In northern Copenhagen stands a successful fusion of a confectionery factory and a modern commercial building at a crossroads where massive traffic creates a blanket of pure noise. The intersection between Lyngbyvej and Jagtvej used to be known for its unusual landmark – a chimney bearing large neon frogs.
In northern Copenhagen stands a successful fusion of a confectionery factory and a modern commercial building at a crossroads where massive traffic creates a blanket of pure noise. The intersection between Lyngbyvej and Jagtvej used to be known for its unusual landmark – a chimney bearing large neon frogs.
The interior street
When one walks around in the interior street, one moves between two building traditions: on one side the old building from 1884, and on the other, the new one from 1999. The roof structure is in glass and steel and has natural ventilation, which accentuates the feeling of a street. The rest of the building is fully climate controlled.
By reason of its status as the building’s communication nerve, the large street is a meeting point for people and stories. Here there are such communal functions as canteen, reception and a lecture hall. The rest of the building consists almost only of offices and corridors, where green, open kitchen cores and red staircases are used as interior landmarks.
Many layers of light in the roof
In the loft of the old building the architects have tried to preserve the factory’s original atmosphere by keeping the old rafters and tie beams. It is so high to the roof in the offices beneath it that there are no fewer than three rows of windows on top of each other. Seated, one has a view down
from the 5th floor through a small facade window at knee height. Above, there are three VELUX windows, one over the other, in a band.
“The immense loft height offers the possibility of roof windows in several layers, which ensures good light in the large offices and helps to accentuate the loft’s fine spatial qualities,” explains architect Kurt Jensen.
The dream of a building full of sweets
Together with the loft, the dream about the confectionery factory manifests itself like a reminiscence from the past through two original staircases with old, pale tiles and ornamentation. There, it has not been possible to remove the smell of liquorice. Otherwise, the working environment today is odourless, the sweet things having been replaced by IT secrets and impenetrable security systems – in a future-orientated commercial building ba sed on the principle of flexible workplaces and great mobility. The building is a fine fusion of old and new, both as a building and in a town planning context.
When the frogs set the agenda
According to chief architect Kurt Jensen from the architectural practice C.F. Møller, it was the large advertisement frogs that determined the building programme, for they were scheduled by the local authority because the district’s inhabitants wanted a guarantee that the frogs would not be taken down when a new building went up. The architectural challenge was therefore both to build new and restore parts of the existing confectionery factory, around the chimney of which the preserved neon frogs still dance.
A landmark in the city
Anna Maria Indrio, co-owner of the architectural practice C.F. Møller, explains: “With this project we have tried to find a solution for a corner of the city that is distinctive from a town planning point of view. We wanted to create a building that ap peared from outside as a single building complex in which new and old were in dialogue with each other.” The drawing office placed the new building right out at the edge of the road in order to pull the urban structure up from 19th century Copenhagen. At the same time, the architects tried to get into a dialogue with the modern city by lying close up, both visually and as regards scale, to the modernistic idiom of the nearby university.
It pays to restore
Architect Kurt Jensen says, “It has paid to restore. Financially, it has been no more expensive than building something new and it has meant that we have been able to preserve the old confectionery factory’s unusual loft, which has up to two layers of rafters in some places.”
According to Anna Maria Indrio, the design is based on the theme fusing new and old. The task has been solved by joining and separating the old part and the new by a 96 m long, glassroofed interior street, which is crossed by narrow bridges. The fusion has meant that a large part of the original confectionery factory has been restored. It, therefore, stands today clad with the same materials as the equally large newly built part. Rendered walls, dark grey window frames, dark merbau wooden floors and a slate roof. One cannot directly distinguish the new from the old.
When the frogs set the agenda
According to chief architect Kurt Jensen from the architectural practice C.F. Møller, it was the large advertisement frogs that determined the building programme, for they were scheduled by the local authority because the district’s inhabitants wanted a guarantee that the frogs would not be taken down when a new building went up. The architectural challenge was therefore both to build new and restore parts of the existing confectionery factory, around the chimney of which the preserved neon frogs still dance.
A landmark in the city
Anna Maria Indrio, co-owner of the architectural practice C.F. Møller, explains: “With this project we have tried to find a solution for a corner of the city that is distinctive from a town planning point of view. We wanted to create a building that ap peared from outside as a single building complex in which new and old were in dialogue with each other.” The drawing office placed the new building right out at the edge of the road in order to pull the urban structure up from 19th century Copenhagen. At the same time, the architects tried to get into a dialogue with the modern city by lying close up, both visually and as regards scale, to the modernistic idiom of the nearby university.
