Architecture In recent years, Danish architecture has experienced a growing trend towards the new currency was also imposed at the international level in those years .
Its flagship feature is the use, often subtle, the materials of the modern movement, glass and steel, with a characteristic expression almost minimalist. This is especially visible in large and usually prestigious buildings such as the Danish Embassy in Berlin, designed by 3XNielsen, or expansion of the Royal Library in Copenhagen, the Black Diamond, designed by Schmidt, Hammer & Lassen, both held in 1999. The same formal treatment is also found on a smaller scale, for example, at the main entrance to the architectural Entasis did in 1998 for the Copenhagen Zoo, or the design of the plaza in front of the company Realkredit Danmark Copenhagen, conducted by Brandt, Hell, Hansted & Holscher in 1997. Both architectural forms as the treatment of space can be relaxed or rigorous court, however, strongly dynamic, an example of this is the Terminal 3 of Kastrup, Copenhagen Airport, conducted in 1998 by Vilhelm Lauritzen. Parallel to the development
mentioned, it is noteworthy that many of Danish architecture retains a significant local roots, especially in regard to housing construction, based on the design of houses grouped with reduced height of the seventies , comes to developing a modern architecture. The native building materials, brick, continues to enjoy great popularity, and in recent years widespread facades with wood paneling, as in the House of Culture of Greenland in Nuuk, held by Schmidt, Hammer & Lassen in 1997.
The ecological aspect has also become an essential approach of Danish buildings, including those of Boje Lundgaard and Lene Tranberg.
Over recent years, the Port of Copenhagen has undergone a remarkable transformation to see how their port functions were giving way to construction companies and housing. The new Royal Opera Theater, designed by Henning Larsens Tegnestue has also been located here.
Viking Period, the Romanesque and Gothic The oldest evidence of the existence of a Danish architecture appeared in the excavations of military camps was Viking, Trelleborg, and Fyrkat Aggersborg, dating from the early eleventh century. These strengths, Located inside the large circular earthworks, were placed on a network of streets and symmetrical cruciform whose main axes divided into smaller units.
When, around 960, Denmark converted to Christianity, a new architectural culture gave way: the building of churches. The first were built of wood, but soon were replaced by Romanesque stone churches. In the early twelfth century launched the ambitious projects of the cathedrals of Lund, Viborg and Ribe. The rural churches were temples features one ship equipped with choir, like Hover Church in Jutland, and in some cases, an apse. Sometimes regional peculiarities appear, as seen in the circular churches of Bornholm.
Roskilde Cathedral, begun about 1170, was one of the first brick buildings in Denmark. It is an early example of Gothic Danish, while the Church of Skt. Knud of Odense, completed at the end of the fifteenth century, represents the late Gothic. In rural parishes the Gothic style mainly a means of expression in renovations and expansions of the Romanesque churches such as the characteristic profiles crenellated of its gables.
Renaissance, Baroque and Rococo architecture Renaissance Danish is characterized by a profusion of stately homes, such as Hesselagergård and Egeskov, Fyn both erected in the sixteenth century. Opbergen Antonius van (1543 - 1611) was completed in 1585 the works Kronborg Palace, a complex of four wings, another of the royal buildings ofthis period, the Frederiksborg Palace (1602-1620), the work of Hans van flamenco Steenwinckel the Elder (1550-1601 approx.), had three wings of which added a fourth lower in terraces. Both architecture and decoration of the two palaces, with its rich ornamentation of limestone on red brick background, are in line with Renaissance in the Netherlands. The major program
King Christian IV's urban projects included very diverse, ranging from the Stock Exchange Building (1619-1640) and the Round Tower (1637-1642), both in Copenhagen, to the construction of new cities Kristianstad (1614) in Sweden, and neighborhoods in the capital, Christianshavn (1618) and New Booths (begun in 1631).
The Baroque influenced Danish architecture throughout, from the humblest home to the palace of the King, from urban mansions as Charlottenborg, begun in 1672 in the square Kongens Nytorv in Copenhagen, to the great houses of pleasure as Ledreborg built by Lauritz de Thurah (1706-1759) from 1740.
