1. business and industrial
2. construction

PORTFOLIO
NIKOLA J CALLISEN FRIIS
Résum é / Niko l aj C al l i s e n Fr i i s
Education
2002-2009
2007-2008
2002
2000
1995-1998
1992-1995
1986-1992
1984-1986
Kunstakademiets Arkitektskole, Copenhagen.
École Polyteqnique Fédérale de Lausanne.
Byggeteknisk Højskole. Basic construction course.
French studies at Faculté des Lettres, Université Nice Sophia Antipolis.
Baccalaureate from Østre Borgerdyd Gymnasium, Copenhagen.
École Européenne de Bruxelles, Uccle, Belgium.
Ingrid Jespersens Gymnasie Skole, Copenhagen.
École de Chernoviz, Paris, France.
Practical experience
2014
Private house. H/F Mozart, Sydhavn. Sketching and client design advice.
2012-2014
CINARK. Institute for technology. Kunstakademiets Arkitektskole. Research assistant.
2012
Studio Mumbai. Nandgaon, India.
2011
Entasis Arkitekter.
2010-2011
Group8 Architectes Genève, Switzerland.
2008
KHR Arkitekter. Teaching in Sketchup.
2007
Harlang + Stephensen Architects.
2007
Teaching at Institute for Design and Communication.
2006
BIT studios. Development of sustainable house.
2006
Internship at Schmidt, Hammer & Lassen.
2004
DSB tegnestue. Model builder.
Prizes
2013
2009
2008
Wood 2013 Glulam Challenge. Virserum Art Museum / Swedish Wood.
Architect’s Assocoation candidate prize. Best sustainable diploma project.
Den Gule Mursten, Boligfonden Kuben.
Languages English: Fluent in writing and speaking
French: Proficient in writing. Fluent in speaking.
Swedish: Proficient in speaking. Course in January 2013 in Swedish communikation.
IT Knowledge
CAD: AutoCad, Rhinoceros, SketchUp, Maxwell Render.
DTP: Photoshop, Illustrator, Indesign.
Knowledge of: 3ds Max/Viz, FormZ, Revit, ArchiCAD.
Nikolaj Callisen Friis
Architect MAA
Born in Copenhagen 19/08/79
Has lived in Paris, Brussels, Nice, Lausanne and Geneva
37, Julius Bloms Gade
DK-2200 Copenhagen
@: nikolaj@nikolajfriis.dk
t: +4527149364
Po rtfol i o 2 0 1 4 / P ro j e c ts
P rac ti ce
0 1 C I C R / G e n eva
0 2 VI C R / G e n eva
K A D K p ro j e cts
0 3 Woo d! I n a s u stai nable f uture ? P ubli cati o n/ sym po si um
0 4 Woo d 1 : 1 wo rk sho p / V i rse r um Ko nsthall
0 5 A u tark i C LT Pa vi llo n
S tu d e n t p ro jec ts
0 6 C u l in a ry C u l tu re C e ntre / Albe r tslund
0 7 L iv in g M u s ic / Dulwi ch
0 8 C o lo u rf u l D e constr ucti o n Wo r ksho p / Ele f si na
CIC R Red Cross Lo g i sti c s C e n tre G eneva
At Group8 Architectes Genève I was part of a team working on the
construction phase of the CICR (Red Cross Logistics Centre).
The building, finished in 2012, has multiple functions. It serves as a
hub for all the equipment used in the emergency aid programme of
Red Cross. Equipment and materials arrive by truck, is processed in
a packaging hall and placed in a large storage hall wheres it is ready
to be shipped to emergency areas. The basement of the building is
the central archive of Red Cross, containing copies of all important
historical documents. The building also has a conference centre and
office spaces. On the roof there are two hidden garden spaces.
I was involved in the development of the canvas façade that turned out
to have a very complex geometry. The irregularly triangulated façade
needed to have a gap of exactly 60 mm between each of the façade
sections. This could not be solved using a conventional geogmetric
approach, so the geometry had to be developed using extensive 3d
modelling. Through a collaboration with the façade engineering
company 1:1 mock-ups were produced leading to the final construction
drawings for the finished façade.
I was also involved in many other assignments such as: conception of
suspended ceilings, development of garden spaces, interior furnishing
and construction drawings for cabinets.
South-east façade and main entrance.
Office spaces
Packaging Hall
Archives
Section through office spaces, garden, packaging hall and achives
Garden
CIC R Red Cross Lo g i sti c s C e n tre G eneva
Construction details.
1:1 mock-up of facade and steel structure.
Finished steel structure.
Finished façade.
CIC R Red Cross Lo g i sti c s C e n tre G eneva
Garden space construction drawings.
Garden space.
CIC R Red Cross Lo g i sti c s C e n tre G eneva
1
1
CM INAGE
P
-120
~110 N CALE
O
SEL
PROFIL EN ALUMINIUM
THERMOLAQUE
STRUCTURE GARDE-CORPS
ACIER THERMOLAQUE
2
PANNEAU ALUMINIUM
THERMOLAQUE BLANC
2
3
DALLE BETON ARME
PANNEAU MAKUSTIK
RETOMBEE PLACOPLATRE
4
3
CADRE ALUMINIUM POUR
PANEAUX MAKUSTIK
PROFIL ALUMINIUM LINEAIRE
4
Suspended ceiling and parapet in translucent Makustik panels.
Designed using Sketchpup and Illustrator.
Atrium space with skylight and suspended ceilings and parapet in translucent Makustik panels
VICR / R ed Cro ss V i s i to r ’s C e n tre G eneva
At Group8 Architectes I was also involved in the project phase of the
VICR (Red Cross Visitor’s Centre).
The project finished was in 2013 and consists of a restaurant (for the
employees and the visitors of the Red Cross Headquarters and the
museum) and a three story building dug into a hill consisting of a
conference centre, an office floor and an extension to the museum.
I was involved in designing how the three story building blends with
the landscape. Through model sketches and 3D modelling in Rhino
I developed a cut in the landscape based on parabolic shapes. This
allowed to hide the fire escapes, create a ‘hidden’ zone in front of the
glazing and enable the landscape and the vegetation to softly sweep
around the building.