It pays to restore
Architect Kurt Jensen says, “It has paid to restore. Financially, it has been no more expensive than building something new and it has meant that we have been able to preserve the old confectionery factory’s unusual loft, which has up to two layers of rafters in some places.”
According to Anna Maria Indrio, the design is based on the theme fusing new and old. The task has been solved by joining and separating the old part and the new by a 96 m long, glassroofed interior street, which is crossed by narrow bridges. The fusion has meant that a large part of the original confectionery factory has been restored. It, therefore, stands today clad with the same materials as the equally large newly built part. Rendered walls, dark grey window frames, dark merbau wooden floors and a slate roof. One cannot directly distinguish the new from the old.
When the frogs set the agenda
According to chief architect Kurt Jensen from the architectural practice C.F. Møller, it was the large advertisement frogs that determined the building programme, for they were scheduled by the local authority because the district’s inhabitants wanted a guarantee that the frogs would not be taken down when a new building went up. The architectural challenge was therefore both to build new and restore parts of the existing confectionery factory, around the chimney of which the preserved neon frogs still dance.
A landmark in the city
Anna Maria Indrio, co-owner of the architectural practice C.F. Møller, explains: “With this project we have tried to find a solution for a corner of the city that is distinctive from a town planning point of view. We wanted to create a building that ap peared from outside as a single building complex in which new and old were in dialogue with each other.” The drawing office placed the new building right out at the edge of the road in order to pull the urban structure up from 19th century Copenhagen. At the same time, the architects tried to get into a dialogue with the modern city by lying close up, both visually and as regards scale, to the modernistic idiom of the nearby university.
It pays to restore
Architect Kurt Jensen says, “It has paid to restore. Financially, it has been no more expensive than building something new and it has meant that we have been able to preserve the old confectionery factory’s unusual loft, which has up to two layers of rafters in some places.”
According to Anna Maria Indrio, the design is based on the theme fusing new and old. The task has been solved by joining and separating the old part and the new by a 96 m long, glassroofed interior street, which is crossed by narrow bridges. The fusion has meant that a large part of the original confectionery factory has been restored. It, therefore, stands today clad with the same materials as the equally large newly built part. Rendered walls, dark grey window frames, dark merbau wooden floors and a slate roof. One cannot directly distinguish the new from the old.
The interior street
When one walks around in the interior street, one moves between two building traditions: on one side the old building from 1884, and on the other, the new one from 1999. The roof structure is in glass and steel and has natural ventilation, which accentuates the feeling of a street. The rest of the building is fully climate controlled.
By reason of its status as the building’s communication nerve, the large street is a meeting point for people and stories. Here there are such communal functions as canteen, reception and a lecture hall. The rest of the building consists almost only of offices and corridors, where green, open kitchen cores and red staircases are used as interior landmarks.
Many layers of light in the roof
In the loft of the old building the architects have tried to preserve the factory’s original atmosphere by keeping the old rafters and tie beams. It is so high to the roof in the offices beneath it that there are no fewer than three rows of windows on top of each other. Seated, one has a view down
from the 5th floor through a small facade window at knee height. Above, there are three VELUX windows, one over the other, in a band.
“The immense loft height offers the possibility of roof windows in several layers, which ensures good light in the large offices and helps to accentuate the loft’s fine spatial qualities,” explains architect Kurt Jensen.
The dream of a building full of sweets
Together with the loft, the dream about the confectionery factory manifests itself like a reminiscence from the past through two original staircases with old, pale tiles and ornamentation. There, it has not been possible to remove the smell of liquorice. Otherwise, the working environment today is odourless, the sweet things having been replaced by IT secrets and impenetrable security systems – in a future-orientated commercial building ba sed on the principle of flexible workplaces and great mobility. The building is a fine fusion of old and new, both as a building and in a town planning context.
When the frogs set the agenda
According to chief architect Kurt Jensen from the architectural practice C.F. Møller, it was the large advertisement frogs that determined the building programme, for they were scheduled by the local authority because the district’s inhabitants wanted a guarantee that the frogs would not be taken down when a new building went up. The architectural challenge was therefore both to build new and restore parts of the existing confectionery factory, around the chimney of which the preserved neon frogs still dance.
