THE LOUIS POULSEN MAGAZINE OF LIGHTING AND ARCHITECTURE 2008 586

The Playhouse and the Tietgen Student Residence

Performing Arts Centers

Louisiana Museum turns 50

The Tivoli lamp rotates again

1 Picturesque yet modern The Tietgen Student Residence and the Playhouse in Copenhagen

2 The circular Tietgen Hall of Residence was inaugurated in May 2007 and nominated for the Mies van der Rohe Prize in 2008. Photo: Jens Lindhe

Two new buildings in Copenhagen by Lundgaard & Tranberg architects show how pictorial principles of composition, known from Romantic gardens and horticulture, live on in new architecture.

BY PETER THULE KRISTENSEN

The Danish architecture company Lund- tistic distinctiveness that appeals to the Pictorial idioms are a well-known con- gaard & Tranberg has attracted a great imagination. cept in the history of architecture, nota- deal of attention in Copenhagen lately, The Tietgen Residence is a single circu- bly in 18th and 19th-centuries English because of two buildings in particular: lar building, its tight geometry broken landscape gardens, which are arranged the Tietgen Student Residence in the by a number of boxes protruding from in a series of tableaux that tease the new Ørestaden district, and the Play- the façade in an irregular pattern. The visitor’s curiosity, at least in part by house, situated on the waterfront in Playhouse is another relatively simple concealing what is hidden around the one of the oldest parts of town. design, its well-nigh square body divid- next corner. Rich variations are used as Both the Tietgen Student Residence ed into layers and softened by minor a way of encouraging visitors to keep and the Playhouse are popular with projections and other less unorthodox exploring, continually offering up small their users and the public alike, per- elements. In neither case do the irregu- surprises and contrasts that seem ‘nat- haps because both combine a simple, larities appear to stem from the narrow ural’ or unplanned. Although, in fact, it easily understood main concept that needs of functionality; nor are they de- has been planned in minute detail, the caters for functional needs, with an ar- termined by the constraints of the loca- apparent lack of composition is de- tion. Rather, they stem from a desire to signed to help liberate the mind of the create a pictorial composition. The ar- visitor, to free them to expand their im- The Royal Theatre’s new Playhouse, chitectural narratives are also under- pressions as they tour the gardens. In which was inaugurated in February 2008, affords a phenomenal view of pinned by the way in which artifi cial the pictorial-compostion ideal, things the Port of Copenhagen. light is used. are not intended to look too perfect or

3 The Tietgen Hall of Residence forms part of the new Ørestaden district on the island of Amager, and is perched on the bank of a long, artifi cial canal.

fi nished, but to combine an unforced new student residence designed in the same type of room, however. The ir- form with natural textural effect, like, same way. Lundgaard & Tranberg was regularity of the exterior does not stem for example, a fallen tree on the forest the only studio invited to take part in from functional diversity, but from a fl oor. the architecture competition that de- desire to create an impression of varia- This ideal is refl ected in much 20th cen- cided to break with the prevailing struc- tion. The façade is in other words picto- tury modern architecture. For example, tures in the area by proposing a circular rial, composed according to principles the architect Le Corbusier (1887-1965) building that would draw the surround- similar to the traditional Romantic gar- designed buildings that were often ing landscape into the district, not block den. built around a meticulously structured it out. walkway full of minor contrasts and The ground fl oor of the circle has a high Textural effects photogenic motifs. As this article seeks ceiling and contains rooms for commu- In terms of materials, the building re- to show, the pictorial form of composi- nal use. Six further fl oors are divided fl ects a similar tendency towards the tion did not die out with Le Corbusier’s into fi ve sections, each with a curved ’wild’ and unrefi ned, again epitomising generation, but lives on in design stu- corridor giving access to twelve student a pictorial ideal. In other words, the dios like Lundgaard & Tranberg. fl ats on the outer edge of the circle, materials look exactly like what they and a common room, communal kitch- are, often with a built-in variation. The The Tietgen Student Residence en and utility room on the inner. The façades are covered with dark-brown The Tietgen, inaugurated in 2006, is lo- rooms are individually delineated in tombac, a type of red copper with a cated on a long, artifi cial canal in a new the outer façade as boxes of varying varied surface, through which run district of Copenhagen known as Øre- sizes that protrude at different points green tracks from the copper. The win- stad North. Most of the surrounding on the circle. This provides an irregular dow frames and shutters are made houses have wings that are more or idiom that makes the façade resemble from unpainted oak, and the handrails less parallel with the canal, and the an organic structure and hints at an in- on the balconies are of matt stainless original plan for the area envisaged a ner diversity. Every fl oor contains the steel. Inside, most of the walls are of

4 The Waterfront Bollard, which is characterised by glare-free, downward light, fl anks the main entrance to the residence.

Tietgen Student Residence

The Ørestad outdoor fi xture was developed especially for the new district by Louis Poulsen and the ARKKI design studio, which won the competition to draw up an integrated plan for Ørestaden. The elegant and simple fi xture is mounted on a rectangular steel pole.

5 The Hall of Residence’s circular interior forms an intimate and beautifully proportioned open-air space. The WeeBee LED fi xture by Louis Poulsen is mounted in the circular plinth.

The trees in the yard are accentuated by the WeeBee LED fi xture.

6 Plan, 4 th fl oor Section

raw concrete cast on the spot in a a piece of a larger form – perhaps a apparently strewn about at random. slightly irregular structure. The same fragment of a plant motif – the origins applies to the corridor fl oors, which are of which are no longer traceable. It is Lighting made from magnesite and resemble inspired by origami but also references The artifi cial lighting is carefully at- concrete, and the partition walls, which Romantic art, which often used frag- tuned to the rooms’ different uses and are made from unpainted plywood and ments and incomprehensible ara- involves relatively few types of fi x- form entry niches to the rooms. The besques that echoed plant motifs to tures. Nowadays, builders often specify textures continue inside the students’ fi re the observer’s imagination. It is an that the lighting should be energy-effi - rooms in the form of built-in furniture. artistic approach perfectly suited to cient; unfortunately, this often results A beautiful feature of the building is a pictorial ideal. The pattern was cre- in a light that is cold and ugly. The ar- the large, imprinted pattern that ated by Julie Henriksen and Mathilde chitects tried to comply with the design stretches along the plywood walls Aggebo, who were responsible for the by subduing the light as much as possi- within the corridors. From the round design side of the building, basing it ble and being economical with it, so yard outside, the pattern is seen inside on the principle of variation within that light is only deployed where abso- the corridors, gradually getting bright- frameworks. For example, they used lutely necessary. er as it moves upwards. From within different signal colours for the letter- In the corridors, the patterned ply wood the corridor, it feels as if the pattern is boxes and kitchen chairs, which are walls are illuminated by a fi xture

Fixtures of the corridors of The Tietgen Student Residence

For illumination of the Tietgen Kollegiet corridors, Lundgaard & Tranberg posed a number of requirements: The fi xtures should appear subtle and adapted to the ceiling geometry and modelling. To ensure even illumination of the walls, the fi xtures should come with dimmers, and require- ments to corridor lighting listed in standard DS 700 should be observed. It proved impossible to fi nd a standard fi x- ture that met these requirements, so the architects designed a custom fi xture in partnership with Louis Poulsen. The result is a fi xture fi tted with T5 lamps, mounted in a slit at the top of the wall. The fi xture refl ec- tor design only channels light to the walls.

7 The Playhouse

mounted in a narrow gap between the light outside the building as possible. It The Playhouse wall and ceiling. The fi xture, which the has only been installed in a few select- Like the Tietgen Student Residence, the architects developed in collaboration ed places, such as semi-submerged spots Playhouse was the result of an architec- with Louis Poulsen presented a real cast in a low circular concrete edge in tural competition won by Lundgaard & challenge in terms of function and de- the middle of the round yard, and in the Tranberg. Inaugurated only this year, the sign due to being so close to the ply- form of smaller ceiling spots above the square building is perched on the wa- wood walls yet having to light up the passages towards the yard. As a result, terfront in the middle of Copenhagen’s whole wall surface. the building’s main source of light in the old district, and is characterised by rec- Smaller halogen spots generate a more evenings is the many rooms that project tangular blocks, each of which is one direct light in front of the entrances to from its façade. This leads to unplanned storey high. Only the stage tower, which the kitchens and rooms. The same type variations, and underpins the pictorial soars high above the middle of the build- of spot recurs in the building’s other idiom and the impression of a building ing, breaks with the existing heights of corridors. In the ground fl oor utility with inner variety. The street lighting buildings in the area. The rest of the room and the common room, the spots outside the building is the Louis Poulsen building is the same height as, and fl ush are supplemented with a more power- Ørestad fi xture, which is used as the with, the façades in the adjoining streets, ful lighting in the form of large pen- standard outdoor fi xture throughout Øre- and is thus inextricably linked to the dants. staden, and the Waterfront Bollard, which surrounding district. Conversely, a third The architects have tried to use as little fl anks the entrance to the building. of the Playhouse extends over the quays,

8 The Playhouse’s exterior lights play a signifi cant scenographic role. The architects wanted the glass frieze on the third fl oor to look like an illuminated ribbon. Lighting designer Jesper Kongshaug and Louis Poulsen were commissioned to implement the technical and artistic aspects of the idea. Another signifi cant effect is the spot lighting that illuminates the copper facing the stage tower in the evening.

