Snow as far as the eye can see, white mountaintops and heavy fir trees. Skiing, snowboarding or a long walk through the cold, wintery mountains where your breath hangs in the air in front of you. The sheer exhilaration of being alive at more than 700 metres above sea level. And then back into the warmth – where you can wrap yourself up in thick fur blankets or relax in the pool. Anyone who spends time at the Copperhill Mountain Lodge enjoys a magical, wintery experience.

Architect Peter Bohlin created the lodge resort at the top of Mount Förberget in Jämtland, in the remote landscape of North Sweden. Copperhill is part of Choice Hotels Scandinavia and is a member of the Design Hotels. All the furnishings reflect closeness to nature: fur rugs, light and warm wood in spacious rooms decorated with branches and fir cones. In the lobby, the fir trees even seem to grow out of the mantelpiece.

The winters are long and cold in Sweden, and cosy warmth and light play an important role in the resort: an open fire burns in the lobby, the corridors are illuminated with lights and candles, whilst comfortable armchairs with blankets invite guests to while away the hours. Duravit design was selected for the en-suite bathrooms, which feature Bacino washbasins and Duraplus toilets. The spacious wellness area boasts a Blue Moon pool, which is ideal for warming up and relaxing. Various whirl systems in the pool ensure a large variety of massage effects, ranging from targeted muscular relaxation to an invigorating bath. This is the ideal way to relax after winter sports or a cold walk.

Another unique feature is »The Villa«, an exclusive, private lodging that is situated next to the mountain resort. On the outside, a large wooden house, on the inside, «The Villa« is all about design. The modern architecture in the rooms is the work of interior designer Anemone Wille Våge. The bathrooms are styled with 2nd floor ceramic, furniture and bathtubs by Duravit. As the exclusive wooden house is part of the resort, warmth, light and closeness to nature are, of course, key elements.

Duravit Aktiengesellschaft, www.duravit.de

Pictures: Jonas Kullmann

Best light quality for creating an enjoyable work environment is now guaranteed by the newly developed LED workplace light by Lindner Group. The lighting solution impresses with its long durability, homogeneous illumination and an unrivalled high efficiency. The renowned service centre  »DIAL« for building technology and lighting confirms: This Lindner luminaire is up to 10 % more efficient than competitive products.

The LED workplace light uses a homogeneously illuminated prism cover made of PMMA for providing an exact glare control. The light deflection is designed for maximum efficiency and achieves a system luminous efficacy of up to 88 lm/watt. Additionally, the used LED modules with a durability of 50,000h provide a sustainable lighting solution. LED boards with a common length are used to guarantee easy maintenance and sustainable availability.

For more information www.lindner-group.com

Brunner uses the occasion of the 2012 Milan Furniture Fair to present two new products: its »hoc« stool and its »plot« modular seating system. Ippolito Fleitz Group was commissioned once again to create a setting resembling an installation, an intense spatial experience in which to showcase Brunner’s new products. From a distance, the strictly black and white backdrop takes a back seat to the colourful seating objects, which draw visitors in to try them out. At closer look, the black and white backdrop transforms itself into a textual world, taking visitors on a poetic voyage of discovery, inspiring them to stop and tarry awhile.

The »plot« system provided the inspiration for the design. Different combinations of colour, geometry and height form personalised seating landscapes, thus freeing up the seating experience entirely. It becomes spontaneous, unrestrained and almost limitless, just like the thoughts and ideas that arise during the contemplative act of sitting.

It is precisely these precious moments in time and elicited feelings that are mirrored on the enclosing walls. The simple rectangular space is completely covered in an installation of 54,000 plastic letters, as you might remember from good old information boards that have all but vanished from hotel lobbies, Italian bars, airports, railway stations and conference facilities. White, plastic letters set in a black, grooved background create fascinating associative figures and scenarios, opening up whole intellectual worlds. Some of the motifs refer to the company’s base in the Black Forest, others relate to the theme of sitting. Once you get closer, the images dissolve into lines of text in German, English and Italian – recalling the writing of poetry itself. On perusing the lines of text, you will come across product descriptions of the two seating objects, as well as sequences of dialogue, song lyrics, quotations and meditations that all have something to do with the theme of sitting. One product name emerges ironically from a scarf worn by a stag, another tumbles from the hand of God. The stream of words spills over onto the floor, where it delineates the objects on display. A brightly illuminated, cloudy sky of contoured textile fins is suspended above the whole scene, conjuring up fantastic worlds of the mind, and transforming the experience of testing a new product at an exhibition into a contemplative moment of relaxation.

