Takes on Architecture, part VI: geometry

01

geometry adept 1

Photo: Adam Mørk

Ku.Be House of Culture and Movement

02

ADEPT KU.BE

Photo by Adam Mørk

KU.BE is a new urban typology with its mix of community centre, exhibition and performance, playground, park and health centre.

03

Geometry ADEPT

Photo: Adam Mørk

Crawling up

04

Geometry ADEPT

Photo: Adam Mørk

Ku.be project by ADEPT

05

Geometry cf2

Photo: Julian Weyer

Hothouse at the Botanical Gardens, Aarhus.

06

geometry cf1

Photo: Julian Weyer

Hothouse at the Botanical Gardens, Aarhus,

07

Photo: CEBRA

Children's home og the future - Kerteminde

08

CEBRA geometry 2

Photo: Mikkel Frost

Skate City

09

Geometry cebra 3

Photo: CEBRA

VUC, Odense

Published
27.09.2017

In a series of articles, DANISH™ asks a group of experts to elaborate on different architectural parameters. In this last article, our three architectural connoisseurs from ADEPT, CEBRA and C. F. Møller take us through the magic of geometry.

 

Geometrycf

Photo: Quintin Lake

Julian Weyer
Partner, C.F. Møller

‘Using advanced parametric iterations of geometrical shapes to create not just form but also performance, the new Greenhouse in the Botanical Gardens, Aarhus, shows how extreme functional value and landmark quality can be achieved through simple means.’

‘The domed shape and the building’s orientation were specially chosen because this precise format gives the smallest surface area coupled with the largest volume, as well as the best possible sunlight incidence in winter, while the least possible in summer.’

CEBRA geometry 2

Photo: CEBRA

Mikkel Frost
Founding Partner, CEBRA

‘When we investigated our own projects in connection with a book release, we realised that we often use the same basic geometric shapes in our projects. With a starting point in Euclidean geometry (square, circle, triangle, rectangle), we usually begin with a shape, for example a circle, which is then processed, so that new shapes arise. In that sense, you can say that the Euclidean shapes are our raw material for all our designs.’

‘We also decided that for humans, amongst other shapes, a square is harmonic to look at. This means you could have multiple square-shaped forms in a project and push them around in different formations, and you could still end up with something harmonically pleasing to look at. If you already have a calm shape, let’s say a square, you can loosen up tight proportions, because the harmonic square will keep the expression balanced. In fact, you can then say that there’ll be a balance between the very rigid parts of your idiom and the more dissolved proportions.’

‘We use rules of geometry, such as a golden section, and an interplay between these and our intuition continuously throughout all our projects. You can compare it with a chef who not only tastes his food while preparing it, but also knows instinctively that certain combinations of ingredients will result in certain sought-after flavours, textures, consistencies and so on.’

 

geometry adept 1

Photo: Adam Mørk

Anders Lonka
Partner, ADEPT

‘When working with geometry as an architectural parameter, we find that both the power of clarity and the ambiguity of contrast are important aspects that define our work. We strive to create clear stories and strong concepts – and these often have a tendency to rest on a basis of an easily ‘accessible’ geometry as part of the spatial experience.’

‘A good example of how we have been working with this take on geometry (in this case, geometries in the plural) is the Ku.Be House of Culture and Movement, which opened last year. Ku.Be is a new community centre and culture house, which we design in response to a brief that solely asked for a building that would bring people together and improve the quality of life. The design answers this brief by blending culture, sport and learning into a space where the body and mind are activated to promote a more healthy life for everyone, regardless of age, ability or interest; creating links between people who would not otherwise connect with each other.’

‘The six primary volumes in the design each have a unique geometrical shape that responds to a specific programme or use. Each of the geometrical volumes is tailored by a different colour or material, clearly defining them from each other within the building. From the outside, the geometries are even implied in the fragmented parts and reflected in the tile façade defining the perimeter of the building.’

‘The overlaying of geometries creates an almost labyrinth structure, yet somehow with clear wayfinding because of the different colours, materials and functions of the spaces.’

In this series

Takes on Architecture, part I: Proportions
Takes on Architecture, part II: The Inflow of Daylight
Takes on Architecture, part III: Sustainability
Takes on Architecture, part IV: Minimalism
Takes on Architecture, part V: aesthetics

Companies mentioned in this article