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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

PETERSEN TEGL A/SNYBØLNORVEJ 14DK-6310 BROAGERP: +45 7444 1236E: [email protected]

WWW.PETERSEN-TEGL.DK

CHIEF EDITORANNETTE PETERSENARCHITECT MAAE: [email protected]

EDITORIDA PRÆSTEGAARDARCHITECT E: [email protected]

LAYOUTZANGENBERG DESIGN

PRINTZEUNER GRAFISK

REPROEHRHORN OG HUMMERSTON

PRINT RUN87.180

DENMARKDENMARK EASTCHRISTIAN TEITUR HARRISP: +45 2463 9235E: [email protected]

DENMARK WEST AND FUNENTORBEN SCHMIDTP: +45 2028 4355E: [email protected]

GERMANYGERMANY WESTREINHARD BAASCHP: +49 170 4818 870

STEPHAN BAASCHP: +49 170 2705 530E: [email protected]

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

HOTMAIL.DE

COLOGNE, GERMANY SOUTH/NRWSWITZERLAND,GERMAN SPEAKING REGIONAUSTRIABACKSTEIN-KONTOR GMBHP: + 49 221 546 33 99E: [email protected]

NETHERLANDSLUCASSEN STEENINDUSTRIEP: +31 (0) 26 3121236E: [email protected]: [email protected]

BELGIUMLUCASSEN STEENINDUSTRIEP: +31 (0) 26 3121236E: [email protected]

POLANDCENTRUM KLINKIERU SCHÜTZP: +48 58 56 37 201E: [email protected]

NORWAYMURDIREKTE ASSIMEN BØEP: +47 2339 2010E: [email protected]

SWEDENKAKEL & TEGEL ABP: +46 40 611 1146E: [email protected]

EXPORT - OTHER COUNTRIESSTIG H. SØRENSENP: +45 4014 1236E: [email protected]

PETERSEN - BRICK BEAMSSTEEN SPANG HANSENP: +45 2142 7962E: [email protected]

PETERSEN - PAVERSDENMARK EASTANNEMARIE HARRISP: +45 7444 1236E: [email protected]

DENMARK WESTTINA KJÆR LOICHTLP: +45 3063 4912E: [email protected]

It sounds somewhat improbable on the face ofit. Brick has been produced in many differentparts of the world for thousands of years.Usually, however, it has been – and still is –used close to the production site.

With the steady hands of the seventh,eighth and ninth generations of the family onthe tiller, Petersen Tegl – founded as a localbrickworks in 1791 – has emerged as a highlyspecialised global export company, a positionachieved by working closely together withsome of the best architects in the world.

Petersen Tegl is of a size that allows forpersonal contact and dialogue with individualclients, the type of relationship that facili-tates the development of special products forspecific projects, and yet the brickworks alsohas the capacity to produce and export therequisite quantities – even for huge jobs –within the kind of strict deadlines set by mod-ern construction projects.

In terms of material, form, processing andfiring, each and every brick that leaves theworks is a unique product, which – when

incorporated into in a section of brickwork –creates a vibrant surface for the pleasure andbenefit of present and future generations.

So yes, it is possible to export brick. Theuniquely high quality of its products meanthat Petersen Tegl exports more and more ofits products all over the world, including theUSA, Japan, Russia and a large number ofEuropean countries.

This edition of Petersen Magazine featuresarticles about our partnerships with architectson a wide variety of projects, ranging from a

holiday home in Denmark, where the bricks areused for artistic decoration, to a museumextension using Kolumba in Düren, Germany,to a villa in Bergen aan Zee in the Netherlands,where the architects developed a special brickfor the surface cladding.

We hope the magazine will provide youwith plenty of inspiring reading!

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NEW CHURCH BUILTWITH KOLUMBA

BØLER CHURCH IS RISING FROMTHE SOIL JUST OUTSIDE OSLO.

An interesting new building, Bøler Church, iscurrently taking form after a 2008 designcompetition won by Hansen/BjørndalArchitects.

The architects envisaged a futuristic yetsolemn idiom. When the church is finishednext year, a heavy section will shield the

building from the surrounding roads, but thechurch will still have an open and invitingexterior. It will also draw in the beautiful nat-ural surroundings and integrate the landscapeinto the church-going experience.

The church has a heavy base that cuts intothe terrain and is built with Kolumba K58

bricks. The other materials are copper, con-crete and wood.

Petersen Tegl eagerly awaits the end prod-uct and looks forward to telling our readers allabout the finished church.

P R I Z ES FOR BRICK BUILD INGS

C O N S U LTA N S P E T E R S E N T E G L

P U B L I S H E R

E X P O R T C O N S U LTA N S - O T H E R

Bøler Church, which will be completed in 2011, has a heavy base of Kolumba K58. The completed building will incorporate the landscape into the church-going experience.

The A.P. Møller School in Schleswig. Bateman's Row in London.Football – an outdoor activity.

Two of this year's RIBA prizes went to buildings made of brick by Petersen Tegl. Bateman's Rowin London, a combined home and studio designed by Theis and Khan, received both the RIBALondon Award 2010 and the RIBA London Building of the Year Award 2010. It is made of D71in Hamburg format. The European Award 2010 went to the A.P. Møller School in Schleswig,designed by C.F. Møller architects (covered in Petersen no. 21). It is built with D70.

KOLUMBA, PART OF THE GAMEFans in Copenhagen turned out in their droves to watch this summer's World Cup matchestogether outdoors. The Royal Theatre entered into an agreement with TV2 to show all thebig games from South Africa on a huge screen at Kvæsthusbroen. Several thousand guestsconverged upon the new beach bar Ofelia to watch the games and enjoy views of the Theatre– which was designed by Lundgaard & Tranberg and built from Kolumba brick.

I S BR ICK AN EXPORTABLE COMMODITY?

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Art and architecture work best togetherwhen the borders between the two are fluid.In the Tisvilde holiday home jointly designedby sculptor Bjørn Nørgaard and architectTage Lyneborg, the two art forms achieve acomplementary synthesis – the architecturehas been artistically processed, while theornamentation is redolent with architecturalmerit. It is no surprise that the pair found itso easy to work together. Lyneborg's poeticapproach to his profession is evident in all ofhis buildings, and Nørgaard's wide-rangingoeuvre encompasses several architectural

works, e.g. he conceived and designed theBispebjerg Bakke housing development (forwhich Petersen supplied D32 and D34bricks). They clearly enjoyed workingtogether on the Tisvilde project, althoughLyneborg did start the conversation withsome funny memories of the early stages.