Among the major works of note is the baroque church of Salvador (Vor Frelsers Kirke) in Copenhagen, built between 1682 and 1696, designed by Lambert van Haven (1630-1695), the Fredensborg Palace, in 1722, designed by Johan Cornelius Krieger (1683 - 1755), and later Christiansborg Palace, begun in 1733 by German architect Elias David Häusser (1687-1745). However, it would be especially the next generation of architects, and Nicolai Lauritz de Thurah Eigtved (1701 - 1754) to the head, to impose his style on the inside of the palaces.
Eigtved Nicolai became the spokesman Rococo in Denmark. His main contribution was Frederiksstaden planning in 1749. This neighborhood was set around the octagonal square with the four Amalienborg palaces. For the town houses a design that is characteristic of his style, based on discrete pillars and delicate relief effects. Neoclassicism and Historicism
A Eigtved death in 1754, the responsibility to continue the work of the church which was the main monument Frederiksstaden, Frederikskirken, fell to a new architect, Frenchman Nicolas-Henri Jardin (1720-1799) Denmark introduced the most innovative architectural movement of his era, Neo-Classicism. However, also under his leadership the church was completed. Before leaving the country, built the palace of Bernstorff (1759-1768) and the building at number 18 Amaliegade, the Yellow Palace (Det Gule Pala), from 1764-1767. Among the disciples of Jardin Harsdorff was Caspar Frederik (1735 - 1799), chief architect of the country in the late eighteenth and responsible, among other works, Frederik V's chapel in the cathedral of Roskilde, 1778, and the colonnade of Amalienborg, 1794. Between 1779 and 1780 built the building at Nos. 3 and 5 of Kongens Nytorv, which became the new model of bourgeois house in the capital.
successor Harsdorff front of Neoclassicism was Christian Frederik Hansen (1756-1845). His ideal was a stricter classical style that is dominated by pure and simple forms and large continuous surfaces. Since 1800, he led several large projects in Copenhagen, as the town hall and courthouse, both at the Nytorv Square, begun in 1816, the church of Our Lady (Vor Frue Kirke) in 1826, and the new Christiansborg Palace in 1828.
Even before Hansen's death, the Antique ideal had begun to lose ground in favor of a more liberal view of historical styles typical of late Classicism, represented, among others, Hetsch Friedrich Gustav (1788-1864) and the Synagogue, 1833, and Michael Gottlieb Bindesbøll (1800-1856) and his polychrome Thorvaldsen Museum, 1848, both in Copenhagen.
The second half of the nineteenth century was the age of Historicism. Two streams are separated. One was the national airline, whose greatest exponent was Johan Daniel Herholdt (1818-1902), with the Library of the University of Copenhagen in 1861, takes the traditional character, authenticity and dignity of the materials to their maximum expression. This line was later continued by Martin Nyrop (1849-1921) and the romantic nationalist trend as seen, for example, in the City of Copenhagen made in 1905.
The second trend was more international court, and had a wider spectrum with regard to sources of inspiration. Ferdinand Meldahl (1827-1908) was its most prominent exponent, besides being the architect who, after nearly 250 years of work, put an end to the work of Frederikskirken (now Marmorkirken) in 1894. Drawing
original Christiansborg Palace Church, conducted between 1810 and 1826 by CF Hansen, the leading neoclassical in Denmark. Only the church was saved from the burning of the palace in 1884. The building burned in 1992 but was rebuilt in 1996. Illustration: Kunstakademiet.
The first half of XXLas first decades of the twentieth century marked a break from which the decorative and historical reasons that appeared, for example, in the neo-baroque, or even in the Jugendstil, were giving way to a new objective that by 1920, resulted in a classical current. Previously, the College of Architects was created Design Assistance Fund in 1907 and in 1915 he founded the Association for Better construction practices. Its purpose was to advise the population to the entire country houses built hygienic and quality in harmony with the traditional Danish architecture.
Faaborg Museum, 1915 by Carl Petersen (1874-1923), was the construction Nordic Classicism that opened the twentieth century. This current was present concepts such as symmetry, regularity and rhythmical repetition. A few blocks belong style built housing in Copenhagen, such as Hornbækhus (1922), the work of Kay Fisker (1893-1965). By this time the police headquarters in Copenhagen in 1924, designed by Hack Kampmann (1856-1920) which is a separate issue by force, simplicity and introversion of the exterior and the monumentality of his bare courtyard.