The exhibition stand is accompanied by a campaign consisting of an invitation and tote bag.

Architects: ippolito fleitz group identity architects, www.ifgroup.org

Images: Francesco Di Loreto, www.f38f.it
Additional photography: Ippolito Fleitz Group – Identity Architects

A place for architecture lovers
Suitable for up to four guests, Taut’s Home is a real-life experience of design history. It is a stimulating place to visit and offers a viable alternative for travelers looking for more than just another impersonal hotel and mainstream tourist attractions. If you appreciate the fine architecture and interior design of the »Golden Twenties« or wish to sample life in an original Taut suburban home, you are in the right place.

Living in Bruno Taut´s era
Built in 1925-30, Bruno Taut’s »Hufeisensiedlung« is probably the most outstanding example of innovative German town planning. The estate in the south of Berlin enjoys international renown as a milestone of social building reforms and modern urban housing policy. It is fun to stroll through this mixture of carefully arranged townhouses and modernistic apartment blocks to experience the rural charm of the carefully woven fabrics of streets and public spaces. In 2008 the »Horseshoe Estate« was awarded UNESCO World Heritage status. But it is not just the special color scheme and the wide range of visual design on the buildings exterior view that are really impressive – the same is true for the clever room layouts and subtle details inside. Up to now few outsiders could ever see just how high living standards are behind these colorful facades. We decided to do something about this, so that architecture lovers from all over the world could enjoy these qualities, i.e. the genuine interior colors and numerous originals in full. Our vacation home is completely restored and furnished in the style of the 1930s. It shows a passion for historic details and vintage interior design, and includes a small reference library of modern architecture in Berlin, too. Welcome to Taut’s Home.

Light, air and sun …
As you leave the subway, on the corner you will immediately spot Taut’s Home, a distinctive, white building with clean, angular lines recalling the »International Style« or Bauhaus Modernism. This was combined with a green residential neighborhood in line with a popular demand among reformers of the 1920s. The large front yard has been restored according to the original blueprint with a small terrace, a number of fruit trees, lilac bushes and a hedge of wild roses. Starting here, you walk through pathways lined with flowering trees and terraced garden homes to reach the impressively curved, 350 meter long structure which gave this residential estate its name. Only a few hundred meters from Taut’s Home stands »Schloss Britz«, a handsome classicist building in leafy surrounds with a manor converted for cultural events. Here you will find several restaurants, performance stages and two museums. A short walk away, the former site of Germanys federal garden show is maintained as »Britzer Garten«, a sprawling, delightfully varied park that is an attractive destination for garden lovers and joggers all year round. Moreover, the subway link is excellent for reaching other landmarks of Classical Modern Architecture and a wide range of tourist and cultural offerings.

Charming interiors & clever room layout
Taut’s Home is a cultural treasure with the character of a museum. All furnishings are either hand-picked originals or made to measure from vintage 1930s models. This is probably the closest you can get to the spirit of emergent Modernism in Berlin. But unlike a museum our house isn’t designed just to be looked at, but lived in. Taut’s Home was carefully laid out as an accommodation following strict conservation practice, with all the modern amenities

• GREEN ROOM – living area with a nostalgic touch, large sofa, dining table, a handfull of guidebooks and reader’s corner
• BLUE ROOM – main bedroom in classic modern style with large double bed, elegant writer’s desk and treetop views
• YELLOW ROOM – can serve as a second bedroom with a double bed (140 cm) and a window to the garden
• KITCHEN – a replica of another Taut housing development nearby with red flooring and blue ceiling
• BATHROOM – small, cozy, functional and refreshing, yet with a touch of sophistication
• FRONT YARD – sit back and relax on 200 sqm of patio and lawn with shady fruit trees