“Bjørn Nørgaard and I know each otherfrom the Royal Academy of Fine Arts’Academy Council and appreciate each other'swork. In 1967, I saw an exhibition by Bjørn,which has been one of my formative artisticexperiences. When he asked me to draw a

DRAPED IN BRICKA NEW HOLIDAY HOME IN NORTH SEALAND HAS EMERGEDFROM A COLLABORATIVE PROJECT INVOLVING ARCHITECT TAGE LYNEBORGAND SCULPTOR BJØRN NØRGAARD. THEY TALKED ABOUT THE HOUSEAND ITS CREATION ONE BEAUTIFUL DAY IN JUNE.

Photos: Anders Sune Berg

house for one of his friends, I said yes rightaway, but insisted that we work on it to -gether. We looked at the site, which had dra-matic potential, and then I drew a sketch of arectangular glass house on a plinth, which Isent to Bjørn. Some time passed before alarge, coloured drawing arrived back.Suddenly, the house had round corners andlooked like a pizza! “Wow!” I thought. It wasthe first time anybody had altered one of mydrawings, but I took the idea with good graceand we went with it. That's where the round-ed aspect of the design stems from.”

Nørgaard recalls that first sketch clearly: “Ithought a glass house would stand out toomuch. The rounded shape means the housemerges into the landscape. Tage introducedthe idea of covering it with roofing felt,which helps highlight the round shape.”

The holiday home is situated on a north-facing hillside in the beautiful, protectedTisvilde countryside. The rectangular housestands on a plateau and evens out the heightdifference on the site. To make the most of theincredible view over the hillside and across thevalley, the house has large, north-facing win-

dows. It is closed to the south, where visitorsgo down the slope to reach to the house. “Weconsidered a terrace along the north façade,but decided that the building and the land-scape should meet directly, in order to empha-sise the lumpy nature of the house. The roofand house together make up a softly roundedmonolith, and the roof has no gutters, so itscurves are uninterrupted. The windows, whichare cut out as precise, deep holes, are there-fore set as far into the wall as possible to pro-tect them against the rain that runs down thefaçades,” Lyneborg explains.

The single-level house has one large roomthat embraces all four corners of the globe.The bedroom, bathroom, toilet and kitchenare dotted along the south façade, separatedfrom the living room by a Nørgaard-designedwall. Part of it is a sliding wall and has aJapanese-inspired pattern of black lattice-work and frosted glass.

The house is anchored to the site by thelarge wall section – the key feature of thehouse – that comprises the west façade. Itencompasses the fireplace, chimney and westwall of the house, but extends beyond the

The house has no gutters, which accentuates the roundness.The copper-clad window niches are deep-set to protect them from rain.

Each section of the wall has its own brick pattern, using three different coloursof coal-fired stone – D48, D54 and D72.

The wall features a braided pattern and meanders around the west-facing terrace. The brickwork on the west façade is repeated in the fireplace and chimney.

Bjørn Nørgaard Tage Lyneborg

Tage Lyneborg originally envisaged an uncompromising construction for the house on the slope,and sketched a glass building with clean lines. Sculptor Bjørn Nørgaard responded with a sketchof a house with soft shapes, which they worked on together.

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main structure and around the north-westcorner to provide protection against wind,weather and prying eyes. The wall marks thehouse out as something highly unique in thelandscape, but also unites the building withthe location by virtue of its natural materials– including handmade bricks – and harmonic,earthy colours.

The beautiful brickwork is by Petersen Tegland combines three different colours (D48,D54 and D72) in a variety of different ways.The wall edges softly around the terrace, andeach elevation has its own pattern. Up close,

the materiality of the stones and their rich-ness of colour stand out. From a distance, therefined patterns stand out and the three-dimensional effect generated by the interwov-en, projecting bricks becomes visible. Theprojection follows a consistent pattern inwhich all of the grey bricks are on one level,while the red and yellow ones either protrudeor retract, respectively, by 16 mm.

Bjørn Nørgaard has worked with PetersenTegl on a number of projects, and had nodoubts about the choice of supplier:“Christian Petersen acknowledged long before

everybody else that the future of brick ismainly as facing walls. He rejigged his rangeto compete with other forms of cladding, e.g.metal, granite and various composites.Petersen products have unique colour effectsand materiality – due to the slipping and coalfiring. They'll also last for centuries and agegracefully, unlike a lot of other materials,such as concrete.”

The building process was long, and thedesign and detailing were done under thedeveloper's auspices, so the final result differsin some respects from the original drawings,

something that Lyneborg and Nørgaard acceptpragmatically. “The house has the idiom wewanted and we had fun with the process,”says Nørgaard. “We both like the AcademyCouncil as an institution. It's where what wecall the free and the conventional art formsmeet, and amusing and interesting exchangesof views often emerge. But it's nice that thepolitical and theoretical discussions some-times end up in us working together on actu-al, tangible projects – in this case, building ahouse. It is, of course, easy to let your imag-ination run free when it costs nothing...”

Brick is constrained by the human hand, itssize and weight determined by our ability tolift and accurately position the material.Hardly surprising, then, that the Greek termfor brick is pentadoron, since doron meansboth palm and gift.

Before brick and mortar, we only had nat-ural stones, piled together. Cut or whole, theywere used to form walls and spaces. But theadvent of brick heralded opportunities forunprecedented new effects and opportunities– and not just in parts of the world wherestone was scarce but everywhere. For morethan 4,000 years, stones and mortar havecombined to provide masonry, enabling us tocreate curved or arched surfaces and planes,as well as shapes and patterns, in fragmentsor as larger pieces. Regional customs andmaterials used to act as the stones' interme-diaries. The colour and quality of the clay, andlocal practices and traditions influenced theproduction and use of brick, leaving subtletraces in the masonry, endowing structureswith depth and richness, embedding them inthe local culture.