The WeeBee Spot from Louis Poulsen has been installed under the promenade deck. The orange light from the LED fi xtures accentuates the bridge pillars.

9 The foyer opens onto a walkway, a wide, oak-covered pavement that seems to hover on columns above the water. A fl uorescent-tube fi xture positioned under the bridge emits a broken trail of light that leads the way from the city to the theatre entrance. Louis Poulsen supplied the fi xture.

10 The design contains a number of unortho- dox aspects that are not necessarily justifi ed by function, but which make the logically or- ganised theatre seem more organic – the somewhat abrupt corners on the oak bridge, for example.

where a broad, sculptural wooden bridge inner corridors are slightly offset from tural stage setting than you do in the creates an access road to the large, glass- the main direction of the building, public areas downstairs. encased foyer with its beautiful view of without any ensuing detrimental im- the port area. pact on functionality. Similarly, the Lighting The theatre’s other spaces appear to be ground fl oor’s narrow windows and the In a theatre like the Playhouse, artifi cial arranged around the stage tower, with window frames in the upper fl oor’s light is a key architectural device. It is huge back stages on three sides and a glass front are apparently strewn about widely deployed in the public area to cavernous, yet intimate, auditorium on haphazardly. Like the building’s other create a mysterious atmosphere that the fourth. The building also houses twists and unorthodox features, these heightens the attention and attunes two smaller stages and a whole fl oor do not refl ect a departure from the the mind before the show. for theatre staff. This fl oor is prominent composition of the building. In this In the foyer, the primary lighting con- on the harbour side of the façade be- sense, the Playhouse is reminiscent of sists of hundreds of light-fi bre cables cause of its fl oor-to-ceiling glass casing the Tietgen, where the richly varied hanging from the ceiling like a forest of that corbels over the lower fl oor like a façade is not a refl ection of the organi- thin lianas, each covered with fabric glass canopy. In contrast, with its facing sation within. Instead, the many small and with a brown copper pipe at the of dark-burned bricks, the lower fl oor unorthodox elements create an impres- end, from where the light is emitted. looks enclosed and cave-like, a motif sion of variation that is, in its design These provide a lighting weak enough the architects have consciously chosen conventions, pictorial. to prevent the high glass wall from re- to play with in all the public areas, both The upper fl oor is more unconvention- fl ecting it like a mirror in the evenings, inside and out. al. This is the area for theatre staff, and making the glass wall less visible and, The design includes a number of unor- is home to functions such as theatre in doing so, making the half-lit water- thodox elements not necessarily justi- management, costumiers and dressing front space outside seem less separate fi ed in terms of functionality, but that rooms, all positioned side-by-side like from the foyer inside. The connection is make the logically composed theatre stripes in a barcode. It is a fantastic emphasised by a wooden fl oor that re- machine seem more organic. For ex- feeling to walk around this fl oor, where curs both inside and outside. The sub- ample, the broad wooden bridge lead- daylight fl oods through to the centre. It dued lighting from the lianas in the ing towards the harbour contains a cou- offers a type of spatial experience un- foyer is supplemented by individual ple of twists along the way, as do some known in traditional architecture. Here, projector-like spots, which focus more of the balconies in the high foyer. The you feel less engulfed by the architec- directly on selected parts of the room.

11 The theatre’s complex top storey is designed as one vast open-plan area, stretched out between large steel girders. This is where the dressing rooms, administration offi ces and canteen are located.

The lighting is kept at a low level in the public areas. The primary lighting in the foyer is provided by hundreds of light-fi bre cables, suspended from the ceiling like a forest of thin vines. The light from the cables is suffi ciently subdued so that the glass wall does not catch the light and produce refl ections in the evening.

12 Facing the waterfront, the nine-metre-high foyer feels like part of the promenade, The Playhouse which is dominated by the protruding halls and balconies of the Playhouse.

The other public areas have similarly personnel. Here, ceiling pendants are a en poles. Similar lighting for effect is subdued lighting in the form of simple particular recurring theme. Artifi cial found in the stage tower. Hidden spots lamp holders in the ceiling with visible light also plays a key scenographic role in the roof shine up on the stage tower, bulbs and no shades, and low-mount- on the building’s exterior, and this was highlighting its copper-covered façade. ed, built-in wall lighting that illumi- developed in collaboration with Louis Another important lighting effect, cre- nates the fl oor in areas like the corri- Poulsen. The light is used to illuminate ated by the architects and processed dors. The lighting level in the public the edges of the large wooden bridge, artistically by the lighting designer Jes- areas is kept consistently low. This al- with fl uorescent tubes concealed by a per Kongshaug has been built into the lows visitors to quickly accustom them- small upturned edge. In the evenings, glass front of the upper fl oor. In the selves to the near dark of the auditori- the bridge looks like an illuminated evening, the retracted decks and ceil- um, and makes the subtleties of the sign, a broken trail of light pointing the ings behind the glass are lit up by spe- artifi cial lighting onstage much more way from the city to the foyer. A weak- cially designed spots, supplied by Louis striking. A more powerful light is need- er light beneath the bridge gives a faint Poulsen and mounted on the inside of ed on the upper fl oor used by theatre suggestion of its undergrowth of wood- the window frames. This makes the up-

13 Photo: Jens Lindhe The main stage is designed like an intimate cave and laid out in an expressive pattern, which helps regulate the hall’s acoustics. It has been warmly welcomed by the actors, who say that it is as if the room was tailor-made for the spoken word.

per fl oor resemble an illuminated disc visitor from afar into the cave of its au- ferent motifs are sampled, much in the at night, sending a message to the out- ditorium. In both cases, artifi cial light way they are in a stage set. When such side world that the theatre is in use. underpins these narratives. In the Tiet- a stage set becomes pictorial - is ar- gen, this is achieved by relying less on ranged to look unplanned or ‘organic’ Narratives artifi cial lighting, allowing the rooms to – it can induce a feeling or un-reality in With projects like the Tietgen Student come into their own in the evenings, the user. Both buildings are also well- Residence and the Playhouse, Lund- when they appear as bright or dark planned projects in which all the de- gaard & Tranberg has made a name for boxes. In the Playhouse, it is achieved tails, including the lighting, co-exist in itself as a studio with a profound inter- with subdued but striking, atmospheric close harmony with each other. est in architecture’s ability to create im- lighting. There is no doubt that everyone who ages before the mind’s eye. This is seen The way the buildings look do not al- uses the Tietgen and the Playhouse is in the round form of the Tietgen, its ir- ways refl ect a corresponding narrative highly satisfi ed with the buildings. regular knots telling a story of individu- in the way they are organised. In this ality within a community. It is seen in respect, they can be seen as having a Peter Thule is assistant professor, PhD, the Playhouse’s ability to entice the similar nature to a collage, in which dif- architect maa.

14 TIETGENKOLLEGIET CLIENT: FONDEN TIETGENKOLLEGIET ARCHITECT/CONSULTANT: LUNDGAARD & TRANBERG ARKITEKTFIRMA A/S DEVELOPER CONSULTANTS: NIRAS FREJA EJENDOMME HASLØV & KJÆRSGAARD ENGINEER: COWI WIRING: KEMP & LAURITZEN A/S LANDSCAPE ARCHITECT: MARIANNE LEVINSEN IN COOPERATION WITH HENRIK JØRGENSEN GRAPHICS, TEXTILES: AGGEBO & HENRIKSEN DEVELOPER: E. PIHL & SØN A/S EXCAVATION CARCASS WORKS GRØNBECH CONSTRUCTION A/S Facade lighting on the new Royal Playhouse

THE ROYAL DANISH PLAYHOUSE: Lighting is a high-priority element of the tion is a gift from the Ministry of Culture. CLIENT: THE MINISTRY OF CULTURE new Royal Playhouse - indoors and outdoors The result is a custom fi xture that matches alike - and was consequently an integral the material and colour of the glazing bars. USER: THE ROYAL THEATRE part of the development process from the Fixtures are mounted in pairs, one about 50 DEVELOPER CONSULTANTS: MOE & very fi rst project phases. cm above the fl oor and one 50 cm from the BRØDSGAARD AND ERIK MØLLERS TEGNESTUE Thus, lighting plays a key role in the glass ceiling. It was decisive that the frieze ap- ARCHITECT: LUNDGAARD & TRANBERG frieze that circles the third fl oor of the house. pears uniformly illuminated, and the varying ARKITEKTFIRMA A/S The glass frieze is a leitmotif for the facade, distances to illuminated surfaces necessitat- ENGINEER: COWI refl ecting the dynamics, function and struc- ed two fi xture designs with different shading ELECTRIC CONTRACTOR: KEMP & LAURITSEN ture of the building. of the light. ACOUSTICS: GADE & MORTENSEN AKUSTIK A/S Lundgaard & Tranberg wanted the glass The 458 fi xtures are dimmed at evening and THEATRE TECHNOLOGY: RAMBÖLL AB SVERIGE frieze to appear with a warm, festive glow in night to intensities of 20% and 15%, respec- GRAPHIC DESIGN: AGGERBO & HENRIKSEN the evenings. From inside, avoiding glare tively, thus achieving the desired colour tem- was a paramount consideration, so that visi- perature. One fourth of the fi xtures comes ARTISTIC AND TECHNICAL DETAILS ON tors could enjoy an unrestricted panorama with the new Ministar refl ector lamp, the re- LIGHTING OF THE GLASS FAÇADE OF THE 3RD even in dark nights. The architects created maining being fi tted with Halostar, all 20 FLOOR AND OTHER LIGHTING IN THE HOUSE: the lighting concept, the design being artisti- Watt. The light sources have long lives of JESPER KONGSHAUG cally and technically fi nalised by lighting de- more than 20,000 hours, so the light facility WIRING, ARTIFICIAL LIGHTING signer Jesper Kongshaug who selected Louis boasts a low energy consumption. 3. RD FLOOR GLASS FRIEZE: SIF GRUPPEN Poulsen to partner him. The frieze illumina-