Where to book
Rental is weekly. The private owners, Katrin Lesser and Ben Buschfeld, live nearby. They are committed to preserving the heritage of the estate and are well-informed about the history. For further info, photos, prices and a reservation form for Taut’s Home see the website www.tautes-heim.de/en/. Or contact the owner directly to arrange your stay or add a private tour: Phone +49 (0)30 60 10 71 93 or mail@tautshome.com

Architectural Concept

In less than a year a protestant church together with a sanctuary, a church hall and supplementary spaces was built in the centre of the Lower Austrian town Hainburg, at the site of a predecessor church that doesn’t exist anymore since the 17th century.
The shape of the building is derived from that of a huge “table”, with its entire roof construction resting on the legs of the “table” – four steel columns. Another key element is the ceiling of the prayer room: its design language has been developed from the shape of the curved roof of a neighboring Romanesque ossuary – the geometry of this century-old building is translated into a form, in line with the times, via today’s digital instruments.

The play with light and transparency has a special place in this project. The light comes from above: three large winding openings in the roof guide it into the interior. The correlation of the number Three to the concept of Trinity in the Christian theology can be interpreted as a “deliberate coincidence”.
The church interior itself is not only a place of mysticism and quietude – as an antithesis of our rather fast and media-dominated times – but also an open space for the community.

The sanctuary gives access to the glass-covered children’s corner, illuminated by daylight, which accomodates also the baptistery. The actual community hall is situated behind it: folding doors on the entire length of the space between the two main chambers allow for combining them to one continuous spatial sequence. An folded glass façade on the opposite side opens the space towards the street.

A third building element, a longitudinal slab building along a small side alley, flanks both main spaces and comprises the sacristy, the pastor’s office, a small kitchen and other ancillary rooms. A handicapped accessible ramp between the three building components accesses the church garden on higher ground.
The sculptural bell tower at the forecourt constitutes the fourth element of the building ensemble.

Like other projects of COOP HIMMELB(L)AU the roof elements of the church building were assembled in a shipyard. The implementation of the intricate geometries required specific technologies of metal-processing and manufacturing only available in shipbuilding industry. The reference to shipbuilding is at the same time also reminiscent of Le Corbusier who served as an important role model, not least because of his La Tourette monastery.

Technical Description

Due to its shape with three skylights the roof of the Martin Luther Church in Hainburg was designed as a self-supporting steel construction with a stucco ceiling. The structure was assembled in a wharf at the Baltic Sea. The exterior skin is made of 8 mm thick three-dimensionally curved steel plates welded on a frame construction. In turn, this structure of steel plates and frame sits on a girder grid. The compound of grid, frame and steel skin transfers the total load of the roof (23 tons) on four steel columns which are based on the solid concrete walls of the prayer room.

The roof construction was delivered in four separate parts to Hainburg, assembled and welded on site. There, the coating of the whole structure was finished and mounted with a crane in the designated position on the shell construction of the prayer room.

On the interior ceiling the suspended frame structure was covered in several layers of steel fabric and rush matting as carrier layer for the cladding of the stucco ceiling, whose geometry follows the three-dimensionally curved shape of the roof with the skylights.

The free-form bell tower of the Martin Luther Church was also manufactured, by means of shipbuilding technology, as a vertical self-supporting steel structure with wall thickness between 8 and 16 millimeter, only braced by horizontal frames. The 20 meter high tower weighing 8 tons is welded rigidly to a steel element encased in the concrete foundations.