I was also involved in sketching various interior spaces through 3d
modelling and 2d drawings, as well as general drafting of the drawing
material before the final submission.
Building april 2014.
VICR / R ed Cro ss V i s i to r ’s C e n tre G eneva
South façade.
Cross section.
Wood! In a sustainable building culture? / Publication and symposium about wood
As a part of CINARK’s ongoing studies of architectural materials I
was appointed to conduct a research on wood (covering industrialised
production, new technologies and construction methods).
The output of the research was a one-day symposium and a publication.
I was a co-authour and a co-editor of the book, as well as the driving
force behind the symposium. The publication aimed to serve as a basis
for the debate at the symposium.
The aim of the book was to monitor timber construction in Denmark
from various angles. How is wood employed in the building industry?
What potentials lie ahead? What can Denmark learn from abroad?
The symposium dealt with the same topics and served to instigate an
open debate. The symposium a great success with a full auditorium and
prominent visitors from the wood industries as well as the neighbouring
scandinavian countries.
Presentations by: Anne Beim, CINARK; Head of KADK, Lene Dammand
Lund; Minister of Climate, Energy and Buildings Martin Lidegaard;
Martin Einfeldt / Træ Er Miljø; Jesper Hoffmann / Scandi Byg; Søren
Rasmussen / ONV; Søren Nielsen / Vandkunsten; Anders Vestergaard
/ DBI; Majbrit Hirshe / DTU; Olga Popovic Larsen / KADK; Olav
Kristoffersen / Brendeland & Kristoffersen; Sadie Morgan / dRMM.
Poster from the symposium.
A. Arkitekt phd, BA i
dl. Lektor på CINARK.
med forskning inden
l arkitektur og bæredygnstrategier og processer,
rganisationsformer,
ning og –teori.
j
n Friis
A. Videnskabelig
CINARK. Medarbejder
sprojekter med særlig
som byggemateriale,
or kursusundervisning
k.
r
z Vibæk
Det Kongelige Danske Kunstakademis Skoler
for Arkitektur, Design og Konservering
Arkitektskolen
AA. Architect PhD,
ogy. Former Associate
CINARK. Has worked
h in industrialised
and sustainability,
king and theory, design
d process and the
of the building sector.
j
n Friis
AA. Research Assistant at
orks on research projects
wood as a building matebeen responsible for
uilding technology.
CINARK
træ! I en bæredygtig byggekultur? / wood! In a sustainable building culture?
r
z Vibæk
Center for
Industriel
Arkitektur
CINARK oveRblIK
CINARK udvikler, samler og koordinerer forsknings- og undervisningsaktiviteter som angår den industrielle
arkitekturs tilblivelse med fokus på
bæredygtige løsninger. Centret har
således til opgave at indkredse, formulere og revidere de særlige begreber,
væsenstræk metoder, processer og
produkter, som kendetegner en bæredygtig industriel arkitektur. Hensigten
er at belyse såvel grundlæggende som
aktuelle problemstillinger og udviklingspotentialer. Centret satser på et
tæt samarbejde med byggeindustri og
byggeerhverv.
CINARK
Centre for
Industrialised
Architecture
indhold
05
Foreword
08
TiMber conSTrucTion
and SuSTainabiliTy
Af Anne Beim
CINARK oveRblIK
15
evoluTion or
innovaTion
Mini House
Mette Lange Architects
21
Mini House
Mette Lange Architects
Bokompakt
Open Studio & Tengbom Arkitekter
33
Bokompakt
Open Studio and Tengbom Architects
Villa Asserbo
eeNTiLeeN Arkitekter
45
Villa Asserbo
eeNTiLeeN Architects
Autarki
CiNArK
59
Autarki
CiNArK
Træ SoM induSTrielT
bæredygTigT MaTeriale
71
wood aS a SuSTainable
building MaTerial
Scandi Byg
Ved adm. dir. Jesper Hoffman
77
Scandi Byg
With CeO Jesper Hoffman
87
Taasinge Elementer
With Divisional Director Lauritz rasmussen
95
The FuTure For
TiMber conSTrucTion
Af Nikolaj Callisen Friis
graphic deSign
graFiSk deSign
Malene Henssel
engliSh TranSlaTion and daniSh
engelSk overSæTTelSe
prooF reading
og danSk korrekTur
Culturebites
1. ediTion
1. oplag
400 stk.
iSbn
iSbn
978-87-7830-333-2
FreMTiden For
Træbyggeri
Af Nikolaj Callisen Friis
www
www
www.cinark.dk
Noter
Fotos/illustrationer
Arkitekter
Byggeår
Bygherre
BOKOMPAKT
Modelfoto af boligenhed
Efter den indledende workshopfase foreslog arkitekt
Linda Camara – ansvarlig for Tengboms træprogram –
at opføre boligen som en prøveenhed i krydslamineret
massivtræ til træudstillingen TRÄ2013 ved Virserum
Konsthall i Småland8. Træproducenten Martinssons,
Tengbom Arkitekter og AF Bostäder deltes om at
finansiere prototypen, og Virserum Konsthall faciliterede
opførelsen. Den endelige udførelse af de 22 ungdomsboliger står OpenStudio arkitekter for.
Notes
Photos/illustrations
Inden vi gik i gang med pilotprojektet, var vi rundt til alle
de forskellige brancheorganisationer og hos folk med
erfaring i at bygge med træ for at søge viden. Vi kunne
faktisk ikke finde nogen dokumentation for, om det kunne
lade sig gøre at bygge med ren krydsfiner og uden dampspærre. Så vi blev frarådet at gøre det. I sidste ende valgte
vi at gøre det alligevel.
FA Hvis man kigger på den gængse måde at bygge
på og følger anvisningerne, så gør de fleste følgende:
Først sætter man en dampspærre op, efterfølgende et
lægteskelet, så sørger man for at have et mellemrum til
installationer, og til sidst lukker man af med gipsplader.
Hvis man spørger ind til ideen med denne opbygning af
materialer, så kommer man ind til kernen af problemet.