A landmark in the city
Anna Maria Indrio, co-owner of the architectural practice C.F. Møller, explains: “With this project we have tried to find a solution for a corner of the city that is distinctive from a town planning point of view. We wanted to create a building that ap peared from outside as a single building complex in which new and old were in dialogue with each other.” The drawing office placed the new building right out at the edge of the road in order to pull the urban structure up from 19th century Copenhagen. At the same time, the architects tried to get into a dialogue with the modern city by lying close up, both visually and as regards scale, to the modernistic idiom of the nearby university.
It pays to restore
Architect Kurt Jensen says, “It has paid to restore. Financially, it has been no more expensive than building something new and it has meant that we have been able to preserve the old confectionery factory’s unusual loft, which has up to two layers of rafters in some places.”
According to Anna Maria Indrio, the design is based on the theme fusing new and old. The task has been solved by joining and separating the old part and the new by a 96 m long, glassroofed interior street, which is crossed by narrow bridges. The fusion has meant that a large part of the original confectionery factory has been restored. It, therefore, stands today clad with the same materials as the equally large newly built part. Rendered walls, dark grey window frames, dark merbau wooden floors and a slate roof. One cannot directly distinguish the new from the old.
In northern Copenhagen stands a successful fusion of a confectionery factory and a modern commercial building at a crossroads where massive traffic creates a blanket of pure noise. The intersection between Lyngbyvej and Jagtvej used to be known for its unusual landmark – a chimney bearing large neon frogs.
When the frogs set the agenda
According to chief architect Kurt Jensen from the architectural practice C.F. Møller, it was the large advertisement frogs that determined the building programme, for they were scheduled by the local authority because the district’s inhabitants wanted a guarantee that the frogs would not be taken down when a new building went up. The architectural challenge was therefore both to build new and restore parts of the existing confectionery factory, around the chimney of which the preserved neon frogs still dance.
A landmark in the city
Anna Maria Indrio, co-owner of the architectural practice C.F. Møller, explains: “With this project we have tried to find a solution for a corner of the city that is distinctive from a town planning point of view. We wanted to create a building that ap peared from outside as a single building complex in which new and old were in dialogue with each other.” The drawing office placed the new building right out at the edge of the road in order to pull the urban structure up from 19th century Copenhagen. At the same time, the architects tried to get into a dialogue with the modern city by lying close up, both visually and as regards scale, to the modernistic idiom of the nearby university.
It pays to restore
Architect Kurt Jensen says, “It has paid to restore. Financially, it has been no more expensive than building something new and it has meant that we have been able to preserve the old confectionery factory’s unusual loft, which has up to two layers of rafters in some places.”
According to Anna Maria Indrio, the design is based on the theme fusing new and old. The task has been solved by joining and separating the old part and the new by a 96 m long, glassroofed interior street, which is crossed by narrow bridges. The fusion has meant that a large part of the original confectionery factory has been restored. It, therefore, stands today clad with the same materials as the equally large newly built part. Rendered walls, dark grey window frames, dark merbau wooden floors and a slate roof. One cannot directly distinguish the new from the old.
When the frogs set the agenda
According to chief architect Kurt Jensen from the architectural practice C.F. Møller, it was the large advertisement frogs that determined the building programme, for they were scheduled by the local authority because the district’s inhabitants wanted a guarantee that the frogs would not be taken down when a new building went up. The architectural challenge was therefore both to build new and restore parts of the existing confectionery factory, around the chimney of which the preserved neon frogs still dance.
A landmark in the city
Anna Maria Indrio, co-owner of the architectural practice C.F. Møller, explains: “With this project we have tried to find a solution for a corner of the city that is distinctive from a town planning point of view. We wanted to create a building that ap peared from outside as a single building complex in which new and old were in dialogue with each other.” The drawing office placed the new building right out at the edge of the road in order to pull the urban structure up from 19th century Copenhagen. At the same time, the architects tried to get into a dialogue with the modern city by lying close up, both visually and as regards scale, to the modernistic idiom of the nearby university.
It pays to restore
Architect Kurt Jensen says, “It has paid to restore. Financially, it has been no more expensive than building something new and it has meant that we have been able to preserve the old confectionery factory’s unusual loft, which has up to two layers of rafters in some places.”
According to Anna Maria Indrio, the design is based on the theme fusing new and old. The task has been solved by joining and separating the old part and the new by a 96 m long, glassroofed interior street, which is crossed by narrow bridges. The fusion has meant that a large part of the original confectionery factory has been restored. It, therefore, stands today clad with the same materials as the equally large newly built part. Rendered walls, dark grey window frames, dark merbau wooden floors and a slate roof. One cannot directly distinguish the new from the old.
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