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    architecture

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    1K views147 pages

    2g Arne Jacobsen

    Uploaded by

    ricpevanai
    architecture

    Copyright:

    Attribution Non-Commercial (BY-NC)
    Download as PDF or read online from Scribd
    Flag for inappropriate content
    of 147
    Jacobsen Edificios Public Public Building: | een | | eropaer| | | ‘| | ' pee T IN j iN} ne 1997 /N nexus Textds dé/Texts by Ame Jacobsen, . Kind Aerbo Agradecimientos 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 vie. REVISTA INTERNACIONAL ct : onl NUON oan eae! ose) pews one Fabresat Toon Su (491922 17 55 Foc (831 322 96 24 Praca Pract ‘ere n Pring sn Bree Grats A rt sobre papel Pred pon eas ene Daposto egat 8. 429281996 ISSN 1209047 Pre 3.500 pesetas NA cdo id ute GSA, 1987 Negi aot expanse teas seach, ce ‘mie aoe stone Sea oan nd {ete patncr aeaeop Sin Sper adnan creep ‘ewes, nrectonet, ene (i Sat dtm crea (estat an ac mode ‘Sie gin ent ‘iro eel prt GG ‘a ap 3228 et Fos(aua 322 9205 ee fal spice 2s FeAl ees itr indice Contents 7 18 28 34 42 52 58 66 4 86 98 104 12 6 126 129 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 ‘dt Bormade 2G introduecin introsticion See ers a Soon Sees Seoemite Seco Saarioes ae ‘ae oun 98) Eos ‘rycen Va 1587 roo Bare Parnas Eleni sue eBay zane brn {Basin eetes agar Tat ‘es aa, Nonadirs cor Tete i con etc ours aca a be Roa {Sesion hein Soa ek 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

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