Times have changed. Globalisation hasmore or less removed all restrictions on therange of available building components.Nowadays, good architects are not acclaimedfor their ability to generate diversity in termsof materials, but rather for the way in whichthey selectively identify and assemble a fewmaterials into a meaningful whole – i.e. cre-

JANUS IN DÜRENTHE NEW EXTENSION TO THE LEOPOLD-HOESCH MUSEUM IN DÜREN MASTERSTHE DIFFICULT ART OF ADAPTING THE NEW TO THE OLD BY MEANS OF FEWBUT WELL-CHOSEN MATERIAL EFFECTS AND EXQUISITE SPATIAL COMPOSITION.

by Christoffer Harlang, architect MAA, professor Phd Photos: Anders Sune Berg

North façade A wall of frosted glass and black latticework, desig-ned by Bjørn Nørgaard, separates the small roomfrom the living room.

The four large, frameless windows offer spectacularviews over the protected natural area to the north.The continuous, curved shape is also retained in thewindow recesses.

Holidayhome in TisvildeClient: Steen F. LindberghArchitect: Tage LyneborgArchitectural artwork: Bjørn NørgaardEngeneer: Erik Pedersen

In the Leopold-Hoesch Museum, built in K51, themeeting between the old building and the new ismarked by a clear confrontation, created by delibe-rate material effects and proportioning.

Plan of the original museum,including the addition from 2010.

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ate more with less. Only in this way do build-ings have bestowed upon them the cohesivenature they used to possess, and which is stilla prerequisite for us accepting them, likingthem and looking after them. Only in this waydo contemporary buildings dare to aspire tothe silent craftmanship of the past, so mind-ful of both regional cultures and universalvalues. This places extremely high demandson architects, of course, higher than everbefore.

Fortunately, we are constantly remindedthat it is possible, using few but very well-chosen effects, to create overwhelming struc-tures that compare well with those of bygoneeras. One of the most notable examples in

recent years is surely Peter Zumthor's KolumbaMuseum in Cologne – built with K51 – itscharacter quiet and vibrant, close and gener-ous. However, Zumthor is not alone in takingexceptional care in the design of his build-ings. Not far from Cologne, in the town ofDüren, Peter Kulka's grand extension to theLeopold-Hoesch Museum has just been inau-gurated. Here we have a building that trulydoes master the difficult art of adapting thenew to the old by means of few but well-cho-sen material effects and exquisite spatialcomposition.

The town of Düren has a long history dat-ing back to the Celts and the Romans but wasdestroyed by Allied bombs in 1944. Some

roads survived but most of the town datesfrom the 1950s. This makes the original muse-um, a neo-baroque building from 1905, some-thing special in Düren – not only because it,quite remarkably, survived the war, butbecause it is the sole remaining relic of thetown circa 1900, when it was a centre for thelucrative paper industry.

Any changes to the building's interior orexterior have a duty to live up to this uniquehistory, and Kulka's radical new extensionfocuses on this narrative. It maintains a dia-logue with the city's historic spaces andbuildings by training a sharp eye on threeparticular aspects. Firstly, the proportions ofthe new building are such that the overall site

can be perceived both as an inter-connectedsystem and as two buildings engaged in amutual dialogue. The original late-baroquefaçades are rich in figurative touches anddetails, offset by the tensions inherent in thehighly abstract composition of the new exten-sion. The new building's steel and glassdetailing – especially the calm surfaces of theKolumba bricks – also finely complement thesolid physicality of the original sandstone. Toachieve equilibrium, both heaviness andlightness are needed – and there's plenty ofboth here, in precisely measured amounts.The materiality of the façades incorporates atheme seen elsewhere in Düren's sparse his-toric structures – including in the city walls

The overall construction can be read both as a cohesivewhole and as two buildings engaged in reciprocal dialogue.

The fine play of colours in the grey shades of the Kolumba used in the extension beautifully matches theoriginal museum's sandstone façade. The architects wanted a slightly taller brick, so Petersen supplied themwith a version of Kolumba that is 45 mm thick, – 5 mm more than the standard measurement.

and in the church tower at St Marienkirche –i.e. the juxtaposition of brick and stone.

Finally, the actual meeting between oldand new is elegantly handled. The originalbuilding's dark base is extended to form thebase of the extension. A neutral seam, com-prising a series of very simple steel details,marks the transition between the figurativesandstone façades and the abstraction. WhileZumthor allowed Kolumba's new buildingphysically to weave itself into the old one,Kulka has a different strategy: direct con-frontation between new and old, with co-ordinated material effects and careful propor-tions. The Leopold-Hoesch Museum also pos-sesses a Janus-like duality in its character,

the other face of which is found in the com-plex interior. Here, the transition between thenew and the old takes place in two double-height, white rooms that the architect himselfcalls “light fugues” (Lichtfugen).

They bestow upon the interior of the build-ing a vital spatial neutrality, which creates atransition between the late-baroque's dynam-ic sequence of spaces and the new building'ssober interiors. The new rooms are simple butwell proportioned, satisfying contemporarycuratorial requirements without undue inter-ference from the architecture. Floor meetswalls meet ceiling without unnecessary mark-ings, and there is plenty of flexible artificiallight. The giant bay windows weightlessly

floating out into Düren's narrow streets offernatural respite from the exhibitions. Therooms themselves are unobtrusive, quiet,understated frameworks that underpin theinteraction between exhibit and observer. A“box-principle”, enriched by the walls' variedshades of grey, makes it possible to providecertain paintings with a separate backgroundof their own.

Before Düren was obliterated, the areaaround the museum was also home to thechurch and the theatre, and as such served asthe town's cultural hub. Only faint traces ofthis are visible today, but once the museumhas been completed, the outdoor areas willalso be rejuvenated, and the town's three

major cultural institutions will come togetheronce again. The architecture in Düren is afusion of new and old. The buildings and thetown have found one another in a new bal-ance between the weight of history andvisions of the future – an architectural Janushead.

The Kolumba brick was born during aconstruction project not far from Düren.Peter Zumthor wanted a Roman-inspired long,flat brick for his unique Kolumba Museum inCologne. Along with Petersen Tegl, he developedthe Kolumba, which measures 528 x 108 x 37 mm(K51). The brick is hand-made at the brickworksin Broager.