Team
Planning:
COOP HIMMELB(L)AU
Wolf D. Prix / W. Dreibholz & Partner ZT GmbH
Design Principal: Wolf D. Prix
Project Architect: Martin Mostböck
Design Architect: Sophie-Charlotte Grell
Project Team: Steven Baites, Daniel Bolojan, Victoria Coaloa, Volker Kilian,
Martin Neumann, Martin Jelinek

Client: Association „Freunde der Evangelischen Kirche in Hainburg/Donau”, Austria

User:
Evangelische Pfarrgemeinde A.B. Bruck a.d. Leitha – Hainburg/Donau, Austria

Structural engineering:
Bollinger Grohmann Schneider ZT GmbH, Vienna, Austria

Construction survey:
Spirk & Partner ZT GmbH, Vienna, Austria

Main works / finishing:
Markus Haderer Baubetrieb Ges.m.b.H, Hainburg/Donau, Austria

Steel construction (roof/ tower):
OSTSEESTAAL GmbH, Stralsund, Germany

Steel Construction (façade):
Metallbau Eybel, Wolfsthal, Austria

Fibre cement cladding:
Eternit-Werke Ludwig Hatschek AG, Vöcklabruck, Österreich
SFK GmbH, Kirchham, Austria

Altar:
Idee & Design, Stainz, Austria

Project data
Site area: 420 m²
Sanctuary for 50 people, community space und ancillary rooms
Total gross floor area: 289 m²
Height (slab building / community space): 3,5 m
Height sanctuary: 6 m
Height roof: 10 m
Length: 25 m
Width: 10-17 m
Height bell tower: 20 m

Chronology
Start of Planning: 2008
Start of Construction: 08/2010
Opening: 04/2011

www.coop-himmelblau.at

Pictures:  Duccio Malagamba
Geometry:  COOP HIMMELB(L)AU

Photography: Zooey Braun

holyfields, a wholly new restaurant chain concept, commissioned our studio to develop a modular, scalable space system with a distinctive look and feel. The new brand promises a high-end restaurant experience at good value for money, while respecting today’s need for simplicity and speed. The brand’s claim ‘time to eat’ describes an innovative concept based on a sophisticated ordering system that gives diners more time to eat. Because holyfields wants you to relax at your table rather than wait in a queue. The restaurant guest orders at one of ten touch screens in the entrance area, which show the menu in image and video format. He then takes an electronic signaller with him to his seat. This emits a signal when the food is ready to be collected from a central counter. The new restaurant chain addresses an urban clientele that have little time on their hands and wish to exploit break times to the max, while savouring good design and a pleasant atmosphere.

holyfields offers a unique, vibrant yet cosy environment, based on a highly differentiated haptic world. The guest is guided through the space with precise choreography. He is greeted by a white host counter supported on a multitude of different table legs. The illuminated ceiling element above designates this station as the pivotal point of the room. To the immediate right are terminals with large touch screens set in white, steel plate casing that strike a somewhat anthropomorphic note as they stand in wait for your order. Their four sturdy legs conjure up a whole spectrum of associations from waiting staff ready to proffer their services to antique furniture.
The dining room contains a wide variety of seating, offering guests different options depending on their mood. Seating is staged in four tiers that are staggered in height from the front windows to the rear wall. A band of wooden tables with four chairs creates a classic restaurant situation immediately adjacent to the windows. Specially designed pendant luminaires add a touch of intimacy here. The next tier is created by a row of white tables with upholstered, two-seater benches. These five table groups are further demarcated by the slightly raised, dark-wood plinth and the gently lowered ceiling above. A net of taught rubber laces separates the individual booths without impeding the view across the space. The next tier offers guests a seat at a long, bleached oak bar table, contained between columns, in the very busiest area of the restaurant. Finally, four white, six-seater tables at the same height as the long bar table are aligned with the rear wall, which is executed in dark wood slats. Capacious U-shaped enclosures give a final parenthesis to the space. This area affords the best view across the entire room from a slightly more retired position.

