Jacobsen
Edificios Public
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iN} ne 1997 /N nexus Textds dé/Texts by Ame Jacobsen,
. Kind AerboAgradecimientos
Félix Solaguren eascoa
Acknowledgements
Este nimero ha cortado con a ajuta de stints personas
Y orgasms sin cuya colaboraion y comentarios hubira
side imposblelevreltabao a buen término.
Qusiera sear las siempre precisas puntuaciones de
Lisbet Balslev Jorgensen, junto a las de Hans Dissing, las de
Erik Mole y ls el profesor Jorgen Sesto, Los comenta
ros de Tet y Brit Weitand juno als de Ke Vin.
A Comissionat per a Unverstas y Recerc, CRT, dela
Generalitat de Catalunya por ia ayuda que me concedi de
‘rante mi estancia en Copenhague para la realizacién de este
trabajo
Alafia de arqutectosDssingsWeiting (contnuadores de
lacobra de Are Jacobsen), y muy en especial a Ech Lan y
2 Jess Stork, uenes han resto fundamentals para la
reaizacien de este trabajo.
“doe personal dea Kunstakademiets Bick ha demos:
‘rao, asinismo, suncrebepaciencia en mi constate Gear
‘bular por los archivos. Quisiera agradecer en especial la ama-
bilidad de Claus Smidt, Hakon Lund y Jorgen Watz.
‘as fcidadesobtendas gracias al Dansk Design Center y
ry especimerte a mibuen amigo el arqutecto Mikael Fu.
[ida Prestegoard,aqitecta del rma Loui Pautsen.
Alafia Fitz Hansen ya Suzane Meyer.
[Peter Homblad director oe frma Stton.
AN Angeles Negre arqutecta, qv con susreflexones sem
tre me orece un interesante contrapunt.
iierras Ara y Mara ugueteaban, aborts, por los espa-
Cis dbaiads porate ce fe Jacobse, de Hansen,
de Bindesbol, de Rau, de Utzon de Sorensen de Fisker, de
Aigaard, de Hackman, de Petersen.
Yd un mado muy especial a Johan Jacobsen y @ su encan
tadora mer.
number of diferent individuals and entities have contributed
to ths issue, and without their colaboraton and comments it
would have been impossible to bring the work to a successful
conclusion
| would tice to draw attention here to the atvays precise
clarifications of Lisbet Baslev Jorgensen, together with those
of Hans Dissing, of Erik Maller and of Professor Jorgen Sesto,
and the comments of Tet and Brigit Weiand as welas those
of Kiel Vindum,
To he CRIT Universities and Research Board ofthe Generalitat
de Catalunya for the grant which supported my stay in
CCopentagen while working on this project.
To the Dissing + Weitng frm of architects (contiuers of Ame
Jacobsen's work, and especialy to Edith Lang and Jess Stork,
‘who have been of fundamental importance in realizing this
undertaking
To ll for the staff ofthe Kunstakademiets Bibiotek, for their
incredible patience with my constant prowing around their
archives. I would tke to express particular thank to Claus
Smigt, Hakon Lund and Jorgen Watz for their friendliness.
To the Danish Design Center forthe facies placed at my
<ésposal, and very specaly to my good fiend, the architect
Mikael Fut.
To Ida Prestegaard, architect with the Louis Poulsen firm.
To the Fritz Hansen fr, and to Suzanne Meyer.
To Peter Homblad, director ofthe Steton firm.
To MW? Angeles Negre, architect, whose simple refelctions
atfored me an interesting counterpoint
utile Ana and Maria played, totally absorbed, in the spaces
rawn out by the architecture of Ame Jacobsen, of Hansen,
of Bindesbol, of Ratu, of Utzon, of Sorensen of Fisker, of Abi
gard, of Hackman, of Petersen
‘Anda very special thanks to Johan Jacobsen ands charming
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Introduccién Introduction *
‘Arne Jacobsen 1902-1971. Arne Jacobsen 1902-1971
Lisbet Balslev Jorgensen
Obras y proyectos Works and projects
Steling Hus, Copenhague. Steling Hus, Copenhagen. 19341937
‘Ayuntamiento de Aarhus. Aarhus Cty Hall, 1937-1941
‘Ayuntamiento de Sallerad. Sollerad City Hal, 1939-1942
Escuela Munkegards, Gentofte. Munkegirds School, Gentoite, 1951-1958
Oficinas Jespersen & Son, Copenhague. Jespersen & Son Offices, Copenhagen, 1953-1955
‘Ayuntamiento de Radovre. Redovre City Hall, 1954-1956
Edificio SAS/Royal Hotel, Copenhague. SAS Bullding/Royal Hotel, Copenhagen, 19561961
St. Catherine's & Merton College, Oxlord, St. Catherine's & Merton College, Oxford, 1960-1963
Banco Nacional, Copenhague. National Bank, Copenhagen, 1961-1978
Oficinas Hew, Hamburgo. Hew Offices, Hamburg. 1963-1969
Gimnasio Christianeum, Hamburgo. Cristianeum Gymnasium, Hamburg, 19661972
Banco Central de Kuwait. Kuwait Central Bank. 19661976
Embajada Danesa, Londres. Danish Embassy, London, 1969-1977
Biografia Biography
Nexus
Sobre forma y disefio en la actuaidad
On form and design a the present time, Ame Jacobsen
Discurso para la inauguracién de la exposicion de Arne Jacobsen en Aarhus.