Før i tiden havde man mindre isolering i husene, og de
var ikke helt så tætte. Det gjorde, at husene blev ventileret, så man kunne slippe af med fugten. Men efterhånden som isolerings- og tæthedskravene er blevet større,
har man fået problemer med fugt, der ophober sig inde
i konstruktionen, ofte med råd og svamp til følge. Det
løser man ved at indføre en dampspærre.
Dampspærren løser nogle problemer, men den skaber
også nogle nye. Hvis den f.eks. ikke er korrekt monteret,
eller hvis den er blevet punkteret, skaber den faktisk
større risiko for råd, end hvis den ikke var monteret. Det
er heller ikke rart at bo i et hus, der er hermetisk lukket
– det er som at bo i en plastikpose. Så måske er træbyggeriet gået i en forkert retning, fordi man ved at åbne
op for denne problematik har gjort det unødvendigt
besværligt at bygge med træ.
Hvis man bygger uden dampspærre, så
kræver det vel en stor indsigt i, hvordan
materialerne opfører sig?
NB Man bliver nødt til at forstå, hvordan materialer virker. Vi har brugt meget tid på at undersøge krydsfineren
You use wood-fibre insulation and plywood,
which are permeable to moist. Have you
subsequently conducted tests to measure
the humidity levels?
NB Over the past few years we’ve collaborated with
the Danish Technological Institute and placed wireless
hygrometers around the entire construction, on both the
warm and the cool side. We can see in the results that
the house conforms to the accepted humidity levels; the
house is in good condition and it breathes.
Before we started with the pilot project, we visited all
of the different industry associations and we talked to
experienced wood builders so that we could establish our
knowledge base. In fact, we weren’t able to find any documentation stating whether it was possible or not to build
using exclusively plywood and without a vapour barrier. So
we were advised against it. But in the end, we decided to
do it anyway.
FA It you look at the conventional ways of building and
follow the directives, most people do the following: first,
they install a vapour barrier followed by a framework
of battens; then they ensure there’s a cavity for installations; and finally, they seal the whole thing off with
plasterboards. If you start questioning this configuration
of materials, then you get to the core of the problem. In
the past, we used less insulation in our houses and they
weren’t as airtight. This allowed the house to be better
ventilated, which permitted moist and humidity to escape.
But as requirements for insulation and airtightness have
escalated, you’ve have drawbacks with moist accumulation
in the construction in return – often resulting in problems
involving rot and mould.
Of course the vapour barrier does solve some problems
– but it also creates some new ones. If, for example, the
vapour barrier isn’t correctly installed, or if it’s punctured, it
actually increases the likelihood of rot compared with if it
hadn’t been fitted in the first place. So it’s not particularly
pleasant to live in a house that is hermetically sealed – it’s
og se, hvordan den reagerer sammen med træfiberisoleringen. Vi har forsøgt at minimere lagene i konstruktionen, og vi blev overraskede over, at standardopbygningen af en væg i dag består af tolv lag og syv forskellige
materialer! Det har vi reduceret til fire lag og, i teorien, ét
materiale. Alt sammen træ i forskellige tilstandsformer.
Hele vores ambition er at forsimple, og i valget om kun at
bygge med krydsfiner ligger også et fravalg af en masse
forskellige valgmuligheder.
Hvordan forholder I jer til krydsfiners dårlige ry, som er forbundet med dets kvalitet,
oprindelse og afgasning fra limen?
NB Vi bruger en finsk high-end konstruktionsfiner med træ
fra bæredygtigt skovbrug. Limen er petroleumsbaseret og
indeholder kemikalier, men limningen foregår under kontrollerede forhold. Modsat billigere limtyper stabiliseres den
i hærdningen og afgiver ikke formaldehyder og andre toxiner. Vi bygger med en krydsfinersplade, der koster næsten
det dobbelte af discountpladerne fra Asien eller Brasilien,
som typisk indeholder en billigere limtype. Blandt kunderne
er der meget fokus på limens påvirkning af indeklimaet.
Har I lavet målinger på det?
NB Vi har ikke målt indeklima og afgasning – vi forholder
os til producentens angivelser. De har fået lavet prøvninger
af diverse uafhængige institutter. Pladen er den bedst klassificerede i forhold til afgasning.
Hvorfor arbejder I med træ?
NB Træ er det mest bæredygtige materiale til vores
produktionsmetode. Træ ophober CO2 og indkapsler det,
indtil det brændes. Vi bygger små moduler, som er nemme både at samle og skille ad, og som konsekvens heraf
indbygger vi automatisk en længere levetid end ved træbyggeri, der er bygget efter forskrifterne. Vores byggeri er
mindre tidskrævende at skille ad end normalt træbyggeri,
som oftest ender i en stor bunke i småt brændbart. Huset
har en højere værdi, også den dag det skal skilles ad eller
pilles ned, netop på grund af de små moduler.
Træ er et rent naturmateriale, det er let tilgængeligt, en
fornybar ressource, og har blandt andet af disse grunde
været anvendt til byggeri i årtusinder. Desuden er dets
mangeartede stoflige egenskaber og dets rige muligheder for anvendelse og formgivning af stor betydning i
arkitektonisk sammenhæng. Men vigtigst af alt har træ
utvetydigt en række fordele, hvad angår dets bæredygtige
egenskaber, og CINARK– Center for Industriel Arkitektur
– ønsker med denne publikation at sætte fokus på disse.
Meget i tiden peger på, at træ vil opleve en renæssance
i byggeriet; der er udviklet nye typer af træprodukter
og byggeteknikker, ligesom der er et udtalt behov for
at bygge mere bæredygtigt, end vi hidtil har gjort. Her
tænkes ikke alene på omtanke ved forbrug af ressourcer
som materialer og energi i byggeriet, men lige så vigtigt
på, at der udvikles løsninger, som forhindrer en tiltagende
forurening af miljøet.
If you build without a vapour barrier, do
you not need to be very knowledgeable
about how the materials behave?
