Agradecimientos
Acknowledgements
Este numero ha contado con la ayupa de distintas personas
y organismos sin cuya colaboraci6n y comentarios hubiera
sido imposible lIevar el trabajo a buen termino.
Quisiera sefialar las siempre precisas puntualizaciones de
Lisbet Balslev Jorgensen, junto a las de Hans Dissing, las de
Erik Moller y las del profesor Jorgen Sestoft. Los comenta-
rios de Teit y Brigitt Weitland junto a los de Kjeld Vindum.
AI Comissionat per a Universitats y Recerca, CIRIT, de la
Generalitat de Catalunya por la ayuda que me concedi6 du-
rante mi estancia en Copen hague para la realizaci6n de este
trabajo.
A la firma de arquitectos Dissing+Weitiing (continuadores de
la obra de Arne Jacobsen), y muy en especial a Edith Lang y
a Jess Stork, quienes han resultado fundamentales para la
realizaci6n de este trabajo.
Todo el personal de la Kunstakademiets Bibliotek ha demos-
trado, asimismo, su increible paciencia en mi con stante deam-
bular por los archivos. Quisiera agradecer en especialla ama-
bilidad de Claus Smidt, Hakon Lund y Jorgen Watz.
A las facilidades obtenidas gracias al Dansk Design Center y
muy especial mente a mi buen amigo el arquitecto Mikael Fuhr.
A Ida Prestegaard, arquitecta de la firma Louis Poulsen.
A la firma Fritz Hansen y a Suzanne Meyer.
A Peter Homblad director de la firma Stelton.
A M' Angeles Negre, arquitecta, que con sus reflexiones siem-
pre me ofrece un interesante contrapunto ..
... mientras Ana y Maria jugueteaban, absortas, por los espa-
cios dibujados por la arquitectura de Arne Jacobsen, de Hansen,
de Bindesboll, de Rafu, ·de Utzon, de Sorensen, de Fisker, de
Abilgaard, de Hackmann, de Petersen ..
Y de un modo muy especial a Johan Jacobsen y a su encan-
tadora mujer.
Felix Solaguren-Beascoa
A number of different Individuals and entities have contnbuted
to this Issue, and without their collaboration and comments It
would have been impossible to bring the work to a successful
conclusion.
I would like to draw attention here to the always precise
clanflcations of Lisbet Balslev Jorgensen, together with those
of Hans Disslng, of Erik Moller and of Professor Jorgen Sestoft,
and the comments oITeit and BnglttWeitland as well as those
of Kjeld Vindum.
To the CIRIT Universities and Research Board of the Generalltat
de Catalunya for the grant which supported my stay In
Copenhagen while working on this proJect.
To the Disslng+Weltiing firm of architects (continuers of Arne
Jacobsen's work), and especially to Edith Lang and Jess Stork,
who have been of fundamental importance In realiZing this
undertaking.
To all for the staff of the Kunstakademlets Blbliotek, for their
incredible patience with my constant prowling around their
archives. I would like to express particular thank to Claus
Smidt, Hakon Lund and Jorgen Watz for their fnendliness.
To the Danish Design Center for the facilities placed at my
disposal, and very specially to my good friend, the architect
Mikael Fuhr.
To Ida Prestegaard, architect with the Louis Poulsen firm.
To the Fritz Hansen firm, and to Suzanne Meyer.
To Peter Homblad, director of the Stelton firm.
To M' Angeles Negre, architect, whose simple refelctlons
affored me an interesting counterpoint..
... while Ana and Maria played, totally absorbed, In the spaces
drawn out by the architecture of Arne Jacobsen, of Hansen,
of Blndesboll, of Rafu, of Utzon, of Sorensen, of Fisker, of Abll-
gaard, of Hackmann, of Petersen ..
And a very special thanks to Johan Jacobsen and his charming
wife.
Director
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Indice Contents

4 Introducci6n Introduction '

4 Arne Jacobsen 1902·197l. Arne Jacobsen 1902-1971
Lisbet Balslev Jorgensen

17 Obras y proyectos Works and projects

18 Stelling Hus, Copenhague. Stelling Hus, Copenhagen. 1934-1937
24 Ayuntamiento de Aarhus . Aarhus City Hall. 1937-1941
34 Ayuntamiento de S0I1er0d. S011er0d City Hall. 1939-1942
42 Escuela Munkegards, Gentofte. Munkegards School, Gentofte. 1951-1958
52 Oficinas Jespersen & Son, Copenhague. Jespersen & Son Offices, Copenhagen. 1953-1955
58 Ayuntamiento de R0dovre. R0dovre City Hall . 1954-1956
66 Edificio SAS/Royal Hotel, Copen hague. SAS BUlldlng/Royal Hotel, Copenhagen. 1956-1961
74 St. Catherine's & Merton College, Oxford. st. Catherine's & Merton College, Oxford. 1960-1963
86 Banco Nacional, Copenhague. National Bank, Copenhagen. 1961-1978
98 Oficinas Hew, Hamburgo. Hew Offices, Hamburg. 1963-1969
104 Gimnasio Christianeum, Hamburgo. Chrlstianeum Gymnasium, Hamburg. 1966-1972
112 Banco Central de Kuwait. Kuwait Central Bank. 1966-1976
116 Embajada Danesa, Londres. Danish Embassy, London. 1969-1977

126 Biografia Biography

129 Nexus
Sobre forma y diseiio en la actualidad.
On form and deSign at the present time. Arne Jacobsen
Discurso para la inauguracion de la exposicion de Arne Jacobsen en Aarhus.
Speech at the opening of the Arne Jacobsen exhibition In Aarhus. Knud Aerbo

La cubierta
Edlficlo SAS/Royal Hotel,
Copenhague

The cover
SAS BUlldmg/Royal Hotel.
Copenhagen

Fotografia Photography
Jordi Bernad6
2G IntroducClon Introduction
Usbet Balslev Jorgensen, nace en
1928 en Suecla. Llcenclada en Histona
del arte por la Umversldad de
Copenhague. Conservadora del Museo
Thorvaldsens (1964 a 1969)
Conservadora de la Colecci6n de
OIbufQs de Arqultectura de laReal
Academia de Bellas Artes de
Copenhague (de 1969 a 1996).
PubllCaClones sobre plfltura danesa del
palsaJe y arqUilectura. Monografia
sobre el arqurtecto Mogens Lassen
(1989) y coautora del libra sobfe
Vilhelm Lauritzen (1994). Edllora
lOVltada de Archlfhese, 4-85 sobre Kay
F,sker y Architectural Des,gn, 3/ 4,
1987, junto a Demetr, PorphYrios
sobre )a arqUitectura neoclaSlCa en
Copenhague y Alenas.
U5bet Balslev Jeraensen. born
192811'1 Sweden. Mag ,art. 1964. art
history from Copenhagen lKliverslty.
Ass. curator, Thorvaldsens Museum
1964-69. Ass. curator, Architectural
DraWings CollectlOO at the Royal
Academy of Fille Arts, Copenhagen
1969-1996. Pubhcatlons about Danish
landscape painting and architecture.
Monograph on the architect Mogens
Lassen 1989 and co.auth, of V'1Ihe1m
lawtzen, 1994. Guest ed. Archlthese,
4-85 Kay Fisker and Architectural
DeSign With Demetn PorphYrios no 3/4
1987 on NeoclaSSICal Architecture If)
Copenhagen & Athens.
4
Arne Jacobsen 1902-1971
Arne Jacobsen 1902-1971
Lisbet Balslev Jorgensen
l. Los paisajes de la infancia
Son las impresiones y las experiencias infantiles las que re-
sultan fundamentales en la labor creativa del individuo adul-
to. La percepcion y el reconocimiento del mundo exterior es
la base a partir de la cual el artista desarrolla su labor expe-
rimentando y proponiendo nuevos colores, nuevas formas y
nuevos ambientes espaciales.
Arne Jacobsen fue un nino que crecio junto al mar, frente al
estrecho de 0resund, en un area de bosques de hayas y
pequenos estanques que aportaban un brillo especial a esta
zona de la costa danesa. Tenia una sensibilidad que captaba
estos pequenos matices del paisaje a 10 largo del dia y du-
rante las distintas estaciones. Queria ser pintor. EI nino era
hijo ';nico.
A los once anos sus padres Ie enviaron a un internado no
muy lejos de su casa donde recibiria una educacion basad a
en el orden y la disciplina. Entre sus com pan eros de clase se
encontraban sus amigos Mogens y Fleming Lassen quienes
ya de muy pequenos decidieron ser arquitectos. La amistad
continuo, pero seg,;n Mogens Lassen se fue deteriorando
tras sus respectivos matrimonios.
En la familia de Arne Jacobsen no habia artistas. Por contra,
los padres de los hermanos Lassen eran artistas formados
en la Academia de Arte. Tras la muerte de la madre, el padre
se vio forzado a abandonar el mundo de la pintura.
Para los Lassen la Academia era el lugar idoneo de forma-
cion para la gente interesada en el mundo del arte. Llegar a
ser arquitecto era el reto sonado por los hermanos pues
podrian disenar casas para clientes acaudalados . Mientras
tanto, Jacobsen se dedicaba a pintar paisajes y flores que
vendia posteriormente. Finalmente, y ante la influencia de
sus amigos, decidio convertirse en arquitecto. "Su padre me
dio las gracias' contaba Mogens Lassen.
EI internado de Naerum tenia el mismo entorno que los alre-
dedores de la casa de los Jacobsen. En sus ratos libres los
ninos investigaban , con todos sus sentidos, los secretos que
encerraba la naturaleza. Ninguno de ellos era un estudiante
brillante, pero el joven Arne destacaba en dibujo. Tenian en
l. The landscapes of childhood
It IS the Impressions and experiences of childhood which lay
down the foundations of the work of the mature man or
woman . The perception and recognition of the external world
IS the basis from which the artist develops hiS or her work,
experimenting With and proposing new colours, new forms
and new spatial ambiences .
As a boy, Arne Jacobsen grew up beside the sea, by the
0resund strait, In a region of beech woods and small ponds
which give a special luminosity to thiS part of the Danish coast.
A sensitive Child, he was receptive to the subtle nuances of
the landscape, as these changed In the course of the day,
and from season to season. An only Child, he wanted to be a
painter.
At the age of eleven, his parents sent him to a boarding school
not very far from hiS home; the education he received there
was based on order and discipline. Amongst his classmates
were his friends Mogens and Flemming Lassen, who had
already deCided at a very early age that they were gOing to
be architects. The friendship continued Into adulthood,
although according to Mogens Lassen It waned after their
respective marriages.
There were no artists in Arne Jacobsen's family, but the
parents of the Lassen boys were both artists, trained at the
Academy of Art, although after the mother's death, the father
was obliged to give up the world of painting.
For the Lassens, the Academy was the Ideal place for people
With an Interest In art to receive a training; for the brothers,
becoming an architect was a cherished ambition, which would
enable them to deSign houses for affluent clients. Meanwhile,
the young Jacobsen was devoting hiS efforts to painting
landscapes and flowers, and selling hiS pictures. Finally, thanks
to the influence of hiS friends, he deCided to become an
architect. "HIS father thanked me: Mogens Lassen was later
to recall.
The Naerum boarding school stood In a setting very Similar
to that of Jacobsen's home. In their free time the boys
explored, uSing all of their senses, the secrets of nature.
None of them was an outstanding pupil, although young Arne
excelled at draWing. The three were United by a total dedication
to their shared interests . They constructed machines, anI!.
measured and drew houses . "We were CUriOus. That IS the
only way to discover the secrets of buildings and find out
how they function,' Mogens remarked. There was no teacher
In the world who could divert them from their ambition, and
the zeal with which they devoted themselves to It. Their great
capacity for selectIOn allowed them to absorb all the
knowledge they needed.
On leaving school, at the age of 16 or 17, the three friends
were accepted for a course In construction. In Denmark at
that time, when there was no higher school-leaving certificate,
to be admitted to Architecture School it was necessary to
complete a prior period of training at a building school learning
some specific trade. Jacobsen enrolled in the bricklaYing
course, and thiS was to serve him well in later years, winning
him the real respect of the men who worked on his buildings.
As an apprentice bricklayer he spent a summer working in
Germany, and as a student he vIsited that country whenever
he could; he felt a particular attraction for the Bauhaus and
everything that was coming out of It. In 1963, In a speech he
delivered in Hannover, he acknowledged the great benefits
he derived from these trips.
Jacobsen was fluent in German, although it IS worth noting
that from 1864 on the Danish goverpment was committed to

comun una total entrega a los mismos intereses. Construian
m<iquinas, median y dibujaban casas. "Teniamos curiosidad.
Solo asi se pueden descubrir los secretos de los edificios y
averiguar como funcionan", dijo Mogens. Ningun pedagogo
del mundo podia obligarles a perder el tiempo y las alegrias del
deber. Sus grandes aptitudes selectivas les permitian absor-
ber el saber que les hacia falta.
Tras este periodo escolar, hacia los 16-17 anos, los tres
amigos fueron admitidos para ser formados en el ramo de la
construccion. En Dinamarca, en aquella epoca, cuando no
se disponia del bachillerato superior, para ser admitido en la
Escuela de Arquitectura habia que realizar un periodo de for-
macion en una escuela de construccion para ejercitar un de-
terminado oficio. Jacobsen tomo parte en el curso de albani-
leria, hecho que Ie ayudo en los anos sucesivos a que se Ie
tuviera un gran respeto en la obra.
Como aprendiz de albanil trabajo durante un verano en Ale-
mania. Como estudiante, siempre que podia viajaba a este
pais ya que se sentia especialmente atraido por la escuela
de la Bauhaus y por sus resultados. En 1963, en un discur-
so que pronuncio en Hannover, reconoceria el gran prove-
cho que obtuvo de estos viajes.
Jacobsen dominaba la lengua alemana a pesar de que el
estado panes se esforzo en introducir, desde 1864, el idio-
ma ingles como primera lengua extranjera, para intentar des-
arraigarse de este modo de la influencia de la cultura y del
mundo germano. Por suerte, no se consiguio ... "Lo mejor
para todos es la colaboracion y el intercambio de ideas",
opinaba Arne Jacobsen mucho mas tarde y tras los horrores
de la II Guerra Mundial.
2. La Escuela de Arquitectura de la Real Academia
de Arte de Copen hague
Desde el principio (1924) Arne Jacobsen fue considerado
como un alumno prodigio. Su talento como dibujante y acua-
relista fue descubierto por su profesor Kay Fisker (1893-1965)
que 10 contrato inmediatamente para su estudio. En 1909
Fisker habia sido recibido en la Academia de igual modo, y
tras acabar los estudios (1920) se convirtio en ayudante del
profesor Edvard Thomsen (1884-1980) quien, de forma pin-
toresca, fue testigo de la coincidencia de que los dos estu-
diantes iniciaran la carrera vestidos de marinero. Thomsen
tambien se percato de las grandes cualidades de los jovenes
discipulos para la arquitectura y de que destacaban como
grandes acuarelistas.
En 1924 Flsker recibe el encargo de disenar el pabellon danes
y la exposicion de artesania danesa que se iba a realizar con
motivo de la Exposicion Mundial de Paris en el ano 1925. En
esta expo sic ion el objetivo era que todos los paises presenta-
ran una nueva arquitectura y un nuevo diseno que se convirtie-
ra en el marco referencial, fisico y funcional, del hombre me-
derno, prescindiendo de los accesorios teatrales del pasado.
En Dinamarca, sin embargo, la actitud era la de un desarrollo
continuista -de asimilacion- tanto en politica como en las
artes aplicadas. La ruptura total con el pasado se realizaria
en las nuevas propuestas que aparecian en el campo del
diseiio para las nuevas tecnicas y funciones. Las l<imparas
de Poul Henningsen constituian el unico ejemplo. Para Fisker
la meta era la forma simplificada; el interes de su generacion
era "encontrar la idea que origino la forma del hacha de pie-
dra". Se queria eliminar 10 superfluo y dejar que el material
jugara su papel de la forma mas intrinseca. Pero un reto
adicional resultaba fundamental: no perder la tradicion, la
cultura y la identidad emanada del pasado.
Introducci6n Introduction 2G
a vigorous policy of promoting English as the preferred foreign
language in schools, in an attempt to break away from the
influence of Germanic culture. Perhaps fortunately, this
objective was never fully achieved. "The best thing for all of
us is collaboration and the exchange of ideas," Arne Jacobsen
declared many years later, after the horrors of the Second
World War.
2. The Architecture School of the Royal Academy
of Art in Copenhagen
As a child (1924), Arne Jacobsen was regarded as something
of a prodigy. His talent for drawing and watercolour was
discovered by his teacher Kay Fisker (1893-1965), who
ir:nmediately found a place for him in his own stUdio. Fisker
had himself entered the Academy in 1909, and when he
finished his studies there in 1920 he was appointed assistant
to Professor Edvard Thomsen (1884-1980). Thomsen was a
witness to the picturesque and curious coincidence that both
of the new students arrived to commence their studies at the
Academy dressed in a sailor suit. He, too, was quick to
perceive the great qualities of these young disciples of
Architecture, and their gift for watercolour painting.
In 1924 Fisker was commissioned to design the Danish
pavilion and the exhibition of Danish crafts for the World's
Fair in Paris in 1925. One of the ideas for the great Exposition
was that each country should present a new architecture and
a new design that would stand as the physical and functional
referential framework for the modern age, dispensing with
the theatrical accessories of the past.
The approach adopted by the Danish, however, was essentially
one of a continuity of development, of assimilation, not only
In politics but in the applied arts. Where a total break with the
past did occur was in the new postulates emerging in the
field of design, in relation to new techniques and new functions.
Here the lamps designed by Poul Henningsen constituted the
single example. For Fisker, the goal was a simplification of
form; the concern of his generation was "to find the idea that
gave rise to the form of the stone axe". The object was to do
away with the superfluous and allow the material to play its
part in the most intrinsic way. At the same time, another
challenge was seen as fundamental: that of not losing touch
with the traditions, the culture and the identity inherited from
the past.
Arne Jacobsen worked for a brief period in Fisker's studio,
where his role was limited, he said, to producing the occasional
watercolour of the pavilion project. He subsequently devoted
his efforts to designing a chair, which he presented at the
World's Fair, and to preparations for his "Grand Tour" of southern
Europe. The chair did not shock anyone, but it did win a silver
medal. We do not know what this chair was like, but on the
basis of its "middle class" motto we can deduce that simplicity
was not yet to the taste of the higher social strata.
Two years later, Jacobsen's furniture designs for the reading
room of a library were exhibited and these clearly represent
the course of developments in Copenhagen at that time, and
the methods applied in Kaare Klinfs classes. In 1926 Jacobsen
designed with Klint a sideboard for china and cutlery in which
not a centimetre is superfluous. This piece became an object-
lesson, absorbed by many of Jacobsen's contemporaries:
form follows from function, or rather, the best tool is also the
one that looks best. Aesthetic value and functional value are
two faces of the same coin.
The disciplined student followed the evolution of the
environment he found himself in. All of his course work
5
2G IntroducCion Introduction
Arne Jacobsen cola bora durante poco tiempo en el estudio
de Fisker donde, segun se decia, su trabajo se limito a reali-
zar alguna acuarela del proyecto del pabellon. Con posterio-
ridad, Jacobsen se dedicaria a la realizacion de una silla que
presentaria en la Exposicion Mundial y a la preparacion de su
"grand tour" al sur de Europa. La silla no escandalizo a nadie
pero obtuvo una medalla de plata. No sabemos que aspecto
tenia, pero a raiz de su lema "clase media" se puede deducir
que la sencillez todavia no gustaba a las clases superiores.
Dos anos mas tarde fueron expuestos sus muebles para la
sala de una biblioteca; representaban la evolucion que se
seguia en Copen hague asi como el metodo docente en el
arte del mobilia rio que se seguia en las clases de Kaare Klint.
En cola bora cion con Klint, Jacobsen diseno en 1926 un ar-
mario para guardar porcelana y una cUberteria de mesa. No
podia sobrar ni un centimetro. Este armario se convirtio en
un objeto-modelo a seguir para muchos de sus contempora-
neos: la forma sigue a la funcion, 0 bien, la mejor herramien-
ta es tambien la mas bonita. La estetica y la funcion son dos
vertientes del mismo asunto.
EI disciplinado alumno siguio el camino de la evolucion de su
entorno. En todos sus proyectos de estudiante proporciona-
ba aquello que Ie exigian sus profesores, pero sin perder su
camino. "Temor a los conflictos" pensarian algunos, pero otros
sabian que era el mejor mecanismo para acabar y ejercer la
profesion sin mediaciones.
Durante los anos inmediatamente posteriores a la I Guerra
Mundial el interes se centraba en la arquitectura tradicional
dane sa. Sobre todo en las casas de campo clasicistas que se
realizaron alrededor de 1800. Estas referencias eran estudia-
das y medidas -Liselund en Moen 0 la pequena casa estival
"Spurveskjul" del arquitecto-escultor Nicolai Abilgaard- eran
las citas, entre otras, de las viviendas unifamiliares de los anos
20. Ambas obras fueron publicadas con sus mediciones y
descripciones en la epoca de estudiante de Arne Jacobsen, y
eran referencias obligadas en los estudios de arquitectura.
Recordemos los viajes de Erik Gunnar Asplund a Liselund du-
rante la guerra, 0 el realizado por Kay Fisker y Aage Rafn a
Suecia para visitar la obra de Lewerentz y Asplund en
Estocolmo, pues hacia el sur solo se podia lIegar hasta Moen.
Medir edificios era un referente obligado y Jacobsen participo,
aunque por poco tiempo, en la medicion de las "cabanas" que
el arquitecto Michael Gottlieb Bindesboll habia realizado para
los banos publicos de Klampenborg en 1844. Bindesboll (1808-
1856) era el arquitecto mas admirado de entonces. Sus for-
mas sencillas y su contenida expresividad se adaptaban bien a
los nuevos tiempos. Tambien el museo Thorvaldsen 11839-
1847) era obra de Bindesboll. En el los alumnos de la Escuela
de Arquitectura estudiaban la luz, el color, la forma de las sa-
las y la textura de los materiales. En el proyecto no habia nada
extravagante; el marmol de un mate sedoso; la pintura y el
estucado pompeyano de colores vivos perfilados por senc~
lIos zocalos. Todo ello 10 aplicaba Carl Petersen 11874-1923)
en sus proyectos y 10 exponia en sus clases. Sus articulos
publicados en Arkitekten durante los anos 1919 y 1920 se
leyeron con mucho interes. Fisker era el nuevo redactor jefe.
Ademas Carl Petersen conocia la artesania de Asia oriental, y
era su deseo que los europeos lograran la misma perfeccion
en el dominio sobre la materia. Se trataba de unos conoci-
mientos que fueron confirmados definitivamente a finales de
1930 a traves de Tetsuro Yoshida. Oas japanische Wohnhaus
(Berlin, 1935), y ellibro de Bruno Taut Houses and People of
Japan (Londres, 1938), Estos libros eran referentes obligados
junto con los libros dedicados a Liselund y a Spurveskjul.
6
delivered what hiS tutors asked for, while sticking to the path
he had chosen for himself. Although some people ascnbed
this to a fear of conflict, others were quick to see that It was
the best way of successfully completing the course and
moving on to professional practice.
Dunng the years Immediately following the First World War,
Interest was centred on traditional Danish architecture, and
In particular the classical country houses of the penod around
1800. As points of reference, these houses were studied
and measured. Liselund In Moen, or "SpurveskJul", the small
summer house by the sculptor and architect Nicolai Abllgaard,
were amongst the most widely quoted sources for the pnvate
houses of the 20s . These two houses were published,
complete with measured draWings and detailed descnptlons,
while Arne Jacobsen was a student, and were obligatory
studies on the Architecture course at the time. We might recall-
here the visits to Liselund made by Erik Gunnar Asplund dunng
the war, or Kay Fisker and Aage Rafn's Journey to Sweden to
see the work by Lewerentz and Asplund In Stockholm; to the
south it was Impossible to go beyond Moen.
The measunng of bUildings was a baSIC part of the course,
and Jacobsen briefly assisted In the measunng of the "huts"
that the architect Michael Gottlieb Blndesboll had constructed
for the Klampenborg public baths In 1844. Blndesboll11808-
1856) was the most admired Danish architect of this penod.
HIS Simple forms and restraint of expression were well SUited
to the the new times. Arother of his bUildings to receive attention
was the Thorvaldsen museum 11839-184 7). Here the students
from the School of Architecture studied the light, the use of
colour, the form of the rooms and the textures of the materials.
There was nothing extravagant about Blndesboll's design: the
silky matt finish of the marble, the painting and the bright colours
of the Pompeiian stucco outlined by Simple socles. These
features were applied by Carl Petersen 11874-1923) to hiS
own projects and In hiS classes, and hiS articles of 1919 and
1920 were read with great Interest. These texts were published
In Arkltekten, the magazIne of whIch Flsker had recently been
appOinted editor1rH:hief. Petersen was also a connoisseur of
Oriental crafts, and he sought to foment the same mastery of
matenals In Europe. ThIS tendency was definitIvely confirmed
In the late 1930s wIth the appearance of two Influential books: _
Tetsuro Yoshida's Oas japanrsche Wohnhaus (Berlin, 1935) and
Bruno Taufs Houses and People of Japan (London, 1938),
together WIth the books on Liselund and Spurvesk,ul.
The new generation was aware that the clear pure colours
on the walls of the Thorvaldsen museum, with their SIlky
matt tone, were those of the Acropolis in Athens. Carl
Petersen had also used them in hiS museum in Faaborg
11915-1916), and the same colours were in eVIdence in the
Bauhaus , In the De Stijl movement and In Le Corbusler, and
their close association with the colours of Antiquity was
clearly perceived. It was wonderful to be a part of European
culture, but to share in the spiritual hentage of all humanity
would be better still.
The study of the peoples of the world and theIr artistIC
achievements was the Enlightened mIssion manifested In the
founding of the Academy of Art (1754). It was a key part of
the vocabulary of the School of ArchItecture, and It had now
become hIghly topical once again . "The greater our
understanding of one another, the more equalIty we shall be
able to attain," Bruno Taut had wntten.
Arne Jacobsen's architectural traIning did not suffer from the
ngorous imitation of academic styles. All of his tutors belonged
to the first generation of modernist,s, who felt thay they had