The original late-Baroque façades, rich in figurative touches and details,are offset by the tensions inherent in the highly abstract composition of the new extension.

The transition between the new and the old takes place in two double-height rooms, which act as a linkbetween the dynamic spatial sequences of the late Baroque and the new building's simple, modern interiors.

The Leopold-Hoesch Museum, additionClient: Stadt Düren, Amt für GebäudemanagementArchitect: Peter Kulka Architektur Köln GmbHConstruction management: Harms & Partner Ingenieure GbREngineering: Dipl.-Ing. Straetmans, Brockof Ingenieure

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Simple but significant innovation and respect for history were at the heart of Erik Brandt Dam'swinning proposal in the competition to redesign the King's Garden in Odense. The project hasnow been completed, and the garden has re-emerged as a beautiful, popular oasis in the heartof the city.

The King's Garden was inaugurated as a baroque castle garden in the 1720s, and has sinceincorporated a variety of styles. “To my mind, it's just as important to safeguard the historicallayers of the landscape as it is to preserve the buildings,” Dam explains. “Because of that, we’vemade the Garden's different epochs visible again, retaining features from bygone eras, includ-ing the large, solitary trees planted in the 1800s, when the rural idiom dominated Europeanlandscape gardening.”

One of the project’s main tasks was to re-establish the main axes and a diagonal crossing.“A lot of people take a short cut through the garden to the station. We wanted to make thisotherwise purely practical endeavour a special experience, so we went for not the shortest, butthe most beautiful route through the Garden. The path winds, varies in width and is covered ingravel, which makes a satisfying crunch as you step on it,” he adds.

The Garden's three axes are based on the 1740s pathways that flank the castle. “Odense isa brick city, so it seemed obvious that the paths should have brick covering,” says Dam. “Butthe paths needed their own identity, so we shunned standard clinkers, which would have meanta somewhat mechanical surface effect. The K57 Kolumba brick gave us exactly the colours andtexture we wanted. However, the requirements for tensile strength meant that we had to devel-op a custom tile in fatty English clay. This new clinker measures 300 x 97 x 65 mm, with theheader equal to the length at the side, so we've been able to avoid cutting the clinkers downto nothing at the various transition points.” The new clinker is now part of Petersen's rangeunder the name “Odense King's Garden Clinker”.

Another key point in the revitalised Garden is the slightly raised edges that run around theentire periphery, replacing the old hedge. The edge clearly demarcates the perimeter, but alsoinvites passers-by into the garden. The fact that there is a free view into the gardens increas-es the sense of security. And each night, the trees are illuminated differently, endowing thegardens with a variable element that complements nature and seasonal changes.

King's Garden, OdenseClient: City of OdenseArchitect: Erik Brandt Dam Architects Ltd. Contractor: P. Malmos A/S

THE KING'S GARDENCLINKERA NEW SURFACE PLAYS A MAJOR ROLE IN THE RENEWAL OF KING'S GARDEN, ODENSE,DENMARK. TO ACHIEVE THE DESIRED IDIOM, THE LANDSCAPE ARCHITECTS DEVELOPEDA NEW CLINKER IN COLLABORATION WITH PETERSEN TEGL.


Key to the rejuvenation of the garden were the threeclinker-paved Baroque axes and a diagonal gravel path.

In Kolumba K57, the architects found the play of colours and the materiality they sought. To meet the strength requirements,they worked with Petersen Tegl to develop a new clinker in the same type of clay as the Kolumba.

K L I N K E R

The King's Garden was built as a royal Baroque gar-den for the castle in the 1720s.

This new clinker measures 300 x 97 x 65 mm, withthe header equal to the length at the side. The

many transitions in the paving were achieved withan absolute minimum of stone cutting.

The architects wanted to retain the historical layersin the landscape, so have preserved a number offeatures from the garden's various epochs.

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HARD-WEARINGCARPET FOROUTDOOR USE

A BEAUTIFUL AND UNUSUAL USE OFCLINKERS HAS TRANSFORMED A SMALLBACKYARD IN THE ØSTERBRO AREA OFCOPENHAGEN INTO AN OUTDOOR LIVINGSPACE WITH ITS OWN UNIQUEATMOSPHERE.

An intimate, Mediterranean-style courtyardand the sound of splashing water – these werethe first images that sprang to the mind oflandscape architect Jacob Kamp when his stu-dio, 1:1 landscape, was commissioned to ren-ovate the backyard of the co-operative hous-ing association at Classensgade 27a.

An old rear building was to be removed,the original circular granite fountain pre-served and fixed furniture and fittings avoid-ed because the yard is used for a variety ofpurposes. Apart from that, the studio had afree hand.

“The challenge often consists of transform-ing amorphous space into something moredefined,” Kamp explains. He decided at anearly stage that the style of the 350 m2 spaceshould be simple but rich. It was also impor-tant that the yard look beautiful from theflats above.

The idea emerged of creating an outdoorØsterbro living space, using herringbone par-quet to recreate a beautiful oriental carpet.“To derive inspiration, I went out and pho-tographed façades featuring old brick pat-terns, which we transformed into a new carpetof our own,” he continues.

“Natural materials were an obvious choicefor the covering, and we opted for PetersenTegl's B48 yellow and B85 black-brown clink-ers. They're rustic and delicate at the sametime and will still look good in 100 years. Theoriginal idea was to create a coloured carpeton a light floor, but we reversed that becausethe yellow stuccoed façades better suit thedark clinkers, which now form the outeredge,” he points out.

The project has been a huge success. Thissimple but powerful trick has transformed thecourtyard into a beautiful oasis. The asym-metric pattern is reminiscent of striped patch-work, or classic patterns integrated with bar-codes. The design also kept down the need tocut bricks, and the covering is composedalmost entirely of whole ones.

PETERSEN TEGL SUPPLIED CLINKERS FORTHE RENOVATION OF OUTDOOR AREA ATVANGEBO SCHOOL IN SØLLERØD.DEVELOPING A CUSTOM-MADE CLINKERFACILITATED THE FAITHFUL RECREATIONOF THE COLOUR OF THE ORIGINALBRICKS.