NB You need to have an understanding of how materials behave. We’ve spent a lot of time studying plywood,
looking at how it reacts together with wood-fibre insulation. We’ve tried to minimise the number of layers within
the construction, and we were surprised to learn that a
standard contemporary wall construction comprises twelve
layers and seven different materials! We’ve reduced this to
just four layers and, in theory, just one type of material –
wood, in various guises.
Our main ambition is to simplify, and the choice of only
building in plywood implies opting out of many different options.
I tråd med en række arkitektoniske studier af materialer,
der forud har set på tegl og beton – på tværs af industrialiserede produktionsvilkår, nye teknologier og byggeteknikker, har CINARK i nærværende publikation valgt
at se på træ. Således indgår udredningsprojektet i serien
af udgivelser kaldet CINARK OVERBLIK, som har til
hensigt at skabe overblik over en ellers kompleks sammenhæng. Desuden indgår projektarbejdet som en del af
Kunstakademiets Arkitektskoles overordnede forskningssatsning inden for bæredygtighed, hvortil der er afsat
ekstraordinære ressourcer i perioden 2013-2016. Sidst,
men ikke mindst, udgives publikationen i forbindelse med
et dansk/internationalt symposium om træ, som CINARK
arrangerer på KADK den 29. november 2013. Her er det
ønsket, at den kan fungere som oplæg til debat.
How do you relate to the poor reputation
plywood has, associated with its quality,
origin and degassing from the glue used?
NB We use a Finnish, high-end construction-standard ply
made from wood from sustainable forestry. The glue used
is petroleum based and it does contain chemicals, but the
gluing process is carried out under strictly controlled conditions. Unlike cheaper adhesives, the glue here stabilises
during the curing process and does not release formaldehydes or other toxins. We build with plywood that costs
almost double that of discount plywood from Asia or
Brazil, which typically contains cheaper adhesives. Among
our clients, there’s a great deal of focus on the effect of
the glue on the indoor environment.
Have you made measurements of this?
Lektor, arkitekt Kasper Sánchez Vibæk og forskningsassistent, arkitekt Nikolaj Callisen Friis står bag udredningsarbejdet, som ligger til grund for publikationen. Nikolaj
Callisen Friis har desuden været hovedansvarlig for publi-
NB We haven’t measured the indoor climate or degassing
– we stand by the manufacturer’s declarations. They’ve
carried out a series of different tests at different independ-
som bæredygtigt industrielt
Architects
byggemateriale
wood
In the centre of the southern Swedish town of Lund,
close to the university, the student housing association
AF Bostäder has decided to build 22 student dwellings
in cross-laminated timber panels (CLT). The brief was
to construct apartments that would only cost SEK 2,500
per month – half of what the average rent for new-build
student housing normally costs in Lund.
as a sustainable industrial
building material
The solution – BOKOMPAKT – was developed through
a series of workshops held by architect Pontus Åqvist,
where students were included into the design process. The
dwelling has been kept affordable by making each unit
extremely compact: just 10 m2.
Kasper Sánchez Vibæk
Following the preliminary workshop phase, architect Linda
Camara (head of Tengbom’s wood programme) proposed
constructing the accommodation as a test-bed in CLT that
could be exhibited at the TRÄ2013 wood exhibition at Virserum Konsthall in Småland, Sweden8. Timber manufacturer
Martinssons, Tengbom Architects and AF Bostäder split
the cost of financing the prototype and Virserum Konsthall
facilitated its construction. OpenStudio Architects will manage the final construction of the 22 student housing units.
35
70
Almenbolig +. Hvidovre.
ONV Arkitekter og Scandi Byg
Kvistgaard bbb. Tegnestuen Vandkunsten.
Elementer leveret af Taasinge Elementer
Almenbolig +. Hvidoivre.
Kvistgaard bbb. Tegnestuen Vandkunsten.
stort set ingen forskning findes indenfor anvendelsen af
træ i byggeriet – i hvert fald ikke sammenlignet med, hvad
der findes indenfor materialer som stål og beton, hvor
spillerne på markedet generelt er større. Et ønske her er
bl.a. at kunne dokumentere, at industrielt fremstillet (træ)
byggeri fra fabrik har længere levetid og er sundere end
byggeri opført mere direkte på byggeplads.
Wood is a natural material, which is readily available and
a renewable resource. For these reasons, as well as many
others, wood has been used in construction for millennia.
As well as these attributes, wood’s many physical properties and the fact that it can be shaped and applied in many
different ways, endow it with high architectural value. But,
most important of all, wood unquestionably offers a variety
of advantages in terms of its sustainable qualities. It is these,
which CINARK (Centre for Industrialised Architecture)
wish to showcase in this publication. Today there is much
to suggest that wood is on the verge of a renaissance in the
construction sector. New timber products and timber-construction techniques have been developed, and the demand
for building sustainably is greater now than ever before. Not
only is there a focus on the use of resources such as materials and energy in buildings, there is also an understanding
that it is equally important to develop solutions, which
prevent increasing environmental pollution.
projekteksempler
Scandi Byg er i arkitektkredse mest kendt for samarbejdet
med Tegnestuen ONV. Dette er bl.a. mundet ud i en
række daginstitutioner for Københavns Kommune samt
et større rammeudbud af almene boliger for KAB, hvor
der (skal) bygges i alt 650 boliger i lavenergiklasse 2015 i
henhold til Bygningsreglement BR10. Alle boliger – med
bærende konstruktion i træ – har en vis genkendelighed
i interiør og standardisering af konstruktionsdetaljer, men
udgør samtidig et system, der kan apteres forskelligt i
forhold til, hvor de enkelte boliger opføres.
Continuing a series of architectural studies of materials, which have previously examined brick and concrete
(covering industrialised production, new technologies and
construction methods), in this publication CINARK have
chosen to focus on wood. This series of studies, entitled
CINARK OVERBLIK, aims to provide an overview of
otherwise complex contexts. The project is also part of the
Royal Danish Academy of Fine Arts, School of Architecture’s (KADK) on-going research strategy into sustainability, a project in receipt of extra funding for the period
2013-2016. Last, but not least, this publication is being
published to coincide with a major Danish/international
symposium on wood, which is being organised by CINARK
at the Academy on 29 December 2013. The publication
aims to serve as a basis for debate at the symposium.