La nueva genera cion sabia que los colo res claros y puros de
un tono mate sedoso de las paredes del Museo Thorvaldsen
eran los mismos que los de la Acropolis de Atenas. Carl
Petersen tambien los habia utilizado en el museo de Faaborg
(1915-1916). Tambien reconocieron los mismos colores en
la escuela de la Bauhaus, en el movimiento de Stijl y en Le
Corbusier; se palpaba su parentesco con los de la antigue-
dad. Era maravilloso formar parte de la cultura europea. Pero
formar parte de las manifestaciones espirituales de toda la
humanidad seria todavia mejor.
Estudiar los pueblos de todo el mundo y sus resultados artis-
ticos constituia el mensaje de la ilustracion del acta de funda-
cion de la Academia de Arte (1754). Formaba parte del voca-
bulario de la Escuela y ahora volvia a ser actual. "Cuantos
mas conocimientos tengamos unos de otros, tanto mas po-
dremos recabar en las igualdades", habia escrito Bruno Taut.
La formaci on escolar de Arne Jacobsen no fue excesivamen-
te rigurosa con los estilos academicos. Todos sus profesa-
res pertenecian a la primera generacion de arquitectos ma-
dernos que consideraban haber perdido el tiempo con la ar-
quitectura estilistica, a la cual tuvieron que superar progresi-
va mente. Asi, la nueva generacion no debe ria malgastar es-
fuerzos pues la referencia a 10 antiguo quedaba rele-gada a
una mera curiosidad. En la Escuela, los estudios estilisticos
y las clases sobre la antiguedad habian sido reducidas a asig-
naturas simbolicas. Ahora bien, si el estilo carecia de impor-
tancia, las proporciones clasicas mantenian todo el interes.
No era cuestion de imitar las fuentes de inspiracion; no era el
estilo 10 que convertia la construccion en arquitectura. Se
apropiaban de las proporciones que mejoraban los proyec-
tos y su expresividad.
Este aspecto fundamental 10 analizaron y asimilaron los nue-
vos alumnos durante su viaje de estudios en 1925 a Paris, al
sur de Francia y a Italia. Bajo la direccion del catedratico Kaj
Gottlob (1887-19761105 alumnos elegian los edificios a me-
dir. Durante este viaje visitaron la exposicion de Paris donde
admiraron el pabellon de I'Esprit Nouveau de Le Corbusier a
pesar de que su profesor les advirtio del "engano moderno".
Gottlob opinaba que solo era una expresion del nuevo forma-
lismo, pero sabemos que los alumnos sonreian indulgentes
pues conocian los trabajos de Le Corbusier.
Los resultados de los estudiantes, la organizacion del viaje,
asi como fotografias del mismo, se encuentran en el archivo
de la Academia de Arte. En elias se puede comprobar el
interes y la dedicacion del joven Arne Jacobsen, asi como su
preferencia por las formas sencillas. EI viaje acabo en Paestum,
de cuyo templo hizo una acuarela en 1953 que observaba a
diario en la pared de su casa.
Tenia totalmente asimiladas las proporciones clasicas, y las
podia utilizar como el mejor pianista tocando un piano en un
concierto. Su virtuosismo Ie permitia que el estilo no Ie re-
presentara ningun esfuerzo una vez resueltas la funcion y su
proposito visual.
Los proyectos de estudiante los situaba, preferentemente,
en el paisaje de su infancia, en Klampenborg. Los estilos a
desarrollar nacian de las "cabanas" destruidas de M.G.
Bindesboll, aunque ya se pod ria observar un sello personal:
los edificios siempre se integran en el paisaje, junto a la pla-
ya 0 en ellinde del bosque. Los colores, ligeros, amarillos ..
Tras su graduacion en 1927, en 1928 fue premiado con una
pequena medalla de oro por el proyecto "Un Museo Nacia-
nal". La propuesta estaba situada en aquel terreno que fue la
zona de juegos de su infancia y donde habian estado las
cabanas de Bindesboll. En aquel momento seguia la linea de
Introducci6n Introduction 2G
wasted their time with a stylistic approach to architecture
which they had now to move beyond. As a result, the
achievements of earlier ages were relegated to the status of
mere curiosity, and the younger generation was to be spared
such fruitless studies. In the School of Architecture, study of
the styles of classical architecture had become a mere token
subject. However, if style had lost its importance, classical
proportion still retained all its interest. There was now no
question of imitating the models of the past as sources of
inspiration; it was not style that raised building to the level of
architecture. Proportion was looked to as the key to improving
project design and expressive capacity.
This fundamental lesson was analysed and absorbed by the
new students on their 1925 trip to Paris, the south of France
and Italy. Under the supervision of Professor Kaj Gottlob (1887-
1976) the students chose which buildings they would measure.
During this trip they also visited Le Corbusier's l'Esprit Nouveau
pavilion, although their Professor warned them against "the
modern trick". Gottlob felt that this was no more than an
expression of the new formal ism, but we know that his
students smiled indulgently at this view, and were familiar
with Le Corbusier's work.
The students' academic achievements, together with
organizational details and photographs of the trip, can be
seen in the archive of the Academy of Art, and these serve to
demonstrate the interest and the dedication of the young Arne
Jacobsen, who evidently favoured simplicity of form. The study
trip concluded in Paestum; Jacobsen was later to hang his
own 1953 watercolour of the temple there in his house, where
he could contemplate it every day.
Jacobsen had perfectly assimilated the principles of classical
proportion , and could utilize these like a great pianist
performing a piece from the concert repertoire. His virtuosity
was such that style presented him with no difficulties once he
had resolved the function and the visual premiss.
His student projects tend in the main to be situated in the
landscape of his childhood, in Klampenborg. The styles
developed in these are denved from the since-demolished
Proyecto Un Mu seo Nacional,
1928.
A National Museum Project,
1928.
2G IntroduCCI6n IntroductIon
Primera casa de A. Jacobsen,
Klampenborg 1928·1929.
First private house by
A. Jacobsen, Klampenbora:
1928·1929.
8
la Academia, aunque simplificando aun mas las formas. En
una magistral perspectiva acuarel ada podemos observar
como el prismatico edificio principal es previa a la propuesta
de Kay Fisker para la Universidad de Aarhus de 1930.
3. EI estilo blanco. Monumento y contraste
en el paisaje
Sabemos que no existe determinismo en la evolucion biologi·
ca . Quizas encontremos la misma figura en la arquitectura:
la naturaleza creada par el ser humano. No se puede regir ni
par leyes ni par prohibiciones, solo se puede retrasar un poco.
Can todos los honores y can un brillante futuro par delante,
Arne Jacobsen y Flemming Lassen disenaron "La Casa del
Futuro" para la feria de la Construccion y Vivienda en el Forum
de Copenhague de 1929. En aquel mo'mento Jacobsen vivia
en una casa moderna, can pulidos muros blancos, azotea,
escalera nautica, ventanas can carpinteria metalica y una
cocina can aspecto de laboratorio para alimentos. En el alfei·
zar cactus en gravilla. Pero aun asi la decoracion era de
muebles antiguos y cortinajes en las ventanas de la planta
baja. Su propia silla de la biblioteca no era 10 suficientemente
modern a aunque era parecida a la de la Bauhaus de Weimar.
La ley danesa requeria que una vivienda tuviera los cimientos de
piedra. En este caso esta imposicion se combinaba can dinte-
les metalicos como soporte de la fachada sit,uada encima de
las ventanas en esquina: el futuro debia tener olra imagen.
Las exposiciones de Breslau y Barcelona en el mismo ana
representaban la actualidad, aunque nadie era capaz, toda·
via, de darse cuenta de la elegante aportacion de Mies van
der Rohe a la de Barcelona. Pero todo el mundo habia visita·
do ya la Weissenhof.
EI circulo y la esfera, par alguna razon, constituyen formas
progresistas. La planta de la Casa del Futuro tenia forma
de espiral. Se habia pensado que la vivienda estuviera junto
al mar. Desde tierra se lIega en cache; desde el agua en bar·
co a motor; desde el aire el senor de la casa aterriza en el
tejado can su helicoptero. Alii se encuentra la senora to·
mando el sol mientras la maquinaria se encarga de las tao
reas domesticas. EI ser humano moderno no necesitaba
hacer trabajos fisicos y, par 10 tanto, tendria que disponer
de una estancia para hacer gimnasia. En el circulo de habi·
taciones una se destina para estudio desde donde un can·
ducto tubular esta conectado can la oficina local de co·
rreos. La estancia central es una sala solemne can una teo
rraza orientada hacia el sur.
En Dinamarca, asi como en otros paises del norte de Euro-
pa, otorgamos un gran valor a la luz y el calor. "Tenemos una
altura del sol baja; en consecuencia hemos de disponer de
otros tipos de aberturas para la entrada de luz", comentaba
Mogens Lassen, y "desafortunadamente no vivimos junto al
mar Mediterraneo".
EI mobiliario de la Casa del Futuro fue disenado ex profeso.
Era en su mayor parte de acero y de vidrio. La unica excep-
cion, en esta vision futurista, era la de un sillon de mimbre.
La propuesta obtuvo el primer premia can comentarios como:
"La vivienda tipica surge de las necesidades de cad a mo-
menta, automaticamente, al igual que la casa de un cara·
col". "Esto era alga que se decia en broma pero can un tras·
fonda de gran seriedad", dijeron los arquitectos a la prensa.
En los anos treinta Jacobsen construyo mas casas can un
acabado blanco pulcro. En la calle Klampenborgvej 37 se
encuentra la casa Rothenborg (1931), situada en una gran
finca en media del bosque. Habia que proyectar un canal que
atravesara todo el jardin y que una embarcacion blanca estu·
"huts" by M. G. Blndesboll, although they bear an unmistakable
personal stamp: the buildings are always Integrated into the
landscape, by a beach or on the edge of a wood; the colours
are light, with yellows predominating ... Following his graduation
In 1927, In 1928 Jacobsen was awarded a small gold medal
for his project for "A National Museum". This scheme was
designed for a site in the area where he had played as a boy,
at one time occupied by Blndesboll's huts. Dunng thiS penod
he was still adhering to the Academy line, although simplifying
the forms even further. A superb, and still extant, watercolour
perspective shows how the cuboid main building prefigures
Kay Fisker's 1930 project for the University of Arhus.
3. The white style . Monument and contrast
in the landscape
We know that determinism does not exist In biological
evolution, and It may well be that the same thing is true of
architecture, that nature created by human beings, which IS
not to be governed by laws or prohibitions, although it can be
held In check for a time.
Crowned with academic success and with a bnlliant career
ahead of them, Arne Jacobsen and Flemming Lassen designed
"The House of the Future" for the 1929 Construction and
HOUSing trade fair in the Forum in Copenhagen . At that time
Jacobsen was living In a modern house, with smooth white
walls, a flat roof, a manne·style staircase, metal·framed
windows and a kitchen that resembled a laboratory for food.
There was a cactus in gravel on the wlndow·ledge.
Nevertheless, the furniture was old·fashloned, and there were
curtains on the ground-floor windows. Even Jacobsen's own
library chair was not really modern enough, although It was
similar in style to the Weimar Bauhaus chairs.
Damsh law required that the foundations of a house be of
stone. In Jacobsen's house, these stone foundations were
combined with metal lintels, which supported the facade above
the corner windows: the future was to look different.
The International Exhibitions of that year in Breslau and
Barcelona manifested the contemporary splnt, and although
no-one as yet was capable of appreciating the significance of
Mles van der Rohe's elegant contnbutlon to the latter, by now
everyone was familiar with the Welssenhof'siedlung.
The Circle and the sphere were for some reason regarded as
progressive forms. In plan, the House of the Future had a
spiral layout, and was envisaged as standing on a site by the
sea, with land access by car, access from the sea by
motorboat, and a helicopter landing·place on the roof for the
master of the house. There he would find the lady of the
house sunbathing, while machines took care of the housework.
The modern human being would not have to do phYSical work,
so a gymnasium was needed to enable people to keep fit.
One of the rooms in the circular s~quence was a study,