Section

Plan

15 Poul Henningsen continued to improve his lamp designs right up to the time of his death in 1967. Three classic PH fixtures turn 50

BY IDA PRÆSTEGAARD

Fifty years ago – in 1958 – three of Today, Poul Henningsen’s fi xtures remain and life style magazines showcase the Louis Poulsen’s most famous fi xtures the epitome of modern lighting and Dan- popularity of the fi xtures. PH Artichoke saw the light of day. The three fi x- ish design, and his luminaires are re- was introduced in 1958 as an element tures – PH Artichoke, PH 5 and PH nowned far beyond Denmark’s borders. in the lighting design for a fashionable Snowball – were all developed by Louis Poulsen markets the well-known Copenhagen restaurant, Langelinie Pa- Poul Henningsen, who – besides be- fi xtures throughout most of the world villonen, adjacent to the Little Mermaid ing an architect, a writer and contem- and has in recent years re-launched sev- and overlooking the harbour. Fifty years porary critic – became one of the eral of the early fi xtures from the late ago, Poul Henningsen was commissioned world’s leading lighting designers. 1920s and the early 1930s with great to design the lighting for the restaurant, success. Articles in international home and one of his works was PH Artichoke,

16 50

Above: At the 1958 Glass, Light and Colours exhibition at the Danish Museum of Decorative Art, PH presented a number of new lamps that went on to become classics, including the PH Snowball and the PH 5. The PH Louvre, suspended in a row in the middle of the room, was developed the previous PH 5, presented by Poul Henning- year. sen in LP NYT in the spring of 1958, is here seen hanging above Henningsen made paper cuttings of several of his fi xtures. They illustrate one of his own tables and a beautifully the construction of the fi xtures. Viennese chair, and with a painting by the Danish artist Vilhelm Lundstrøm visible in the background.

which is, with its 72 copper leaves, an PH 5 was introduced as the “Classic his own words from 1958 – “can be fi t- extremely evocative fi xture and ideal as novelty” at the exhibition “Glass, Light ted with anything from a glow worm or lighting in large rooms. PH Artichoke was and Colours” at the Danish Museum of a Christmas candle to a 100 W wire fi la- later developed into a series comprising Art & Design in Copenhagen in 1958. In ment lamp. However, a fl uorescent three smaller versions, just as the fi xture concert with Louis Poulsen, Poul Hen- lamp is, in its present shape, too long.” today comes in white and brushed steel. ningsen had come up with a fi xture At the beginning of the 1990s, Louis To mark the 50th anniversary of PH Ar- that was completely glare-free irre- Poulsen realised the need for energy- tichoke, PH Artichoke Glass will be in- spective of its position and choice of effi cient lighting and introduced a new cluded in the Louis Poulsen standard light source. With PH 5, Poul Henning- version named PH 5 Plus in 1994. By range. sen had designed a fi xture that – to use means of a few minor design changes,

17 The PH Artichoke was created for Copenhagen’s Langelinie Pavilion in 1958, and the restaurant soon became a popular place to eat. The Plate Lamp along the windows was also designed specially for the restaurant.

Below: Langelinie Pavilion has not changed a great deal over the years, and the PH Artichokes are still the restaurant’s focal point.

PH 5 Plus doubled the light output com- pared to the original PH 5 and was able to hold the relatively big energy-saving light sources of the time.

PH Louvre was also introduced at the exhibition “Glass, Light and Colours” at the Danish Museum of Art & Design in Copenhagen in 1958. The fi xture consists of eight aluminium shades, which are curved like the louvres of a globe shade. The fi xture’s eight aluminium shades are matt white on the inside and polished white on the outside. After the exhibi- tion, the fi xture with the superb light dis- tribution was stowed away and forgotten – one reason being that Poul Henningsen was preoccupied with designing the PH 5. Louis Poulsen did not resume pro- duction of Snowball until 1983 – and the fi xture is now one of the most admired classics in our product range.

Photo: Planet Foto

The fi xtures remain genuine constructions despite being collectors’ items and exuding status and ” prestige when unlit. We have been fi ghting on all fronts to keep our message clear. To create opti- mum contemporary lighting in a beautiful, yet simple idiom. And this rubs off on the surroundings. The fi xtures have attained their classical status through Poul Henningsen’s constant energy and outlook on life, nature, cultural life and materials. He struck no compromises in terms of the integrity of the overall task. Therefore, there is nothing cheap about the nature of PH Artichoke. And timeless is not just another empty expression in this context. Artichoke is timeless design.

Quote from the book “Poul Henningsen” by Erik Steffensen in the series »Danish Designers« published” by Aschehoug in 2006.

18 50

PH wanted everything out in the light [...]. Design must be truthful, despite the fact that the object ” may appear facetted. Just think of PH Artichoke from 1958, originally designed for the Copenhagen restaurant Langelinje Pavillonen. There are no dispensable shades because the principle of the Artichoke reigns supreme, and you cannot contradict nature whether you are human, a fi xture or a dragon.

Quote from” the book “Poul Henningsen” by Erik Steffensen in the series »Danish Designers« published by Aschehoug in 2006.

During the development PH Artichoke of the Septima, PH designed a metal version of the lamp. It Glass was never produced, but the drawing found new life as inspiration for the PH Artichoke Glass is launched on PH Artichoke. the 50th anniversary of PH Artichoke. Previously produced as individual custom design versions, the glass version is now set to become a permanent member of our product range. The seven-shade Septima was developed in 1927–31. The PH Artichoke Glass dates back to 1927-31, The shades had alternating sections of transparent and when Poul Henningsen designed a glass pendant sand-blasted glass – a by the name of PH Septima – a pendant with principle that was also to seven glass shades – which was manufactured form the basis for the by Louis Poulsen until 1940 when it was phased PH Artichoke. out due to a lack of materials during the war. Asked to design a fi xture for the Langelinie Pa- villonen restaurant in 1958, Poul Henningsen completed the assignment in three months as PH Artichoke is based on the ideas behind PH Sep- tima.

PH Septima consisted of seven shades in clear glass, sand-blown in six fi elds. PH Artichoke di- vided the shades into picket fences as Poul Hen- ningsen called them and was made of copper. Of hand-made, sand-blown glass, the PH Arti- choke Glass has an expression similar to that of PH Septima. The soft light is diffused through the leaves to produce soft, comfortable light. Lit as well as unlit, the fi xture leaves have an “iced look” that adds elegance and lightness to any room. PH Artichoke Glass is available from select deal- ers and only to order in the same sizes as the other versions of PH Artichoke, viz. with diame- ters of 480, 600, 720 and 840 mm. Specially trained technicians from Louis Poulsen assemble PH Artichoke Glass – on location.

19 BY IDA PRÆSTEGAARD

The PH lamps in Tivoli Gardens are rotating again

Visitors to Tivoli Gardens this year will be greeted by one of the park’s most refi ned pieces of design, once again working as originally intended. The festive spiral lamp, designed by Poul Henningsen in 1949 for the old amuse- ment park, has been resurrected. In spring 2008, 101 new, updated Tivoli Lamps – supplied by Louis Poulsen – will be installed in the old gardens in Copenhagen.

During his stint as Tivoli’s architect, be- green spiral shade. The two parts ro- so after a few years, the lamps were ginning in the early 1940s, Poul Hen- tate in opposite directions, driven by a left to hang motionless, without any ningsen designed many original instal- motor mounted in the fi xture’s head. In power driving the engines. lations for the gardens, including a 1950, the Tivoli Lamp was mounted number of lighting fi xtures beloved by around the Tivoli Lake, to the delight of Louis Poulsen has now produced new the park’s visitors. the garden’s visitors. Unfortunately, the Tivoli Lamps, identical to the originals small Hoover engines that drove the except for a technical improvement in The Tivoli Lamp dating from 1949, is shades were powerful enough to turn the form of a more powerful, Swiss- a refi nement of the Spiral Lamp de- the shades once they were moving, but produced motor. As a result, Tivoli visi- signed by Henningsen for Århus Uni- too weak to be relied upon to start the tors 2008 will once more be able to ap- versity in 1943. It consists of a transpar- rotation. Despite numerous attempts at preciate this original and striking PH ent inner acrylic tube painted with a improvement, the technology of the invention as it was meant to look and red spiral, and an outer white-and- time was just not up to the task – and work.