Wooden panel elements manufactured
by Taasinge Elementer
og Co. Arkitekter, og – noget tidligere – tre forsøgsbyggerier kaldet Casa Nova, et 3-4-etages boligsystem i
træ af Nova 5 Arkitekter.
focus on sustainable purchasing has been hired. There is
already in place a return policy for production waste, and
a similar policy regarding end-of-life return for products
(design-for-disassembly) is being re-evaluated. Again here
there is a lack of demand from customers, who are typically
most interested in low energy operating costs. Specifically,
Scandi Byg would like some sort of CO2 counter that could
give an overall and measurable picture of CO2 emissions
for different building types, which then could be used as a
basis for making specific energy-use comparisons. Social
sustainability in completed buildings is an area receiving
increased focussed attention from architects, but it remains
an area of little focus in the production environments.
55
04
Workshop about wooden façades at the School of Architecture
in March 2013, managed by the Institute of Technology.
that it is possible to handle almost all geometric shapes,
thereby making it possible to meet all architectural
requirements. Internally within the manufacturing process,
3D is used as a way of carrying information and is also
used for a range of optimisation processes in relation to
material use, where, for example, waste from cutting and
trimming can be reduced, benefiting both the project cost
and the environment.
project examples
Among the most well-known sustainability-focussed
projects undertaken by Taasinge Elementer is the low-rise
high-density Kvistgård housing project, at Humlebæk by
Tegnestuen Vankunsten (with its particular focus on social
sustainability). Other noteworthy projects are Denmark’s
first official CO2-neutral building, Green Lighthouse
and the energy self-sufficient Solhuset day-care facility
in Hørsholm, built to meet the low-energy class 2015 –
both projects designed by Christensen & Co. Architects.
Lastly, three experimental buildings called Cassa Nova
– a three-/four-storey housing complex built in wood
designed by Nova 5 Architects.
It is the experience of CEO Jesper Hoffman that there is
almost no research into the use of wood in the construction sector – at least not compared with the amount of
studies there are about the use of concrete and steel,
where the market players are in general much larger. It
could be desirable to document that industrially produced
(timber) construction from factories has a longer lifespan
and is healthier than buildings that are constructed from
the ground up on site.
project examples
In architect circles, Scandi Byg is most well known for its
collaboration with the ONV architect studio. Results of
the cooperation include a number of day-care facilities
for the Municipality of Copenhagen and a framework
tender for building social housing for KAB, where 650
low-energy homes will be built in accordance with Danish
building code BR10. All of these buildings – with timber
superstructures – share commonly recognisable interior
features and construction details, yet they can be adapted
differently in relation to the local context.
Associate Professor, Architect Kasper Sánchez Vibæk
and Research Assistant, Architect Nikolaj Callisen Friis
have been responsible for the work, which forms the basis
Workshop om træfacader på Arkitektskolen
i marts 2013, afholdt af Institut for Teknologi.
54
71
ONV Architects and Scandi Byg
anne beim
like living inside a plastic bag. So, perhaps timber construction has gone in the wrong direction, because when
you look into this problem, you realise that we’ve actually
made it unnecessarily complicated to build in wood.
tRæ
Virserum (prototype 2013)
Lund (student housing 2014)
Sweden
OpenStudio Architects:
Pontus Åqvist
(formally with Tengbom
Architects)
Tengbom Architects:
Linda Camara, Lina Rengstedt,
Olof Nordenson,
Magnus Juhlin
construction yeAr 2013/2014
client
AF Bostäder
Address
34
forord
foreword
der de fugtprocenter, det skal. Huset er sundt, og
det ånder.
Løsningen BOKOMPAKT blev udviklet af arkitekt Pontus Åqvist gennem en række workshops, hvor studerende
blev inddraget i designprocessen. Boligen er gjort billig
ved at gøre den ekstremt kompakt med en størrelse på
blot 10 m2.
BOKOMPAKT
Model photo af housing unit
By Nikolaj Callisen Friis
110
112
Bokompakt
Viserum (prototype 2013)
Lund (ungdomsboliger 2014)
Sverige
OpenStudio Arkitekter:
Pontus Åqvist
(tidligere ansat hos Tengbom)
Tengbom Arkitekter:
Linda Camara, Lina Rengstedt,
Olof Nordenson,
Magnus Juhlin
2013/2014
Stiftelsen AF Bostäder
I centrum af Lund, tæt på universitetet, har ungdomsboligsselskabet AF Bostäder besluttet at opføre 22 ungdomsboliger i krydslamineret massivtræ. Opgaven var at bygge
boliger til blot 2500 SEK om måneden; halvdelen af de
gennemsnitlige 5000 SEK, som en nyopført ungdomsbolig koster i Lund.
By Kasper Sánchez Vibæk
Taasinge Elementer
Ved divisionsdirektør Lauritz rasmussen
copyrighT
copyrighT
© Kunstakademiets Arkitektskole, CiNArK 2013
Adresse
By Nikolaj Callisen Friis
Af Kasper Sánchez Vibæk
preSS
Tryk
Sangill Grafisk
Bokompakt
CASES
evoluTion eller
innovaTion
ediTorial
redakTion
Nikolaj Callisen Friis & Anne Beim
Special ThankS To
Særlig Tak Til
Peter Sørensen, Ulrik Stylsvig Madsen & Træ er Miljø
By Anne Beim
By Kasper Sánchez Vibæk
CASES
publiShed by
udgiveT aF
Det Kongelige Danske Kunstakademis Skoler for Arkitektur,
Design og Konservering
publiShed wiTh SupporT FroM
publiSereT Med STøTTe aF
Dreyers Fond
CINARK develops, accumulates and
co-ordinates research and education
activities concerning the production of
industrial architecture from a sustainable point of view. As a central activity
- the centre outlines and revises those
specific concepts, characteristics, methodologies, processes and products that
define the field of sustainable industrial
architecture. The object is to clarify essential, as well as present-day problems
and potentials. The centre aims at close
collaborations with the building industry
and related businesses.
content
Forord
Træbyggeri og
bæredygTighed
Af Kasper Sánchez Vibæk
05
84
85
92
Kvistgaard bbb. Snit
Kvistgaard bbb. Section
93
villa
Asserbo
Nikolaj Calissen Friis
45
nikolaj callisen Friis
Endless Stair af dRMM Architects og timber studio, ARUP Engineering.
