark, carved openings in the greymasonry. The façade brick is the coal-fired D98 from PetersenTegl. The natural play of colour induced by the coal-firingprocess, together with the structure of the brick, achieves arobust, tactile, almost weathered look that reflects the hardyclimate of the region and the disposition of its people.

Friedrich Paulsen School, Niebüll, GermanyClient: Amt Südthondern

Architect: Architekturbüro Steinwender Architekten GmbH

Engineer: Ingenieurbüro Bruhn & Thomsen

Brick: D98

Text: Tina Jørstian, cand.arch.

Photos: Anders Sune Berg

The new building wasto have its own identity,but also – via the brick

façades – a sense ofaffinity with the original

school built in 1925.

The large room’s double-height, retractable glass panels face the sheltered, peaceful garden dotted with big trees.

Site plan Ground-floor plan

The clear idiom is emphasised by using simple, honest materials that are linked to the site.” Architect Jürg Steinwender

BIENNALEARCHITETTURA

CRAFTSMANSHIP

Pick up a Petersen brick and you know that itwas made with passion. It radiates solid know-ledge of craftsmanship. And it lasts. Brickfaçades last hundreds of years and requireminimal maintenance.

Every brick that leaves the Petersen brick-works is unique. This is because each oneuses methods that allow natural processes toleave their mark on the final product. Thebricks are formed by hand or by machines that

emulate manual processes. During the firing,the bricks’ position in the stack leads to dif-ferences in shape, colour and texture. Whenthe wall is built, even if the bricklayer hasplenty of experience, the result is never quiteuniform, and the brickwork appears beautifullyvaried.

Petersen Tegl works with a whole range ofcontractors and architects who appreciate theenduring qualities of the material. They alsoappreciate the fact that the brickworks will doeverything humanly possible to accommodatespecific requests.

The Dutch architect Geert Borsch asked forKolumba in three different special lengths for avilla in Utrecht. The longest was 920 mm (seepage 14).

Derwent London and PLP Architecture askedfor a coal-fired brick to be brought back intoproduction. They wanted a specific play oncolours in shades of red and purple for a newcladding for a building in Westminster, London.Of course, it could be done (see page 2).

At Petersen Tegl, we look forward to workingwith you to endow your buildings with exactlythe idiom that you seek.

PALAZZO MORA - MIN2 BOUWKUNSTMin2 bouwkunst from Holland has in PalazzoMora created Time Space Existence, whichencompasses the development of the archi-tectural themes the studio is dealing with.Some years ago, jointly with Petersen Tegl,Min2 developed a special roof- and facadebrick for their own house in Bergen aan Zee.The result is Petersen Cover, which has nowbecome part of the Petersen range.

With Riverbed, the artist Olafur Eliasson hascreated a huge indoor landscape especially forLouisiana that reflects the unique relationshipbetween nature, architecture and art embodiedby the museum. In one fell swoop, Riverbedtransforms the whole of the south wing into arocky riverbed. The exhibition also includesModel Room – a large table covered by around400 geometric models used by Olafur Eliassonin his creative process. They include QuasiBrick – a rhombus-shaped octagonal brickcoated with platinum, developed by Eliassonfor a building in Tokyo designed by TadaoAndo and produced by Petersen Tegl.

Architects and the team from Petersen Tegl at the opening ofthe exhibition in Palazzo Bembo. Photos: Camera Photo

Lukas Thomsen and architect Marteen Min bythe model of the house in Bergen an Zee.

The pieces Riverbed (above) and Model room (below)Credit: Louisiana Museum of Modern Art, Humlebæk,Photos: Anders Sune Berg

PETERSEN TEGL IS INVOLVED IN TWO EXHIBITIONS AT THE VENICE BIENNALE,BOTH BY ARCHITECTS WITH WHOM THE BRICKWORKS HAS ENJOYED A CLOSEWORKING RELATIONSHIP OVER MANY YEARS. THE EXHIBITIONS IN VENICERUN UNTIL 23 NOVEMBER

PALAZZO BEMBO - C.F. MØLLERIn the exhibition “Building the Welfare Society”in Palazzo Bembo, the Danish company C.F.Møller demonstrates how, over the last 90years, its construction projects for the Danishwelfare state have focused on qualitative as-pects. Most recently, the bureau won a com-petition for a state prison in Falster, which,when completed in 2016, will be one of themost advanced prisons in the world.