In May 1949, Poul Henningsen described the basis for the lamp in an interview in NYT:

“When I was commissioned to design new lighting for the Tivoli Lake, it struck me that a slowly rotating spiral lamp would produce a dis- creet and delicate effect. The discretion is important, because too much rotation would make you feel drunk! There is also something in the spiral that enhances or anticipates the zig-zag shape of the re- fl ection on the water. The idea was to fi nd a solution with the least possible waste of ma- terials and the lowest possible costs up front. It not only had to look as if it was all drawn as one line, it had to actually be one line too. The basis for a construction of this nature is that the spiral does not cover itself when folded up, but that edges meet edges in some kind A sketch of the of axis of rotation, which is easy to mount above a bench.” principles underlying the Tivoli Lamp.

20 Tivoli Lamps photographed in front of the Chinese Tower.

The Spiral construction in the Tivoli lamp

Poul Henningsen inspects his new rotating lamp at the lake in the Tivoli Gardens, May 1949.

The 101 updated rotating lamps have not yet been mounted as we go to press, so these are not photographed, but we recommend that you take a trip to the Tivoli Gardens this summer to see the phenomenon with your own eyes.

21 RiverCenter for the Performing Arts in Georgia, Performing Arts Center in California and The Pearl at the Palms in Las Vegas Theater, music and dance in new settings

The venue – both internally and externally – is a primary element of theatrical experience . . . It creates expectations, sets a mood and reinforces the com- munal aspect of the event. It is, in effect, the pre-show.

BY PAMELA MOSHER

More than just providing a venue for effect, the pre-show. The site, the ver- cilitates the projection of imagination. entertainment, the performing arts nacular of the surrounding buildings A recital hall is designed for a variety of center has, especially in the last three and the aspirations of the clients and musical performances on an intimate decades, become a revitalizing force community are also factors in the de- scale – chamber groups, choral groups, for the city, community and campus, sign. jazz ensembles – for which the design offering facilities to accommodate a To support such different uses as a shapes a clear, articulate sound; and a wide range of entertainment. These traveling Broadway show or an in-house multi-purpose hall must support a types of buildings have remained a production, contemporary theaters must range of performance types equally passion for Pfeiffer Partners Architects be state-of-the-art, function well and well by means of variable acoustics and and for a number of decades the fi rm leave a lasting impression. This impres- moveable architectural features, such (originally as Hardy Holzman Peiffer sion begins at the front door and should as adjustable canopies and expandable Associates) has designed several high- be consistent throughout. stages. These types of spaces require profi le performing arts centers in the Different facilities require different not only functional solutions, but de- USA. The venue – both internally and strategies; for a concert hall, the grand mand an architectural statement that externally – is a primary element of scale, the richness of the lights, color, both supports the arts and creates a theatrical experience, according to Wil- textures and appointments contribute unique theater-going experience. liam Murray, AIA, Principal, who leads to a heightened sense of event and cer- the performing arts design of Pfeiffer emony before the lights go down. A RiverCenter for the Performing Partners Architects. It creates expecta- black-box theater responds to its agen- Arts, Columbus, Georgia tions, sets a mood and reinforces the da as a space for experimentation; lit- In Columbus, Georgia, RiverCenter for communal aspect of the event. It is, in erally a box with fl exible seating, it fa- the Performing Arts accommodates

22 RiverCenter’s facades are made of materials that match the adjacent city neighbourhoods. The foyer on Main Street is made of glass and steel.

Rivercenter, Georgia

RIVERCENTER FOR THE PERFORMING ARTS CLIENT: DOWNTOWN DEVELOPMENT AUTHORITY OF COLUMBUS, GEORGIA ARCHITECT: PFEIFFER PARTNERS ARCHITECTS ASSOCIATE ARCHITECT: HECHT, BURDESAW, JOHNSON, KIDD AND CLARK THEATER CONSULTANT: THEATER PROJECTS INC. ACOUSTICAL CONSULTANT: JAFFE HOLDEN STUCTURAL ENGINEER: HARRINGTON ENGINEERS,INC. MEP ENGINEER: NEWCOMB & BOYD LIGHTING CONSULTANT: CLINE BETTRIDGE BERNSTINE LIGHTING DESIGN, INC.

23 Rivercenter, Georgia

Site plan

Section

both civic and academic requirements; Because of the large acoustic volume wood. From the ceiling, a series of it is the performance space for the Co- required for symphonic performance, a light-colored wood acoustic refl ectors lumbus Symphony Orchestra, the Co- ceiling of giant interwoven ribbons of support 40 PH Artichokes in copper, the lumbus Ballet, the Columbus Youth Or- steel-coil mesh offers a dramatic envel- largest number of this fi xture used in chestra and touring Broadway shows, oping gesture that further improves one space in the U.S. and it provides instruction and rehears- the intimacy of this large space. Shaped The design of the 150-seat Studio al space for the Columbus State Univer- balcony fascias and custom light fi x- Theater was inspired by the London’s sity, Schwob School of Music. River- tures provide color, texture and warmth. Cottesloe Theater, a fl exible courtyard Center is located at the intersection of In addition, the Theater features a theater with telescoping seating and a historic Columbus and the city center, unique orchestra shell and canopy sys- fl at fl oor. The venue hosts plays, exper- along the Chattahoochee River. On the tem that enables the stage for sym- imental theater, children’s theater, and facades facing the historic district, the phonic performances to be extended jazz performances, as well as chamber Center features brickwork inspired by into 1/3 of the orchestra seating, in- music, dance performances and lec- the nearby historic Springer Opera creasing the performers’ ability to in- tures. House, with cast iron columns and or- terconnect with the audience. The center also houses rehearsal rooms; nate iron railings. Facing Main Street, a The 450-seat Legacy Hall is also de- a 24-hour Applied Music/Faculty Studi- contemporary architectural environ- signed with focus on intimacy and os for music instruction and faculty of- ment, the Center features a modern warmth, it being the primary perform- fi ces; 40 practice rooms of varying sizes glass and steel multi-level lobby, which ance venue for the University’s music and six classrooms and seminar rooms enables passersby to observe the activ- program, which encompasses band, or- for lecture and discussions. ity inside the center, and patrons to chestra, choir, jazz and chamber groups. Featuring the light blue ceiling of tradi- view the surrounding city. This is accomplished through a seating tional Georgia porches, the lobby utiliz- In order to fulfi ll the role of a civic and confi guration that includes orchestra es the Oslo fi xtures on walls and col- academic performing arts center, the and parterre levels. The hall also fea- umns as architectural features. Both design provides a sense of intimacy tures a balcony that wraps entirely the Orbiter and the Oslo Wall Round fi x- and human scale. To achieve this and to around the stage, which allows for cho- tures are utilized to create a consistent add visual interest, each of the Center’s ral performances and classes and fea- idiom throughout the facility. In addi- main attractions is distinct in shape, tures a large 3,600-pipe/57-stop con- tion, AJ Eklipta fi xtures are featured as color and material. The largest room, cert organ. The walls are faced in exterior lighting elements on the main the 2,000-seat, multi-purpose Heard textured clay tiles, while the balcony theater volume, establishing a rich and Theater features two balconies and and parterre fascias, lit from within by welcoming environment in the down- multiple sides, which create an inti- the Oslo fi xture from Louis Poulsen town core. mate audience-performer relationship. Lighting A/S, are covered in rich cherry

24 Despite the size of the 2,000-seat Heard Theater, enveloping steel mesh bands generate a sense of intimacy between the audience and performers.

A combination of Orbiter Wall and Oslo Wall lamps provide continuous lighting between the foyer and the stairs.

25 Rivercenter, Georgia

The Legacy Hall, with room for 450 people, is lined with terra cotta tiles, the front edges of the balconies are covered with cherry wood, and 40 PH Artichokes round off the warm tone of the room.

Performing Arts Center, ate programs in the US, with public all surround a central lobby, which pro- California State University, performance at the heart of the pro- vides a fourth informal performance Fullerton, California gram. Its fl ourishing music program, space. The objective for the Performing Arts however, had been constrained by in- Center was to provide an invigorating adequate facilities. Pfeiffer Partners The new Performing Arts Center sits climate in which professional and crea- created a new building addition offer- at the heart of the campus. Surrounded tive excellence in the visual arts, music, ing 125,000 square feet of new space, by the student center and bookstore, dance and theater can thrive. The Col- including an 800-seat concert hall, a dining facilities and the nearby library, lege of Art’s theater and dance pro- 250-seat thrust-stage theater and a the building is a new “front door” to a gram is among the top 14 undergradu- 150-seat black-box theater. The spaces vibrant student-centered precinct. In

26 Photo: Mark Ballogg/Steinkamp/Ballogg

Above: The Studio Theater is fl exible enough to be used for children’s theater, jazz concerts, chamber music and dance shows.