M.C.Escher inspirerer trappe i præfabrikeret krydslamineret tulipantræ
opført uden for Tate Modern under London Design Festival 2013.
How, and to what extent, wood will play a role in future
Danish building culture depends on several factors. Do
we have an effective industry, which is capable of supplying products and services demanded by tomorrow’s
timber buildings? Will legislation promote or restrict
timber construction? How much, and how, will wood be a
topic for research and education? Lastly, how are things
developing outside Denmark, and what can we learn
from those developments?
Endless Stair by dRMM Architects and timber studio, ARUP Engineering.
M.C. Escher inspired staircase in prefabricated cross-laminated tulip hardwood
built outside Tate Modern during the London Design Festival 2013.
potentialet i materialets
egenskaber
The potential of the
properties of wood
Der er et særligt potentiale i at bygge mindre bebyggelser
med træ. Det gælder både enfamiliehuse, rækkehuse og
klyngebebyggelser. Der er flere grunde til dette.
Wooden constructions have great potential for small-scale
developments: for example, detached housing, terraced
housing or cluster housing.
Træ egner sig godt til lavenergibyggeri, som man må
formode vil blive efterspurgt mere i fremtiden. Med de
store isoleringskrav, som i dag afføder tykkere ydervægskonstruktioner, kan tykke vægge let gå hen og blive et
problem. Men ved at have en bærende konstruktion i træ
kan træet indgå i isoleringslaget, uden at det medvirker til
større problemer, hvad angår kuldebroer.
Wood is particularly well suited to low-energy buildings,
which we must assume will be in greater demand in the
future. Increasing insulation requirements, which result
in thicker outer-wall constructions, can easily lead to a
problem of overly thick walls. However, by constructing
the load-bearing structure in timber, the wood can form
part of the insulating layer, without creating significant
problems with thermal bridges.
Træ er også velegnet til præfabrikation, og som vist i de
to cases med Scandi Byg og Taasinge Elementer har vi
allerede en veletableret præfab-industri i landet. Særligt
indenfor tæt-lav- og etageboligbyggeriet virker det oplagt
at anvende industrielle produktionsmetoder.
Det skyldes, at man her i højere grad end for andre
bygningstyper har mulighed for at arbejde med en fornuftig kombination af repetition på tværs af projekter og
specifik tilpasning i projekter. Træs ringe vægt og nemme
forarbejdning gør det samtidig til et oplagt industrielt
materiale. Ved industriel produktion er det også muligt at
optimere ressourceforbruget, så man undgår spild af materiale. Ligedan efter primærbrug kan træaffaldet sorteres
og i videst muligt omfang genanvendes i nye produkter
(f.eks. spånplader) eller afbrændes.
I forhold til de tungere mineralske byggematerialer og
-elementer i tegl, beton og stål er byggekomponenter i
træ også velegnede til de mindre byggepladser. Træet
97
Scandi Byg
Denne case er skrevet på baggrund af interview med adm.
dir Scandi Byg, Jesper Hoffman 29. april 2013
This case was written based on an interview with CEO of
Scandi Byg, Jesper Hoffman 29 April 2013
virksomheden
The company
Scandi Byg er etableret i 1978 med udgangspunkt i skurog mandskabsvogne. I dag produceres primært mellemstore til store boligbyggerier baseret på præfabrikerede
rumstore volumenelementer med bærende konstruktion
fortrinsvis i træ. Virksomheden er et datterselskab under
danske MT Højgaard A/S og ligger i Løgstør, Jylland.
produktion
Scandi Byg fungerer oftest som totalentreprenør og står
dermed – udover fabriksproduktionen af volumenelementer – for montage på byggepladsen og typisk via
underentreprenører ligeledes for forberedende arbejder
som afløbs- og forsyningsinstallationer samt fundering.
Virksomheden har også egen projekteringsafdeling tilknyttet produktionen og opererer således på tværs af traditionelle skel mellem producerende, rådgivende og udførende
part i byggeriet. Ofte deles rådgivningsopgaven dog med
eksterne arkitekter, der står for de overordnede linjer, mens
Scandi Byg tager sig af de specifikke detaljeløsninger, der
ligger indlejret i deres byggesystem og i kendte materialer.
Skønt ca. 80 % af byggeriet færdiggøres på fabrik, sker
dette (indtil videre) med relativt lav automatiseringsgrad,
hvor delelementer tilskæres og monteres af specialarbejdere på en produktionslinje med brug af portalkraner,
båndsave, rundsave og elektrisk håndværktøj. Der arbejdes
dog aktivt på at fuldautomatisere dele af produktionen.
bæredygtighed
På Scandi Byg sad man tilbage i 2008 og havde en smule
svært at finde hoved og hale i bæredygtighedsbegrebet,
der allerede da blev brugt i flæng i mange sammenhænge.
For at blive klarere på, hvad det indebar for en produktionsvirksomhed som Scandi Byg, valgte man at afholde tre
interne éndagsworkshops omkring emnet. I dag afspejler
78
Selected pages from the publication.
This case was written based on an interview with Lauritz Rasmussen, Divisional Director Taasinge Elementer 11 June 2013
virksomheden
The company
Taasinge Elementer leverer tilpassede løsninger til individuelle byggeprojekter og har dermed (som Scandi Byg)
ingen produktion til lager. Der er dog meget standard i
både detaljeløsninger og proces. Typisk produceres delleverancer som tag, facade, dæk, lejlighedsskel eller kviste/
karnapper, men Taasinge leverer i princippet fulde byggerier bortset fra badekabiner, terrændæk og ikke-bærende
skillevægge/aptering. Byggerierne leveres og samles
som præfabrikerede planelementer på byggepladsen, og
der leveres til alle bygningstyper op til fire etager. Selve
montagen er entreprenørens ansvar – Taasinge anviser
(gennem montagemapper med udførlig beskrivelse af
logistik og montage), men konkurrerer her ikke med egne
kunder – entreprenørerne. Skellet går ved byggepladsen.