, viera amarrada a un muelle situado entre las altas hayas. EI
diseno miutico simbolizaba una arquitectura racional y ade-
cuada, 10 que los alemanes llama ban Zweckbau. EI cliente
queria un mobilia rio actual.
La planta tiene forma de "U" y una de las alas tiene dos
pisos. En la habitacion de musica 0 en el jardin de invierno,
las ventanas lIegaban al techo: hasta el piano de cola pare-
cia moderno. Cactus y otras plantas estaban colocadas en
macetas de hormigon debajo de las ventanas. EI suelo
era blanco "Snowcrete Terrazzo". Una terraza se situaba
sobre el jardin de invierno, imaS modernidad era impensable
en Copenhague!
Muchos clientes preferian una casa mas tradicional, al estilo
"ingles", 0 bien que se pareciera a Spurveskjul. Y la tuvieron.
Pero ni Arne Jacobsen ni Mogens Lassen se habian encon-
trado con una familia que deseara una vivienda poco practi-
ca. No tenian nada contra ello. EI estilo no importaba con tal
de que las proporciones fueran las correctas y de que nada
superfluo perturbara todo el conjunto. Pero se supone que
ningun arquitecto jamas ha pensado que estaba construyen-
do otra cosa que no fueran viviendas funcionales. Esto se
deduce de todos los escritos sobre arquitectura, desde
Vitruvio hasta nuestros dias.
AArne Jacobsen se Ie encargo construir los Banos de Bellevue
(193H932), en Klampenborg, en el paisaje de la infancia.
No era en los hog ares donde se desarrollaba la vida moder-
na y libre, sino en el tratico, en los cines y en la playa. Creo
que el alcalde del municipio de Gentofte habia realizado un
viaje a Frankfort del Meno donde la arquitectura sana y blan-
ca de Ernst May atraia a todos los politicos locales y visiona-
rios de Escandinavia. En todo caso, el municipio de Gentofte
queria una "ciudad blanca de veraneo junto aI 0resund". Con
los nuevos tiempos surgian unas exigencias sociales y el
deseo de una sociedad sin clases. Gente de cualquier nivel
social estaria en traje de bano, sin ropajes apretados, y se
moverian libremente por playa y en el agua. Todos eran igua-
les hasta el momento en que se volvian a vestir y se subian a
los medios de transporte publico que les permitia volver a
Copenhague.
Los pequenos quioscos blancos y las hileras de cabinas para
cambiarse de ropa se erigian como pequenos monumentos
en la arena; mar adentro habia una preciosa baliza. Toda la
obra acabada, con el teatro de Bellevue (1933-1937), un
restaurante para -creo- muchos centenares de clientes, el
complejo de Bellavista (1933-1934) en que todos dispo-
nian de un balcon orienta do al mar, y el picadero Mattson
(1930) de hormigon armado y boveda de canon, todo se
encontraba alii como parte de un diseno total y como con-
traste con el paisaje. Cada uno de los detalles estaba disena-
do por el arquitecto.
Los entuslastas seguidores de la epoca com para ban la ima-
gen de esta ciudad blanca de veraneo con el cuerpo huma-
no. Fue el americano del MIT, y tan popular en Escandinavia,
Lewis Mumford (The Culture of Cities, 1938), quien inventola
expresion la edad biotecnica. La autopista era el pulso de la
vida. La gasolinera de Arne Jacobsen de 1937 junto a la nueva
carretera de la playa era el banco de sangre y las construc-
ciones de viviendas, para el ocio y para el trabajo, podian
considerarse los biotopos del ser humano ajustando, segun
la necesidad fisica, la luz, el aire y la higiene de los usuarios.
Pero no a todo el mundo Ie causaba el mismo entusiasmo la
ciudad blanca. Muchos querian volver a tener los estableci-
mientos del estilo Old Inn y escribieron feroces criticas en la
prensa local atacando el ambiente yermo y esteril de unos
IntroduCClon Introduction 2G
equipped with a tube connecting It with the local post office.
The central space was a solemn liVing room with a terrace,
open to the south.
In Denmark, as In the other countries of northern Europe,
people place great value on light and heat. "The sun here has
a low altitude; as a result, we have to have other kinds of
openings through which light can enter," Mogens Lassen
observed, "and unfortunately we do not live on the shores of
the Mediterranean."
The furniture In the House of the Future, all of it purpose-
designed, was for the most part of steel and glass; the single
exception, in this vIsion of the shape of things to come, was
a wicker chair. Jacobsen and Lassen's scheme was awarded
(lrst prize, and attracted comments such as: "The typical
dwelling house IS something that arises In response to the
needs of each moment, in the same way that the snail's shell ,
does". "ThiS was something said as a loke, but against a
backdrop of great seriousness," as the architects told the
press.
During the 30s Jacobsen constructed other houses with a
radiant white finish. At no. 37, Klampenborg, on a large plot
In the middle of a wood, stands the Rothenborg house, built
In 1931. The scheme had to accommodate a canal that
traversed the garden; a white boat was moored to a letty
beneath the tall beech trees. ThiS nautical design effectively
symbolized a rational, functionally adequate architecture, what
the Germans would call a Zweckbau. The client wanted
contemporary furniture.
The floor plan was U-shaped, with one of the sides two storeys
high. The windows in the music room and the conservatory
were full height, and even the grand piano looked modern.
Cacti and other plants were planted in concrete window-boxes.
The floor was of white "Snowcrete Terrazzo", and there was
a terrace on the roof of the conservatory. Anything so modern
was all but Inconceivable in Copenhagen.
Of course many clients preferred a more traditional house, In
the "English" style or following the Spurveskjul model, and
that is what they got; and neither Arne Jacobsen nor Mogens
Lassen ever encountered a family who wanted a house that
was anything but practical. They had nothing against thiS.
The style was unimportant, so long as the proportions were
right and there was nothing superfluous to upset the overall
compOSition. But it seems probable that no architect has ever
believed he was constructing houses that were anything other
than functional, as we can see from all that has been written
about architecture, from Vitruvius to the present day.
Arne Jacobsen was commissioned to design the Bellevue
baths (1931-1932) In Klampenborg, in the landscape of his
childhood. It was not inside the home that the modern life
was lived, but in the traffic, in the cinemas and on the beach.
I believe that the mayor of Gentofte had been on a study tour
to Frankfurt am Main, where the hygienic white architecture
of Ernst May was attracting all of Scandinavia's forward-looking
local politiCians. At all events, Gentofte town council was eager
to build "a white summer resort by the 0resund". The new
times saw the emergence of new social needs and the ideal
of a classless society. People from every stratum could relax
In their SWimsuits, liberated from their tight formal clothes,
and move freely on the beach and In the water. Everyone was
equal for a few hours, until they got back into their clothes
and boarded the public transport that carried them back Into
Copenhagen.
The little white kiosks and the rows of changing huts were set
up like small monuments on the sand; out in the sea there .
9
2G IntroducCI6n Introduction
Casa de verano de
A. Jacobsen, Gudmindrup Lyng,
1937.
Summer house of A. Jacobsen,
Gudmindrup Lyng, 1937.
10
muras blancos que deslumbraban, con una asimetria des-
orientadora, y con un restaurante en el que cabia demasiada
gente. La falta de rincones en penumbra donde las parejas
pudieran besarse y acariclarse fue crucial en el fracaso eco-
nomico que sobrevino poco tiempo despues. No obstante,
nadie se quejaba de que el nuevo impulso de vida, con un
tratico en aumento, fuera rUidoso y que los coches atrapella-
ran a la gente que se dirigia a la playa.
Su propia casa de veraneo (1938) en Gudmindrup Lyng, el
chalet en Kongehojen, 0 el ahumadero de pescado en
Odden (1943), estan entre los ultimos monumentos blan-
cos que contrastaban con el paisaje. EI contraste como
recurso estaba agotado. Los muras blancos resultan mas
matizados bajo un fuerte sol y en las claras sombras del
mar Mediterraneo. Aqui, con una altura baja del sol, tene-
mos unas sombras negras y los nitidos muras blancos se
vuelven elementos duros. Las posib,lidades de variacion
no abundan.
A la pregunta de si cambia ria de estilo (marzo de 1935) Arne
Jacobsen contesto: "Un estllo no se cambia en un ano 0 dos,
pero a mi me parece que del funclonalismo se estan extrayen-
do aquellas cuestiones que tlenen un valor permanente, de
modo que la tendencla se orienta, lentamente, hacia un estilo
mas racional, sin la uniformidad del funcionalismo".
A las condiciones climatic as de la region, sin grandes cam-
bios bruscos pero con muchos matices, les hacia falta una
arquitectura moderna mas variada que se asimilara a la natu-
raleza. Tenia que ser una arquitectura mas organica y menos
abstracta: la eleccion estaba entre dominar el paisaje 0 inte-
grarse en la naturaleza.
4. Arquitectura, paisaje y flores
Durante la epoca como refugiado en Suecia (1943-1945) se
dedico al diseno de tejidos y de tapizados. Las cortinas y los
tapices con motivos florales eran muy populares. De nino, en
la escuela de Naerum, ya ganaba algun dinero pintando flo-
res naturales; ahora 10 ganaba para el sustento diario. Seis
disenos diferentes fueran adquiridos por el Museo Nacional
de Estocolmo. Sus praductos fueron alta mente elogiados y
se vendian muy bien.
Continuo con este tipo de trabajo en Dinamarca con disenos
tanto naturales como abstractos. Durante su estancia en Sue-
cia solo proyecto una casa de verano, en Arild, junto al estre-
cho de 0resund, para un cliente danes. La forma y la casa
estan adaptados organicamente a la naturaleza, en un terreno
inclinado y sobre el granito sueco. Dinamarca es de arena y
arcilla. En Suecia la naturaleza es diferente. EI suelo del bos-
que y del arrecife a 10 largo de la costa es de granito, 10 cual
proporciona nuevas Impresiones de espacio y color. Un refll-
giado en un pais extrano permanece especialmente atento a
las novedades. En aquellos tiempos habia un enorme interes
por una casa de te japonesa reconstruida en el Museo
Etnogratico de Estocolmo (actualmente el Museo de los Pue-
blos). Esta experiencia sirvio para que los arquitectos y los
artesanos reflexionaran y les praporciono una buena base para
su prapio trabajo creativo: segun la sensibilidad, los visitantes
apreciaban el valor del diseno de conjunto, el tratamiento de
los materiales, la estructuracion modular y la evolucion de la
tradicion. Estas vivencias contenian muchos factores de iden-
tificacion. Los libras ya citados acerca de viviendas japonesas
podian dar cuenta de la relacion entre el interior y el exterior,
de la relacion entre la casa y el jardin, entre la casa y la natura-
leza no domesticada. Tambien aqui la identificacion praporcio-
naba la posibilidad de un reconoclmlento mas amplio.
"
:0;. '.~
. ~ ..... ,;' , .. --
,~. .
.... .
:-- ~..
- - -...
~
was a beautiful buoy. All of the completed elements, Including
the Bellevue theatre 11933-19371, a restaurant capable of
seating several hundred people, the Bellavlsta complex 11933-
1934), In which every apartment had a balcony with a view of
the sea, and the Mattson riding school 11930), of reinforced
concrete with a barrel-vaulted roof, were laid out here as
parts of a total deSign, contrasted with the natural landscape.
All of the details were deSigned by the architect.
Various enthusiastic contemporary observers compared the
appearance of this white summer city with the human body.
It was the American LeWIS Mumford (The Culture of Cities,
1938), then at the M.l.T. and extremely popular In Scandinavia,
who cOined the expression "the blotechnlcal age". And If the
motorway was the pulsing artery of life, the petrol station
that Arne Jacobsen bUilt In 1937 on the side of the new beach
road was the blood bank, and the construction of buildings
for residential, work and leisure uses can be regarded as the
biotopes of the human being, regulating light, air and hygiene
according to the physical needs of the users.
But the white City was not greeted With enthusiasm by everyone.\
Many people wanted the new facilities to return to the Old Inn
style, and fiercely critical letters were published In the local
papers, attacking the barren, sterile enVIronment With ItS blinding
white walls, ItS diSOrienting asymmetry, and ItS restaurant that
held too many people. The lack of secluded corners where
couples could kiSS and cuddle was Instrumental In the economic
failure which soon overtook the complex. At the same time,
however, the fact that the new pace of life brought more nOise
with the increase In traffic, and that cars ran people down on-
their way to the beach occasioned no complaints.
Jacobsen's own summer house 11938), in Gudmlndrup, Lyng,
the chalet In KongehoJen or the fish-smoking plant In Odden
11943) are amongst the last of the white monuments that
stood out In contrast to the landscape. Contrast had exhausted
Itself as a resource. White walls are richer In nuances under a
strong sun and In the clear shadows of the Mediterranean.
Here In Denmark, with the sun at a low altitude, the shadows
are opaque black and the clean white walls are hard and cold.
There are not enough possibilities for variation.
When he was asked If he was gOing to change hiS style (March
1935), Arne Jacobsen replied, "A style is not changed In one
or two years, but It seems to me that those qualities which
have some permanent value are being extracted from
functionalism, so that the movement is gradually turning
towards a more raltonal style, free from the uniformity of
functionalism'.
In the climatiC conditions of northern Europe, without great
sudden changes but rich In nuances, what was called for was
a more organic, less abstract modern architecture: the choice
thus lay between seeking domination over the landscape or
Integration with nature.

Arne Jacobsen se interesaba por el arte del cine: tenia bue-
nos conocimientos de este medio y estaba al dia en cuanto a
las ultimas tecnicas y trucos. EI mismo realizaba peliculas y
participo en una semana dedicada al cine en la Union Sovie-
tica en 1935. EI arte del cine ampliaba el concepto de espa-
cio de muchos arquitectos que intentaron plasmarlo en el
diseno de nuevos cinematografos. EI teatro de Bellevue de
Jacobsen, interesado en el cine y el teatro, era organico,
tanto espacial como tactilmente. Todo el mundo estaba de
acuerdo en que Arne Jacobsen, en el fondo, no era un teori-
co, sino que el mismo constituia una teoria y que su persona-
lidad se evidenciaba en todo 10 que creaba. Sus teorias se
basaban en sus propias impresiones sensoriales, sin pala-
bras. EI resultado de su trabajo era arte sin palabras, creado
por una necesidad interior.
Durante la guerra la construccion estaba practicamente pa-
rada debido a la escasez de materiales. EI tiempo de los
arquitectos se destinaba a participar en concursos -que nunca
se realizaban- y las pocas obras que obtenian autorizacion
para ser construidas se solucionaban con los materiales que
se tenian al alcance, como ceramica, hormigon aligerado y
madera. La arquitectura tradicional japonesa se convirtio en la
catalizadora. Sobre todo el palacio imperial de verano en
Kioto (1589-1643) servia de inspiracion. Para muchos repre-
sento todo un descubrimiento y fue una influencia decisiva
para el programa de la escuela de Klint asi como de su volun-
tad perfeccionista. A partir de la casa del te de Estocolmo y
de los muchos libros ilustrados sobre el Japon, publicados
en los anos cincuenta, los arquitectos ampliaban sus conoci-
mientos y se basaban en los pilares establecidos por Bruno
Taut y Tetsuro Yoshida. Se pulia la madera, segun el tipo,
para obtener una superficie mate sedosa. Se detestaban las
referencias orientales pintadas aloleo por Carl Petersen. Co-
lor al oleo y lustre ya no eran "acabados validos en la cons-
truccion". Armarios empotrados de maderas nobles recubren
paredes enteras y el tratamiento de la superficie acentua su
caracter. Puertas correderas conectan la sala de estar con
el jardin. En el exterior la maleza de bambu cimbrea cada dia
de sus cincuenta anos de vida mientras unas plantaciones
artisticas cambian de colorido segun la estacion del ano.
Todo esto se convirtio en una de las especialidades de Arne
Jacobsen. En el arte de la jardineria estaba secunda do por
su jardinero Christian Petersen, que conocia las condiciones
de vida de las plantas y cultivaba el arte de la jardineria japo-
nesa. EI reto de la lIustracion de ir en busca de conocimien-
tos habia conducido a los europeos a todos los rincones del
mundo. Los recursos personales encontraban una nueva ins-
piracion, no en la imitacion sino en la ampliacion de una idea
arquitectonica existente.
EI camino hacia Japon pasaba por Frank Lloyd Wright y
California, donde la nueva generacion buscaba elegantes ca-
sas unifamiliares en una unica planta, la tradicion Bay-Region y
la sencilla arquitectura de William Wurster. Mies van der Rohe
y Walter Gropius, y muchos otros del viejo mundo, ya se en-
contraban en aquella epoca muy bien establecidos en el pais
del progreso. Lo que se apreciaba entonces era una arquitec-
tura internacional pero, ademas, observaron matices regiona-
les segun las condiciones climaticas y el uso de materiales. En
1953 Walter Gropius escribio: "Quisiera sacarme de enci-
ma, como minimo, una de las etiquetas enganosas con las
que se nos identifica a mi y a otros. No existe algo como el
'Estilo Internacional', a no ser que se quiera hablar de una
determinada realizacion tecnica de nuestra epoca y que per-
tenece al bagaje intelectual de cualquier nacion civilizada".
Introduccion IntroductIon 2G
4. Architecture, landscape and flowers
During his years In exile in Sweden (1943-1945), Arne
Jacobsen devoted himself to designing fabncs and carpets.
Curtains and rugs with floral patterns were very popular. As a
boy, at school in Naerum, he had made a little money from
hiS paintings of wild flowers; now he was earning his daily
bread from his textile deSigns, SIX of which were purchased
by the National Museum In Stockholm. Jacobsen's work
received the highest praise, and the finished products sold
well; he was to carryon working in the field of decorative
fabncs on hiS return to Denmark, producing both naturalistic
and abstract deSigns.
Dunng his penod in Sweden, Jacobsen received only one
,commission as an architect, for a summer house - In Arild,
close to the 0resund - for a Danish client. The form, and
Indeed the whole house, are adapted organically to the natural
setting, on a sloping site of Swedish granite. Geologically,
Denmark IS formed of sand and clay, but Sweden IS very
different. The bedrock beneath the forest floor and the great
reef that runs the length of the coast are of granite, and thus
provided Jacobsen with new impreSSions of space and colour;
a refugee in exile In a strange land IS always especially attentive
to all that IS new. At that time, tremendous Interest was being
aroused by the reconstruction of a Japanese tea house In the
Ethnographic Museum In Stockholm (now known as the
Museum of the Peoples). Experience of this tea room gave
architects and craftsmen much matter for reflection and a
basis for their own creative design work; visitors might
appreciate In particular the overall design, the handling of the
materials, the modular structure or the evolution of a tradition,
according to their own individual sensibility. The expenence
also contained a number of elements of identification; the
books on the Japanese house referred to above had already /
drawn attention to factors such as the relationship between
interior and extenor, the relationship between house and
garden and between house and undomesticated nature. Here,
too, identification served as the basis for a fuller appreciation.
Arne Jacobsen was keenly interested In the cinema: he had a
detailed knowledge of the medium, and kept up to date with
the latest techniques and tricks, He also made films himself,
and took an active part in a week-long festival devoted to Soviet
film in 1935. The art of the cinema expanded the conception
of space of many architects, who sought to reflect this In the
design of cinema foyers. The Bellevue theatre deSigned by
Jacobsen, as a lover of cinema and theatre, was organic In its
spatial and tactile values. There seems to be universal
agreement that Arne Jacobsen was not, at bottom, a theorist,
but the living embodiment of a theory, and that his character
manifested itself in everything he produced. All of his "theories"
were based on his own sensory impressions, unmediated by
words. The outcome, the result of his working process, was
an art without words forged out of an inner necessity.
Throughout the war years construction was at a virtual
standstill due to the shortage of materials. Architects spent
their time deSigning competition projects that would never
be built, and the few works that were authOrIZed for
construction had to be executed uSing whatever matenals
were to hand, such as tiles, lightweight concrete and wood.
Traditional Japanese architecture thus came to act as a
catalyst. Above all, the imperial summer palace in Kyoto (1589-
1643) was a direct source of inspiration. This came as a
revelation to many, and was a radically deciSive Influence on
the teaching of Klint and hiS spirit of perfectionism. The tea
house in Stockholm and the numerous Illustrated books on,
11
2G IntroduCClon Introduction
La Escuela de Copenhague siempre ha enseiiado a proyectar
en ellugar. Para cada problema planteado los alumnos, debe·
rian conocer las condiciones climaticas y geologicas, las cos·
tumbres del cliente y las limitaciones economic as.
5. Paisaje y plantas verdes
Las experiencias con la naturaleza estan presentes en el arte
plastico y en la poesia, pero tambien en la arquitectura cuan·
do los conocimientos del arquitecto se basan en impresio·
nes sensoriales y en las experiencias de la vida. Los colabo·
radores del estudio de Jacobsen comentan el proceso hacia
el resultado final. Jacobsen trabajaba de forma intuitiva. En el
origen de un proyecto parecia que estuviera investigando y
meditando con una cierta inseguridad en si mismo. "Estaba
abierto a todas las posibilidades iniciales" (Teit Weitland). "Su
metodo de trabajo podia variar bastante. Recuerdo cuando
teniamos que bosquejar un proyecto para Herrenhausen: un
estrado para una orquesta y un restaurante. Entro en el estu·
dio con una hoja de papel, la levanto y dijo que ese era el
aspecto que debe ria tener el proyecto. Un buen ejemplo de
como, a veces, podia pensar y captar Ideas" (Otto Weitling).
"Por encima de todo Arne era un hombre practico. No era un
teorico. No habia reglas escritas ni ideas a seguir. Si habia,
por supuesto, un cierto espiritu entre los empleados, pero
se manifestaba mas bien como un metodo de trabajo que
Viviendas Soholm I.
Klampenborg, 1950.
Housing Soholm I.
Klampenbor&, 1950.
como una filosofia" (Hans Dissing). (Citas de Arne Jacobsen,
Architect & Designer. DOC, Copenhaguel.
Las cinco casas en hilera (S0holm-e1 Rincon de Bellevue en
Klampenborg) quedaron acabadas en 1952. Arne Jacobsen
se mudo a la casa orientada hacia 0resund. En los aiios cin·
cuenta los obreros tenian los conocimientos necesarios y los
trabajos de carpinteria se realizaban in situ. La prefabricacion,
contratacion completa y los autocraticos estudios econom"
cos de rentabilidad, todavia se encontraban en fase inicial.
Tenia prioridad el bienestar del hombre. La armonia y la cal"
dad artesanal constituian el objetivo de los arquitectos y era el
orgullo de los artesanos. Con las casas de S0holm los con-
12
Japan published In the 50s contributed to Increasing the level
of Interest and awareness, bUilding on the foundations laid by
Bruno Taut and Tetsuro Yoshida . For example, wood was
polished to give a silky matt finish, while the Orlentalist allusions
painted In oils by Carl Petersen were relected out of hand: 011
paint and lacquer were no longer conSidered "valid finishes In
construction". Fitted wardrobes of fine hardwoods were
extended across entire walls, and the treatment of the finish
accentuated the effect. Sliding doors opened up the living
room to the garden. OutSide the house, the bamboo thicket
swayed In the wind throughout ItS 50·year lifetime, and the
plants artistically arranged In groups changed their colours
With the season. Such elements came to be one of Arne
Jacobsen's specialities. In the art of landscaping he was ably
assisted by the gardener Christian Petersen, who had
extensive knowledge of plants and their requirements and
himself cultivated the art of Japanese gardening. The
Enlightened commitment to the pursUit of knowledge had
taken Europeans all over the world . Individual repertoires and
resources found a new source of inspiration not In Imitation
but In the widening out of an eXisting architectural Idea.
The road to Japan went by way of Frank Lloyd Wright and
California, where clients of the younger generation were
looking for elegant slngle·storey houses, In line With the Bay
Region tradition and the Simple architecture of William W.
Wurster. Mles van der Rohe, Walter Gropius and many others
from the Old Continent were by thiS time well established In
the USA, the Land of Progress. What was wanted, then, was
an International architecture that nevertheless reflected
regional nuances associated With the speCifiCS of climate and
the handling of materials.
In 1953, Walter Groplus wrote: "I would like to get rid of at
least one misleading label which is used to Identify me and /
others. There IS no such thing as the 'International Style', unless
It is a matter of a speCific technical realization of our age which
is part of the Intellectual baggage of every CIVilized nation".
The Copenhagen School of Architecture has always insisted
on the need to deSign on the site. For each design problem,
the students were expected to have a thorough understanding
of the climatic and geological conditions, the way of life of
the client and the constraints of the budget.
5. Landscape and plants
Experiences of nature are Significantly present in Visual art
and In poetry, and also in architecture when the architecrs
deSign approach is based on sensory Impressions and lived
personal experience. The people who worked in Jacobsen's
studiO have left valuable testimony to the process that led
him to the finished result. He worked IntUitively, and at the
start of a prolect It might seem as If he were engaged In
research and meditation, and by no means sure of himself.
"He was open to every Initial pOSSibility" (Telt Weltland); "HIS
working method could vary a great deal. I remember when
we had to sketch out a scheme for Herrenhausen: a stage
for an orchestra and a restaurant. He came into the studio
with a sheet of paper, held It up and said that this was what
the prolect ought to look like. A good example of the way he
could think and come up With Ideas at such times" (Otto
Weltling); "Above all else Arne was a practical man. He was
not a theOriSt. He had no written rules or concepts to follow.
There was, of course, a certain SPIrit that linked everyone In
the StUdiO, but this manifested Itself more as a way of working
than as a philosophy" (Hans Dlssing). (Quoted from Arne
Jacobsen, Architect & DeSigner, DOC, Copenhagen.)