The transition from Classicism to Functionalism took place around 1930. His ideal was a rational and functional architecture, usually with a social. The new materials, concrete, iron and glass, combined resulting in large bodies of "honesty" constructive. The major works of international Functionalism in Denmark are the houses of the street Sølystvej 5-11, conducted by Mogens Lassen (1901-1987) between 1936 and 1938, and the complex white Bellavista 1934, Arne Jacobsen (1902-1971) , both in Klampenborg.
Simultaneously with the above, it developed a more traditionalist, despite collecting the influence of the ideals of the time, but primarily used native materials and traditional formal language. Proof of this are the University of Aarhus, begun in 1932 by Kay Fisker, CF Møller (1898-1988) and Povl Stegmann (1888 - 1944), and the building Vestersøhus Copenhagen with its cantilevered gallery, 1939, built by Fisker and Møller. The architecture of the forties was conditioned by the difficult situation experienced during the Second World War. The most representative of this period were smaller projects, like the houses of the town Atelierhusene Utterslev, 1943, by Viggo Møller-Jensen (1907 -).
From left to right: The Sydney Opera House, built between 1959 and 1973. The shell height of 60 meters have turned Jørn Utzon Opera House, the symbol of Sydney. Photo: Scanpix Nordfoto / Corbis / Tony Arruza and Paul Sounders.
The Arch of La Defense, by Johan Otto von Spreckelsen in 1989 on the outskirts of Paris after an international architectural competition. Photo: Polfoto.
Black Diamond, expansion of the Royal Library, built by Schmidt, Hammer & Lassen in 1999 as part of the new building of the port of Copenhagen. Photo: Nordfoto Scanpix / Jens Nørgaard.
The second half of the twentieth century the end of the war led to interest in the Modern Movement, especially the American, was increasing.
plants became irregular houses, decks, flat panel drawings, free spaces, large and communicated, and the facades, large and glass. A good example is the family home to Jørn Utzon (1918 -) Hellebæk built in 1952, and the Museum of Modern Art, Louisiana, 1958, the work of Jørgen Bo (1919-1999) and Vilhelm Wohlerts (1920 -). The leading exponent of the modern movement of international stature who was in the postwar Denmark Arne Jacobsen. In Rødovre Town Hall, 1955, and the SAS Royal Hotel Copenhagen, 1961, gave a cool, classic style based on the use of simple forms and rigid-wall screen.
the early sixties, the state encouraged industrialization of architecture that prevailed in the prefabricated buildings as Høje Gladsaxe, built in 1964 by Povl Ernst Hoff (1903 - 1992) and Winding Bennet (1905 - 1986). The result was very high residential buildings which quickly became the subject of harsh criticism, the alternative offered Fællestegnestuen study between 1963 and 1968 with the low level of urbanization Albertslund Syd.
The final break with the modern movement was in the field of housing construction with Tinggården, a residential housing of low height grouped the study Tegnestuen Herfølge Vandkunsten built in 1978. Tinggården materialized for the first time a concept of new and alternative residential setting in the form of small dwellings and intimate contact with nature, with varied and informal language. Tinggården set the tone for what would be the homes of the following decades.
In Denmark, the formal language of Tinggården was a foretaste of Postmodernism. Among its main spokesmen says the study 3XNielsen, with buildings such as Villa Atzen in Horsens, 1986.
Postmodernism is not the only architectural movement that developed in Denmark between 1970 and 1990. The ennoblement of the ways of the modern movement undertaken by the late modern has become clear, for example, at the Museum of Art Nordrhein-Westfalen in Düsseldorf, 1986 deDissing + Weitling work, at the National Museum of Bahrain in 1988, KHR AS, or the Arch of La Defense in Paris, 1989, Johan Otto von Spreckelsen (1929-1987). The Neorracionalismo made his entrance from the hand of Jacob Blegvad study and Bonderup Claus (1943 -) and its proposal for the center of the town of Hoje Taastrup in the contest of 1978. The classical element appeared in the works of Poul Ingemann (1952 -), for example Blangstedgård, 1988, and at the University of Management Sciences Frederiksberg, 1989, Henning Larsen (1925 -). The Deconstructivism has some representatives in Denmark, but few examples. These include the Museum of Modern Art ARKEN, 1996, designed by Søren Robert Lund (1962 -) and Holstebro Courts 1992, 3XNielsen.
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