A grand stairway leads from the RiverCenter foyer up to the theaters.

27 The Meng Concert Hall, part of the Performing Arts Center, utilises honest, durable and inexpensive materials, e.g. the walls are concrete and the roof is zinc.

PERFORMING ARTS

CALIFORNIA STATE UNIVERSITY – FULLERTON, Site plan PERFORMING ARTS CENTER CLIENT: CALIFORNIA STATE UNIVERSITY – FULLERTON THEATER CONSULTANT: LANDRY AND BOGAN STRUCTURAL CONSULTANT: NAHIB YOUSSEF & ASSOCIATES MEP CONSULTANT: AYERS EZER VARADI, INC. Section ELECTRICAL CONSULTANT: KANWAR & ASSOCIATES ACOUSTICAL CONSULTANT: MCKAY CONANT BROOK, INC./MARC ROTHERMEL LIGHTING CONSULTANT: HORTON LEES BROGDEN LIGHTING DESIGN

28 CENTER, CALIFORNIA

The Performing Arts Center’s concert-hall lighting is provided by PH 6½-6 pendants mounted in groups addition to the new Performing Arts ment plaster, cherry wood, Rheinzink – and painted a custom copper Center, the concurrent development of formed and weathered zinc – and clear colour. new parking facilities and central plaza or textured glass. The malleable quality in front of the Center defi ne an inviting of concrete was exploited in cast form- new pedestrian environment, contrib- work moulded using Douglas fi r planks uting additional energy to this vital from an old nearby barn to create the part of the campus. look of board-shaped concrete in the Adept at getting the “biggest bang for central lobby. The resulting texture es- the buck,” the design team chose a tablishes an arresting counterpoint to complementary palette of basic, inex- the smooth, deeply colored, pool-fi n- pensive, durable and featured materi- ished cement plaster walls fl anking the als with expressive potential: textured major glass entrances. Glass curtain and polished Trendstone concrete walls provide a dramatic view into the block, intensely colored smooth ce- lobby and lighten the shape, which

29 PERFORMING ARTS CENTER

The Black Box Theater is designed for experimental works and boasts particularly advanced lighting and audio-visual systems.

glows lantern-like at night. The ceramic equipped with variable acoustic ele- The 250 seat Thrust Stage Theater frit patterning on the curtain-wall mul- ments to support a wide range of musi- has a balcony – unusual for a thrust lions represents an abstract musical cal events and lectures. The roof struc- theater this size – which increases the scale, establishing a musical reference ture is exposed and painted, varying in intimate feel of the room. There are at the main entry. The Rheinzink roof size and length over the breadth of the also two vomitories (rear side entries cladding, which will develop a rich pat- concert hall. Structural beams change into the room) a sub-lobby, easily ac- ina, is joined with standing seams of shape in each bay to accommodate the cessible stairs up to the balconies and a varying patterns that emphasize the slope of the roof. Inspired by Gothic ca- catwalk, affording the actors complete striking roof shapes over the perform- thedrals, this treatment helps bring freedom of movement and multiple ac- ance areas, giving an appearance of scale and rhythm to large horizontal cess ways throughout the theater. An- motion. Combined with strong reveals expanses with repeating, vertical and other effective design element is the and etched bands of color-enriched horizontal elements. Plaster cones on directional lighting of the articulated polished masonry enclosing the theat- the balcony fascias are painted in two- balcony fascia surfaces in a manner er volumes, deep and undulating roof tone gold and soften the geometry of reminiscent of a practice that was once overhangs accentuate the changing the room, helping to articulate acousti- traditional in theaters throughout the play of light and color. cally the vertical surfaces. The concert world. Although modeled on the conventional hall features Louis Poulsen Lighting’s Designed for intimate plays and experi- shoebox shape, the state-of-the-art PH6 maxi fi xtures, hanging in clusters 800-seat Concert Hall features wrap- and custom colored with Louis Poulsen A fl oating, circular, acoustic around seating; 100 of the seats are ac- Lighting’s approval to achieve a rich element just under the ceiling tually behind the stage. Designed with copper palette and a truly unique ap- produces extremely precise sound a balcony and for symphonic music, it is pearance. in the big concert hall.

30 CALIFORNIA

31 Site plan

Section

32 The Pearl

The concept for staging rock at the Palms concerts in The Pearl focused on retaining the intimacy of the theater experience, and it succeed- ed. None of the 2,500 seats is more than 36 metres from the stage.

The foyer in The Pearl is characterised by bronze and deep blue shades, and lit by Enigma 825s, mounted in groups.

THE PEARL AT THE PALMS CLIENT: MALOOF CASINO RESORT ARCHITECT: PFEIFFER PARTNERS ARCHITECTS ASSOCIATE ARCHITECT: KGA ARCHITECTURE STUDIOS THEATER CONSULTANT: AUERBACK POLLOCK FRIEDLANDER ACOUSTICAL CONSULTANT: SIA ACOUSTICS STRUCTURAL ENGINEER: LOCHSA ENGINEERING AND SURVEYING MEP ENGINEER: JBA CONSULTING ENGINEER ARCHITECTURAL LIGHTING CONSULTANT: KAPLAN GEHRING MCCARROLL ARCHITECTURAL LIGHTING Photo: © Tim Griffi th

mental works, the 150-seat Black Box ing a variety of dance types; and a state south and west. Its combination of Theater features moveable seating plat- of the art Recording Studio. In addition, forms, volumes, shapes and transpar- forms and risers to afford completely the theater has multiple other support ency provide an artistic beacon at the fl exible confi gurations. Although rela- spaces such as dressing suites, green heart of the campus and give an excit- tively small, the room has state-of-the- rooms, a 6,000-square-foot scene shop, ing new identity to the school’s music, art lighting and audio-visual systems, a a costume shop and a make-up lab. The theater and dance programs. full catwalk system, and absorptive multi-level central lobby ties the facili- walls, banded in cherry wood, designed ties together, offering additional space The Pearl at the Palms to dampen reverberation – excellent for for informal performances and recep- Built as part of a $600-million expan- spoken word. tions. sion of the Palms Resort and Casino in Las Vegas, The Pearl, a rock-concert Supporting performance spaces in- The Performing Arts Center creates a venue, met several challenges. It had clude a Musical Theater Rehearsal Hall; new vista from the campus edge to the to be constructed underground at a a Dance Performance/Rehearsal Hall, new center, and its alignment creates a very limited site and serves as both a two additional Dance Studios, support- new front door to the campus from the concert hall for rock music and a venue

33 Photo: © Tim Griffi th

The fi rst fi xture in the Enigma series, designed by Shoichi Uchiyama, was launched in 2003. Since then, the series has been extended and now includes three versions. Enigma 825 was developed for large spaces and is ideal for the foyer of the Ballroom of The Pearl.

Enigma creates the illusion of fl oating wings of light. The minimalist design is combined with particularly refi ned lighting engineering The Pearl and good light emission. Enigma emits both indirect light, as refl ected by the at the Palms shades, and direct light, which is diffused through the shades.

for other types of “theatrical” events, The interior is a mix of traditional and and the ceilings of the mezzanine and such as fashion shows, conference edgy. The rich palette of reds, metallic balcony seating, establishing a visual events and sporting events. It also had bronzes and cherry wood create an at- coherence more typical of theater de- to accommodate a 12,000-square-foot mosphere of warmth and excitement. sign. ballroom on top of the theater. Most Along with the dramatic pendant light- The mission of performing arts archi- importantly, it had to establish itself as ing elements, Louis Poulsen Lighting’s tecture is to support performance and a unique venue in a city full of over- Enigma in clusters of differing sizes – elevate the communal theatrical event. the-top performance venues, while be- the fi rst and largest installation of this Lighting is a key factor in this mission, ing designed and constructed at an ac- fi xture used in the United States – lends adding architectural details, sculpting celerated schedule. William Murray’s a luxurious and theatrical sensation. An the space, evoking emotion and direct- vision for the project was to merge tra- abstract tattoo graphic, referencing the ing attention. William Murray feels that ditional theatrical features – lyrical sha- famous tattoo shop located in the casi- Louis Poulsen Lighting fi xtures serve to ping, proscenium, boxes and multiple no, was developed as one of the domi- complement his vision; he is drawn to lobbies – into a rock concert context, nant design motifs, reiterated in rich, the refl ective characteristic of the light. where incorporation of state-of-the-art custom-woven seat and wall coverings The source of the light is never visible, technology was a primary requirement as well as carpets in both theater and only the rich, even glow. It is this qual- of the program. Central to this concept ballroom. The other motif, a linear pat- ity that he feels heightens the warmth was maintaining the intimacy of a the- tern based on a musical scale with ran- and excitement of the theatrical ambi- atrical experience. Consequentially, the dom rectangular “notes,” is incised into ence. theater with 2,500 seats offers excep- the wood panels of the proscenium tional proximity to the stage – no seat is face and repeats on the walls of the ca- Pamela Mosher is Communications more than 120 feet away. sino level lobby, the balcony fascias and Public Relations Manager

34 Photo: © Tim Griffi th The lighting shapes the room, generates atmos phere and directs the attention, and is therefore, according to William Murray, a particularly important factor in theatre building and interior design.