Visitors to Vangebo School are welcomed atthe main entrance by a large, wide staircasemade of distinctive yellow brick – the mainmaterial used throughout the building.

Its fine layout and modernist architecturemade Vangebo a landmark new school when itwas designed by the architects HenningLarsen, Kurt Busch Born, Max Brüel andJørgen Selchau in the late 1950s.

More than half a century later, and despiteits relatively small classrooms, Vangebo

remains an interesting and practical building.Each classroom has a direct link to the out-doors and is supplemented with a small court-yard, cloakroom and common room.

Over the decades, the brick-paved outdoorareas had become worn – not only by the feetof children, teachers and parents, but by theweather. The time had come to replace thepaving at the main entrance, including thegrand outdoor staircase. Obviously, the workhad to be performed with maximum respect

for the original idiom, and close collaborationwith Petersen Tegl proved to be the key to asuccessful project.

Petersen developed a special product,B48R, for the project. Mixed with the stan-dard B48 line, it allowed Petersen to achievethe perfect golden pink shade to match theoriginal stone – and the results were exactlyas desired.

C L INKERSS IGNAL FUNCT ION

THE OUTDOOR AREAS AROUND THE ASOCIAL HOUSING DEVELOPMENT INGLOSTRUP HAVE BEEN REJUVENATEDIN RECENT YEARS.

Landscape architect Niels Lützen was respon-sible for designing the playground, communalspaces, new lawns and plants. The last stageof the project involved replacing asphalt withclinkers on the path that winds its waythrough the area.

“Before, the path wasn't used very much,but it now acts as a unifying element for theblocks of houses,” Lützen explains. The pathis paved with the clinker Black B85 and YellowB49 by Petersen Tegl in yellow and black,based on the concept: “The yellow clinker,mixed with black, is used for the parts peoplewalk on. As you approach a change in use, thepaving signals it. The black clinkers becomemore and more dominant until, by the timeyou are right next to a playground or otherrecreational area, the paving is completelyblack.”

N EW CL INKER FORCLASS IC SCHOOL

Renovation of outdoor areas at Vangebo SchoolClient: Rudersdal PropertiesContractor: Rudersdal Council Operations Department

The paving consists of Petersen's yellow B48 and black-brown B85.

With a simple but significant intervention, 1:1 landskabtransformed a yard in Østerbro into a beautiful oasis.

The asymmetrical pattern in the paving resembles an Oriental carpet. Photos: Anders Sune Berg

Petersen Tegl developed a special product, the B48R clinker, for Vangebo School, which was mixed with the standard B48. This allowed the team to achieve just the right shade of golden pink to match the original building.

The main path in the Glostrup housing developmentis mainly yellow B49, mixed with a few black B85.The black is used sparingly until the path approa-ches leisure areas and playgrounds, where it turnsexclusively black.

Outdoor areas, Glostrup Boligselskab, afd. 9Client: Glostrup Boligselskab, afd. 9Architect: Niels Lützen landskabsarkitekter MDL PLRContractor: ok grøn anlæg A/S

K L I N K E R

Backyard in ClassensgadeClient: AB Store ClassenshusLandscape architect: 1:1 landskabEngineering: Eduard Troelsgårds tegnestueContractor: Anders Matthiessen anlægsgartnere

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F ISHERMAN ' SCOTTAGE ENSCONCEDIN KOLUMBA

Once they had renovated their old fisherman'scottage on Strandvejen in Snekkersten, theowners turned their minds to making the out-door area as beautiful as the building. Thefamily considered a variety of surfaces, butfell head over heels for Kolumba, which nowpaves the entire site – including the parkingspace, the path up to the house, the terracesand the stairs to the garden's upper level. TheKolumba clinker K43, which is a beautifulmatch for the red-tile roof and the giantstones in the garden, has been laid in a her-ringbone pattern, making good use of theirregular offcuts on the site. The new pavingexquisitely unites the front and back gardens.forming a single, tranquil and holistic unit.

WATERFRONTREDEF INED

SKY, SEA AND NEWPAVING IN GRÅSTEN.

The people of Gråsten have been enjoying abrand-new waterfront since early spring. Nowincorporated into Gråsten WaterfrontPromenade, the newly transformed 2,500 m2

harbour area features a clinker-clad surfacethat alters the area's character and invitesyou to enjoy a scenic stroll.

Landscape architect Birgit Thingsgaard,along with engineer Lars Overgaard, wasresponsible for the project on behalf ofSønderborg Council. “Clinker cladding is char-acteristic of Gråsten, so it seemed natural tocontinue the motif at the harbour,” he says.

“We opted for a warm, yellow clinker with afine play of colours from Petersen Tegl. Thegolden clinker absorbs less light than a redone, and we chose a matte finish to minimiseglare from the sky and sea.

The clinkers have been laid in sectionsdivided by granite bands – a motif carriedover from the rest of the promenade. Thebrickwork varies from section to section,which creates a sense of variation. Unlike inthe rest of the town, the clinkers are laid witha 4 mm groove to make the large space lesscompact – a job that required great precision

on the part of the pavers.” The existingdrainage has been preserved, so the terrainundulates slightly, a feature skillfully reflect-ed in the way the clinkers have been laid. Inaddition to the new paving, the projectincludes a big new grass area, beds of orna-mental grasses and perennials, and woodenbenches.

GETTING CARS OFF THE STREETS HASLONG BEEN HIGH ON THE POLITICALWISHLIST IN COPENHAGEN.A FIRST STEP HAS NOW BEEN TAKEN.


The first of nine planned underground parkingfacilities in Copenhagen opened on Nørre Alléin June. The next two will open on Leifsgadeand Under Elmene in the autumn.

The system is fully automated – you drive onto a hydraulic platform, get out and the plat-form parks the vehicle for you. To pick up yourcar, you pay at a machine and the vehicle auto-matically resurfaces. The three car parks willadd 840 parking spaces to the inner city, theequivalent of four kilometres of kerbside space.

All passers-by will see above ground is a60m2 box designed by Creo Architects CPH. Ithas large glass panels to generate transparencyin the urban landscape and to enable drivers towatch their cars disappear into the ground.