The open-plan space means the visitor can see the far end of the longitudinal axis from the entrance area. This far wall is home to the food counter, prominently encompassed by a funnel-shaped, floor-to-ceiling copper wall. In front of this backdrop stands a broad stainless steel counter. Its front surface is printed with the folds of an imaginary white tablecloth, while its mirrored pedestal reflects the motif of contrasting table legs first encountered in the host counter. The food counter is more like the buffet at a party than a traditional serving counter. Here food distribution is celebrated in style. Kitchen hatches and glass rear walls give the guest a glimpse of the busy bustle of the kitchen. The prominence of the food counter is further enhanced by three illuminated ceiling elements like airport signs that give names to the three serving counters below: Peter, Paul and Mary. The guest receives the name of the respective counter on his electronic signaller and so knows exactly where to go to pick up his order.
A fountain of white terrazzo stands in the entrance foyer. Here guests can help themselves to a glass of water free of charge. Drinks and desserts can also be ordered separately from your main food order at the bar. The bar counter is crafted from dark-stained oak with a black leather-clad front. It contrasts strikingly with the white-tiled rear wall, printed with animal motifs recalling antique engravings. The bar opens onto the dining room, but also caters to a smaller lounge located on the other side of the host counter, which invites guests to stay a while at the end of their meal or take a short coffee break. The lounge consists of a modular system of armchairs and poufs in different warm leather tones, complemented by occasional tables with integrated textile lampshades.

The restaurant concept is complemented by a take-away area. This area is accessed via a separate entrance and is divided from the lounge by large glass shelves. It thus functions independently, yet still feels an integral part of the space. Mirrored display refrigerators are integrated in the tiled wall leading to the bar. The glass shelves with baskets in front offer many ways of presenting goods in both directions, both for the take-away area and restaurant merchandising.
Much attention was invested in the acoustics of the dining room. A specially commissioned acoustic ceiling with geometrically patterned holes guarantees good acoustics. It also creates an attractive visual counterpoint to the raw concrete, floral patterned floor that runs throughout the space, serving as one of the main key visuals of the new restaurant.

With its innovative food concept, holyfields sets new accents in system gastronomy for a discerning, urban clientele. It satisfies the need for fast and delicious, great value food, as well as providing a visual and atmospheric dining highlight. The differentiated range of seating zones caters towards the different needs of its guests, who are certain to find the right setting for anything from a quick snack to a meal out with friends or a bigger celebration. The first holyfields branch in Frankfurt’s Kaiserstraße will be followed by new openings in premium locations in other German cities such as Berlin, Stuttgart and Hamburg.

Architects: ippolito fleitz group identity architects

Gunter Fleitz
Study of architecture in Stuttgart, Zürich and Bordeaux.
Worked with Steidle+Partner, München.
Project management for the Federal Supreme Court
Leipzig for Prof. Stübler.
1999 Founding member of zipherspaceworks,
Since 2002 ippolito fleitz group
Member of Bund Deutscher Architekten BDA

Peter Ippolito
Study of architecture in Stuttgart and Chicago
Worked with Studio Daniel Libeskind, Berlin
Assistant to Prof. Ben Nicholson, Chicago
1999 Founder member of zipherspaceworks.
2001/02 Visiting professor at the Academy of Fine Arts Stuttgart
Since 2002 ippolito fleitz group
Since 2004 Teaching Position at the University of Stuttgart

When “Scotland the Brave”, Scotland’s unofficial national anthem, is played at this year’s “Royal Edinburgh Military Tattoo”, the visitors will take their places in a brand-new grandstand engineered by the Radolfzell engineering consultants formTL.

Since 1950, the Edinburgh Military Tattoo has been a well-attended tourist attraction, with a live audience of up to 217,000 people and more than 100 million people watching the event on television. Also the Royal Family visits the festival frequently. Incidentally, Her Majesty, Queen Elizabeth II, demonstrated her affinity with the festival in a very special manner in 2010 by conferring a “Royal” title on the event, which is now entitled to call itself “The Royal Edinburgh Military Tattoo”.

Scotland’s largest festival of military-inspired music is held against the spectacular backdrop of Edinburgh Castle on the Castle Esplanade. Regarded as being one of Scotland’s most important landmarks, Edinburgh Castle is perched on Castle Rock, a basalt crag that falls away steeply on three sides.