In the picture below, from left to right: VibekeThomsen (Petersen Tegl, eighth generation),Christian A. Petersen (owner of the brickworks),Julian Weyer and Anna Maria Indrio (architectsand partners in C.F. Møller), Peter Zinck (ar-chitect, Zinck Architects), Annette Petersen(Petersen Tegl, eighth generation), Lukas Thom-sen and Aenne Thomsen (Petersen Tegl, ninthgeneration).

OLAFUR ELIASSONAT LOUISIANA

C O N S U L T A N T S – P E T E R S E N T E G L

DENMARK EASTCHRISTIAN TEITUR HARRISP: +45 2463 9235E: CTH@PETERSEN-TEGL.DK

DENMARK WEST AND FUNENTORBEN SCHMIDTP: +45 2028 4355E: TSC@PETERSEN-TEGL.DK

EXPORT MANAGERSTIG H. SØRENSENP: +45 4014 1236E: SHS@PETERSEN-TEGL.DK

NORWAYMUR DIREKTE ASSIMEN BØEP: +47 2339 2010E: POST@MURDIREKTE.NO

SWEDENTEGELMÄSTER ABMARTIN PERSSONP: +46 40 542 200E: MAIL@TEGELMASTER.SE

GERMANYNIEDERSACHSEN, BREMENERIC SCHMIDT-BANDURP: +49 174 3800 667E: ESB@PETERSEN-TEGL.DK

HAMBURGREINHARD BAASCHP: +49 170 4818 870E: STEPHANBAASCH@GMX.DE

SCHLESWIG-HOLSTEINZIEGELTEAMSTEPHAN BAASCHP: +49 170 2705 530E: STEPHANBAASCH@GMX.DE

GERMANY EASTHARTMUT REIMANNP: +49 170 5565 792E: HARTMUTREIMANN@HOTMAIL.DE

GERMANY SOUTH/NRWSWITZERLAND (GERMAN SPEAKING REGION)AUSTRIABACKSTEIN-KONTOR GMBHP: +49 221 888785-0F: +49 221 888785-10E: INFO@BACKSTEIN-KONTOR.DE

BENELUXPETERSEN BENELUXNETHERLANDS, BELGIUM, LUXEMBOURGBJÖRN LUCASSENT: +31 (0) 652362168E: BLU@PETERSEN-TEGL.DK

NETHERLANDSLINEKE LUCASSENT: +31 (0) 622529266E: LLU@PETERSEN-TEGL.DK

POLANDCENTRUM KLINKIERU SCHÜTZP: +48 58 56 37 201E: BIURO@CENTRUM-KLINKIERU.PL

REST OF EASTERN EUROPEINGRID KATHRIN GROKEP: +45 2047 9540E: IKG@PETERSEN-TEGL.DK

P E T E R S E N K L I N K E R

PETERSEN - PAVERSTINA KJÆR LOICHTLP: +45 3063 4912E: TKL@PETERSEN-KLINKER.DK

D E S I G N A N D L I N T E L S

STEEN SPANG HANSENP: +45 2142 7962E: SSH@PETERSEN-TEGL.DK

P U B L I S H E R

PETERSEN TEGL A/SNYBØLNORVEJ 14DK-6310 BROAGERP: +45 7444 1236E: INFO@PETERSEN-TEGL.DK

WWW.PETERSEN-TEGL.DK

CHIEF EDITORANNETTE PETERSEN, ARCHITECT MAAE: ANNETTE@ZINCK.INFO

EDITORIDA PRÆSTEGAARD, CAND.ARCH.E: IPR@PETERSEN-TEGL.DK

LAYOUTZANGENBERG DESIGN

TRANSLATIONTRANSLATION CENTRE, UNIVERSITY OF COPENHAGEN

PRINTZEUNER GRAFISK

REPROEHRHORN HUMMERSTON

PRINT RUN97,000