trastes de la ciudad blanca vecina frente a 0resund pertene-
cian al pasado. Elegia los ladrillos amarillos relativamente pa-
rosos que con el tiempo adquirian una patina gris. Los tejados
son grises y la carpinteria blanca. La casa se habia construido
pensando en el entorno y se mezclaba con los colores de la
naturaleza. Desde las habitaciones de la primera planta se
tenia una vista hacla 0resund y hacia el jardin de unos 300 m' .
Tupidamente plantado con una surtida variedad vegetal que
cambiaba de color segun el tiempo y la estacion del ano. "No
era tanto la abundancia de flores 10 que interesaba sino los
matices verdes", conto su jardinero. Encargo varias especies
de bambu y experimento con vegetacion baja que crecia entre
las baldosas del suelo. EI jardin era una fuente de colorido,
parecido a la -para el tan necesaria- acuarela. Se sustituian
unas plantas por otras. AI fondo estaba el mar donde se rna-
vian barcos y pajaros en la niebla sin horizonte, al igual que los
aviones volando desde y hacia el aeropuerto.
Quizas esta expenencla Ie diera la idea de crear la mlsma
sensacion de Ingravidez para el edificio SAS, cuyas 22 plan-
tas se erigen, desde la calle. sobre el invisible soporte. La
division entre antepecho y ventana enmarca las lammas
acristaladas de la fachada que son. por deseo expreso de
Jacobsen. "10 mas delgadas posibles, y jamas colocadas en
el centro". EI color es gris verdoso al igual que la hierba de la
playa. y cambia de matiz segun la luz y la humedad atmosfe-
rica. EI edificio se ha construido adentrandose en la atmosfe-
ra y se erige como un gesto en el paisaje urbanistico. En el
vestibulo del hotel las paredes estan revestidas con paneles
de madera de wengue (marron con vetas negras). EI suelo
es de marmol gris y el techo oscuro de color gns verdoso
cuenta con pequenas lamparas empotradas que se pueden
asociar tanto a un clelo estrellado como a una pista de aterri-
zaje. Sentados en una de las butacas en forma de huevo.
sobre la alfombra a rayas. tam bien los huespedes sienten
una cierta mgravidez. Todos los ruidos estaban amortlgua-
dos. Las sensaciones aeronauticas se perciben en esta area.
EI arquitecto ha disenado todo el edificio. la porcelana y la
cuberteria del restaur ante. los muebles. los accesorios del
alumbrado. todo. Nada era Old Inn ni estilo presidencial. Los
materiales eran madera noble. marmol negro 0 gris. cuero y
tejidos de alta calidad especialmente disenados para la oca-
sian. Cada objeto habia sido seleccionado despues de un lar-
go proceso de trabajo. Desde el vestibulo los huespedes te-
nian acceso al jardin de las orquideas. un espacio a doble
altura con luz cenital: en un clima tropical. entre altas paredes
de vidrio. con diferentes orquideas colgando de sus biotopos
especificos. EI hotel SAS fue acabado en 1961 y fue califica-
do por la prensa como el edificio mas feo de Copenhague al
Igual que muchos de los mejores proyectos de Jacobsen. EI
rechazo de la gente siempre resulta el mejor elogio.
EI jardin de las orquideas ya no existe y el resto del hotel ha
sido destrozado. Los muebles han sido sustituidos por ar·
ticulos de saldo. el porte de los colores ha sido quebrantado
y las exigencias cualificativas mermadas.
Arne Jacobsen tenia un control completo tanto de la produc-
cion como de los medios. Para los sillones Cisne. Huevo y
otros en forma de fuente Jacobsen desarrollaba una nueva
tecnica. una imitacion libre del sillon de Charles Eames. No
los disenaba SinO que trabajaba con maquetas hasta conse·
guir la forma correcta. "Primero se debe desarrollar una tec-
nica infalible y luego dedicarse al cosido de la inspiracion".
es el consejo de un viejo maestro de Zen a quien cito Walter
Gropius (Japan. Land der Architektur. 1954). "Yo mismo es-
tuve realizando maquetas durante un ano con el fin de conse-
IntrodUCClon Introduction 2G
The first group of five terraced houses at S0holm - the
Bellevue Corner in Klampenborg - was completed in 1952.
and Arne Jacobsen moved Into the house onented towards
the 0resund. The construction workers of the 50s were skilled
craftsmen. and the carpentry detailing was all carned out In
situ. Prefabncatlon. total contractmg and the autocratic
profitability study were then only In their Infancy. and people's
well-being was stili the prlOnty. Harmony and the quality of
the finishing were the objective of the architect and the pnde
of the craftsman. With the S0holm houses. the contrasts of
the nearby white city on the shores of the 0resund were a
thing of the past. At S0holm. Jacobsen used a slightly porous
yellOWish bnck. that would develop a grey patma over time.
Jhe roofs are grey and the carpentry work white. The houses
were deSigned and bUilt With the setting very much In mmd.
and chromatically they blended With the colours of nature.
The rooms on the first floor had views of the 0resund. and
overlooked the 300 m2 garden. densely planted With a nch
vanety of plants whose colours changed With the seasons.
As Jacobsen's gardener observed. It was not so much an
abundance of flowers that was of Interest. but the subtle
range of shades of green. The architect ordered several
different species of bamboo. and expenmented With low-
growing vegetation that would be sown between the pavmg
flags. The garden was a constant source of colour.
something like the watercolour palntmg that was so vitally
Important to Jacobsen. and he kept on changmg It. taking
out old plants and trymg new ones m their place. For
backdrop there was the sea, with boats and seabirds movmg
In the honzonless mist. as well as planes on their way Into
and out of the airport.
Perhaps thiS expenence gave him the Idea of bestowing the
same weightlessness on the SAS/Royal Hotel bUilding. With
ItS 22 Iloors nSlng up from the street on their InVISible support.
"
The separation between piers and Window served to frame
the glazed planes of the facade. which on Jacobsen's express
Instructions were to be "as thm as pOSSible. and never placed
In the centre". The extenor was a greeny grey. like the grass
of the dunes. ItS tonal quality shifting m response to the light
and the atmosphenc humidity. The bUilding was. in effect.
designed to constitute an element of the atmosphere. standing
out as a point of emphaSIS In the urban landscape. The walls
of the hotel vestibule were clad With panels of wengue wood
(brown With a black grain). The floor was of grey marble. and
the dark ceiling was a greeny grey colour. dotted With small
recessed lights that suggested both a starry sky and an airport
runway at night. And the guests. too. slttmg In the egg-shaped
armchairS on the stnped carpet. expenenced a certam
sensation of weightlessness. Here. In thiS lounge space. every
sound was deadened; the terminal area effectively conveyed
the sense of air travel.
Jacobsen personally deSigned the entire bUilding. down to
the tableware and cutlery In the restaurant. the furniture. the
light flttmgs. everything. Nothing was in the Old Inn style or
the PreSidential style. The matenals used were fine hardwood.
black and grey marble. leather and high-quality fabrics
deSigned espeCially for the bUilding. With the greatest care
being devoted to the selection of each piece. The vestibule
led In to the orchid garden. ThiS was a double-height space
With glass walls. lit from above. malntamed as a tropical
climate With different species of orchid. each growing In ItS
own speCial biotope_ The SAS/Royal Hotel bUlldmg was
completed m 1961. and was declared In the Danish press to
be the ugliest bUilding In Copenhagen; Similar verdicts were.,
13
2G IntroduccI6n Introduction
guir 'Ia linea de corte' la cual determina si la linea lateral es
satisfactoria y si se encuentra descanso en el sillon. Una vez
alcanzada la linea de corte, siempre se puede arreglar el
aspecto del sillon de acuerdo can el concepto personal de 10
que es bonito. Pero en primer lugar investigaba las posibili-
dades tecnicas", decia Arne Jacobsen acerca de la silla Hor-
miga para la cantina de la fabric a N0VO (1952). De la misma
manera se realizaron las sillas para el hotel SAS. Su linea de
asiento es la acertada para cualquier espalda.
La escuela de Munkeg~rds, Vangedevej 178, construida en
1954, mostraba un nuevo tipo de planta donde las aulas es-
tan orientadas hacia patios can voluntad de atria. A la escue-
la habia que darle una proporcion humana y una atmosfera
calurosa e intima. Los alum nos debiaQ estar a gusto en sus
obligaciones escolares. Mesas y sillas can estructura de tuba
de acero, madera curvada al vapor y pintada de verde mate
sedoso. Cada uno de los cinco carre dares de conexion te-
nian un color diferente. Las aulas no se estorbaban entre si.
Si el tiempo 10 permitia pod ian utilizar el patio-jardin. La sos-
pecha de que el municipio hubiera excedido el limite de la
frugalidad danesa para caer en el puro lujo, era manifestado
par la prensa. ,Como concebirian la vlvienda de los padres
cuando volvieran a casa desde esa lujosa escuela? La critica
positiva admiraba a Jacobsen par su capacidad al realizar
sus ideas en un pais donde unicamente los compromisos y
los criterios a medias permiten la realizacion de un proyecto.
EI hecho de que solo unos pocos arquitectos lIegaran a for-
malizar las ideas iniciales hizo que todo el mundo se pregun-
tara como conseguia convencer a los clientes, a las autori-
dades, a los tecnicos, para construir las casas tal y como las
habia previsto. Todas las entrevistas can las partes afecta-
das despues de su muerte tratan de aclarar este misterio.
Los nuevas materiales y, en especial, las nuevas construc-
ciones se hacen rapidamente internacionales. EEUU suminis-
traba el muro cortina y nuevas esqueletos de hormigon. EI
edificio SAS se in spira en el Lever House de Nueva York (SaM,
1952), y el ayuntamiento de R0dovre en el Technical Center de
la GM en Warren (Eero Saarinen 1949-1955). EI edificio
Dos vistas de los alios sesenta
del edificio SAS
correspondientes al cuerpo
principal del edificio
y al vestibulo del hotel.
Two views of the SAS buildina:
in the 1960s; the main volume
of the buildina: and the hotel
vestibule.
14
passed on some of Jacobsen's other projects. Popular relection
IS always the highest eulogy.
The orchid garden no longer eXists, and the hotel part of the
complex has Since been demolished. The anginal furniture has
been replaced With Infenor mass-produced pieces, the colour
scheme has been ruined and all of the qualrtabve values degraded.
Arne Jacobsen was given complete control over every aspect
of the deSign and construction. He developed a new process
for the production of the chairS -the Swan, the Egg and those
In the shape of a fountain, a free Interpretation of a deSign by
Charles Eames. He not only deSigned these chairS, he worked
on successive models until he felt he had arrived at the right
form . "It IS first necessary to develop an Infallible technique,
and then devote oneself to the needlework of the InSpiration."
In the words of an old Zen master quoted by Walter Groplus
(Japan, land der Arch/tektur, 1954). "I personally spent a year
modelling In order to arrive at the 'cut-off line' which determines
whether the lateral section IS satisfactory and If the chair IS
comfortable to Sit on. Once you have arrived at the cut-off hne
you can always modify the appearance of the chair accordIng
to what you think looks good. But the first thing IS to explore
the technical possibilities", Arne Jacobsen remarked about hiS
Ant chair for the canteen of hIS new N0VO factory (1952). He
adopted the same approach when he came to deSIgn the chairS
for the SAS/Royal Hotel building. The line of the seat IS perfectly
sUited to any back.
The Munkeg~rds School, at Vangedevej 178, constructed In
the mid-50s, featured a new type of floor plan In which the
classrooms open onto atnum-I/ke courtyards. A school must
have a human scale and proportions, and a warm and Intimate
atmosphere. The pupils need to be provided With the nght
conditions In which to learn. The desks and chairS here have
a tubular steel structure, and the wooden elements are steamt'
moulded and stained a Silky matt green. Each of the five
distribution COrridors was painted a different colour. The
classes did not encroach on one each other's space, and
when the weather was fine they had the use of the courtyard·
garden. A susp,c,on that the local authOrity had overstepped
the bounds of Danish frugality and Indulged themselves In
extravagant excesses was VOiced In the press. How would
these children view the family dwelling when they came home
from thiS lUXUriOUs school? However, the positive CritiCS
praised Jacobsen for haVing managed to carry through hiS
Ideas In a country In which proJects could only get bUilt on the
baSIS of compromIses and half measures.
The fact that so few architects manage to give form to their
Initial ideas prompted people to ask how Jacobsen managed
to convince clients, planning authOritIes, engineers and
bUilders to construct hiS houses Just as he had deSigned them.
After Jacobsen's death, all of the Interviews With people who
had worked WIth him attempted to throw light on thiS mystery.
New matenals and, In particular, new bUildings rapidly become
International. The USA supplied the curtain wall and new
concrete frames. The SAS/Royal Hotel building draws ItS
·,nsplratlon from the Lever BUilding In New York (SaM, 1952),
and the town hall In R0dovre from the GM Technical Center In
Warren, Mich. (Eero Saannen, 1949-1955), No doubt the
Jespersen Offices at Nyropsgade 18, dating from 1953-1955,
could also be traced to a source of inspiration. It IS worth
noting that In each of these three buildings, the curtain walliS
handled differently, as are the facades. In each case, hundreds
of sketches of the elevatIons were done before Jacobsen
was satisfied With the dlstnbutlon of the austere profIle. The
Importance of the facade and the siting of the bUilding

de oficinas Jespersen, Nyraspgade 18, es de 1953-1955 y
seguramente tambien tenga una fuente de inspiracion. Es
importante senalar que estos tres muras cortina son diferen-
tes, al igual que sus fachadas. Para cada proyecto se dibuja-
ban cientos de bocetos de los alzados antes de que Jacobsen
quedara satisfecho de la distribucion del escueto perfilado.
La Importancia de la fachada y la ubicacion del edificio condi-
cionan su proporcion y su colorido. EI arquitecto tambien
seleccionaba la vegetacion del interior. Queria asegurarse
de que estuvieran en consonancia con los colores grises,
verdes y azules de las paredes.
Cada nuevo encargo implicaba realizar un estudio del empla-
zamiento y de su entorno. Cuando Jacobsen regreso de su
primer viaje a Oxford, traia consigo estudios y fotografias de
los alrededores, de los viejos edificios destinados a colegio
mayor, del emplazamiento concreto. Seguramente habia ob-
servado que la hierba era mas verde que en Dinamarca, y que
la nlebla y la bruma tambien eran diferentes. Tambien en Oxford
conseguiria convencer a sus clientes de cuan maravillosas eran
sus ideas. St. Catherine's College fue acabado en 1963.
Arne Jacobsen siempre construia para ellugar especifico. Si
comparamos sus edificios en Dinamarca, Alemania e Inglate-
rra, observaremos que todos ellos estan realizados en con-
sonancia con la atmosfera del lugar sin perder el rasgo ca-
racteristico del arquitecto.
Aunque la arquitectura sea un arte aplicada y cada obra per-
tenezca a un lugar concreto, podemos comparar a Arne
Jacobsen con el escultor danes de la epoca clasicista Bertel
Thorvaldsen. Si veia una hermosa escultura de su rival Anto-
niO Canova, pensaba que el podia hacerlo mejor; a pesar de
que ambos eran humildes reconocian 10 sublime. Las esta-
tuas de Thorvaldsen respiraban armonia intern a y fuerza
mental. La luz resbalaba por la superficie de marmol al igual
que se acaricia la seda mas suave.
Arne Jacobsen no era teo rico, no hablaba mucho de sus
obras, pera captaba todos los elementos que necesitaba de
los seres humanos y de la naturaleza. Si mencionaba algo
todos recordaban sus palabras. Vivia con el arte de su epo-
ca. Comenzo sus estudios como nino prodigio en la Acade-
mia de Arte. Alcanzo autoridad con los anos y fallecio subita-
mente por causa de un para cardiaco.
Sus obras lIevan su sello personal, la de una "idea noble de
sllenciosa grandeza". De esta manera todo quedaba como
estaba, solo que en otro tiempo.
Introducclon Introduction 2G
effectively determined Its proportion and its coloration. The
architect also chose the plants for the interior, anxious to
ensure that these were in consonance With the greys, greens
or blues of the walls.
Each new commission thus Involved a study of the site and
the surroundings. When Jacobsen returned from hiS first triP
to Oxford, he brought back studies and photographs of the
area, of the old college bUildings, of the specific location. He
would of course have noticed that the grass there was greener
than In Denmark, and that the fog and mist were also different.
And of course in Oxford, too, he managed to convince the
clients that his ideas were the best. St Catherine's College
was completed in 1963.
Arne Jacobsen always built for the specific Individual site. If we
compare his buildings in Denmark, Germany and England ,
we find that all of these were created in consonance with the
atmosphere of the setting, Without sacrificing anything of
the architecfs own individual character.
Although architecture IS an applied art, each work belonging
to a particular site, it is interesting to compare Arne Jacobsen
and the Danish Neoclassical sculptor Bertel Thorvaldsen. If
Thorvaldsen saw a fine sculpture by hiS great rival, Antonio
Canova, his reaction was to feel that he was not good enough,
that he needed to do better. Both Thorvaldsen and Jacobsen
were humble men, yet both recognized the sublime.
Thorvaldsen 's sculptures exhibit an Inner harmony and
intellectual strength; the light caresses the surface of the
marble as If It were the smoothest Silk. Arne Jacobsen was
not a theorist. He did not talk about his work very much, but
he absorbed all of the elements he needed from other human
beings and from nature. When he did make an observation,
everyone who heard him remembered his words. H; was at
one with the art of his time. He commenced hiS student career
at the Academy of Art. He put on weight as he grew older,
and he died suddenly of heart failure.
Each of hiS works bears hiS own personal stamp, which ' is
that of a "noble Idea of silent grandeur". In this way everything
remained as it was, but in another time.
15
2G Obras y proyectos Works and projects
Stelling Hus, Copen hague
Stelling Hus, Copenhagen
EmpJazamlento Site
Copenhague Copenhagen
ProyectoyConstrucclon
Design and Construction
1934-1937
Fotografias Photography
Vagn Guldbrandsen A-S
18
En 1934 Arne Jacobsen realiza , la primera propuesta
para la construccion de un edificio en el casco historico de
Copenhague: el edificio Stelling.
Los estudios iniciales parten de un edificio en la esquina don-
de se construyo definitivamente pero en un solar mas peque-
no. Par necesidades del programa que necesitaba el cliente,
y ante la limitacion fisica del solar inicial, Jacobsen contem-
pia la posibilidad de construir en la esquina opuesta, la de
Gamel Torv can Norregade.
AI poderse ampliar la superficie del primer solar, se aborda
la solucion definitiva.
EI edificio se entiende como un claro ejercicio de moderni-
dad. Poco tiempo antes Jacobsen habia realizado la amplia-
cion de la fabrica N0VO. En ella, el nuevo lenguaje funcionalista
que estaba arraigando en el entorno nordico se exterioriza
en la piel curva en que se formaliza la fachada.
EI edificio Stelling sigue el mismo camino de equilibria entre
tradicion y modernidad. Tradicion en cuanto a proporcion y
sencillez; mode mid ad en su compromiso can el nuevo len-
guaje. Asi, el edificio de la plaza sirve de referencia en la
disposicion tripartita de la propuesta, en un ejercicio de con-
traste-continuidad: la pesadez de la piedra opaca contrasta
can la ligereza de la superfi cie transparente de la tienda, el
material mate can el de piezas ceramicas. Se mantiene
el concepto clasico de un basamento, un homogeneo cuer-
In 1934 Arne Jacobsen produced his first proposal for
the construction of a bUilding In the historic centre of
Copenhagen: the Stelling bUilding.
The Inlbal studies start from the Idea of a building on the
corner on which construction was subsequently carried out,
although the plot was smaller. The demands of the programme
called for by the client and the physical limitations of the ori-
ginal site then prompted Jacobsen to consider building on
the opposite corner, at the lunctlon of Gamel Torv ilnd
Norregade. When the area of the first site was Increased, the
deflnlbve scheme took form.
The bUilding asks to be understood as a clear exercise 10
modernity. A short bme before, Jacobsen had completed an
extension to the N0VO factory; there, the new funcbonalist
language that was takIOg root In the Nordic countries IS
exteriorized In the curving skin that defineS the facade.
The Stelling bUilding follows the same path of balance between
tradition and modernity: tradition In terms of proportion and
simplicity; modernity in the commitment to the new language.
Thus the building on the square serves as a reference for the
tripartite layout of the proposal in an exerCise of contrast-
continUity: the weight of the opaque stone contrasts with the
lightness of the transparent surface of the shop; the matt
material with the pieces of ceramic cladding. The classical
concept of the pllOth, the homogeneous middle section and

po medio y un ausente entablamento. La fachada se do-
bla introduclendo la fachada de la calle en la plaza, elu-
dlendo el camblo de plano que representaria una esqui-
na. La ventana cuadrada se repite sistem<iticamente e
mdiferente a la curvatura.
La normatlva oblig6 a que el edificio se separase del limite
de la parcela en la calle Skindergade. Este hecho deja par-
clalmente al descublerto la medianera del edificio vecino
desde la calle y permlte al arquitecto eludir el posible contlic-
to del orden compositivo de la fachada. Esta nace desde la
calle, articulando el encuentro con el muro abstracto me-
diante tres ligeros balcones.
Dbr.s y proyectos Wor~ and or 2G
Ie abse'lt eetablature IS retained throughout The facade IS
Iided to Introduce the street frontage to the square, avoiding
e change of plane thai a orner would have Inv0lved. The
qC3re Window IS repeated systematically, Indifferent to the
urvature.
BUilding regclatlons required a separation from the boundary
the plot on Sklndergade. ThiS CIrcumstance left the party
wal of the neighbouring bUilding partially exposed to the street.
enabling the architect to aVOid a possible contl,ct In the
om positional order of the facade. That commences on the
street, articulating the meeting with the abstract wall by means
of three lightweight balconies,

Emplazamiento y vista
del edificio con el nuevo
lenguaje funcionalista.

Site plan and view of the

building with its new
functionalist langu3ee

19
2G Obras y proyectos Works and projects

7L r-1JI
.lff" .
.
r
'"
~
Las plantas, seccion y
perspectiva, junto con la vista
exterior, muestran el edfficio
entre tradicion y modemidad.

The plans, section and a

perspective, to&ether with
the exterior view, show the
balance between tradition
and modernity.

dC B~-~ -'. --
1-
t-

•
/

20
Obras y proyectos Works and projects 2G

21
2G Obras y proyectos Wor~ md proJects.
 Obras y proyectos Work and project! 2G

Diversas vistas que muestran

el nuevo lenguaje utilizado:
en la fachada con fa piel curva
y en el diseiio de mobiliario
del interior.

Various views which show the

new lan&ua&e used on
the facade . with the curvina
skin . and in the design of
the interior furnishings.