To contain all the technology needed, thebox also incorporates a heavy, stabilising wall.According to architect Jesper Lund of Creo CPH,it was only natural to use the type of bricksfound in the area around Nørre Allé to stimulatea dialogue between the new edifice and its sur-

roundings. “To achieve a contemporary idiom,we chose Kolumba by Petersen Tegl. It isn't ashigh as a traditional brick but it's longer, whichaccentuates the length of the wall andenhances the design quality of the lift box. Weopted for Kolumba K43 for its combination ofred and charcoal-grey shades,” Lund explains.

Parking facilities, CopenhagenClient: City of Copenhagen, Construction andTenders Department (CAU)Consultants for car-park project: Alectia Design of hydraulic lift box: Creo Architects CPHContractor: Lafuco A/S and Jakon A/S

New paving on Gråsten waterfront promenade, where yellow tiles generate warmth and colour. The clinkers – and the bricks in the high-rise buildings along the harbour – are by Petersen Tegl. Photo: Søren Petersen.

The Kolumba clinker K43 paves the entire outdoorarea around this old fisherman's cottage inSnekkersten – including the parking space, the pathto the house, terraces and stairs to the garden'supper level. Photos: Anders Sune Berg

The lift boxes to the new underground car parks are made of Kolumba.The long, flat format accentuates the length of the wall and enhances the design of the box.

The lintels feature the world's first course of headersin Kolumba – the boxes above the lift gates are3,916 mm long, 648 mm high, weigh 1500 kgand are produced by Petersen Tegl.

PARK WITHKOLUMBA

K L I N K E R

The car parks 15 metres below NørreAllé have room for 164 cars.

Gråsten WaterfrontClient: Sønderbog CouncilArchitect: Roads and Traffic, Sønderborg Council

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A new house has grown out of the sand dunesin Bergen aan Zee on the Dutch coast in thelast year. It is original in the extreme, totallyunique, and yet looks as though it has beenthere for ever.

For Jetty and Maarten Min, the co-ownersof the Min2 design studio in Bergen, the deci-sion to build a new home was a slow burner.The couple had lived in a 1950s property onthe same site for 15 years. This house mayhave had plenty of desirable qualities, but itwas all on one level and lacked a sea view.The urge to look out over the dunes wastherefore a major incentive to build fromscratch. For a long time, the plan was to buildon top of their old home but in the end theydecided to demolish. The idiom of the originalbuilding has however been retained the newdesign.

Jetty and Maarten took their time with theidea and concept stage. “When you build foryourself, you can afford to be slow, and wetried out a lot of ideas along the way,” Jettyrecalls. “In return, we now have a home thatfeels right for the site. We let the wind deter-mine the layout of the house – it turns itsback to the west, from where the wind isstrongest.”

The base of the house – the ground floor –is cast in concrete, on top of which rests alarge wooden structure that is visible from theinside. The supporting pillars consist of largeDouglas fir trunks, felled on site. The first andsecond floors are contained in the huge,rounded shape – 15 metres from floor to ridgebeam – that comprises both roof and façade.

The two upper floors form a single largeroom, in which a free-standing wooden stair-case leads up to an inset concrete deck. Theground floor consists of a hall, studio, libraryand bathroom, with a kitchen on the firstfloor and living areas on the two upper floors.The house is 350 m2 in total, open plan, anddesigned for maximum flexibility. The coupleare able to move about, hang out and workanywhere in the building.

As artist and architect, respectively, Jettyand Maarten complement each other's profes-sions well. Jetty was responsible for the mate-rials, texture and colours for the project. “Iwanted natural cladding, and considered zinc,copper and wood,” she explains. “I've known

Christian Petersen and Petersen Tegl for years– and suddenly it struck me. Kolumba, ofcourse! Albeit in a way that leaves as much ofthe brick visible as possible. Petersen likedthe idea, and we worked together on a specialversion of Kolumba that could be mountedvertically on the façade and roof. The newversion has been dubbed Athene Noctua.”

The skin on the outer shell consists of anunderlying wooden structure, laminate, a met-al skeleton and the external wall. The specialnew brick for the house in Bergen aan Zee is100mm wider than the standard Kolumba.Indentations on the inside also allow it to befixed to the structure. With the Atlantic Oceanas a neighbour, the location is extremelyexposed to the elements, so it says a greatdeal about the durability of the design thatthe bricks on the ground-floor are onlyclipped on. On the upper, more windsweptpart of the building, they are more firmlysecured.

The large, reinforced back allows thisunusual construction to nestle into therugged landscape. But it is by no means invis-ible. When Jetty and Maarten held an openhouse as part of an architectural exhibitionlast year, 5,000 visitors turned up over thetwo days.

SHAPEDBY NATURE

JETTY AND MAARTEN MIN WANTED THEIR NEW HOMETO BE IN HARMONY WITH ITS MAGNIFICENT NATURAL SURROUNDINGS.

THEY OPTED FOR THE NATURAL PRODUCT KOLUMBA AS FAÇADE CLADDING.

Photos: Paul Kozlowsky

<< The unusual house, with its large, weather-bea-ten back, nestles into the dunes.

< The architects let the wind shape the house, turn-ing its back to the west, the source of the strongestblasts.

The special edition of Kolumba is mounted verticallyon the façade and roof.

When you build your own house, you can afford to take your time. The east façade – designed as one solid section – awaits its balconies.

Jetty and Maarten Min developed a special brick based on Kolumba for their own home. 100 mm widerthan Kolumba, it has indentations on the inside to attach it to the wooden frame on the façade.

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Architect Joerg Toepel sought inspiration in the surroundings when he designed the fiveexclusive homes that comprise the La Joya unit in Düsseldorf's desirable Oberkassel dis-trict. The project, which was completed in 2008, was the result of an invitation-onlyarchitectural competition.

La Joya reflects the fact that the buildings surrounding the site vary widely in size andappearance by mixing a number of blocks of varying size and design. The tallest building– four storeys high – has projecting planes at the top, which made it possible to add fair-sized balconies, and means that the building does not dominate the whole site. Beneaththe buildings is an underground garage with room for 12 cars.

The biggest building acts as a large gate through which you must pass to enter thearea. Part of the site consists of a large pond, in which the buildings are reflected.