På det seneste har facade- og energirenovering med
påmontering eller udskiftning af lette facadeelementer
på eksisterende byggeri udgjort et betydeligt marked.
Tilbygning/indretning af tagetage (tagboliger) er en
anden almindelig projekttype. Produkterne og projekterne
har med deres relativt høje præcision nogle udfordringer
i forhold til f.eks. tolerancer på både eksisterende og nyt
betonelementbyggeri. Der leveres ’just-in-time’ til byggepladsen, og ordrestørrelsen har et minimum, der umiddel-
The reason that wood is so well suited for these types
of housing is due to the fact that here, more than with
any other type of buildings, it is possible to work with a
practical combination of repetition across projects, as well
as with specific tailoring within projects. The light weight
of wood and the fact that it can be easily processed also
make it an obvious choice as an industrial material. Industrial production makes it possible to optimise resource
consumption and thus to avoid material waste. Similarly,
once it has served its primary purpose, wood waste can
be sorted and, to a very high degree, recycled in new
products (such as chipboard) or incinerated.
Scandi Byg
Denne case er skrevet på baggrund af interview med Lauritz
Rasmussen, divisionsdirektør Taasinge Elementer 11. juni 2013
produktion
Wood is also very well suited to prefabrication and, as
shown in the case studies of Scandi Byg and Taasinge
Elementer, a well-established prefab industry already
exists in Denmark. Particularly when it comes to highdensity, low-rise housing and multi story housing, industrial
production methods seem the most obvious choice.
96
Taasinge
Elementer
Taasinge Elementer er etableret i 1971 med udgangspunkt
i opførelse af industri- og lagerhaller. I dag produceres
præfabrikerede trækomponenter til stort set alle slags
store og mellemstore byggerier i form af tag, facade,
etagedæk og lejlighedsskel mm. Virksomheden er en del
af Palsgaard Gruppen og har to fabrikker, i Svendborg (på
Tåsinge) og i Hampen, Jylland.
fremtiden for træbyggeri
the future of timber
construction
Hvordan og i hvilket omfang træ vil indgå i fremtidens
danske byggekultur, afhænger af flere ting. Har vi et effektivt produktionsapparat, der kan levere de ydelser og
produkter, som fremtidens træbyggeri vil efterspørge?
Vil lovgivningen være restriktiv eller åben over for træbyggeriet? Hvor meget og hvordan vil der blive satset
på træ gennem forskning og uddannelse? Og sidst, men
ikke mindst, hvordan er udviklingen i udlandet, og hvad
kan vi lære af den?
Taasinge
Elementer
Established in 1978, Scandi Byg’s original business focus
was portacabins and temporary site huts. Today the company primarily produces medium- to large-sized housing
based on prefabricated volume elements, the load-bearing
structure of which is constructed from wood. The company is a subsidiary of Danish conglomerate MT Højgaard
A/S and is based in Løgstør, Jutland.
production
Scandi Byg most often acts as a turnkey contractor
and is therefore responsible for (in addition to the
factory production of volume elements) site assembly
and, typically through a subcontractor, preparatory
foundation work and laying of drainage and utility
systems. The company also has its own project-design
department associated with production, and therefore it
operates across the traditional boundaries between producers, advisors and those carrying out the construction
work. Often the advisory work is shared with external
architects who are responsible for the overall lines,
whereas Scandi Byg deals with the specific detailed
solutions inherent within their own construction systems
and within known materials.
Despite the fact that approximately 80% of the construction takes place off site in a production facility, this (at
present) is undertaken with a relatively low degree of
automation; the various individual elements are cut to
size and assembled by specially trained workers on a
production line using overhead cranes, band saws, circular saws and other electric tools. There is, however,
an active drive within the company to increase levels
of automation.
79
88
Established in 1971, Taasinge Elementer’s original business
focus was the construction of industrial buildings and
warehouses. Today the company produces prefabricated
wooden components for all types of large and mediumsized construction projects, including roofing elements,
frontages, flooring structures and apartment partitions.
The company is part of the Palsgaard Group and has production facilities in Svendborg (on the island of Tåsinge)
and in Hampen, Jutland.
production
Taasinge Elementer supplies customised solutions to individual construction projects and has (like Scandi Byg)
no stock production. Nevertheless, much of the company’s detail solutions and the processes incorporate
a fair amount of standardisation. Typically, Taasinge
Elementer produces part-delivery elements such as
roofing elements, façade cladding, flooring components, apartment partitions and dormer and bay window
constructions; however, in principle, Taasinge supplies
complete constructions (excluding bathroom elements,
ground decking and non-load-bearing partitions). The
constructions are delivered and assembled as prefabricated panel elements on site, and Taasinge supplies
all building types up to four storeys in height. The
assembly process is the responsibility of the contractors
– Taasinge advises (by means of assembly manuals with
detailed logistics and assembly descriptions), but does
not compete with their own customers – the contractors.
The entrance to building site marks the limits of their
involvement.
89
Wood 1:1 / 3 glue-laminated timber structures at Virserum Kunsthall
Collaborating with Katrine Lotz from Study Department 3 at KADK I was
in charge of a building workshop in two phases involving 25 students.
It was divided into a two week design and development phase in midFebruary 2013, and then a 5 day building phase in the beginning of May
2013.
The requirements were to produce three structures in glue-laminated
timber with 2 m3 of wood for each structure. These structures were to
be erected in front of the Virserum Konsthall, welcoming the visitors for
the opening of an exhibition about wood.
Being in charge of running and organizing the workshop I was
communicating with both Virserum Kunsthal and the students whilst
making sure that all practicalities were being taken care of. Both
before and during the workshop much of the challenge consisted of
understanding the context and responding in a straightforward way.