2
2G Obras y proyectos Works and projects
Ayuntamiento de Aarhus
Aarhus City Hall
En el mes de abril de 1937 se convoca el concurso para
la realizacion del nuevo ayuntamie~to de la localidad de
Aarhus. EI resultado se hace publico en agosto del mismo
aiio. Los autores del proyecto seleccionado eran Arne
Jacobsen y Erik M011er. EI edificio fue inaugurado en agosto
de 1941.
La propuesta ganadora se compone de cuatro volumenes
maclados situados a 10 largo de la calle Park Aile. La combi·
nacion de estos elementos permite una disposicion asimetrica
dejando pnicticamente intacto el parque y los enormes arbo-
les que existian en la manzana de la intervencion.
EI cuerpo mas simbolico, el que contiene las estancias sign;'
ficativas y la entrada principal, remata el conjunto liberando
EmpJazamlento Site un espacio previo, sobreelevado, frente a la calle Sonder Aile.
Aarhus
Exteriormente el edificio muestra un gran reconocimiento a
Equlpo Team la obra de Asplund ya desde la fase del concurso: una piel
Arne Jacobsen
Erik MoUer aparece en un primer plano generando una reticula abstrac·
ta revocada de un color claro. EI hueco era completado por
Proyecto y ConstruCClon
Design and Construction una ventana cuadrada y un panel ligero de color oscuro. Fi·
1937-1941 nalmente se utilizo marmol gris de Porsgrunn en lugar del
Fotografias Photography revoco.
Jens lindhe Una de las premisas importantes del proyecto era la crea·
cion de grandes espacios que relacionasen el interior y la
naturaleza exterior, combinado con una jerarquizacion del
espacio tal y como preconizaba el neoclasicismo nordico.
En el interior se elude el cambio de plano. Los angulos son
redondeados, las paredes y los techos ligeramente curvados
dan una sensacion de ambiente continuo que envuelve al
visitante.
Los paneles de madera contrastan con la estructura blanca.
Ademas de su buena calidad acustica, su uso advierte una
voluntad de sintesis contrapuesta a los recargados interio-
res que se realizaban por aquel entonces en los edificios
publicos. Interiorizar el exterior mediante el uso de la made-
ra, de la piedra, delladrillo, indica una voluntad de aproxima·
cion a la naturaleza, al exterior.
En Aarhus casi todo es de madera: las paredes, el suelo, el
mobiliario, etc. EI re sto: pasamanos, barandillas, picaportes,
lamparas, son tam bien de una tonalidad calida que invita a
tocarlos. Lo tactil, el uso de materiales naturales, la delica·
deza en los detalles, son 10 suficientemente significativo s
como para ejemplarizar en este edificio la especial asimilacion
de la arquitectura moderna desde la optica escandinava.
24
In April 1937 the competition was announced for the
construction of a new City Hall for the town of Aarhus. The
result was declared in August of that year. The designers of
the selected project were Arne Jacobsen and Enk M0l1er. The
building was opened In August 1941.
The winning scheme is composed of four linked volumes
situated along Park Aile. The combination of these elements
allows for an asymmetrical layout, leaving virtually Intact the
park and the enormous trees in the block designated for
construclion.
The most symbolic volume, the one containing the most
important spaces and the main entrance, finishes off the
whole, liberating an existing raised space looking onto Sonder
Aile.
On the exterior the building manifests a great recognition of
Asplund's work, right from the compelition phase: a skin which
presents Itself in the foreground, generating an abstract
reticule With a light·toned cladding. The opening was
completed with a square Window and a lightweight dark·
coloured panel. In the end, grey Porsgrunn marble was used
instead of plaster.
One of the important premisses of the project was the creation
of large spaces to relate the interior and the natural
surroundings, in combination with a hierarchical ordering of
the space as ordained by Nordic Neo-classlclsm.
The abrupt change of plane IS avoided in the Interior. The
corners are rounded, and the slightly curving walls and ceilings
create the sensation of a continuous space that embraces
the visitor.
The wooden panels contrast with the white structure . In
addllion to their good acoustic qualities, their use reveals a
concern With synthesis, In opposition to the overelaborate
Interiors typical of public buildings of the lime. The Interiorizing
of the exterior by means of the use of wood , stone and brick
indicates a desire to come closer to nature , to the exterIOr.
In Aarhus, virtually everything is of wood: the walls, the floor,
the furniture, etc. The remaining elements -handrails ,
balustrades, door handles, lamps- are also of a tonal quality
that Invites us to touch them. The taclile, the use of natural
materials, the delicacy In the detailing, are all suffiCiently
Significant to exemplify In thi s bUilding the special asslmilalion
of modern architecture from the ScandinaVian perspective .
EI edificio con la torre del reloj .
The building with the clock
tower.
Obras y proyectos Works and projects 2G
2G Obras y proyectos Works and projects
Emplazamiento y detalle del
revestimiento petree
del edificio.

Site plan and detail of

the stone claddine
of the buildine.

26
Obras y proyectos Works and projects 2G

27
2G Obras y proyectos Works and projects

C J
28
 Obras y proyectos Works and projects 2G

Plantas y vistas deJ interior

con 105 angulos y techos
ligeramente curvados .

Plans and views of the interiors

with the sJi&hUy curving corners
and ceiling.

29
2G Obras y proyectos W(lr~ and proJect'
2G Obras y proyectos Works and projects

32
 Obras y proyectos Work and pro t< 2G

EI uso de materiales naturales

y la delicadeza en los detalles
muestran el equilibrio entre
la arquitectura modema
y la tradici6n escandinava.

The use of natural materials

. and the sensitivity of the
detailine reveal the equilibrium
between modern architecture
and the Scandinavian tradition.

33
2G Obras y proyectos Work~ and prOtects
Ayuntamiento de S0l1en~d
S011er0d City Hall
Arn e Jacobsen y Fleming Lassen ganaron el concurso
para el nuevo ayuntamiento de S011emd en el ano 1939. EI
conjunto contemplaba la reallzaci6n de un equipamiento que
consistia en el propio ayuntamiento, una biblioteca, un cine/
sala de actos y la vivienda para el responsable del manten~
miento.
De la propuesta sola mente se realiz6 el proyecto del ayunta-
miento. Posteriormente, en la dEkada de los sesenta, el edi·
ficio se ampli6 bajo las directrices de Fleming Lassen.
EI edificio realizado se situa en el cruce de las calles
S0l1er0dvej·Vangebovej con Kongevejen.
Se repiten muchas de las premisas utilizadas unos anos an·
tes en el ayuntamiento de Aarhus, aunque en S011emd la par·
Emplazamlento Ite te realizada fue fie I a las ideas iniciales.
Sollerod
EI proyecto se formaliza en la macla de dos paralelepipedos
EqUipo Te~m donde se situan los elementos de conexi6n vertical: escale·
Arne Jacobsen
Fleming lassen ra y ascensor. EI primero contiene las estancias mas sim·
b61icas mientras que el segundo se destina a las oficinas
Pmyecto y ConstrUCCI6n
DE: Ign and tl :.tp:t municipales.
1939· 1942 En el encuentro de los dos volumenes se resuelve el acceso
Fotos en colO( It pft'lt(''' principal. Interiormente, en la mac la, se ubican los elemen-
Jordi Bemad6 tos de conexi6n vertical.
Fotosen blanco y negro
Las fachadas homogeneas son de piedra gris de Solvag. Las
BI· :k&whlte pt)j( ventanas se repiten ritmicamente , y Jacobsen y Lassen con-
strtiwing reklamefoto
siguen expresar las partes mas simb61icas del programa de
un modo equilibrado, sin exageraciones, recurriendo a me·
canismos compositivos similares a los utilizados por el maes·
tro Asplund. EI vacio se relaciona con ei lleno. Los ejes elu·
den la simetria y la mantienen. La 16gica compositiva clasica
utilizada en la definici6n de las partes se someten al orden
general, al del conjunto, que busca un equilibrio abstracto
con el entorno natural, en especial, con el bosque.
Tras el vestibulo, en el interior se definen y disenan todos los
elementos; desde el mobiliario a la iluminaci6n, los picapor'
tes, los ceniceros, y se disponen de un modo preciso en el
calido ambiente de este elegante edificio.
34
Arne Jacobsen and Fleming Lassen won the competition
for the new town hall In S011er0d In 1939. Their winning scheme
contemplated the creation of a facility that Included the town
hall Itself, a library. a film theatre-cum·functions hall and the
caretaker'S residence.
Of the Original proposal. only the town hall was actually
constructed. The building was subsequently extended, In the
sixties, under the supervision of Fleming Lassen
The town hall as bUilt stands on the Junction of S011er0dvej
and Vangebovej with Kongevejen.
Many of the premisses utilized a few years before for the City
Hallin Aarhus are returned to here, although In S011er0d the
part actually constructed kept faith with the Initial deSign Ideas.
The project takes form In the linking of two CUbOids, In which
the vertical circulation elements are situated: the stairs and
lift. The first of the two contains the more symbolic spaces,
while the second IS occupied by municipal offices.
The main access IS located at the meeting of the two volumes.
In the InteriOr, Inside the connecting element, are the vertical
circulation nucleI.
The homogeneous facades are of grey Solvag stone. The
windows are repeated In a rhythmical sequence, and Jacobsen
and Lassen managed to express the most symboliC parts of
the programme in a balanced manner, free of exaggeration,
resorting to compositional mechanisms similar to those used
by the great Asplund. The vOid IS related to the filled. The
axes both elude and maintain symmetry. The claSSical
compositional logic utilized here In the definition of the parts
IS subject to the general order, that of the whole, which seeks
an abstract equilibrium with the natural surroundings, In par·
tlcular with the woodland.
Beyond the vestibule, In the InteriOr, the scheme defined and
designed all of the elements, from the furniture to the lighting,
Including door handles and ashtrays, and these were laid out
With great precIsion In the warm ambience of thiS elegant
building
 Obras y proyectos Works and projects 2G

II II iT
~ II II 1-1
1 HI III II II II II
1I11III. II II II II II II II II II II II II iT
~ II II II II II II
l~ I~ I 1I

Situacion. emplazamiento
y alzados acompaflan
las distintas vistas de
las fachadas homogeneas
de piedra gris de Sotvag.

location plan. site plan

and elevation accompany
the various views
of the homogeneous facades
of grey Solvag stone.

35
 2G Obras y proyectos Works and projects

las plantas muestran como

se resuelve el acceso principal
en el encuentro de los dos
voh,imenes.

The plans show how the main

access is resolved in the
meeting of the two volumes.

T II II II II II II II II II II
,J,.l.i
II II II
T II II II II II II II fI II II II II
]I II II
I I ,-l,-LI .- .u .
~

36
2G Obras 'I pro'lectos Works and projects

38
 Obras 'I pro'lectos Works and projects 2G

los elementos de conexi6n

vertical: escaJera y ascensor,
y el cuerpo principal del
ve stibulo .

The elements of vertical

connection: stairs and lift
and the main vestibule volume .

39
2G Obras y proyectos WI ( and pro eets

En el interior se disefian
todos los elementos. desde
el mobiliario a la iluminacion.
asi como barandillas
y picaportes.

All of the elements of

the interior were specially
designed . from furniture
to lighting. as well
as balustrades and door
handles.

II
il

40
Obras y proyectos Works and projects 2G

41
2G Obras y proyectos Works and projects
Escuela Munkegards, Gentofte
Munkegards School, Gentofte
Emplazamlento Site
Gentofte
Proyectoy ConstrUCCl6n
Design and ConstructIOn
1951-1958
Fotos en color Colour photos
JordiBemad6
Fotosen blanco y negro
Black & white photos
striiwing reklamefoto
Emplazamiento , vista aerea
del conjunto escolar y vista
exterior de una de las fachadas .
Site plan, aeria l view of
the school complex and exterior
view of one of the facades.
42
En 1951 la revista Arkitekten pUQlica el proyecto con el
que Arne Jacobsen gana el concurso para un conjunto esco-
lar en Gentofte.
En la propuesta se recogen las inquietudes planteadas a prin-
cipios de los anos cuarenta en contra de los edificios escola-
res monumentales que se desarrollaron en las dos decadas
anteriores. La nueva pedagogia escolar invita a la construc-
cion de equipamientos pensados para los ninos y con una
escala mas apropiada. La escuela Munkeg~rds es una de las
que se desarrollan en esta nueva direccion.
EI proyecto divide el terreno, que tenia una ligera pendiente
hacia el oeste, en dos niveles horizontales. En el superior se
desarrolla la edificacion, mientras que el inferior se destina a
zona deportiva.
EI edificio se desarrolla, fundamentalmente, en una planta en
la parte alta, como una gran trama de lIenos y vacios. Tras el
acceso, cinco entradas a los pasillos-distribuidores nos con-
ducen a las aulas y a la sala de actos. EI conjunto queda
rematado por un edificio lineal de dos plantas que contienen
las aulas polivalentes, los talleres, la biblioteca, etc.
La idea principal de la escuela es la agrupacion de dos aulas
alrededor de un patio. Cad a patio es diferente y se persona-
liza con el pavimento y la vegetacion. EI aula se abre a sur.
La sec cion se quiebra dando al interior una escala apropiada
a la vez que consigue una iluminacion equilibrada en su inte-
rior, gene ran do un diseno caracteristico.
La sencillez, la proporcion, la luz y los materiales son las
maximas que Jacobsen aplica en toda su carrera profesio-
nal, y que quedan resumidas en este perfil cuya repeticion
sistematica genera un conjunto ejemplar y vibrante de ladri-
110 amarillo y cubierta de aluminio.
Junto a la zona de deportes se ubica el gimnasio. En la entra-
da, las viviendas de los responsables del mantenimiento .
In 1951 the magazine Arkitekten publ ished Arne
Jacobsen's winning prolect for the competition for a school
complex In Gentofte.
The proposal drew on the relectlon, prevalent In the early
forties, of the monumental school bUildings constructed In
the two prevIous decades The new approach to teaching called
for facilities designed with children In mind, and on a more
appropriate scale. The Munkeg~rds school was one of those
that were developed In thiS new direction.
The project divided up the Site, characterIZed by a slight
westward slope, to form two hOrIZontal levels, with the bUild-
Ing occupying the higher level and the sports grounds laid
out on the lower.
The school building IS developed on the higher level as a
great grid of solids and vOids, predominantly single-storey.
Beyond the main access, five entrances to the distribution
corndors lead to the classrooms and the school hall. The
entire complex concludes With a linear two-storey bUilding which
contains the mU~lilurpose rooms, workshops, library, etc.
The main Idea In the design of the school IS the grouping of
pairs of classrooms around a courtyard. Each courtyard IS
different, given an individual character by ItS paving and
vegetation. The classrooms are south·faclng. The section IS
broken to give a more appropnate scale towards the InteriOr,
while at the same time achieVing a balanced Illumination In
the InteriOr, thus generating a characteristic design.
The simplicity, the proportion, the light and the matenals are
the maximS which Jacobsen applied throughout his professional
career, and these are summarized here In this silhouette whose
systematic repelltlon generates an exemplary and Vibrant
complex, with ItS yellow brickwork and aluminium roof.
The gymnasium IS situated beside the sports grounds. The
caretakers' houses are by the main entrance.
 ras y proyec OS or sand proJet:ts

..
- ~~ _.- l~ ): -L' I{ _ rJ"-- J
i~
~ i"<; P.
I
,
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I
<I
f;r; - f-
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I v
I I

(
-'
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r- ~
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f ~, v_

~=
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t7l rd
-

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--
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I t4C J ~ rll -i l:
l~ 11--H-1 I',V

~[r UJ~j ':1- I I f"'J - - ~-

44
 Obras y proyectos Works and projects 2G

Una gran trama de patios ,

lIenos y vactos configuran
la estructura leneral de
la escuela . Plantas. alzados
y secciones complementan
esta lectora.

A creat sequence of courtyards,

with solids and voids
confilurinl the basK: structure
of the school . Plans, elevations
and sections complement
this re.dine
2G Obras y proyectos Works and projects

las cubiertas de aluminio con

sus lucemarios mirando a sur
para conseeuiruna iluminaci6n
mas equilibrada en el interior.

The aluminium roofl with

the roof liehtl . facine louth
to eive a more balanced liehtine
of the interior.
2G Obras 'I pro'lectos Works and projects

48
La seccion se quiebra dando
al interior una escala apropiada .
EI gimnasio completa los
equipamientos acordes con
la nueva pedagogia escolar.

The section breaks to live the

interior an appropiate scale .
The gymnasium is one of
the facilities which reflect
the new approach to educatinl
children.

49
2G Obras y proyectos Works and proJects

~.,

'
lli
1 .... • .. ,

;:

''' 1 : ..
, ; " I

- ~ ... -~ . :: ..

.. .. .. .. .. ..
,~"" ' ._ , - . . . . . j ....

illllllilli

50
La sencillez. la proporcion.
los materiales y la luz generan
un conjunto ejemp/ar y vibrante
de ladrillo amarillo .

The simplicity. the proportion .

the materials and the light
&enerate an axis-plan layout
made vibrant by the use of
yellow brick .

5:
2G Obras y proyectos Works and projects
Oficinas Jespersen &Son, Copenhague
Offices for Jespersen & Son, Copenhagen
Emplazamlento Site
Copenhague Copenhagen
ProyectoyConstruccI6n
Design and ConstruCtion
1953-1955
Fotos en color Colour photos
jordi Bernad6
Fotos en blancoy negro
Black &whtte photos
striiwing reklamefoto
Emplazamiento y vista de
lafachadaprincipal.
Site plan and view of the main
facade .
52
La firma Jespersen & Son colaboraba con Arne Jacobsen
ya desde antes de la II Guerra Mundial.
EI proyecto para la nueva sede de la ingenieria se inici6 en
1953 en un solar centrico de Copenhague. Su construcci6n
se complet6 en 1955.
Una de las premisas que exigieron las autoridades municipa-
les era que el edilicio luera permeable en planta baja para
as; permitir el acceso rodado al interior de la manzana.
Se utilizan recursos similares a los del ayuntamiento de
R0dovre.
La estructura del edilicio se compone de pantalias de hormi-
g6n arm ado en el nucleo de comunicaci6n ve rtical, y de dos
grandes pilares -tambien de hormig6n armado in situ- que
se desdoblan en los pisos superiores en otros mas peque-
fios que se situan a ambos lados del pasilio de distribuci6n
de las plantas de oficinas.
EI otro elemento que aparece en la planta baja es una elegan-
te escalera de caracol, embebida en un cilindro de vidrio,
que remata uno de los extremos del pasillo de las plantas
asumiendo la funci6n de escalera de incendios.
Dos jacenas longitudinales son los unicos soportes de los
forjados que continuan en voladizo. Estos se adelgazan en
sus extremos hasta vincularse can las fachadas acristaladas.
Estas fachadas son sendos muros cortina realizados mediante
una carpinteria de madera forrada de aluminio. Los antepe-
chos son de vidrio tintado en color verde. En la fachada prin-
cipal el muro cortina es fijo, mientras que las ventanas de la
posterior son pivotantes.
The Jespersen & Son construction company had been
working with Arne Jacobsen since before World War II.
The project for the firm's new head office was commenced In
1953, and work on the site In the centre of Copenhagen was
completed In 1955.
One of the stipulations made by the mUnicipal authorities was
that the bUilding should be permeable at ground level In order
to allow vehicle access to the Intenor of the City block
The resources employed are similar to those used for the
town hall In R0dovre.
The structure of the bUilding IS composed of screens of
reinforced concrete In the vertical communications core, and
of two great pillars -also of In SItU reinforced concrete-
which divide on the upper floors to produce smalier pillars
situated on either Side of the distribution cOrridor serving the
office floors.
The other element that appears on the ground floor IS an
elegant spiral stair, contained inside a glass cylinder, which
concludes one end of the distribution COrridor and serves as
the emergency stairway.
Two longitudinal beams are the only supports for the floor
slabs which project out on either Side of them. These floor
slabs reduce In depth at either extreme to connect With the
glazed facades. The facades are In the form of a pair of curtain
walls, With a framework of wood With an aluminium cladding.
The parapets are of green-tinted glass. The Windows on the
main facade With the curtain wall do not open, while those on
the rear facade are pivoted.
 2G Obras y proyectos Works and projects

-
- I
j

~~
54 ~
~
La permeabilidad de la planta
baja permite el acceso
al interior de la manzana.
EI muro cortina de la fachada
principal es fijo.

The permeability of the ,round

floor allows access to
the interior of the block
The curtain wall of the main
facade is fixed .
2G Obras y proyectos Works and proJects

. . .; -- -.........1 . . . . . . .- . , .

l!t '.'

56
 Obras y proyectos Works and projects 2G

La elegante escalera de caracol .

embebida en un cilindro
de vidrio . junto con las plantas .
la seccion y los detalles
constructivos de las
dos fachadas completan
la informacion de este edificio.

The elegant spiral stair inside

its ,lass cylinder. together with
the plans. section and
construction details of the
two facades which allow
a complete reading of
the building.

en
e li d
.- '-' - -
I
I II

-
~

I
1
I I

-
1

I I
-
o I t 11

57
2G Obras y proyectos Works and projects
Ayuntamiento de R0dovre
R0dovre City Hall
Emplazamlento Site
Rodovre
ProyectoyConstrucci6n
Design and Construction
1954-1956
Fotos en color Colour photos
Jordi8emad6
Folos en blanco y negro
Black & whtte photos
strUwing reklamefoto
58
EI proyecto consiste en un edificio de oficinas de tres
pisos de altura can corredor central y un pabellon de una
planta, situado en la zona oeste, cuyo contenido es el de las
estancias mas simbolicas como la sala de plenos y la sala de
reuniones.
EI disefio y las instalaciones del ala administrativa permiten
la construccion de una planta adicional sin entorpecer la ruti-
na municipal.
EI sotano contiene las habitaciones para el personal, los ar-
chivos, los almacenes, los aseos y las instalaciones.
En la planta baja se encuentra el vestibulo principal, las ofici-
nas de administracion, asistencia social, tesoreria y departa-
mentos estatales.
EI despacho del alcalde esta situado en el primer piso, en el
extremo sur de la planta. EI resto de la planta esta ocupado
por el auditor, la contabilidad y otras oficinas.
La planta segunda se destina a los departamentos tecnicos con
los despachos del arquitecto e ingeniero municipales, la escuela
de administracion publica, la cafeteria y la sala de recepciones.
En el vestibulo, junto a los dos ascensores, se encuentra la
escalera principal de vidrio y metal. Dos escaleras circulares
en los extremos de la planta sirven para la comunicacion
interna de las oficinas.
La estructura se resuelve mediante un sistema de dobles
pilares situados en el corredor; el forjado es prefabricado y
\
\ r
\.
J- r'
The project consists of a three-storey office bUilding with
a central cOrridor and a Single-storey pavilion to the west
which contains the more symbolic spaces such as the council
chamber and the meeting room.
The design and the service Installations In the administrative
wing allow for the construction of an additional floor without
interference to the working routine of the offices.
The basement contains the staff rooms, archives, storerooms,
tOilets and technical services.
On the ground floor are the main vestibule, the administrative
offices, the social work department, treasury and state
departments.
The mayor's office is situated on the south Side of the first
floor. The rest of the floor IS occupied by the auditor, the
accounting department and other offices.
The second floor accommodates the technical departments,
with the offices of the mUnicipal architect and engineer, the
school of public administration, the cafeteria and the reception
sUite.
In the vestibule, the main staircase of glass and metal IS
situated next to the two lifts. Two Circular stairways, one at
either end of the floor, provide Internal communication between
the offices.
The structure IS resolved on the basis of a system of double
pillars situated In the COrridor; these provide the only support
Emplazamiento y vista lateral
del edificio de tres pisos
de attura .
Site plan and side view
of the three-storey buildln,.

no dispone de otro apoyo. Con esta apuesta estructural se
consigue una mayor libertad a la hora de distribuir la planta,
que se realizani segun modulos prefabricados de un metro
de anchura y de 7,8 cm de grosor. La separacion se dobla
para obtener un mejor aislamiento acustico en los de spa-
chos de mejor responsabilidad. Este esfuerzo por una planta
flexible tambien se aplicara a las instalaciones tecnicas (ra-
diadores, electricidad, ventilacion , etc.) siguiendo el mismo
criterio.
Las fachadas son acristaladas; la carpinteria es metalica y
esta parcialmente recubierta por acero inoxidable. Todas las
ventanas son dobles y la segunda se puede abrir. Los ante-
pechos son de vidrio tintado . Los testeros y los muros
longitudinales de la sala de plenos estan aplacados con pie-
dra negra de S~lvag.
EI cielo raso acustico y el suelo de vinilo se colocaron antes
que la tabiqueria.
EI vestibulo, el pasillo de acceso a la sala de pie nos y la
propia sala de plenos se realizan con marmol noruego de
Gjellebaek.
Obras y proyectos Works and projects 2G
for the prefabricated floor slab. This structural treatment
permitted greater freedom In the distribution of the floor, which
IS based on prefabricated modules measuring 1 metre square
with a depth of 7.8 cm. The partitions are doubled to give
Improved acoustic Insulation In the offices of the senior
personnel. This commitment to a fleXible floor plan was also
applied to the technical services (radiators, electrical wiring,
ventilation, etc.) on the basis of the same criterion.
The facades are glazed; the framing elements are of metal,
finished In places With stainless steel. All of the Windows are
double, With one of each pair able to be opened. The parapets
are of tinted glass. The gable walls and the longitudinal walls
of the council chamber are clad With black S~lvag stone. The
acoustic ceiling and the Vinyl floor were Installed before the
partitions.
The vestibule, the COrridor giVing access to the council
chamber and the chamber Itself are clad With Norwegian
GJellebaek marole.
59
2G Obras 'i proyectos Work' and projects

~ III~ Imlll~t[t~~jlillllllllllllllll: Illalrill] I ! ilil11 [, Jilin' I

III

Illtllllll~IIIII:lil:I!litU::llrltlljjl:jl'III!I'1

Ii·....'l~ ,..,....... ~!
u. _
~. ' [
r---E 1 . ,;:1:1
111 -- I I - Ilf + +t
mJ!c-fI
d. i . I

60
 Obras y proyectos Works and projects 2G

PJantasyalzadosmuestran
la senclllez estructural
del edificio.