35 36 Modern company in a classicist setting

Ph ot o: P a u l K o s lo w s k i

When the stately Hemsteede Castle was rebuilt, new lighting Heemstedewas to be installed in theCastle sur- rounding park. Patina (Kastrup) Post outdoor fi xture was cho- sen because of its minimalist design and soft, symmetrical light emmission. BY IDA PRÆSTEGAARD

One of the fi nest examples of Dutch clas- Phanos N.V. took upon it the extensive has numerous applications – also 350 sicism was nearly lost one day in Janu- task of restoring the castle with a view years after its establishment. ary 20 years ago. Heemstede Castle near to converting it into the company’s head Houten went ablaze, and the damage offi ce. The fi rm of architects, Van Hoog- To illuminate the park, Phanos asked was enormous. Only the brickwork and evest Architecten was singled out to be for simple, subdued fi xtures that would four rooms at ground fl oor were saved. in charge of the rebuilding, which was not drown the beauty of architecture and The loss was dramatic. Heemstede Cas- undertaken by contractors Bouwmij the park. Simple and discreet in design, tle, its interiors and the surrounding park Woerden. Patina (Kastrup) is an excellent choice. represented a unique entity created in The post’s upper shade in copper with the late 17th century by an unknown ar- The highly demanding task was com- its accelerating verdigris blends in per- chitect commissioned by Diderick van pleted in 2001. Heemstede Castle had fectly with the green park. The opal Velthuysen. Holding a two-kilometre been rebuilt and widely looked like be- shade emits a soft, diffused and sym- long axis, for instance, the park counted fore the fi re. During the rebuilding proc- metrical light. Moreover, the light refl ects as one of the fi nest examples of Dutch ess, Phanos never doubted that their in the lower shade, thus evenly illumi- landscape gardening. modern use of the castle had to submit nating the surroundings. to the castle’s original structure and lay- The castle remained a ruin for some out. The result is a beautiful and effi cient Ida Præstegaard is an architect and 10 years until the investment fi rm of design illustrating that fi ne architecture the editor of NYT.

37 Heemstede Castle looks beautiful and perfectly integrated following its comprehensive restoration and refurbishment. Heemstede is consid- ered one of the fi nest examples of classicism in the Netherlands, and is something of a fairy-tale castle. The PH Artichoke welcomes visitors as they approach the front door.

The copper on the top of the Patina (Kastrup) shade merges into the green park as its bright sheen is Heemstede Castlegradually replaced by verdigris. Subdued lighting is used in the park. The Patina (Kastrup) illuminates the paths, and the castle is accentuated by spot lighting.

38 The owners of Heemstede Castle wanted a simple fi xture in the park, and opted for the Patina (Kastrup) with dark-green poles.

Heemstede Castle Park in its prime, around 1697. Watercol- ours by Isaac de Mouncheron, Teylers Museum, Harlem.

39 BY MORTEN LUND

A modern museum turns 50 The Light in Louisiana

Its architecture makes Louisiana a unique museum. The exquisite equilibrium between interior and exterior, between building and garden, between the view in and the view out, gives the light its own special tone. Louis Poulsen delivered the initial lighting to the museum, celebrating its 50th birthday 2008.

Louisiana Museum of Modern Art in architects, Jørgen Bo and Vilhelm Woh- his sure eye for communicating it infor- North Sealand has been extending a lert. Ten minutes’ walk from Humlebæk mally has helped it reach a wide range warm, hearty welcome to visitors for Station in North Sealand, they found a of society. In addition to its own perma- half a century. The gallery has posi- country house on a site of outstanding nent collection, it was decided that the tioned itself as one of the world’s most natural beauty right on the shore of the Louisiana would feature temporary ex- important purveyors of modern art, Sound. The old villa, which was called hibitions of modern art from all over the alongside the Tate in London, the Pom- Louisiana, has been preserved as the world. It was the fi rst gallery in Den- pidou in Paris, MoMa in New York and entrance to the museum, while its gar- mark to introduce a café, concerts, a the Guggenheim in Bilbao. Louisiana is den and the surrounding landscape club, a shop and late opening hours, in- a focus for the world and a cosy place were allowed to shape the new build- spired by places like MoMA. Jensen un- for locals to gather in a homely atmos- ing in a playful sequence of light pavil- derstood architecture’s important role phere that makes it quite unique. ions made of glass and wood. in the communication of the art, and The idea came from Jensen, the fi re- was so deeply involved in the muse- Louisiana opened in 1958, the result brand whose energy fuelled the project um’s interior and design that he be- of a unique partnership between its and who invested his family fortune in came known as Louisiana’s third archi- founder Knud W. Jensen and two young it. His enthusiasm for modern art and tect. Jensen’s vision was a museum that

40 Photo: Jens Frederiksen and Poul Buchard/Strüwing. Photos consigned by Louisiana Museum of Modern Art .

The old villa, which went under the name Louisiana, was retained as the entrance to the museum, while the garden and the landscape were allowed to shape the new building with a playful sequence of light pavilions made from glass and wood. The garden side of the villa faces the sculpture park.

When it opened in 1958, Louisiana was a completely new kind of museum, with internationally renowned art inside and out, concert space, cafeterias, and a room with a fi replace. The museum became the model for many others around the world.

41 All the buildings have painted white masonry both inside and out. The strong laminated wood beams in the exhibition halls support the fl at roof, complete with skylight lanterns.

The museum’s slender wings, with their glass corridors and exhibition rooms, are sensitively designed to complement the park and forge direct contact between interiors and the outdoors in a natural way.

In 1958, the architects placed the fi rst new buildings between the high trees along the garden’s northern boundary towards Lake Humlebæk. Louisiana has since sprouted many new extensions.

42 would provide its visitors with a broad modern art’s sometimes brutal pres- es in the weather, the rhythm of the range of things to see and do in safe sures. He believes art must have the day and the progress of the seasons. and beautiful settings. In those days, power to shock, and that the viewer The contractors and architects wanted his attitude was met with scepticism in must be able to confront it, in all its un- to open rooms out towards the low light the established art world; even today, it conditional brutality, with an open through vertical windows, the same is sometimes deemed to contradict the mind. In other words, the goal is not way we encounter daylight in our own very nature of art. simply to offer a pleasant experience. homes. From the start, it was widely agreed Artifi cial light supplements the daylight Poul Erik Tøjner, Louisiana’s Director that Louisiana should be lit by daylight, when it is dark, training even light on for the past eight years, sees things with windows opening in every direc- the museum’s painted white walls. Not differently. He believes the museum’s tion to allow light in all its shades and only does this illuminate the art on the secure, beautiful surroundings are nec- intensities to merge and endow the walls; the walls, in turn, act as shades to essary to attract the sort of visitors who space with a varied and dynamic quali- direct light into the room. (This type of are willing to expose themselves to ty. Visitors should be able to feel chang- lighting is known as “wall-wash”.) Flex-

43 The Louisiana pendant was developed especially for the museum by Jørgen Bo and Vilhelm Wohlert. The shade is a hemisphere of matte copper, 40 centimetres in diameter, with a bar underneath that distributes the light more evenly. The pendant was originally deployed as wash lighting, suspended asymmetrically to cast light towards the wall. The pendant is no longer part of Louis Poulsen’s standard range.

ible spots are also used as accent light- bæk Lake, in order to protect the gar- brick – a badly-baked batch from Hasle, ing in temporary exhibitions and to sup- den. From here, the construction which the architects bought for pen- plement the permanent wall-wash stretched all the way out to the coast in nies. The fl oor continues, a couple of lighting. a diverse and closely integrated spatial lines of it at any rate, outside the glass, sequence of glass corridors and exhibi- obliterating the border between exteri- Bo and Wohlert were both inspired tion rooms. or and interior. Fifty years on, after mil- by 1950s American West Coast archi- From the villa, the 1958 extension starts lions of feet have tramped on it and tecture, in which large glass panels and with a gallery corridor, which opens soapy water splashed on it countless light wooden constructions shape the onto the garden and winds its way times, it has assumed a softer quality, daylight and connect the exterior of a around a fantastic, multi-trunked beech with shades of deep red. The window building with its interior. This suited tree before continuing on towards the frames are stained black to merge with Jensen’s intentions for an idiom that coast. The tree’s foliage allows a beauti- the dark tree trunks outside, while the shared the homely character of the two ful, vibrant light into the corridor, which ceiling is covered with light, sanded architects’ housing developments. changes with the day and the seasons. boards that emphasise the light nature The budget for the privately fi nanced From here, the building follows the of the roof. The corridor staggers on, be- building was tight, so it was important lake’s shore, having metamorphosed tween the trees, in an improvised fash- to use the space to its full capacity and into a trans-illuminated corridor with ion, throwing up lively corners and walls make the most of the beautiful location. glass panels from fl oor to ceiling on on which to display paintings and sculp- The architects positioned the new build- both sides. The fl oor hugs the gradient tures. When the low winter sun shines ing between the high trees along the of the landscape down towards the like a projector in the south east, it is as garden’s northern boundary to Humle- coast. The fl oor is covered in fl ame-red if you can reach out and touch the trees