What possibilities do we have? What is the culture? Who makes the
decisions? Who’s good at doing this and that? How will things work
here? What can I do to make it work?
Other Schools participated and the structure ‘Span and Mass’ won the
Wood 2013 Glulam Challenge awarded by Virserum Art Museum and
Swedish Wood.
Construction of the three wood structures.
Span and Mass project.
Autarki CLT pavillon
In the autumn of 2011, CINARK built Autarki – an experimental crosslaminated timber (CLT) pavilion erected on the grounds of The School
of Architecture. I was responsible for documentation, communication,
constructing a heat-exchanger based on natural ventilation and making
a prototype model for the Prototyping Architecture Exhibition at the
Building Centre in London. After being located at the school campus for
two years, I had the pavilion shipped to Christiania, where it now serves
as a shoe shop.
The primary purpose of the project was to create a test-bed for the
material and its associated construction principles in order to show
the scope of possibilities CLT can offer. With the aid of an optimised
and simplified construction process, combined with an experimental
approach to the material’s technical properties, the objective was
to demonstrate how it was possible to build in a simpler manner to
improve recyclability and to reduce the building’s energy consumption.
Prototype section model
The pavilion was constructed based on a ‘double-shell’ principle, where
both the outer and the inner wall are constructed from CLT with a cavity
between that is filled with wood-fibre insulation. This means that the
building, in essence, acts like a thermos flask as there are very few
joins and therefore very few thermal bridges.
By building in a 1:1 scale, the staff and the students at the school
have had the opportunity to follow the construction process from start
to finish, and since its completion they have been able to study the
material and the thermal qualities and indoor climate of the building .
Assembly principles
Construction process
Autarki at the KADK campus
Autarki CLT pavillon
Heat-exchanger principles
Heat-exchanger based on natural ventilation
Shipping process
Autarki at Christiania
Culinary Culture Centre / Albertslund
My diploma project was a culinary culture centre consisting of an open
kitchen, a greenhouse, a dining area, a gastronomical auditorium,
a classroom, a shop and an administration - situated in Albertslund
Centre close to the train station, shopping facilities and the city’s
cultural facilities.
The building has a three-part program consisting of a restaurant,
a shop with special products and a food and nutrition centre. By
combining these functions in the same building, they will mutually
benefit from each other, and there will be a synergy that will enhance
the building’s symbolic value.
The building envelope is a double skin façade, but the space between
the outer and the inner glazing is expanded. The envelope is then used
for growing the vegetables and herbs used for the cooking, and it also
creates a carpet of green around the cooking and dining experience.
The building will be active throughout the day. In daytime you would
go on a culinary exploration in the shop, while school children have
cooking workshops or there will be proficiency enhancing courses for
catering staff. In the evening it can be leased out to private companies,
who will profit from meeting around the cooking experience.
The project was awarded with the prize of the Architects’ Association for
the best sustainable diploma project.
The building is attuned to the rigid structure of Albertslund.
The first skin of the building acts as a greenhouse.
The kitchen zone.
Culinary Culture Centre / Albertslund
Lake promenade. During summer
the plants are taken outside.
THE GARDEN
Longitunal section
MAIN ENTRANCE
SHOP
GASTRONOMICAL
AUDITORIUM
KITCHEN
STORAGE
THERMAL
LABYRINTH
Culinary Culture Centre / Albertslund
Plan
Kitchen area. Modelled in Sketchup. Rendered in Maxwell Render.
Culinary Culture Centre / Albertslund
The plateau
The kitchen
The garden
Sections
Arriving at night. Modelled in Sketchup. Rendered in Maxwell Render.
Living Music / Dulwich
As an Erasmus exchange student I spent one year in Lausanne,
Switzerland at the atelier LAPA led by professor Harry Gugger.
The theme of the year was the borrough of Southwark located in South
London. During the first semester a mapping of the borrough was
conceived and the goal of the second was to make a project.
Through four phazes the borrough was investigated at different scales
and levels which, at the end, led to an ‘Urban Constitution’. The Urban
Constitution was a mapped guideline for how and where to build in
Southwark.
The focal point of our group was the southern most part of Southwark,
Dulwich. Here, french student Germain Brisson and I, chose to do a
project consisting of housing for musicians and a concert hall.
The project spans from the urban scale (deriving from the profound
knowledge of London achieved the first semester) to the local scale of
Dulwich. We worked 1:200 with the concert hall and ended up doing 1:1
mock-ups of the facade.
Southwark
Foyer before concert. Modelled in Sketchup. Rendered in Maxwell Render.
Living Music / Dulwich
Urban situation. Plan. AutoCAD/Illustrator.
Urban situation. Model.
Living Music / Dulwich
Concert hall section
Housing section
Window components
1
Trimmer
2
Steel angle for fixing
window frame
3
External fabric roller textile blind,
also serves as support for the cladding
4
Guide track aluminium
5
Wood/metal window
6
Wooden lining
Window detail
Living Music / Dulwich
Musician housing
Handicap friendly studio
Plans
Rainy night in Dulwich. Sketchup and Maxwell Render.
Colourful Deconstruction / Elefsina
Together with Daniel Wahl (DE) and Goncalo Manteigas (CH) I organized
a workshop in Greece during EASA 2007. We were given an abandonded
building situated next to the sea in the industrial coastal city of Elefsina.
The aim of the workshop was to deconstruct the building with the use
of colours. We planned it for 6 months and were sponsored 500 litres of
paint, 150 cans of spray paint and painting tools.
After preparing the building by cleaning the surface and priming it, the
design was presented to Architect Christoffer Kellenberger from the
Swiss firm OOS. After his critique the building was painted. The designs
used optical illusions and different narrative approaches in their
designs.
The biggest succes of the workshop was to have organized 30 people
into efficient autonomous groups working with a clear aim whilst still
enjoying themselves.
CO DEC
Workshop material
Group discussions
The building
Sketches
Design discussions
Colourful Deconstruction / Elefsina
The interpretation of the building is deconstructed through abstract figures
Christopher Kellenberger, OOS
The finished building
Happy painting
Painting
The team