Speech at the opening of the Arne Jacobsen exhibition in Aarhus. Knud Aero
Ee XR et,
Copenoave
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Arne Jacobsen 1902-1971
Arne Jacobsen 1902-1971
Lisbet Balslev Jorgensen
1. Los paisajes de la infancia
Son las impresiones y las experiencias infantile las que re-
sultan fundamentals en la labor creatva del individuo aduk-
to. La percepcion y el reconocimiento del mundo exterior es
la base a partir dela cual el atsta desarala su labor expe-
rimentando y proponiendo nuevos colores, nuevas formas y
‘nuevos ambientes espaciaes.
‘Ame Jacobsen fue un nfo que crecé junto al mar, frente at
estrecho de Gresund, en un area de bosques de hayas y
pequeris estanques que aportaban un bilo especial a esta
zona dela costa danesa, Tenia una sensibildad que captaba
estos pequerios matces del pasaje a lo largo del ia y du
rant las distintas estaciones. Queria ser pntor. El nino era
hij nico.
‘Als once aos sus padres le envaron a un internado no
muy lejos de su casa donde recibiria una educacion basada
ene! orden ya dscilina. Entre sus compaferos de clase se
encontraban sus amigos Mogens y Fleming Lassen quienes,
ya de muy pequeris decidieron ser arqutectos. La amistad
Continud, pero segin Mogens Lassen se fue deterorando,
tras sus respectivos matrimonis.
Enla familia de Ame Jacobsen no haba artistas. Por conta,
los padres de los hermanos Lassen eran aristas formados
ela Academia de Art. Tras la muerte de a madre, el padre
se vio forzado a abandonar el mundo dela pintura.
Para los Lassen la Academia era el lugar idéneo de forma-
cin para la gente interesada en el mundo del arte. Llegar a
ser arquitecto era el reto soiado por los hermanos pues
podkian disefiar casas para cientes acaudalados. Mientras,
tanto, Jacobsen se dedicaba a pinta paisajes y flores que
vencia posteriormente. Finalmente, y ante la infuencia de
sus amigos, decidio converse en arquitecto. “Su padre me
do las gracias" contaba Mogens Lassen,
Elinternado de Naerum tenia el mismo entorno que los ale-
\dedores de la casa de los Jacobsen. En sus ratos ibres los
niflosinvestigaban, con todos sus sentido, los secretos que
encerraba lanaturaleza. Ninguno de ellos era un estudlante
brilante, pero el joven Arne destacaba en dibujo, Fenian en
1. The landscapes of childhood
Itis the impressions and experiences of childhood which lay
down the foundations of the work of the mature man or
woman. The perception and recognition of the external weld
isthe basis from which the artist develoos his or her work,
experimenting with and proposing new colours, new forms
‘and new spatial ambiences.
As a boy, Ame Jacobsen grew up beside the sea, by the
‘resund strait, in a region of beech woods and small ponds
hich give a special luminosity to this part ofthe Danish coast.
‘Assenstve chid, he was receptive to the subtle nuances of
the landscape, as these changed inthe course ofthe day,
and from season to season. An only cid, he wanted to be a
painter.
‘A he age of eleven, his parents sent him to a boarding school
not very far from his home; the education he received there
was based on order and discipline. Amongst his classmates
were his friends Mogens and Flemming Lassen, who had
already decided at avery earty age that they were going to
be architects. The friendship continued into adulthood,
although according to Mogens Lassen it waned after their
respective marriages.
‘There were no artists in Arne Jacobsen's family, but the
parents of the Lassen boys were both artists, trained atthe
‘Academy of Art, although after the mother's death, the father
was obliged to give up the world of painting.
For the Lassens, the Academy was the ideal place for people
with an interest in at to receive a training; forthe brothers,
becoming an architect was a cherished ambition, which would
‘enable them to design houses for affluent clients. Meanwhile,
the young Jacobsen was devoting his efforts to painting
landscapes and lowers, and seling his pictures. Finally, thanks
to the influence of his fiends, he decided to become an
architect. His father thanked me,” Mogens Lassen was later
torecall
‘The Naerum boarding school stood in a setting very similar
to that of Jacobsen’s home. In their free time the boys
explored, using all of ther senses, the secrets of nature.
None of them was an outstanding pupil although young Arne
‘excelled at drawing, The three were united by a total decication
to their shared interests. They constructed machines, and,
‘measured and drew houses. ‘We were curious. That is the
only way to discover the secrets of buiings and find out
how they function,“ Mogens remarked. There was.no teacher
in the world who could divert them from thei ambition, and
the zeal with which they devoted themselves tot. Ther great
capacity for selection allowed them to absorb all the
knowledge they needed.
On leaving school, at the age of 16 or 17, the three friend's
were accepted for a course in construction. in Denmark at
that time, when there was no higher schooHeaving certificate,
to be admitted to Architecture Schoo! it was necessary to
Complete a rior period of training at building schoollearing
some specific trade. Jacobsen enrolled in the brickaying
Course, and this was to serve him well in ater years, winning
him the rea respect ofthe men wno worked on his buildings.
‘As an apprentice bricklayer he spent a summer working in
Germany, and as a student he visited that country whenever
he could; he fetta particular attraction for the Bauhaus and
‘everything that was coming out ft. n 1963, in @ speech he