Plans and elevations show

the structural and compositional
simplicity of the buildina:.
2G Obras 'I pro'lectos Work' and projects

62
 Obras y proyectos Works and projects 20

En el vestibulo , junto a los dos

ascensores , se encuentra
la escalera principal de vidrio
y metal. La fachada de uno
de los testeros esta aplacada
con piedra negra de Solvag.

In the vestibule, the glass and

metal staircase is situated nert
to the two lifts . The facade
of one of the end walls is clad
with black Solvag stone.
2G Obras y proyectos WorkS and projects

64
 Obras y proyectos Works and projects 2G

Un pabellon aislado contiene

las estancias mas simb6licas:
la sala de plenos y la sala
de reuniones.

A free -standing pavilion contains

the most symbolic spaces '
the council chamber and
meetin,room.

65
2G Obras y proyectos Works and projects
Edificio SAS/Royal Hotel, Copen hague
SAS Building/Royal Hotel, Copenhagen
Emplazamlento Site
Copenhague Copenhagen
ProyectoyConstruccion
Design and Constructton
1956-1961
Fotos en color Colour photos
JordiBemado
Fotosen blanco ynegro
Black & white photos
striiwing reklamefoto
66
EI proyecto para el edificio de oficinas de la compania
SAS y el hotel Royal se inici6 en 1956_ Por aquella epoca el
emplazamiento ya habia sido escogido. EI motivo de su si-
tuaci6n central en la ciudad era debido a la necesidad de
concentrar en un mismo complejo una terminal aerea, un
hotel y una agencia de viajes, ya que sus necesidades se
complementan.
Se propuso al ayuntamiento la cubrici6n de parte de la via
del tren para poder conseguir un area de aparcamiento y una
buena accesibilidad de vehiculos desde el aeropuerto; ade-
mas, el hotel pod ria establecer una buena oferta al estar en
el centro de la ciudad, a pesar de los inconvenientes del
tralico rodado.
EI edificio tiene 22 plantas. En la memoria descriptiva,
Jacobsen se refiere fundamentalmente ados motivos. EI pri-
mero de ellos es que el ayuntamiento exigi6 que se aprove-
chara al maximo el potencial que ofrecia el emplazamiento,
pero no hubo otra posibilidad mas que completar en su tota-
lidad los 70 metros de altura que permitian las ordenanzas.
EI segundo, que la soluci6n de un edificio en altura era el
unico recurso po sible para un hotel situado en un lugar tan
ruidoso.
Respecto al deseo de tener la mayor superficie posible para
ubicar en las plantas bajas y primera la terminal aerea y la
agencia de viajes, se decide combinar un edificio bajo, con
estas dos plantas, y un edificio en altura para ubicar las habi-
taciones.
La soluci6n final deberia ser ligera para asi equilibrar la nue-
va masa construida que pod ria resultar extraiia en el entorno
inmediato.
Work on the project for the offices for the SAS airline and
the Royal Hotel commenced In 1956. By that time the site
had already been selected. The chOice of a location in the
City centre was determined by the need to concentrate within
a single complex an air terminal, a hotel and a travel agents',
given that their requirements were complementary.
A proposal was put to the City Council to cover over part of
the railway line to provide a car park and good vehicle access
to the airport; at the same time, the hotel benefited from its
central location, In spite of the Inconvenience of city traffic.
The bUilding has a height of 22 storeys. In his project report.
Jacobsen IS fundamentally concerned with two Issues. The
first of these IS the City CounCil's stipulation that maximum
advantage be taken of the potential of the site, although the
only option was to build to the full height of 70 metres
permitted by planning regulations. The second Issue relates
to the fact that a high-rise building was the only viable solubon
for a hotel In such a nOIsy location.
In line with the wish to dispose of the greatest possible surface
area on the ground and first floors for the air terminal and the
travel agents', It was decided to combine a low bUilding, With
these two floors, and a high-rise bUilding to accommodate
the guests rooms.
The treatment finally arrived at was necessarily light, In order
to balance the new built mass, which was potentially at odds
with ItS Immediate surroundings.
On the exterior a grey-green panel was used, divided vertically
by anodized aluminium mullions
La soluei6n de un edifieio
en altura de 22 plantas era
el unieo re eurso posible para
situar un hotel en un lu,ar
tan ruidoso.

A 22·storey tower offered

the only possible solution
for plaein, a hotel on sueh
a noisy site.

Se recurri6 a un panel gris-verdoso dividido verticalmente
par montantes de aluminio anodizado.
EI color del vidrio hace referencia al cielo y al reflejo de las
nubes. Para Jacobsen unos col ores mas vivos quizas hubie-
ran dado mas vida al edificio pero hubieran producido un
efecto lIamativo que el arquitecto queria eludir en tad a mo-
menta: "EI reflejo del delo da al edificio un caracter cambian-
te que creo tiene mas importancia que el haber escogido un
efecto mas espectacular".
EI alto y ligero bloque necesitaba una base pesada, par 10
cual se recurri6 a unos paneles de un color gris-verdoso mas
oscuro.
The colour of the glazing makes reference to the sky and the
reflection of the clouds. From Jacobsen's pomt of View,
although brighter colours might have given more life to the
bUilding, the effect would have been too strident, something
the architect wa~always concerned to avoid .• The reflection
of the sky gives the bUilding a changing character which I
believe IS more Important than the chOice of more
;pectacular effect.·
~he tall, light block reqUired a heavy base, which was achieved
by Jsmg panels In a darker tone of grey-green.

67
68
 Obras y proyectos Works and prOjects 2G

Plantas, alzados y secciones,

y vista del edificio en relaci6n
a su entorno urbano.

Plans, elevations and sections,

and the buildina: in relation to
its urban context.

69
2G Obras y proyectos

70
 Obras y prayectas Works and prO! -t, 2G

Diversos botetos y vistas

del vestibulo del hotel muestran
la importancia de este espaclo.

Various sketches and views

of the hotel hall reveal
the Importance of this space
72
Obras y proyectos W('lr~ and prOJect 2G

Arne Jacobsen diseiio diversas

piezas de decoracion
expresamente para este
conjunto de hotel, terminal
aerea y agencia de viajes.

Arne Jacobsen designed various

pieces of furniture specially
for this hotel, air terminal
and travel aeency complex

73
2G Obras y proyectos Works and proJects
St. Catherine's & Merton College, Oxford
St. Catherine's & Merton College, Oxford
La referencia al espititu y al ritual de los tradicionales
"colleges" britanicos fue una premisa Que se exigi6 desde el
momenta en Que Jacobsen recibi6 el encargo.
EI proyecto esta formado par un conjunto de edificios. Dos
bloQues alargados y paralelos de tres plantas de altura desti-
nados a residencia de estudiantes formalizan las fachadas
este y oeste. Entre elias, en la zona media del conjunto, otros
cuatro bloQues contienen el resto del programa: las salas
comunes, cocina y oficinas, el come dar, la biblioteca y la
sala de actos.
Junto al rio, en la zona de entrada, se situa la vivienda del
rector can un jardin privado. Tambien aparecen como ele-
mentos aislados la sala de musica y dos pistas de squash.
Emplazamlento Site Send as porches cubiertos (situ ados bajo los bloQues resi-
Oxford
denciales, la biblioteca y la sala de actos) discurren de norte
Proyecto yConstrucclon a sur.
04 ndC nslfl :tl n
1960-1963 La cocina esta entre las estancias de ocio de los estudian-
tes, y tiene un acceso rod ado directo par la fachada norte.
Folos en color CI Jurptof'Jl('>c
Xavier Guell En el mismo edificio, en el lado oeste, se encuentran las
oficinas.
Fotos en blanco ynegro
Black & white photo~ Las areas de ocio de los estudiantes junior y senior estan
Archivo Jacobsen separadas. Cada una dispone de su jardin privado, sus salas
Jacobsen Archive
de reuniones y su area de debate Que, en el caso de los
junior, esta hundida respecto al nivel del suelo y esta presidi-
da par una chimenea.
De estas estancias se accede directamente al comedor.
Entre el volumen del comedor y el de la biblioteca se encuen-
tra la plaza central descubierta del proyecto. Otra plaza
se encuentra entre la biblioteca y la sala de actos. En ella se
erige la torre del campanario.
En 1964 Jacobsen recibe el encargo de unos eQuipamientos
deportivos en la zona norte de St. Catherine. EI proyecto,
Que no se construy6, constaba de un area de deportes, un
aparcamiento, un pabell6n de deportes cubierto, un edificio
para maQuinaria de mantenimiento de las zonas ajardinadas,
otra construcci6n para almacenaje de embarcaciones, una
zona para basuras y dos viviendas para usa del personal.
74
Reference to the spirit and the ritual of the traditional
British college was one of the premisses In the brief presented
to Jacobsen.
The project IS composed of a complex of bUildings . Two
parallel elongated three-storey blocks, occupied by student
residences, establish the east and west facades. Between
these, In the area In the centre of the complex, a further four
blocks accommodate the rest of the programme: communal
rooms, kitchen and offices; the dining hall; the library and the
functions hall.
Beside the river, In the entrance zone, IS the rector's residence,
with ItS own garden. Other free-standing elements Include the
musIc room and two squash courts.
A sequence of roofed porticoes (situated beneath the student
residences, the library and the functions hall) IS laid out from
north to south.
The kitchen IS situated In the midst of the recreational faclII·
ties, with ItS own direct vehicle access on the north facade.
The offices are contained on the west Side of the same
bUilding.
The recreational areas for Junior and senior students are
separate. Each has ItS own garden, ItS meeting rooms and
debating space, which In the case of the JUnior students, IS
set down below ground level, and presided over by a fireplace.
These areas communicate directly with the dining room.
Between the volumes of the dining room and the library IS the
open square that IS the centre of the project. A second square,
situated between the library and the functions hall, IS
overlooked by the bell tower.
In 1964 Jacobsen was asked to design a series of sports
facIlities for the north zone of St Catherine's. The project,
which was never bUilt, comprised a sports area, a car park,
an Indoor sports pavIlion and a bUilding to store tools and
eqUipment for the maintenance of the gardens and grounds,
a construction for storing boats, a rubbish area and two
houses for staff.
 Obras y proyectos Works and projects 2G

Vista aerea , emplazamiento

y plaza central entre el volumen
del comedor y la biblioteca .

Aerial view, site plan and

the central plaza between
the volume of the dinine hall
and the library.

75
2G Dbr.s y prayectas Works and projects

'·-
·-"·~·'1/.!-.~'''~ ''

, 1-- ~

Jr
I_:~ 1____..
' :J~

~_
r

76
Obras y proyectos Work. and pn t 2G

Diversas vistas y secciones

de los bloques de la biblioteca
y de la residencia de
estudiantes. asi como
de las pergolas.

Various views and sections

of the library block ,
the students' residence and
the pereolas.
2G Obras y proyectos Works and projects

Dos vistas del bloque

de la residencia de estudiantes
y del elemento aisJado
destinado a sala de musica.

Two views of the students'

residence and the free-standine
volume intended for musical
activities.

78
Obras y proyectos Wnrks and prG, ts 2G

79
2G Obras y proyectos Work and proJects
 Obras y proyectos Work.:; andprOjects 2 G

':"_t=====-A.

81
2G Obras y proyectos Works and projects

OJversas vistas y boeeto

deJ bloque destinado a la sala
de aetos .

Various views and sketehe

of the assembly hall volume.
Obras y proyectos Wor~ lnd pr( t 2G

83
Diversas vistas y boceto
del bloque destinado
a biblioteca . con la escalera
de caracol que Arne Jacobsen
diseno para las oficinas
Jespersen & Son.

Various views and a sketch

of the library block with
the spiral stair that Jacobsen
desi&ned for the Jespersen
& Son offices .
2G Obras y proyectos Works and proJect!>
Banco Nacional, Copen hague
National Bank, Copenhagen
Emplazamlento Site
Copenhague Copenhagen
EqUipo Team
Arne Jacobsen
OttoWeitJing
Hans Dining
Proyectoy Construcci6n
DesIgn and ConstructIon
1965-1971IA.J .jO.W.J
1972-1978 (H.D./O.W.J
Fotograffas Photograohy
Jordi Bernad6. pp. 92-93
Archivo Jacobsen y D+W
Jacobsen Archive and D+W
86
EI Banco Nacional de Dinamarca esta situado en el lado
derecho del frente maritimo de Copenhague.
En 1961 Arne Jacobsen gano un concurso restringido para
el diseiio del edificio. EI proyecto mantiene en su totalidad
los aspectos que el arquitecto presento en el concurso, a
excepcion de que, por motivos de seguridad, la entrada ori-
ginal, situada en la fachada norte, se ubico definitivamente
en la fachada opuesta. EI edificio gira, por 10 tanto, 180 gra-
dos.
La primera fase concluyo en 1971 con la construccion de la
imprenta y parte de las oficinas. Tras la muerte del arquitec-
to, el resto del edificio, la entrada y el cuerpo bajo fueron
completados por sus colaboradores y socios Hans Dissing y
Otto Weitling. Esta fase se concluyo en 1978.
EI proyecto se compone de dos cuerpos abstractos: uno
bajo y uno alto. EI primero, el bajo, de dos plantas de altura,
colmata el solar en su totalidad. EI segundo, el de oficinas,
se sitOa en ellado este del solar trapezoidal, alineandose a la
calle Niels Juels Gade y separandose de la iglesia Holmens
(s. X'Il>X'IlII) situada junto al canal del mismo nombre, al otro
lad a de la calle Havnegade.
La composicion de las fachadas del proyecto sigue una mcc
dulac ion de grandes paneles que marcan un ritmo vertical,
inspirado en los almacenes portuarios del s. X'IlIl y que rompe
la monotonia del plano continuo. Por las esbeltas rendijas se
consigue una especial iluminacion de los espacios interiores.
La piel del edificio esta realizada con dos materiales; la base
y las fachadas norte y sur del cuerpo de oficinas se realizan
can marmol noruego de Porsgrunn, mientras que las facha-
das este y oeste son sendos muros cortina con cristales
tintados.
The National Bank of Denmark stands on the right Side of
Copenhagen's seafront.
In 1961 Arne Jacobsen won the hmlted competition to deSign
the new building. The project maintains In their entirety all of
the features of the competition scheme, the only exception
being that, for security reasons, the main entrance, originally
on the north facade, was moved to the opposite facade, so
that the bUilding was In effect rotated through 180 degrees.
The first phase was concluded In 1971 with construction of
the printing works and some of the offices. After Jacobsen's
death, the rest of the building, the entrance and the low volume
were completed by the architect's partners Hans Dlsslng and
Otto Welthng. ThiS phase was concluded In 1978.
The project IS composed of two abstract volumes, one low,
one high. The first, lower volume, With a height of two storeys,
completely occupies the plot. The second, "the office block,
IS situated on the east Side of the trapezoidal Site, aligned
With Niels Juels Gade and separated from the Holmens church
(17th-18th c.) on the bank of the canal of the same name, on
the other Side of Havnegade.
The composition of the facades IS based on a modulated
sequence of large panels which estabhsh a vertical rhythm,
Inspired by the 18th-century harbour warehouses, that breaks
away from the monotony of a continuous plane. The slender
apertures give a speCial hght In the Interior spaces.
The skin of the bUilding is of two materials. The base and the
north and south facades of the office block are of Norwegian
Porsgrunn marble, while the east and west facades are curtain
walls, With tinted glaZing.

Situaci6n, emplazamiento
y vista lateral del cuerpo bajo
de dos plantas de altura.
Location plan, site plan and side
view of the lower two-storey
volume.
EI edificio de oficinas esta formado por dos alas paralelas
conectadas perpendicularmente, generando dos patios rec-
tangulares de iluminacion bajo cuya cubierta se encuentran
la imprenta y la seccion de servicios de atencion al publico.
La vegetacion es importante en el proyecto. Asi, la cubierta
de los patios y del cuerpo bajo aparecen como la quinta fa-
chada, estando permanentemente presentes en el edificio:
jardines romanticos diseiiados con fustes de hormigon que
asoman entre guijarros, piedras, rocas, plantas y arbustos
de hoja perenne. La cubierta del cuerpo bajo se asume como
un plano que tiene continuidad en la zona ajardinada de la
pequeiia iglesia vecina.
En la resolucion del perimetro tambien se recurre a la vegeta-
cion. Una lamina de agua, un muro sinusoide y capiteles clase
cos acompanan a una hilera de arboles recortados que ro-
dean parte del conjunto y definen su verdadero limite, convir-
tiendose en un zocalo verde que oculta la franja horizontal que
separa el cuerpo alto del opaco basamento gris. Una pequena
y discreta abertura en la fachada sur del muro perimetral es la
entrada principal. Una vez atravesada la piel gris se accede,
por una caja acristalada y curva colgada del techo, al impre-
sionante vestibulo: un espacio nebuloso iluminado por las hen-
diduras de la fachada que acompana, en el ambiente gris, el
discurrir de una escalera suspendida del oscuro y lejano techo.
Obras y proyectos Works and projects 2G
The office bUilding IS composed of two parallel wings which
connect perpendicularly, generating two rectangular
courtyards providing Illumination, beneath which are the print
shop and the office which deals with the publrc.
Vegetation plays an Important part In the project, with the
floor of the courtyards and the roof of the low volume acting
as a fifth facade, and constituting a permanent presence In
the building: Romantic gardens designed with concrete shafts
which project up amongst pebbles, stones, rocks, plants and
evergreen shrubs. The roof of the low volume is approached
as a plane that finds continuity In the landscaped space by
the Irttle neighbourrng church.
Vegetation also features In the resolution of the perimeter. A
sheet of water, an undulating wall and claSSical capitals
accompany a row of neatly trrmmed trees which runs round
part of the complex and defines its true boundary, creating a
green plinth that conceals the horrzontal band separating the
tall volume from 1!le opaque grey base. A small, discreet openrng
In the south facade of the perimeter wall serves as the main
entrance. After passing through the grey skin, a curving glazed
box suspended from the cerling gives access to the Impressive
vestibule: a nebulous space lit by way of the clefts In the facade
that accompanies, In the grey ambience, the course of a flight
of stairs suspended from the dark ceiling high above.
87
2G Obras y proyectos Works and projects

88
 Obras y proyectos Works and projects 2(

Una pequelia y discreta

abertura en la fachada sur
del muroperimetralesla
entrada principal. Una hilera
de arboles rodean parte
del edificio y definen
su verdadero limite .

The main entrance is a small.

discreet opening in the south
facade of the perimeter wall.
A line of trees flanks part
of the buildina: and defines
its real boundary.

89
2G Obras y proyectos Works and projects

90
 Obras y proyectos Works and projects 2G

La vegetacion es importante
en el proyecto. La cubierta
de los patios y del cuerpo bajo
aparecen como la quinta
fachada .

The veKetation plays an

important part in the project.
The roof of the courtyards
and the lower volume
constitutes a fifth facade .
2G Obras y proyectos Works and projects

I~
·H,· If· tei ~ T

92
 Obras y proyectos Works and projects 2G

Planta , seccion y diversas vistas

del interior.

Plan, section and various views

of the interior.

93
94
Una vez atravesada la piel gris
seaccedealimpresionante
vestibulo: un espacio nebuloso
con una escalera suspendida
del oscuro y lejano lecho.

After passin, through the cray

skin, the visitor comes to
the impressive vestibule: a misty
space wtth a fliCht of stairs
suspended from the dark ,
distant ceiline.

L J [ J

95
 Dos imagenes del sobrio
y elegante diseno del interior.

Two imaees of the soberly

eleeant interior design.