The differentiated idiom is also enhanced by the varied treatment of the façades,which alternate between plaster surfaces and brick. According to Joerg Toepel, the sub-tle shades of colour in Petersen Tegl's D91 endow the cladding with the distinctive, con-temporary idiom the developer wanted.

LA JOYA,OBERKASSEL Photos: Anders Sune Berg

La Joya, DüsseldorfClient: gentes Baumanagement GmbHArchitect: Jörg ToepelContractor: Gentes Plan GmbH

Private villa in Bergen aan ZeeArchitects: Min2 Bouw KunstEngineer: Min2 Bouw Kunst, Ernst Nijdam

The biggest building in La Joyaresembles a large gate. All of the

buildings are reflected in the onsite lake.

The differentiated idiom is achieved byvariation in volumes and façade claddings,which alternate between plaster and brick.

On entering the hall, visitors are confronted by a brick core in Kolumba K51,which is characterised by beautifully muted shades of grey.

Freestanding wooden stairs lead from the hall up to the first floor.

The two upper floors form one large room with a freestanding wooden fireplace that leads up to therecessed wooden deck. Large Douglas pines, felled on the site, make up part of the visible wooden structure.

Longitidinal section Cross section

Ground floor

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Vejleåparken in Ishøj is a more beautiful place to live now. Nodoubt about it. The transformation from run-down ghetto todesirable residential area is nothing short of remarkable.

The large scheme, called Ishøjplanen when it was built 40years ago, was every bit the pioneer for similar projects in keep-ing with the prefabricated-concrete Zeitgeist. By the 80s, build-ings were succumbing to the ravages of time, e.g. oxidation wasmaking façades disintegrate, exposing the structural steel. Arescue plan became a matter of ever greater urgency. In the late90s, DOMUS was commissioned to renovate the vast majority ofthe buildings, known as AAB Department 55.

AAB (the housing association) acted as a commissioningagent, the National Building Foundation and Ishøj Council asthe main sources of funding. Over a ten-year period, the out-

door areas were revamped and 1,800 flats renovated with newbathrooms, roofs, windows and façades – at a total cost of near-ly DKK 1.3 billion. Landscape architect Charlotte Skibsted, inconsultation with the residents, devised a new, well-designedsystem of paths and recreational areas. Architect Henry Ladingfrom DOMUS was the project manager for the renovation proj-ect, which included integrating art into all of the façades.

NEW NEIGHBOURHOODSThe architects' overall concept was to divide the scheme intoeight neighbourhoods and bestow a unique identity upon eachof them in an attempt to foster a sense of community. Anotheroverarching decision was to use brick as the primary claddingon façades.

Each district has its own distinct shade of brick, rangingfrom dark red to rose to yellow. “The subdued colours signalwarmth and tranquility, and will be stylistically durable,”Henrik Lading says. “It was crucial to make the buildings looknew. Renovations too often consist of affixing new claddingabove the basement level, which means the houses don't lookgrounded. We wanted the buildings to be firmly anchored inthe terrain, so new foundations were dug in front of the exist-ing ones.”

“Another priority was to use the best-quality bricks, onesthat will last for centuries, so we chose three from thePetersen Tegl range: D32, D34 and D37,” Lading continues.The brickwork varies throughout, and utilises different pat-terns, reliefs and colour combinations. One common feature is

that the bases of the houses have been made visually“heavier” by applying a dark mortar to the bottom storey.

DEMANDING ARTOne striking aspect of the project is the decorative art thatadorns all of the façades. The National Building Foundationstipulated that visual art should be incorporated into the proj-ect, and Professor Bjørn Nørgaard headed up a team of artists,each of whom was given responsibility for a particular neigh-bourhood. The decorations vary widely, ranging from non-fig-urative art to a naturalistic portrait several storeys high. Thearchitects transferred the motifs onto large, detailed façadedrawings, which were sent to Petersen Tegl, where the motifswere transferred to the bricks. Thousands of bricks were then

individually coloured or glazed before firing. Finally, they weredelivered to Ishøj, where the bricklayers faced the dauntingtask of constructing façades that corresponded with the draw-ings.

It may have been a highly challenging project, but the out-come was positive. Vejleåparken was a particularly complexrenovation project, in which the political ambition of regener-ating a housing scheme was achieved by means of a high lev-el of quality in architecture, art and craftsmanship – with brickplaying a key role.

Vejleåparken, IshøjClient: AAB Dept. 55Consultants and architects: DOMUS architects a/sLandscape architect: Charlotte Skibsted MAA MDLEngineering, construction: Wissenberg A/SEngineering, installations: Wormslev A/SArtistic decoration: Professor Bjørn Nørgaard in collaboration withVeo Friis Jespersen, Jørgen Carlo Larsen, Sophia Kalkau,Torben Kapper, Kirstine Roepstorff, Thomas Poulsen (FOS),Tina Maria Nielsen and Martin Erik Andersen

QUALITY ART IN BRICK BRICK FAÇADES AND INTEGRATED ARTISTIC DECORATION PLAY KEY ROLES IN DENMARK'S BIGGEST EVER SOCIAL HOUSING RENOVATION PROJECT.


As part of the revamp, Vejleåparken was divided into eight districts. The houses in each district have their own brick colour, in shades varying from dark red to pink to yellow.

The artistic decoration uses specially produced Petersen Tegl bricks,including glazed ones in a range of colours.

The brickwork varies throughout the building, and utilises different patterns, reliefs and colour combinations.One common feature is that the building's bases have dark mortar, which makes them visually heavier.

The artistic decoration, which is integrated into the masonry on every façade, ranges from non-figurative art to a naturalistic portrait covering several floors.

Architect Henry Lading of DOMUS architects was project manager for Vejleåparken'srenovation, a project that has lasted more than ten years.

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ERIKSBERG, GOTHENBURG'S FORMER SHIPYARD AREA,HAS DEVELOPED RAPIDLY IN RECENT YEARS. FOR EXAMPLE,A NEW HOUSING ESTATE IS TAKING SHAPE AROUND THE DOCK.

Designs for the eight blocks were invited via architectural competitions. Two of them have nowbeen completed. One of them, the BRF Eriksbergsdockan housing block was designed by WhiteArchitects in Gothenburg.