44 The copper wall lamp in the glass corridor was exclusively produced in the limited number needed by Louisiana, and has become a signature lamp for the museum.

through the glass panels on both sides. posite end, allowing a ray of sunlight in tively small and retain Louisiana’s In the evening, the corridor is lit by fes- from the southeast. The permanent homely character. tive copper bracket lamps, each formed group of small Giacometti sculptures on by a single cylinder and an asymmetric the balcony is given a striking accent by The original fi fty-year-old building’s frustum of a cone, joined at a dynamic a skylight. third and fi nal hall is home to the angle. These were specially designed In the next exhibition room, which con- café, with its fi replace a couple of steps for the museum by the architects. From tains the museum’s Asger Jorn collec- down and its view over the Sound with the outside, the guests’ silhouettes tion, daylight is drawn down through the coast of Scania, South Sweden, in merge with the works of art in the glass striking lanterns that rest on the roof the background and the island of Hven corridor and the contours of the trees on structure’s laminated wooden beams, providing an impressive interlude to the both sides. and through the smaller windows in the magnifi cent panorama. In the fore- gaps between the beams. The path ground is the large terrace, where Cal- Further on, the North Wing starts through the museum crosses the hall der’s sculptures endow the space with with an exhibition room, now known where, from both ends, daylight streams character and depth. This area is always as the Giacometti Room. The architects in through the corridor’s large glass a hive of activity, fi lled with people ab- exploited the incline of the terrain down panels. The covering of red brick refl ects sorbed in the constantly changing view to the lake to form a double-height warmly on the white painted walls, cre- over the Sound, lazing in the sun’s pen- room with a fl at roof, brick walls paint- ating an interplay with the colours of etrating rays on the terrace outside and ed white and a north-facing window at the paintings. The exhibition rooms enjoying the company over a good full height facing the lake. The corridor widen out compared to the narrow lunch by the fl aming light of the fi re- runs along a higher balcony at the op- glass corridors, but they are still rela- place. Jensen wanted to see people in

45 The undulating terrain is accentuated with protruding fl oors. The different ways in which the light falls establishes a dynamic interplay between nature and architecture.

A group of Giacometti’s sculptures under the distinctive skylight.

The Concert Hall, from 1975, with chairs by Poul Kjærholm, also makes the most of the undulating terrain. The large, east-facing glass panel allows for a beautiful incidence of natural light.

46 The fi rst exhibition room, from 1958, takes its daylight from various sources, including skylight lanterns

his rooms, and he succeeded – especial- Since 1958, Louisiana has sprouted Louis Poulsen’s Kugle Spot was chosen ly in the café. extensions on a number of occasions. It for the wall-wash lighting. The 150 W Louis Poulsen supplied the original has been a remarkable process, with the incandescent lamp and swivel suspen- lighting for Louisiana. The copper brack- original architects responsible for the on- sion in two directions means the fi xtures et lamps in the glass corridor are partic- going renovation process and the old ar- on the wall emit an even light if they ularly symbolic of the museum, having chitecture shaping the new. The time are installed close together and posi- been produced only in the limited was taken to study every nook and cran- tioned at exact angles. The Kugle Spot number needed for the site. Louis ny of the old rooms before the new ones remains the most common wall lighting Poulsen’s Scala Spot provides fl exible were designed and built. Not many in- in Louisiana. and supplementary accent lighting. This stitutions are able to boast such an un- standard fi xture was a popular all-round interrupted sequence of work, where the The South Wing, added in 1982, con- lamp in 1958 and used in many differ- overall vision is retained and lessons are tinued in much the same vein. Here, ent contexts. learned and allowed to sink in before four large rooms with skylights merge new extensions are added. into one another in a spatially rhythmic Bo and Wohlert developed the Loui- The fi rst extension was the West Wing, and sequential process. The rooms are siana Pendant especially for the mu- built in stages in 1966 and 1971. The two linked to the villa via a gallery corridor seum, and it was later included in the large exhibition rooms allowed Louisi- to the south-east, with large windows Louis Poulsen catalogue. Its shade is a ana to host pictures and installations it that look out towards the garden and hemisphere of matt copper, 40 cm in di- had not been able to accommodate be- the Sound. From the corridor, the visitor ameter, with bars beneath it for a more fore. Here, daylight is allowed to enter continues through the halls before end- even distribution of the light. Louisiana in controlled quantities, exclusively from ing his or her visit in the South Wing’s Pendant lights were originally used as above, while the low horizontal light panorama room. An alternative route wall-wash lighting in the exhibition from the glass panels is excluded. through the underground East Wing rooms, where they were installed asym- A museum that is based on temporary (1991) brings the visit to close in the metrically to cast light on the wall. In exhibitions of borrowed works must be café. The East Wing has been dug into the café, they were hung above the ta- able to provide them with a secure set- the ground to preserve the view from bles to cast a warm, intimate dining-ta- ting. They have to be safe from theft and the garden over the Sound. It has no ble light. These days, the lamp has been fi re, and kept at the right temperature windows, giving complete control over replaced by other fi xtures, such as Louis and atmospheric humidity. The light must the lighting, and making it ideal for ex- Poulsen’s Stelling Glass Pendant by Arne not be too strong. The requirements are hibiting graphics and water colours Jacobsen in the café. Like the Louisiana tightened on a regular basis. Today, oil which can only tolerate 50 lux. Pendant, the original small Shaker din- paintings are not exhibited in light Louisiana added a concert hall in 1975, ing tables and light wooden chairs were stronger than 200 lux; for graphic works featuring excellent acoustics and Poul designed by the architects especially and water colours, the maximum is 50 Kjærholm’s light concert chairs with for the museum, but they are gone now lux. (The norm is about 200 lux at an or- their interwoven ash plywood seats, a too. Only around the fi replace has the dinary offi ce desk, and about 50 lux in furniture classic from the word go. original interior decor been preserved. the average living room.)

47 The museum’s east wing ends on a high plateau on the coast. The Sound serves as living background for Calder’s sculptures and mobile.

The East Wing also heralded a new helped the museum collect the DKK 218 and controlling the artifi cial light if nec- generation of architects, with Claus million needed to bring Louisiana up to essary. With unruly daylight, you lose a Wohlert involved in its construction. In contemporary standards. In 2003, the little control and expose the art to the 1993, he was given his fi rst independent museum began a four-year renovation moment and to chance. commission to build the Children’s House, so all-encompassing it was tantamounts Poul Erik Tøjner refl ects on daylight and which weaves around, into and under to a new building. But Louisiana’s archi- the nature of art: the glass corridor, and the Giacometti tecture is the museum’s soul, and the ‘It is highly telling that the argument Room in the North Wing. Together with objective was to spend the quarter of a against daylight is that it is so strong and his partner, Thorben Schmidt, Wohlert billion kroner renovating it in such a way we can’t control it. However, for me, the has continued to work as Louisiana’s ar- that nobody would notice it had been fact that you can’t control the light is chitect, as well as on his studio’s many done. The work was done by Wohlert life-affi rming in an age when museum other projects in Denmark and abroad, Architects in close co-operation with Poul practice is all about control, about con- including a current project to design a Hasbeck from the museum. When Loui- trolling the message. This is, of course, cultural and historical museum in Bah- siana opens its doors for its anniversary absolutely contrary to the very nature rain. exhibition this year, it will be very dif- of art, all the way down to its philosoph- It is impossible to be part of the elite of fi cult to see just how comprehensive the ical core. Art isn’t about controlling the the world’s art galleries without keep- project has been. However, the museum message. It’s about interpretation, about ing your own house in order. Shortly af- is now ultra-modern and better prepared visions, about traumas, about dreams, ter the dawn of the new millennium, than ever for its role as one of the most about systems. What art isn’t about is and not long after Poul Erik Tøjner as- important art galleries in the world. controlling the message. That’s the one sumed responsibility for Louisiana, it be- thing we can be sure it isn’t about.’ came clear that the museum’s buildings If Louisiana had been built in 2008, it The light changes with the weather, were out of date. It was no longer pos- is highly doubtful whether it would have changes with the seasons and varies as sible to control the exhibition rooms’ been designed using the same unique the day progresses. You notice when a light and climate to the level demanded blend of daylight and artifi cial light. To- cloud fl oats past the sun, and you look by the major institutions. Then, when day, general considerations for protect- forward to twilight’s intense darkness mould fungus was discovered in the roof, ing the works of art would probably have from the park outside. The gas lamps the whole foundation of Louisiana’s mu- precluded it. So the museum is in the burn and the garden closes in around seum activities was pulled out from un- unique position of being able to choose itself. der it. to exhibit in daylight if the works are not A number of foundations and companies too delicate, or cutting out the daylight Morten Lund is an architect.