96
Obras y proyectos Works and projects 2G
2G Obras y proyectos Works and projects
Oficinas Hew, Hamburgo
Hew Offices, Hamburg
Emplazamlento SIte
Hamburgo Hamburg
Equlpo Team
Arne Jacobsen
Otto Weitling
Proyecto y Construccl6n
DeSIgn and Construcbon
1963·1969
Fotografias Photography
Jordi Bernad6,
pp. 99. 100, 101
(excepto foto inferior/
except bellow photo),
102 (foto inferior/bellow photo)
Fotografias Photography
p. 101 (inferior/ bellow)
Photo-Tiede
98
En 1963 se convoca un concurso para la realizacion de
un nuevo edificio para la compania HEW Se seleccionan cua·
tro proyectos. Tras un nuevo analisis la comision selecciono
el presentado por Arne Jacobsen y Otto Weitling.
EI conjunto se levanta al norte de la ciudad, junto a un parque
municipal, el metro y una autopista urbana.
Un eje longitudinal del bloque se desarrolla segun la direc·
cion norte·sur; su altura se limita por su proximidad al aero-
puerto de Hamburgo.
Un pasaje cubierto central conduce a los accesos principales.
EI aparcamiento se ubica en el este y paralelo al edificio alto,
mientras que en el oeste, en una zona mas tranquila, se en·
cuentran los servicios sociales que se comunican con un par·
que municipal por una terraza que la resguarda del viento.
La circulacion publica y del personallaboral han sido segre-
gadas: las primeras se situan al nivel de la calle , mientras
que las segundas estan en el nivel inferior. En este nivel una
calle de servicio entre el edificio y el aparcamiento permite el
acceso a las baterias de ascensores por tres puntos. La zona
de acceso superior, el de la calle , esta reservada para el
publico y dispone de un area proxima de aparcamiento.
EI programa de las plantas primera a duodecima se define
para oficinas. Las separaciones interiores se disponen se·
gun una modulacion de 187,5 cm y tienen un espesor
de 8 cm, el despacho mas pequeno tiene una dimension de
375 x 612 ,5 cm.
Las tomas electricas , de telefono, la climatizacion , los
bajantes, la iluminacion, etc., estan perfectamente modula·
das, por 10 que la planta es de una flexibilidad total.
La fachada del edificio alto es un muro cortina fijo. La perfileria
metalica vertical se dispone cada 62,5 cm; horizontalmente
la separacion es de 160 cm. EI antepecho tiene una altura
de 71 cm.
En los nudeos del edificio se centralizan los ascensores,
montacargas, escaleras, lavabos, instalaciones, evacuacion
de humos y conductos neum<iticos de comunicacion.
En los extremos del bloque se encuentran los nucleos de
circulacion internos, asi como ascensores y montacargas para
el personal.
La estructura del edificio es de hormigon armado, las jacenas
longitudinales (norte·sur) estan realizadas in situ, y las trans·
versales (este-oeste) son prefabricadas. Los pilares tambien
son prefabricados.
Los nucleos de servicio rigidizan el conjunto contra la accion
del viento.
In 1963 a competition was held to design a new head·
quarters for the HEW electricity company. Four projects were
short'lIsted, and after further deliberation the jury selected
the scheme submitted by Arne Jacobsen and Otto Weltllng.
The complex was constructed In the north of the City, adjacent
to a mUnicipal park, an underground station and an urban
expressway.
A longitudinal aXIs of the block IS developed on a north-south
orientation, ItS height limited by the proximity of Hamburg
airport.
A roofed central passageway leads to the main accesses.
The car park IS to the east, parallel to the higher building,
while the qUieter zone to the west accommodates the
customer services area, which communicates with the public
park by way of a terrace, sheltered from the wind.
The CIrculation routes for members of the public and
employees are segregated from one another, with the former
at street level and the latter below ground. At this lower level
a service street running between the bUilding and the car
park provides access to the groups of lifts at three different
pOints. The upper access zone, at street level, IS for public
use, with ItS own car park nearby.
Floors one to twelve are laid out as offices. The Internal
divIsions are based on a modular unit of 187.5 cm, with a
thickness of 8 cm, so that the smallest offices measure 375
x 612.5 cm.
The electrical power POints, telephone sockets, air condition-
Ing, down pipes, lighting and so on are perfectly modulated,
ensuring the optimum flexibility of the floor plan.
The facade of the tall bUilding IS a fixed curtain wall. The
vertical metal angle sections are spaced at Intervals of 62.5
cm, with a hOrIZontal s~paratlon of 160 cm. The parapet has
a height of 71 cm.
The bUilding's services are concentrated In nucleI: lifts, goods
liftS, stairs, tOilets, service trunking, smoke extraction and
pneumatic communications ducts.
The Internal circulation systems are located at either end of
the building, together with the lifts and goods lifts for staff use.
The structure of the bUilding IS of reinforced concrete, With
the north·south longitudinal beams cast In SitU, and the east·
west transverse beams precast.
The service nuclei give the structure greater rigidity to
Withstand Wind loads.
Un pasaje cubierto central
conduce a los accesos
principales.

A covered central passage

leads to the main accesses .

99
 J
C
o 0 0 0 0

:::::I:X.. .,. . ,. . c-.-:m:=:rr~.' "U "lJTI7Jl ryrrrr "r

100
Las plantas y la secci6n definen
las dimensiones y el programa
del edificio . La fachada es
un murocortinafijo: laperfileria
vertical se dispone cada
62,S cm, horizontalmente
cada 160cm.

The plans and section define

the dimensions and programme
of the building: the grid has
a vertical spacing of 62.5 em ,
and a horizontal spacin"
of 160cm.
2G Obras y proyectos Works and proJects

Distintas imagenes que reflejan

lacalidad ambientalde
los interiores de las obras
de Arne Jacobsen.

Various images revealinc

the quality of atmosphere of
the interiors of Arne Jacobsen's
buildincs.

102
103
2G Obras y proyectos Works and projects
Gimnasio Christianeum, Hamburgo
Christianeum Gymnasium, Hamburg
Emplazamlento Site
Hamburgo Hamburg
EqUlpo Teitm
Arne Jacobsen
OttoWeitiing
Hans Dissing
Proyecto yCoostrucci6n
,.j CUI tTl t 1'\
1966-1971 IA.J .jO.W.I
1971-1972 IH.O.jO.W·1
Fotografias P' I 'r ~y
Archivo Jacobsen y O+W
Jacobsen Archive and D+W
104
EI proyecto presentado a un concurso restringido par
Arne Jacobsen y Otto Weitling resulto seleccionado para su
ejecucion en 1966.
EI conjunto se divide en tres partes: en el centro el aulario, a
un lado la sala de actos principal y en el otro dos salas de
actos mas.
EI edificio se levanta sabre un terreno en pendiente. Tres de
las fachadas tienen dos plantas de altura mientras que la
cuarta, la que da a los campos de deporte, solo tiene una.
Los vestuarios se encuentran en la planta inferior y sirven a
su vez tanto para el pabellon cubierto como para las zonas
de de partes al aire libre a las cuales se accede mediante un
tramo de escaleras que salvan el desnivel.
Uno de los principales factores del proyecto es su reto eco-
nomico, par ella se recurre a una estructura de elementos
prefabricados de hormigon.
En el diseno de las aulas se aplica la experiencia que ya
utilizo Jacobsen para los complejos escolares que realize
unos anos antes, aunque en esta escuela se recogen las
premisas de un program a diferenciado can respecto a los
convencionales de la epoca, hecho que se acusara en el
diseno del edificio. EI gran vestibula dispone de un pequeno
bar y el suficiente espacio para la realizacion de exposicio-
nes. La sala de actos tiene capacidad suficiente para alber-
gar a todos los alumnos can motivo de inauguraciones, re-
parto de premios, obras de teatro a conferencias. La rela-
cion can los espacios abiertos es muy importante, como 10
demuestran los patios abiertos junto a las aulas de planta
baja y la sala de actos, a las areas aterrazadas de la plan-
ta superior con zonas de descanso, y donde el diseiio inte-
gra aspectos tecnicos como las claraboyas de iluminacion
de los vestuarios. Entre las jacenas y los pilares de este
piso se ubican pergolas ligeras y protecciones solares des-
montables.
The project submitted by Arne Jacobsen and Otto Weltling
was selected by the ludges of the limited competition for
construction In 1966.
The complex IS divided Into three parts: the classroom block
In the centre, with the main hall on one side and two more
halls on the other.
The bUilding stands on a sloping site. Three of the facades
have a height of two storeys, while the fourth, which looks
onto the sports grounds, IS single-storey.
The changing rooms are located on the lower level, and serve
both the Indoor sports pavilion and the plaYing fields, which
are reached by way of a flight of steps which ascends to the
higher level.
One of the determining features of the brief was the strict
budget, and as a result the prolect utilized a structure of
precast concrete elements.
In the deSign of the classrooms, Jacobsen made use of the
experience he had gained In working on other school prolects
a few years before, although the premisses which underlie
the Chrlstlaneum were deCidedly unconventional for the time,
and this difference IS clearly reflected In the deSign of the
bUlldlng_
The spacIous vestibule has a small refreshment bar, and IS
large enough to accommodate exhibitions. The main hall has
sufficient capacity to seat all of the pupils at once for openings,
pnze-glvlngs, plays or lectures. The relationship with the open
spaces IS of great Importance, as IS demonstrated by the
open courtyards off the ground-floor classrooms and the main
assembly hall, or the terraced spaces on the upper floor with
their rest areas, where the deSign Incorporates technical
features such as the roof lights over the changing rooms. On
thiS level a series of pergolas and sun screens are situated
between the beams and pillars.
Emplazamiento y fragmento
de una de las fachadas con
el elemento prefabricado
dehormigon .

Site plan and partial view

of one of the facades with
the prefabricated concrete
element.

105
2G Obras y proyectos Works and projects

Vistas de conjuntoy pJanta

semis6tano deJedificio
muestraniareJaci6nentrelieno
yvacioasicomoJaimportancia
de la estructura prefabricada.

Views of the complex and

the semi-basement level of
the buHdina show the
relationship between solid
and void , and the importance
of the prefabricated structure.
Obras y proyectos Works and projects 2G

107
2G Obras 'I pro'lectos Works and projects

Secdones y detaJJes
de plantas 'I alzados muestran
laimportanciadela
modulaci6n. Entrejacenas
~ pilares se ubican pergolas
hgeras y protecciones solares
desmontables.

Sections and details of plans

and elevations reveal
the importance of the
modulation. Between the beams
and pillars are light pergolas
and movable sun screens.

108
109
2G Obras y proyectos Works and projects

Dos visiones de una de las

fachadas y un detalle
del interior.

Two views of one of the facade s

and a detail of the interior.

llO
2G Obras 'I pro'lectos Works and projects
Banco Central de Kuwait
Kuwait Central Bank
EI proyecto del Banco Central de Kuwait se ubica en la
capital del Emirato, cerca de palacio del Emir.
Despues de varios cam bios de programa, su construcci6n
se empez6 en 1973 y se termin6 en 1976.
EI exterior refleja la consideraci6n a la premisa principal,
la seguridad, y su planteamiento compositivo se basa en la
experiencia del Banco Nacional de Dinamarca de Copenhague,
reflejando caracteristicas similares. Fundamentalmente se
divide en dos elementos.
EI primero, un cuerpo bajo de dos alturas Que, a modo de
basamento, se ajusta al perimetro del solar trapezoidal.
EI proyecto tiene tres accesos: la entrada principal al banco,
la de vehiculos de servicio y el aparcamiento general.
Emplazamlento Site Sobre la base emerge el edificio de oficinas. Su planta es rec-
Kuwait
tangular y tiene cuatro niveles de altura y con uno adicional de
EqUlPQ Team servicios sobre el vestibulo central. Bajo el nivel del suelo, el
Arne Jacobsen
Otto Weitling aparcamiento, los archivos y una zona de instalaciones.
Hans Oissing Contrastando con el pesado basamento opaco del conjunto,
Proyecto y Coostruccl6n la fachada del edificio de oficinas tiene un caracter ligero.
DeSign and Coostrucbon Este Queda enfatizado por subdivisiones vertic ales blancas
1966 IA.J ';0 .W·1
1971-1976IH.D./O.W.1 Que enmarcan la celosia de lamas horizontales de aluminio.
EI acceso de la planta baja esta iluminada por una cupula
fotografias Photography
Archivo O+W dorada junto al control de entrada. Tras el nucleo de servi-
O. W Archive cios y comunicaci6n vertical se lIega a un gran espacio cen-
tral de cuatro plantas de altura iluminado, principalmente,
por veinticinco claraboyas metalicas de luz artificial y Que
estan situadas en la parte central. Este espectacular techo
esta enmarcado por un pozo de luz natural peri metra I.
La decoraci6n del gran espacio se limita a una escalera Que
comunica las distintas plantas, y su centralidad se reafirma
mediante una galeria Que rodea el vacio.
11 2
The project for the Central Bank of Kuwait was drawn up
for a site In the capital of the Emirate, near the Emir's palace.
After a number of changes to the programme, construclion
commenced In 1973 and was completed In 1976.
The exterior reflects the consideration given to the primary
premiSS, that of security, With a composllional approach based
on the experience of designing the National Bank of Denmark
In Copenhagen, conditIOned by Similar characteristics .
Essenlially, the composition IS diVided Into two elements. The
first of these, a low, double-height volume which serves as the
base, follows the perimeter of the trapeZOIdal plot.
The prolect has three accesses: the main entrance to the bank,
the access for service vehicles, and the general car park.
The office bUilding is set on top of the base volume. Rectan-
gular in plan, thiS has a height of four storeys, with an addllional
level for services above the central vestibule. The car park,
the archives and a technical services area are situated below
ground. In contrast to the heavy, opaque base of the complex,
the facade of the office bUilding has a lightweight character;
thiS lighter Quality IS emphaSized by the white vertical
subdiVISions which frame the aluminium slats of the hOrizon-
tal blinds. The ground floor access is Illuminated by the gilded
dome by the entrance security control. Behind the nucleus of
services and vertical communlcalions IS the great Quadruple-
height central space, lit prinCipally by twenty-five metal roof
lights proViding artifiCial light. which occupy the centre of the
ceiling. This spectacular ceiling IS framed by a perimeter light
well which lets In natural light.
The decoralion of the great space IS limited to the stairway
which connects the different floors, its central position
emphaSized by the gallery which runs around the great VOid.
 Obras 'I pro'lectos Works and projects 2G

EJ edificio del banco con sus

dos cuerpos, una composicion
ya utilizada en el Banco
Nacional de Copenhague.

The bank building with rts

two volumes , a composition
previously used for the National
Bank in Copenhagen.
 2G Obras 'I pro'lec tos Works and projects

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114
 Obras y proyectos Works and projects 2G

La plantay la secci6n muestran

la importancia del espacio
central de cuatro plantas
de altura , iluminado por 25
claraboyasmetillicas de luz
artificial y un pozo
de luz natural perimetrat.

The plan and the section show

the importance of the central
four-storey space , lit by 25
metal roof lights , givingartfficial
light, and a well providing
natural light by the perimeter.

115
2G Obras y proyectos Work~ and projects
Embajada Danesa, Londres
Danish Embassy, London
En 1969 Arne Jacobsen recibi6 el encargo del Ministerio
de Asuntos Exteriores de Dinamarca para la construe cion de
la nueva sede en Londres. Las obras se iniciaron en agosto
de 1970.
A pesar de la muerte de Jacobsen en marzo de 1971 , el
trabajo continuo bajo la direccion de Hans Dissing y Otto
Weitling hasta noviembre del mismo ano, fecha en Que, por
motivos economicos, las obras se interrumpieron para
reanudarse en abril de 1975. La estructura se completo en
julio de 1976, y el edificio Quedo finalizado en septiembre de
1977.
La embajada se situa en el cruce de las calles Sloane Street,
Hans Street y Pavilion Road. EI resultado final se forma liza
EmpJazamlento SIte mediante una planta en "U" abierta hacia el sur, hacia la calle
l ondres l ondon
Hans Street.
EQUlpo Team En la calle Sloane Street se ubica el bloQue principal de seis
Arne Jacobsen
Otto Weitling plantas de altura. En la planta baja se situa la entrada princi·
Hans Dissing pal, una sala de exposiciones, una sala de conferencias, ofi·
Pmyecto yCoostrucci6n cinas de informacion y visa do, y otros despachos auxiliares.
Oe!lgn andConslructlon Las oficinas propias de la embajada ocupan las siguientes
1969IA.J / O.W.1
1971· 1977 IH.D/ O.W.I tres plantas.
EI Quinto piso se destin a a la residencia oficial can un area de
fotogralias Photography
Archivo Jacobsen,
cae ina y estancias de recepcion, mientras Que la ultima plan·
D+W Y Xavier GOeli. ta contendra la residencia privada del embajador.
Jacobsen Archive,
D+W and Xavier Guell.
En la calle Pavilion Road se situa un edificio de dos plantas
de altura Que contiene cuatro viviendas para el personal de
servicio.
En el espacio entre los dos edificios se ubica un patio en
cuya parte norte, en la primera planta y junto a la medianera
de las edificaciones vecinas, se encuentra una peQuena can·
tina Que conecta los dos edificios. EI patio esta aterrazado
hacia el sur y cubre el aparcamiento, los almacenes y otros
servicios Que se alojan en un sotano Que ocupa la totalidad
de la planta .
La estructura de pantallas y losas de hormigon armado se
realizo con una modulacion de 8,80 m entre ejes Que, de
algun modo, recogen el espiritu estructural de las edificacio-
nes vecinas. Los servicios y las cajas de ascensores se colo-
116
In 1969 Arne Jacobsen was commissioned by the Danish
Foreign MInistry to construct the new embassy In London,
and work started on site In August 1970.
FollOWing Jacobsen's death In March 1971, work continued
under the supervision of Hans Dlsslng and Otto Weltllng until
November of that year, when construction was Interrupted
for economiC reasons and not resumed until April 1975. The
structure was completed In July 1976, and the building finally
completed In September 1977.
The embassy stands at the lunctlon of Sloane Street, Hans
Street and PavIlion Road. The finished form IS based on a U-
shaped plan which opens onto Hans Street to the south.
The main block, SIX storeys high, IS on Sloane Street. The
ground floor contains the main entrance, an exhibition room,
a lecture room, offices for gIVIng out Information and iSSUing
visas and other auxiliary offices.
The offices of the embassy proper occupy the next three floors.
The fifth floor IS laid out as the offiCial residence, With a kitchen
area and reception rooms, while the top floor accommodates
the ambassador's private residence.
On Pavilion Road there is a two-storey bUilding which contains
four apartments for service staff.
In the space between the two buildings there IS a courtyard,
and on the north Side of thiS, at flrst·floor level, against the
party wall of the neighbOUring property, a small canteen
connects the two volumes.
ThiS courtyard, which IS terraced to the south, IS laid out on
top of the car park, storerooms and other services which are
contained In the basement that occupies the entire area of
the floor plan.
The structure, With its screens and slabs of reinforced con-
crete, IS based on a modular Unit of 8.80 m between axes,
serving In effect to Invoke the structural splnt of the
neighbOUring bUildings. The services and 11ft shafts are situated
at either end of the floor plan, gIVIng the whole a longitudinal
stability.
The stepped form of the courtyard facade IS a reference to
the existing houses, while the Sloane Street facade also seeks
EI edificio y su contexto
inmediato.
The building and its immediate
context.

can en los extremos de la planta dando estabilidad longitudinal
al conjunto.
La forma escalon ada de la fachada del patio hace referencia
a las casas preexistentes, mientras que en la de Sloane Street
tambien se pretende establecer una relaci6n arm6nica con
el entorno.
La fachada se divide en tres franjas. En la inferior, la del
acceso principal, se recurre al hormig6n como material prin-
cipal, mientras que materiales como los usados en las puer-
tas 0 en la parte alta son de vidrio tintado y se presentan en
un plano retrasado mas oscuro. Sobre esta franja acristalada
sob resale el cuerpo de tres plantas destinadas a las oficinas
de la embajada.
La estructura del edificio se acusa en los elementos modula-
dos, que estan realizados en aluminio extrusion ado de color
marr6n verdoso y cristal tintado, y que descansan sobre unos
soportes metalicos dispuestos en el hue co estructural.
En la fachada de las dos ultimas plantas, las que contienen
las estancias del embajador, se recurre a un muro cortina de
vidrio tintado que enfatiza su papel neutro.
Obras y proyectos Works and projects 2G
to establish a harmonious relationship with Its surroundings.
The facade IS divided Into three bands. For the lowest of these,
containing the main entrance, concrete IS the main matenal,
while the other matenals used for the doors and the strip of
tinted glass above are set back on a separate, darker plane.
Set above this glazed stnp IS the three-storey volume housing
the embassy offices.
The structure of the bUilding IS manifested In the modular
elements, which are of a greeny-brown extruded aluminium
and tinted glass and rest on the metal supports posItioned In
the structural VOid.
A curtain wall of tinted glass gives the desired neutrality to
the facade of the top two floors, which are occupied by the
ambassador's residence.
117
2G Obras y proyectos Works and projects

us
 Obras y proyectos Works and proJect! 2G
La forma escalonada de
la fachada principal pretende
establecer una relacion
armonica con el entorno.
Plantas.

The stepped form of the main

facade seeks to establish
a harmonious relationship with
the surroundines. Plans.

119
2G Obras y proyectos Works and projects

120
La fachada posterior con
las viviendas para el personal
de servicio .

The rear facade with the houses

for the service staff.

121
2G Obras y proyectos WI KS and proects

Secciones y diversas vistas

del espacio entre los
dosedtficios.

Sections and various views

of the space between the
two buildings

122
 Obras y proyectos Works and projects 2G

I 1

II
II
I

123
2G Obras y proyectos Works and projects
Diversas vistas del interior
de la embajada .

Various views of the Interior

of the embassy.

125
2G Blografia Biography

Arne Jacobsen

Fotografia Ph)\( r"phy

Dansk Design Center

126
 Biogro!io B,owophy 2G

[ Biografia 1902 11 de febrero 1902 11th of February

Biography Nace en Copenhague. Born In Copenhagen.
1924 1924
Titulo en una Escuela de Construcci6n en Copenhague. Graduates from a School of Construction In Copenhagen.
1925 1925
Viaje de estudios a Francia e Italia. Study triP to France and Italy.
Medalla de plata en la Exposici6n Mundial de Paris. Silver Medal at the World's Fair In Paris.
1927 1927
Titulo por la Real Academia de Bellas Artes de Degree from the Royal Academy of Fine Art In Copenhagen.
Copenhague. 1928
1928 Gold Medal for his graduation prolect for the National
Medalla de oro por su proyecto de graduaci6n para el Museum In Klampenborg.
Museo Nacional en Klampenborg . 1936
1936 Eckersburg Medal.
Medalla Eckersberg. 1943
1943 EXile In Sweden.
Exilio en Suecia. 1945
1945 Return to Denmark.
Regreso a Dinamarca. 1954
1954 Honorary Prize, Blenal de Sao Paulo.
Premio de Honor, Bienal de Sao Paulo. 1955
1955 C. F Hansen Medal.
Medalla C.F. Hansen. 1956-1965
1956-1965 Professor at the Royal Academy of Fine Arts In
Profesor de la Real Academia de Bellas Artes de Copenhagen.
Copenhague. 1960
1960 International Grand PrIZe for Architecture.
Gran Premio Internacional de Arquitectura. 1962
1962 Medal of Honour of the Danish Architects' Association.
Medalla de Honor de la Asociaci6n Danesa de Arquitectos. 1963
1963 Honorary member of the Royal Institute of British Architects
Miembro Honorario del Royal Institute of British Architects (RIBAI, London.
(RIBAI, Londres. 1964
1964 Member of the Academy of Fine Arts, Berlin.
Miembro de la Academia de Bellas Artes. Berlin. 1965
1965 Member of the San Lucca National Academy, Rome.
Miembro de la Academia Nacional de San Lucca, Roma. Member of the Serbian Academy of SCiences and Arts,
Miembro de la Academia Serbia de las Ciencias y de las Belgrade
Artes, Belgrado. 1969
1969 Medal of the Academy of Fine Arts, Hamburg.
Medalla de la Academia de Bellas Artes. Hamburgo. 1971
1971 Gold Medal of the Academy of Architecture of France.
Medalla de oro de la Academia de Arquitectura de Francia. 1971 3rd of March
1971 3 de marzo. Dies In Copenhagen.
Fallece en Copenhague.