BRF Eriksbergsdockan consists of two parallel buildings – one seven storeys, one nine – thatstand either side of a courtyard with a green garden. Beneath the raised garden is an under-ground garage with space for 40 cars. The complex is designed so that almost all of the 69apartments have balconies on both sides, with views of both Gothenburg and over the docksto Kattegat.

The buildings have different idioms facing the courtyard and streets. Towards the courtyard,wood is used on the façade, while glass panelling on the balconies adds a transparent element.Over time, climbing plants will enhance the oasis effect. As an allusion to the industrial build-ings that used to stand here, the outward-facing façades were intended right from the start tobe in brick – and these needed to be high quality because of their exposed position. In theend, the chosen brick was Petersen Tegl's D48. According to White Architects, this brick hasjust the right tone – almost purple, with a lively dash of yellow. The cladding on the two low-er floors also features a relief, every second course of which protrudes 20mm. On this part ofthe façade, a dark-grey joint endows the base of the building with exactly the kind of dark char-acter the architects wanted.

NEW LIFEON THE QUAYSPhotos: Anders Sune Berg

BRF EriksbergdockanClient: NCC IndkvarteringArchitect: White ArchitectsEngineer: NCC ConstructionLandscape architect: White Architects

The dark-grey mortar gives the brickwork the desired robust character. In the two lower levels, the facing wall has a relief that marks the base of the house.

The location means the façades will be exposed to the elements, and so need a brick covering. The D48 byPetersen Tegl has, according to White Architects, the perfect shade – almost lilac, with a touch of yellow.

Almost all of the 69 flats have sheltered balconies on two sides, affording views of both Gothenburg and the Kattegat.

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LIGHT BUILDINGIN UNDULATINGLANDSCAPEATELIERPRO DESIGNED THE NEWTOWN HALL IN ACHTERHOEK,THE BRIGHT EXTERIOR OF WHICHMATCHES THE LIGHT ANDFRIENDLY INTERIOR ATMOSPHERE.

Photos: Paul Kozlowsky

Daylight from skylights, combinedwith the bright brick, engenders alight, convivial atmosphere.

The 280 shutters on the façade feature reliefs by the graphic designer Jaap Drupsteen.

The town hall was to radiate self-esteemand dignity and be covered in light stone to

differentiate it from the surrounding red buildings.

Architect Christina Kaiser and Dorte Kristensen,director of AtelierPRO, worked together onBronckhorst Town Hall.

The plan consists of two wings with acentral space between them,which forms the heart of the town hall.

The covering on the town hall is D71, whose unique shades of white, yellow and green

make the façade almost luminous.

Visitors arrive at the town hall from the south-east,between the two wings. From there, you proceedinto the central space.

Bronckhorst Town HallClient: Bronckhorst Town HallArchitects: AtelierPROLandscape architect: Eline KeusInterior designer: Tamara van Spronsen

The architects' aim was that thebuilding should highlight the beauty and

movement in Achterhoek's landscape.

“That's it!” exclaimed architect DorteKristensen. She was on holiday in Denmark,driving along Roskilde Landevej, when shepassed a construction site – a housing project– where a consignment of bricks had just beendropped off. She hopped over the fence andquickly re-emerged clutching a D71 brick byPetersen Tegl. A police officer witnessed theraid, but luckily for her adopted an under-standing attitude. A few days later, Kristensenpresented the brick to the project architectChristina Kaiser and others in the team at theAtelierPRO studio in the Netherlands – and in2009 the town hall in Bronckhorst, built withD71, was inaugurated.

The surrounding landscape was a source ofgreat inspiration for the architects as theydesigned the town hall for the new council forBronckhorst, in the Achterhoek Region. “Theclassic Dutch landscape is largely man-made –straight canals, rows of trees, and square

plots,” says Kristensen, director of AtelierPRO,whose 80 architects work in an atmosphericstudio beautifully situated in a lush garden inthe middle of The Hague.

“By contrast, the landscape in Achterhoekis gently undulating, the roads are windingand the trees and bushes form irregular clus-ters,” Kristensen adds. Christina Kaiser takesup the story: “The site has a ratio differenceof just over a metre, which is considered hillyin the Netherlands! It was important that thebuilding highlights and emphasises the beau-ty and movement of the landscape. The build-ing also had to stand out. A town hall sym-bolises democracy, so has to radiate self-esteem and dignity.”

The building has two wings of differentheights, the four outermost parts of whichpoint in different directions. The centralspace between the wings constitutes theheart of the building. This is where the organ-

ically shaped reception is located and visitorsaccess the various parts of the building. Thebuilding work is of high quality, with finelydetailed masonry, including brick windowsills, stepped brick-on-end courses andexpansion joints bevelled into the corners ofthe building. The town hall is also a sustain-able construction, consuming a mere 36% ofthe required standard for energy.

Bronckhorst Town Hall is an extremelybright and welcoming building. Customersand citizens are received in the central area,the roof of which is unconnected to thewings, and features skylights on both sides ofthe large space. The skylights allow beautifulnatural illumination, which along with thelight-coloured brick – a recurring feature inboth the interior and exterior – produces abright, pleasant ambiance.

The architects decided early on that thetown hall should be bright in order to differ-

entiate it from the other buildings in thearea. At first, they favoured rubbed downwalls. However, the project changed directionwhen Kristensen spotted the Petersen productback in Denmark. D71 is made from Danishyellow clay. The production process involvesextracting soft clay from a mould, for whichPetersen Tegl uses clay slurry. The slurry isstill on the surface when the brick is coal-fired, hence its special appearance. “Thecolour was definitely the key to our choice,”Kristensen concludes. “Most Dutch bricks aremade with sand as release agent, whichmeans that sand remains on the surface,which I don't like. D71 has a unique colourblend, with white, yellow and green tonesthat give the brick a bright look even in dullweather.”

This is the first issue of Petersen with Ida Præstegaard as editor, and where nothing else is indicated,articles are written by her. Ida Præstegaard graduated from the Royal Academy of Arts’ Schoolof Architecture in Copenhagen, and has worked in drawing offices in Denmark and in New York.For a number of years she was the editor of the architectural and lighting design magazine NYTfor Louis Poulsen, and writes currently on architecture and design in various media.

Petersen Tegl 23

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