The spacious music festival grandstand has to be set up every year anew. The erection phase for the old MERO spaceframe construction amounted to around 3 months. Visitors to the castle had to put up with restrictions during this period as a result of this work. Historic Scotland, ‘landlord’ of Edinburgh Castle, and the host of the music festival, The Royal Edinburgh Military Tattoo Ltd., therefore unanimously agreed to improve the way in which the shared location is organised in the future with a new grandstand construction. The pivotal criteria for the new grandstand were as follows: the set-up time must be reduced by half and tourists must be able to access the Castle Esplanade during this process.

General contractor Sir Robert McAlpine Ltd. entrusted the design of the pile foundation and testing of the new temporary grandstand structure to the engineering firm Arup Scotland, and the design and delivery of the grandstand to Nüssli (Schweiz) AG, a leading supplier of event, trade fair and exhibition constructions. Nüssli then engaged the engineers of formTL/Radolfzell to carry out the associated structural design.

formTL was responsible for designing the U-shaped grandstand and the steel substructure for the VIP hospitality suite and the engineering container for the east complex. The Radolfzell engineers designed both of the steel structures right through to the approval stage. In addition to this, they also assumed responsibility for the support detail design and the connection to the pile foundation.

The steel supporting structure for the north and south sections of the U-shaped grandstand comprises fishbelly girders, spaced 3.5 metres apart, which are mounted on V-shaped supports around the outside of the south grandstand. The enormous lattice girders extend over 28 metres and are divided by just a single end-plate connection in the middle. The south grandstand projects beyond the crag of Castle Rock by up to 9 metres in order to accommodate seating for around 8,800 people and the VIP hospitality suite in the limited space available on the Castle Esplanade.

The main girders for the north grandstand are mounted on a horizontal 3-chord truss, which distributes the load over tower supports. The girder grids for containers that will serve to accommodate the musicians are located in the vicinity of the tower supports. Stairways are integrated into two of the towers, offering the musicians a means of accessing the Esplanade. There are up to 26 rows of seats arranged on the girders for the north and south grandstands, which means that people in the top rows are sitting around 13 metres above the parade ground. The east grandstand is situated in front of the VIP complex, whereby its main girders are borne by numerous supports.

A gantry runs above the top rows of seats on the north and south sides, enabling the installation of loudspeakers and lighting. These are linked to the production level in the east complex by gantry bridges in the corners of the grandstand. Another bridge offers wheelchair users a means of accessing a level that has been sunk into the south-east grandstand from the elevator in the east complex. Slipping supports for all three bridges prevent stiff connections forming between the grandstands and the east complex, which could otherwise give rise to constraining forces from different types of strain.

The gantry construction that spans the entrance to the Esplanade in the east complex accommodates the VIP and engineering containers. The floor in the VIP area is 12 metres above the parade ground. Its central support divides the access road into two passages, each 12.5 metres wide.

One of the main tasks assigned to formTL was to investigate the grandstand dynamics. The British inspection engineer demanded compliance with the most stringent of the four local requirements for the dynamic load assumptions. Even if visitors to the “Royal Edinburgh Military Tattoo” are not generally known for their tendency to get carried away and generate extreme dynamic loads, the construction must also be capable of withstanding the rhythmic audience behaviour expected at pop concerts etc. The results of a natural frequency analysis showed that the statics would not be jeopardised by the exciting and resonance frequencies encountered under maximum “pop/rock concert” load conditions.

Weighing 850 metric tons in total, the steel construction is erected for the first time in 2011. When the festival is over, the individual grandstand elements will be stored in a new storage facility near Edinburgh until the Royal Scots Dragoon Guards prepare their drums and pipes to play “Scotland the Brave” once again in 2012.

Owner: The Royal Edinburgh Military Tattoo Ltd.
General contractor: Sir Robert McAlpine Ltd.
Grandstand layout and implementation: Nüssli (Schweiz) AG
structural design and analysis for the grandstand and load-bearing structure for the VIP suite in the east complex: formTL, www.form-TL.de
Engineers (foundation), Inspection engineer: Arup Scotland
Steel: RIM Fabrications Ltd.
Container supplier: WACO UK Ltd.