48 Exhibition light at Louisiana

George Baselitz played an active role in hanging his own about the daylight at Louisiana and allowed the light to colourful paintings for the 2006 exhibition. He moved them shine freely through the skylights so that his colours came around and was relaxed about the lux requirements stipu- alive and the hard shadows around the frames dissolved. lated by the restorers. Baselitz was particularly enthusiastic

The exhibition of Lucian Freud’s paintings in 2007 was subject to the museum’s requirements for the maximum amount of lux permitted on canvases. The skylight was covered over, and the exhibition illuminated by subdued wall- wash and screened-off spots. The shadows became harsh, and the pictures almost luminous on the dark walls.

Louis Poulsen’s Kuglespot is still the most common wall lighting found in Louisiana. It has a 150W incandescent lamp, is mounted so that it rotates in two directions, and when set precisely provides even light on the wall.

49 Photo: Anders Sune Berg

The light emission is concentrated downwards.

Prototypes of the T fi xture have been installed in two tunnels in the local authority of Albertslund. As an experiment, the fi xtures are in one tunnel placed in a diagonal line, in the other close to the wall.

50 The -fixture Lighting tunnels with LED In partnership with the Danish designer Mads Odgård, Louis Poulsen has developed a proto- type LED fi xture for lighting tun- nels. Called the ‘T fi xture’, it has so far been installed in two tun- BY IDA PRÆSTEGAARD nels in Albertslund.

Photo: Kaslow Studio Six light-emitting diodes (LEDs) are mounted in rows, screened off from each other by slats that operate as refl ectors. The slats prevent longitudinal glare, and the light is directed in a lateral direction by a linear optical lens.

In partnership with the Danish designer 40,000 hours and minimal servicing. The project in the area. The Albertslund out- Mads Odgård, Louis Poulsen has devel- relationship between lumens and watts door fi xture has since been used in oped a prototype LED fi xture for lighting still needs to be improved, but intensive countless projects all over the world. tunnels. Called the ‘T fi xture’, it has so research should soon make LED fully The lighting of paths and tunnels has to far been installed in two tunnels in Al- competitive on this count too. discourage vandalism, and to this end bertslund. the T fi xture has a simple, discreet de- The product was initiated by Albertslund For Albertslund Local Authority, the sign. The linear fi xture measures 600 x Local Authority, which has been work- choice of partners was obvious. Mads 100 x 70 mm. Six light-emitting diodes ing on a visionary lighting plan for a Odgård had previously collaborated with (LEDs) are mounted in rows, screened some considerable time. The Local Au- Louis Poulsen to develop the Icon out- off from each other by slats that oper- thority aims to be at the cutting edge door fi xture which is used extensively ate as refl ectors. The slats prevent lon- of energy-effi cient lighting and CO2 re- for road lighting in the area. The author- gitudinal glare, and the light is directed duction, and its long-term plans include ity’s collaboration with Louis Poulsen in a lateral direction by a linear optical the development of fi xtures that use the dates back as far as 1963, when the fi rst lens. The light emission is concentrated light sources of the future. Albertslund outdoor fi xtures – designed downwards. LED lighting has clear advantages in this by Jens Møller-Jensen – were installed respect, with its life expectancy of in a high density, low-height housing

51 Louis Poulsen Lighting A/S Gammel Strand 28 DK-1202 Copenhagen K

Tel.: +45 70 33 14 14 · Fax: +45 33 29 86 19 E-mail: [email protected] · www.louispoulsen.com

Editor-in-chief: Hans Lindeberg Editor: Ida Præstegaard Layout: Mette Andreasen Lithography & Printing: Garn grafi sk ApS & Zeuner Grafi sk A/S English translation: Translation Centre, University of Copenhagen, AdHoc Translatørservice Item no.: 5701024856 Reproduction, in part or whole, of articles published in NYT is only permitted by prior written arrangement with Louis Poulsen Lighting A/S. ISSN 1396-7231

Asia Finland Italy Netherlands Spain United Kingdom Targetti Poulsen Asia Targetti Poulsen Finland Oy Targetti Sankey S.p.A. Targetti Poulsen Targetti Poulsen Spain S.A. Targetti Poulsen UK Ltd. No. 1 Science Center Road The Hämeentie 135 A Via Pratese, 164 Netherlands b.v. C/Progreso Unit 44 Enterprise FIN-00560 Helsinki 50145 Florence Parellaan 26 135/137 Poligono Almeda Barwell Business Park # 08-12 Singapore 609077 Tel. +358 9 6226 760 Tel. +39 055 37911 NL-2132 WS Hoofddorp 08940 Cornella de Llobregat Leatherhead Road Tel. +65 96654627 Fax +358 9 6226 7650 Fax +39 0553791266 Tel. +31 23 56 50 030 Tel. (0034) 93 4746171 Chessington Fax +65 62343706 info.fi @louis-poulsen.fi [email protected] Fax +31 23 56 52 284 Fax (0034) 93 4743124 Surrey KT9 2NY [email protected] www.louispoulsen.com www.targetti.com [email protected] [email protected] Tel. +44 208 397 4400 www.louispoulsen.com Fax +44 208 397 4455 Austria France International Switzerland [email protected] Targetti Poulsen Austria GMBH Targetti Poulsen France SA Louis Poulsen Lighting A/S Norway Targetti Poulsen Switzerland www.louispoulsen.com Stadlauerstrasse 39A 16 Rue des Marronniers Gammel Strand 28 Targetti Poulsen Norway AS Haldenstrasse 5 1220 Wien 94247 L’hay les Roses Cedex DK-1202 Copenhagen K Lilleakerveien 2, Bygn. E CH-6340 Baar USA Tel. +43 1 91401020 Paris Tel. +45 70 33 14 14 N-0283 Oslo Tel. +41 41 768 52 52 Targetti Poulsen USA Inc. Fax +43 1 914010211 Tel. +33 1 45 12 23 23 Fax +45 33 29 86 46 Tel. +47 22 50 20 20 Fax +41 41 768 52 53 3260 Meridian Parkway [email protected] Fax +33 1 45 60 93 60 [email protected] Fax +47 22 52 47 05 [email protected] Fort Lauderdale, FL 33331 [email protected] www.louispoulsen.com [email protected] www.louispoulsen.com Tel. +1 954 349 2525 Croatia www.targetti.com www.louispoulsen.com Fax +1 954 349 2550 Targetti Poulsen Croatia Japan Sweden [email protected] Kaptol, 21 Germany Targetti Poulsen Japan Ltd. Poland Targetti Poulsen Sweden AB www.louispoulsen.com 10000 Zagreb Hrvatska Targetti Poulsen Germany 3F AXIS Bldg. Targetti Poulsen Poland Gävlegatan 12 A, 7tr Tel. +385 16593860 Kaistraße 20 5-17-1 Roppongi Ul. B. Chrobrego 38/40 Box 23013 Fax +385 16593860 D-40221 Düsseldorf Minato-ku, Tokyo 106-0032 02-479 Warszawa S-104 35 Stockholm [email protected] Tel. +49 211-73279 0 Tel. +81 3 3586 5341 Tel. +48 22 8632530 Tel. 08-446 48 00 Fax +49 211-73279 100+101 Fax +81 3 3586 0478 Fax +48 22 8632540 Fax. 08-446 48 28 Denmark [email protected] [email protected] [email protected] [email protected] Louis Poulsen Lighting A/S www.louispoulsen.com www.louispoulsen.com www.louispoulsen.com Gammel Strand 28 Russia DK-1202 Copenhagen K Greece Middle East Targetti Poulsen Russia Tlf. +45 70 33 14 14 Targetti Poulsen Greece Targetti Poulsen Middle East Luzhnetskaya Nab.2/4 blg.16 Fax +45 33 29 86 79 Kafkasou 158-160 Bldg. No. 5 East, 119270 Moscow [email protected] 11363 Athens Offi ce No. G03 - Block A Tel. +7 495 1010743 www.louispoulsen.com Tel. +30 210 8626049 P.O. Box 54744 DUBAI Fax +7 495 1010743 Fax +30 306 947998906 Tel. +971 4 6091033 [email protected] [email protected] Fax +971 4 6091016 [email protected]

At home with Finn Juhl

Furniture designer Finn Juhl’s private residence north of Copenha- gen is now open to the public. It is furnished with the architect’s own work as well as lamps by Louis Poulsen.

The Danish architect Finn Juhl (1912–1989) is considered as one of the most important designers of the 20th century. Juhl was a pioneering fi gure in Danish furniture design, along with fi gures like Hans Wegner, Arne Jacobsen, Poul Kjærholm and Børge Mogensen. Juhl’s home on Kratvænget in Charlottenlund, right beside Ordrupgaard, was a house that he designed and built himself in 1942 (as discussed in NYT 580). It is a unique example of Danish modernism in architecture, furniture design and visual art, and has remained more or less unaltered since his death in 1989. As well as the original furnishings, it also contains a number of fi xtures produced by Louis Poulsen in the 1930s and 1940s, including Arne Jacobsen’s fi rst standard lamp and the Stelling Pendant. From April 2008, the house will form part of the Ordrupgaard Museum, and will be open to the public. The museum will host an exhibition about Juhl’s house until 31 August.

52