Pictures: The Royal Edinburgh Military Tattoo

schmidt hammer lassen architects has won the competition to design the new masterplan and extension of Kolding Hospital in Denmark. The 32,000 m² extension with a bed ward, an emergency ward and a new main entrance has been designed together with NIRAS, CREO, Balslev and GBL.

 “The ambition is to create a complete hospital masterplan with a brand new identity,” said Kim Holst Jensen, Partner at schmidt hammer lassen architects.

 Based on a careful analysis of the surrounding landscape, the existing buildings and the infrastructural conditions, the new design relocates the main entrance to the west of the existing hospital. By relocating the main entrance the hospital gets a whole new identity, and the main entrance becomes visible and clear to patients and relatives. At the same time the internal flow of the hospital is maintained and reinforced, while the entire hospital will be perceived as a complete structure where buildings and the nearby surroundings complement each other. 

 “The masterplan emphasises the potential of the landscape of Kolding River Valley by continuing the orthogonal building structure while allowing the nature and greenery to penetrate the buildings,” explained Kasper Frandsen, Associate Partner at schmidt hammer lassen architects. “By situating the new bed ward on top of the existing building, we take full advantage of the beautiful view of the surrounding forest, and we outline the future developments of the hospital.”

 At schmidt hammer lassen architects architecture is first and foremost designed for humans. By focusing on sensuality and presence, and with respect for the systems and the structures every hospital consists of, the ambition is to create architectural solutions that meet the needs of patients, relatives and staff while maintaining focus on human beings.

 “Our architectural practice is new to the hospital sector, which may prove to be an advantage”, said Partner Kim Holst Jensen. He continues: “We have entered this new field of practice with a great deal of respect and curiosity. In a winning collaboration with the rest of the team, this proposal shows that our architectural ambitions and our holistic approach also have an eligibility in relation to hospitals.”

Though Kolding Hospital is the first hospital project for schmidt hammer lassen architects the practice is pursuing other possibilities in the field. Currently, the practice is finishing another hospital competition with a proposal for the new Herlev Hospital. 

The extension of Kolding Hospital has a construction sum of approx € 77 million and is expected to be completed in 2014.

Architect:
schmidt hammer lassen architects, shl.dk
CREO

Full-service consultant
NIRAS

Engineer
NIRAS
Balslev

Landscape architect
GBL

Client
Region Syddanmark

Area
32,000 m² new built

Construction sum
€ 77 million excl. VAT

Competition
2010, 1st prize in restricted advisor competition

Status
Completion 2014

LONGO is an outstanding creation that reveals a new vision between traditional and technological values, embodying a message that describes the possibility to join undeniable technology to traditional craftsmanship.
The result is a design that reflects at its best modern culture and its values: patches of cultural heritage and future visions.

Thinking of a world in constant change, in ever changing environments, LONGO is a ceramic LED hanging lamp that features an innovative quest for a poetical simplicity, geometrical, metaphorical and evocative
LONGO is somehow highlighting design simplicity and the increasing tendency to the renewed use of a so called “traditional materials”, the ceramic, and a growing interest by the impeccable traditional craftsman’s work.
This way, the material selection was a very important issue on this project, because of its amazing properties, ceramic is a dynamic material that permits free creativity and it’s ecologically friendly.
It’s the unexpected material connected with the unexpected shapes and technology.
The mix between the traditional material and the recent technology comes along with the use of LED elements, because this is becoming the future of light and is replacing nowadays the traditional light sources that we know.
LEDs present many advantages over incandescent light sources including lower energy consumption, longer lifetime, improved robustness, smaller size, faster switching, and greater durability and reliability.

www.neo-studios.de

Material: ceramic
Available colours: white/white, white/black, white/yellow
Dimensions: 450mm x 200mm x 300mm
Weight: 3,825 Kg
Electrics: plastic cable EU/UK/US – 12 volts, max. 4 W, white LED

White/White: LON45W
White/Black: LON45B
White/Yellow: LON45Y