127
2G Nexus

Conferencia del profesor Arne Jacobsen con motivo de la concesion

del premio Fritz Schumacher 1963, de la Fundacion F.Y.S.
de Hamburgo, en la Escuela Tecnica Superior de Hannover el dia
6 de diciembre de 1963.

Sobre forma y diseno en la actualidad

Como joven estudiante de arquitectura aprovechaba cualquier oportunidad para viajar a Alemania,
siempre que el poco dinero del que disponfa me 10 permitfa , entusiasmado por la cultura alemana y
con profunda admiraci6n por la Bauhaus de Dessau. En aquel entonces nunca habrfa sofia do que
aquf se prestarfa atenci6n a mi obra. Esto ocurri6 por primera vez durante el tercer Reich, cuando
por desgracia tuve que abandonar mi patria y, por segunda vez en esta ocasi6n, 10 cual me emocio-
na profundamente. iSH, los tiempos cambian con rapidez. Tal como se ha dicho a menudo (aunque
nunca demasiado a menudo) ha de aumentar la confianza entre las personas, pero no a traves del
aislamiento y a posteriori, sino a traves de la colaboraci6n y el intercambio de ideas.
Las posibilidades de colaboraci6n entre naciones nunca han side tan grandes como hoy en dfa. La
tecnica moderna nos ayuda a alcanzar una visi6n mas amplia de los problemas mutuos y con ello
una mejor comprensi6n de los demas. Aspiramos a una sociedad universal y esperamos que el
egofsmo de las personas disminuya de generaci6n a generaci6n. Los intercambios mundiales ayu-
dan a superar los obstaculos nacionales. Esto no quiere decir que se vayan a eliminar las particula-
ridades culturales nacionales y regionales, bien al contrario, deberfamos colaborar para proteger-
las. No sera tan diffcil, ya que precisamente apreciamos 10 ajeno, las cerezas del jardfn del vecino ...
Esta visi6n es optimista pues en la actualidad hay muchos indicios que apuntan en sentido contra-
rio, aunque, en nuestra profesi6n, tenemos que creer en un desarrollo positiv~ del futuro, ya que
s610 sobre esta base podemos seguir construyendo.
Muchos piensan que para ser un buen arquitecto hay que tener tambien una filosoffa propia. Creo
que no es necesario, pero se la facilidad con la que un periodista "ayuda" a un arquitecto empujandole
a tomar un posicionamiento filos6fico. Esto 10 he podido observar reiteradamente y, si hoy me
preguntaran, seguramente les responderfa que no tengo una visi6n filos6fica completa. Creo que
es algo peligroso, un obstaculo para una comprensi6n natural y arquitect6nica, un distanciamiento
de la realidad, un edificio intelectual que envejece demasiado rapido y que podrfa hacernos perder
el contacto con el mundo en el que ahora vivimos. La filosoffa arquitect6nica se puede convertir,
con demasiada facilidad, en algo a 10 que uno se apega para asegurar su propia visi6n , una almoha-
dilla sobre la que se puede dormir estupendamente. ,
Las ideas defendidas por la Bauhaus hace 35 afios aun son validas en la actualidad. EI funcionalismo,
gracias aDios, aun sigue vivo, y si 10 abandonamos es facil que acabemos en el peligroso camino
que conduce a la arquitectura sin finalidades (zwecklos). Peligroso, porque la arquitectura es un
tipo de arte condicionado (gebunden) y ha de seguir siendolo. Muy pocos grandes talentos han ....

130
 Nexus 2G
Lecture delivered by Arne Jacobsen on the occasion of his receiving
the Fritz Schumacher prize, 1963, from the F.V.S. Foundation
in Hamburg, at the Higher Technical School of Hannover on the
6th of December 1963.

On form and design at the present time

As a young architecture student I used to take every opportunity to travel to Germany, whenever the
little money at my disposal would allow me to, filled with enthusiasm for German culture and a
profound admiration for the Bauhaus in Dessau. At that time I would never have dreamed that
attention would be paid to my work here. That happened for the first time during the Third Reich ,
when unfortunately I was obliged to abandon my native land, and for the second time, on this
present occasion which is for me so profoundly moving. Yes, times do change rapidly! There is a
need for greater trust between people, as has so often been said, although it can never be said too
often; not through isolation and a posteriori, but through collaboration and the exchange of ideas.
The possibilities for collaboration between nations have never been so great as they are today.
Modern technology is helping us to arrive at a clearer vision of our mutual problems, and through
this a better understanding of others. We aspire to a universal society and hope that people's
egotism will diminish, generation by generation. World-wide exchanges help us to overcome national
obstacles. This does not mean that national and regional cultural particularities are going to be
eliminated; quite the contrary, it will be up to us to collaborate to protect them. This will not be too
difficult, given that what we most appreciate is precisely the remote, the cherries in our neighbour's
garden.
This is an optimistic view, since at the present time there are numerous indices pointing in the
opposite direction, although in our profession we have to believe in a positive development of the
future, since it is only on this basis that we can continue to construct.
Many people think that to be a good architect you also need to have a philosophy of your own. I do
not believe this is necessary, but I am conscious of the facility with which a journalist 'helps' an
architect, pushing him into adopting a philosophical position. I have had the opportunity to observe
this on repeated occasions, and if they were to ask me today, I would answer that I have no com-
plete philosophical vision. I think such a thing is a little dangerous, an obstacle to a natural architectonic
understanding, a distancing from reality, an intellectual building that ages too quickly and that might
cause us to lose our contact with the world we live in now. Architectural philosophy can all too easily
become something one clings to in order to guarantee one's own visio,n, a pillow on which one can
sleep marvellously.
The ideas upheld by the Bauhaus 35 years ago are still valid at the present time. Functionalism, thank
God, is still alive, and if we abandoned it we might very well find ourselves on the dangerous path that
leads to an architecture without ends, a zwecklos architecture. Dangerous, because architecture -+

131
2G Nexus
.. conseguido crear verdadero arte haciendo abstraccion de la funcion,
pero en este caso, ino se supera la frontera entre arquitectura y escultu-
ra? Cuando al comienzo he manifestado que en realidad no tengo una
filosofia especial, quiza no sea del todo cierto. Las ideas de la Bauhaus
sobre la relacion entre funcion, tecnica y estetica estan tan arraigadas
en nuestro pensamiento, en nuestro trabajo y en nuestras convicciones
internas que, en la actualidad, son la base sobre la que trabaja cualquier
arquitecto honrado.
Vivimos en una epoca en que el sobrio funcionalismo aun se manifiesta
con mayor fuerza que en los anos 20. Pienso en la construccion
industrializada. Aunque se plantea la dud a de si este campo, que aun se
encuentra en su estadio inicial, en el futuro 10 cultivaran los arquitectos 0
solo los ingenieros. Creo que los arquitectos nos tenemos que involucrar
en el. Nos tenemos que enfrentar a este problema y profundizar en este
trabajo. Abandonarlo seria renunciar a un campo de importancia vital y
tend ria graves consecuencias. Solo nos quedarian aquellos proyectos
monumentales en los que la prefabricacion no fuese rentable. La cons-
trucci6n de edificios de viviendas, oficinas y fabric as se aleja del diseno
artistico. En Dinamarca ya se construyen industrialmente hospitales, es-
cuelas y universidades que, si bien han sido proyectados por arquitec-
tos, estan sometidos a los condicionantes economicos de la construc-
cion. Nuestros fabricantes exportan una buena cantidad de casas prefa-
bricadas, sin fantasia ni espiritu, aunque tecnicamente satisfactorias. En
Dinamarca estas casas aun no pueden competir en cuanto a precio con
la construccion convencional, pero aparentemente si pueden en el ex-
tranjero, 10 cual seguramente se debe a la cotizacion de nuestra divisa.
Si hablo de este tema es para advertir a mis colegas alemanes de los
peligros que implica retrasar el momento de involucrarnos en este cam-
po, y recomiendo encarecidamente afrontar estos problemas en la ense-
nanza para que nuestros jovenes, bien preparados, resuelvan estos im-
portantes problemas junto con los ingenieros, e incluso puedan recon-
quistar una parte del terreno perdido hasta ahora.
Hace unos anos se criticaba, con razon, la falta de planificacion urbana.
En general, esto ahora ya no es necesario, aunque tambien hay que
decir que se em pie zan a encontrar algunos planes que han sido victimas
de la prefabricacion: 10 mas barato es hacer que las gruas de montaje
avancen en linea recta y, por 10 tanto, ise hacen avanzar en linea recta'
iPor que en una epoca en la que circula tanto dinero se sobrevaloran tanto
las medidas de ahorro economico lIegando a sacr~icar la calidad, sobre
todo de aquellos aspectos que no son cuantificables materialmente?
En la construcci6n prefabricada tiene una importancia decisiva reducir al
maximo el numero de elementos distintos. Es "ideal' que solo haya dos
o tres elementos diferentes y entonces el trabajo del arquitecto solo
consiste en "combinarlos' adecuadamente. Pero, por ejemplo, si a un
nino Ie quitamos las piezas de su juego de construccion y solo Ie deja-
mos dos 0 tres, enseguida perdera interes en el juego. A pesar de estas
tristes perspectivas de futuro no podemos volvernos de espaldas y con-
132
.. IS a conditioned or gebunden art, and must carry on being so. Only a
very few great talents have managed to create true art by making an
abstraction of function, but In such cases, do we not cross the frontier
between architecture and sculpture? When at the beginning I declared
that In fact I do not have a specialized philosophy, perhaps that was not
entirely accurate. The Ideas of the Bauhaus with regard to the relationship
between function, technique and aesthetics are so deeply rooted In our
thinking, In our work and In our Innermost convictions that, at the present
time, they are the baSIS on which any honourable architect works.
We live In an age In which sober functionalism manifests itself With even
more force than In the twenlles. I am thinking of Industrialized construction.
Although there is some doubt as to whether this field, which IS still In ItS
Initial phase, will be cultivated In the future by architects or only by
engineers. I believe that we architects have to be Involved in it. We have
to confront this problem and explore this work In depth. To abandon It
would be to give up a field of vital Importance and would have seriOus
consequences. We would be left with only those monumental projects for
which prefabrication was not profitable. The construction of apartment
bUildings, offices and factOries IS moving away from artistic deSign. In
Denmark, industrial construction is already being used for hospitals,
schools and Universities which, although they were designed by architects,
are subject to the economic factors that condition construction. Our
manufacturers export a conSiderable quantity of prefabricated houses,
technically satisfactory but devOid of fantasy and spirit. In Denmark they
stili can not compete With traditional construction in terms of cost, but
apparently they can in other countries, which IS surely due to the rate of
exchange of our currency.
Jf I am speaking about thiS Issue It IS to alert my colleagues to the dangers
ImpliCit In putting off the moment of getting Involved In thiS field, and I
earnestly recommend confronting these problems In the architecture
schools, so that our young people, well trained and prepared, may resolve
these Important questions together With the engineers, and even re-
conquer some of the ground that has already been lost.
Afew years ago there was Justifiable CritiCism of the lack of urban planning.
In general, such criticism IS no longer necessary, although It also needs
to be said that we are beginning to find plans that have been victims of
prefabrication: the most economical approach is to have the assembly
cranes move forward In a straight line, and so they do move forward in a
straight line! Why IS It that In an age In which so much money IS CIrculating,
measures for cutting costs are so overvalued, to the pOint of sacrifiCing
quality, above all In those aspects that can not be materially quantified?
Decisive Importance IS given In prefabricated construction to redUCing to
the minimum the number of different elements_It IS 'ideal' for there to be
only two or three different elements, and the Job of the architect then
consists Simply of 'combining' these In an appropriate way. But, for
example, If we take away pieces from a child's construction set, leaving
only two or three, that child Will lose all interest in playing. In spite of
2G Nexus
denar la nueva manera de construir tal como han hecho, por desgracia,
algunos arquitectos; seriamos reaccionarios. Nuestro trabajo ha de con-
sistir en concentrar nuestros conocimientos y nuestros esfuerzos en uno
de los campos mas importantes de la arquitectura, el de las proporcio-
nes. Cuando se trata de combinar muchos elementos iguales crece la
importancia de las proporciones. La creciente implantacion de las nue·
vas tecnicas de prefabricacion es insatisfactoria esteticamente y creo
que, en parte, se debe a que no se ha ofrecido la oportunidad de colabo-
racion a los buenos arquitectos.
Antes criticaba la monotonia de determinados planes urbanisticos y aho-
ra quiero ensalzar el trabajo positivo de determinados organismos en la
mejora de la accesibilidad al paisaje con fines de ocio y descanso. Se
abre el paisaje mediante nacionalizaciones 0 gracias a la generosidad de
los propietarios, y con ello se ofrece a la poblacion la posibilidad de dis·
frutar de la naturaleza. Pero, ,se toman suficientes medidas para des·
pertar una conciencia social que impida que esta poblacion se convierta
en una "plaga de la naturaleza"? Las prisas en nuestras ciudades aumen-
tan dia a dia, se huye de elias para relajarse, pero una vez en el campo
encontramos radios portatiles en vez de ruisenores. En los lugares de ma-
yor belleza se organizan lugares de acampada. Las tiendas son de color
rojo, naranja 0 azul y de tonalidad chillona, 10 cual no responde al entor·
no. En la eleccion de colores cada vez mas lIama~vos se busca manifes·
tar el propio gusto personal. Esta imagen, ya de por si fea, aun empeora
mas debido al color plastico de los demas elementos del camping. Es
incomprensible que se hayan relegado los bonitos y tranquil os colores
grises y marrones, establecidos con metodos cientifico-militares para
subordinarse a la naturaleza. EI exceso de contraste entre colores pri·
marios, tal como encontramos en la actualidad, amenaza con embotar
nuestra sensibilidad natural de los colo res.
Piensen en las diapositivas a color. Los cuatro colores los vemos tal
como nos los ofrecen los fabricantes de peliculas. Por ejemplo, un cielo
Agfa, Ferrania 0 Kodak, es uno mas bonito que el otro y todos ellos son
completamente diferentes. Uno de los colo re s mas inquietantes y ordina·
rios es el color de los "cerditos de mazapan" que se necesita para repro-
ducir caras, brazos y piernas. Aqui se ha encontrado exactamente el
sano color de la carne, que espera el publico. iHan tornado alguna vez
una foto en color de uno de los barrios miser abies de una gran ciudad
para transmitir a los familia res 10 inhumana que puede ser la vida alii? Yo
10 he intentado en el Pakistan. Los ninos sucios y mal vestidos, las calle·
juelas mas miseras, producen un efecto romantico. Los falsos colores
sinteticos muestran 10 contra rio a la realidad.
De todas maneras esto no es 10 mas peligroso de la fotografia en color.
Creo que, poco a poco, estamos adoptando una concepcion equivoca·
da, sintetica, de los colores que dificulta la experiencia de la naturaleza
pura y pronto ya no estaremos en condiciones de percibir sus valiosos
valores. La naturaleza se desvanece ya que inconscientemente la conn-
paramos con las imagenes que tenemos en casa con unos colo res mu·
134
these depressing prospects for the future, we can not turn our backs and
condemn the new way of building as, unfortunately, certain architects
have done; that would be reactionary. Our work must consist In
concentrating our knowledge and our efforts In one of the most important
fields of architecture, that of proportion. When It is a matter of comblmng
a large number of identical elements, the Importance of the proportions
Increases. The growing incorpora~on of new techniques of prefabrication
IS aesthetically unsatisfactory, and I believe that thiS is due In part to the
fact that good architects have not been offered the opportumty to become
Involved.
A moment ago I Criticized the monotony of certain urbamstlc plans, and I
want now to praise the positive work of certain bodies In improving the
accessibility of the countryside for leisure and recreational purposes.
The countryside IS being opened up by means of nationalizations or thanks
to the generosity of landowners, and in this way the population is offered
the pOSSibility of enJoYing nature. But IS enough being done to awaken a
social conscience that will ensure that thiS population does not become a
'plague of nature'? The hustle and bustle of our Cities increases from day
to day, people flee from them to relax, but once in the country we find
more transistor radios than nightingales. Campsites are set up In the
places of greatest beauty. The tents are red, orange or blue, In strident
tones, which is not appropriate to their surroundings. In the chOice of
ever more striking colours, people seek to declare their personal taste.
ThiS Image, ugly enough In Itself, is made worse yet by the plastiC colours
of the other Items of camping equipment. It is beyond comprehension
that the pleasing, tranquil shades of brown and grey, which scienliflc and
military methods have established as blending in well With the natural
environment, should have been dismissed. The excess of contrast between
primary colours, such as we have now, threatens to dull our natural
sensitivity to colours.
Think of colour slides. We see the four colours In the way they are offered
to us by the film manufacturers. For example, an Agfa, a Ferrania or a
Kodak sky are not all equally pretty, and they are all completely different.
One of the most disturbing and vulgar colours is that of the 'marzipan
pigs' that is needed to reproduce the colour of faces, arms and legs.
Here they have found exactly the healthy flesh-colour the public is looking
for. Have you ever taken a colour photo of one of the slum neighbourhoods
of a big city to show your family how Inhuman life there can be? I have
tried It, in Pakistan. The dirty, ragged children and the most miserable
alleys produce a Romantic effect. The false synthetic colours present the
opposite of reality.
At all events, this is not the most dangerous thing about colour
photography. I think that, little by little, we are adopting a mistaken,
synthetiC conception of colours that IS an Impediment to our experience
of pure nature, and qUite soon we will no longer be capable of perceiving
its priceless colours. Nature is vamshlng, as we unconSCiously compare
it With the Images we have in our homes where the colours are much

cho mas "bonitos" y radiantes. En otras palabras: nos estamos convir-
tiendo en adictos al color.
Cuando hablaba de la conservacion de nuestro paisaje y de nuestras
ciudades me he referido al significativo campo de trabajo del urbanismo.
En el futuro, este campo debe ria encomendarse, en gran medida, a los
arquitectos, pues de forma lamentable ultimamente los politicos prefie-
ren a los ingenieros. Creo que es un error. La estetica, que para nosotros
los arquitectos es un aspecto fundamental, no puede descuidarse en la
planificacion de las ciudades y el paisaje. La percepcion de un medio es
de importancia decisiva, es una disciplina que el urbanista valora. Por
ejemplo, los urbanistas han de ocuparse del gran problema del trafico y
aqui encuentro que, debido al afan por crear plazas de aparcamiento, a
menudo se olvida la imagen urbana. Donde antes habia plazas entre las
casas, ahora hay espacios vados, sin estructurar, junto a los que se
levantan edifidos. Las calles peatonales que ultimamente estan en boga
aparentemente han de sustituir el ambiente de las antiguas calles, pero
creo que estos conceptos no se complementan.
La pregunta de quien ha de ser el coordinador del trabajo en equipo,
necesario para desarrollar los trabajos de urbanismo, se disc ute lamen-
tablemente con pasion. Vivimos en una epoca caracterizada por la tecni·
ca en la que, por desgracia, no se considera que la estetica sea una
funcion. Solo al amparo de relaciones bien resueltas esteticamente, y no
exclusivamente perfectas desde un punto de vista tecnico, pueden cre-
cer personas equilibradas, i1usionadas y alegres. Sin embargo, los politi-
cos aun siguen creyendo que la estetica es un lujo que no nos podemos
permitir. Cuando se descubra el grave error que se comete con ello creo
que los politicos admitiran que el arquitecto ha de ser el coordinador de
este trabajo de planificacion.
En el planeamiento a gran escala no se puede olvidar la vivienda y sus
detalles. Si contemplamos los edificios con los que hemos lien ado nues-
tras ciudades despues de la guerra hemos de admitir que no hemos ido
mas alia del punto donde ya nos encontrabamos en la epoca de la Bau-
haus. A pesar de ello, creo que debido a la extra ordinaria evolucion de la
tecnica disponemos de materiales de construccion que gracias a su ca-
lidad ofrecen la posibilidad de mejorar significativamente la ejecucion y
revelar con cia rid ad la construccion. Esto es 10 que ha Ilevado a una
arquitectura en la que la construccion es el aspecto que domina estetica-
mente. A veces nos quejamos cuando no podemos mostrar con cia rid ad
pilares y jacenas y tenemos que revestir el edificio con una cortina, un
muro cortina. Los edificios de oficinas, mejor 0 peor proporcionados,
son el tipo que con mayor frecuencia aparece en nuestras ciudades,
quiza demasiado a menudo. EI publico se ha cansado un poco y no so-
tros arquitectos seguramente tambien. Creo que el edificio con muro
cortina, bien proporcionado y bien detallado, se ha convertido en una
tipologia que presta buenos servicios, sin embargo, creo que por el ca-
mino que hemos recorrido hasta ahora no se puede lIegar mucho mas
lejos. Seguro que se ha aprendido de estas edificaciones y en el futuro
Nexus 2 G
'prettier' and more radiant. In other words, we are becoming colour addicts.
When I spoke of the conservalion of our countryside and our cities, I
referred to the Important field of work of urbanism. In the future, this field
should be entrusted to a large extent to the architects, although,
regrettably, the politicians have tended of late to prefer engineers. I think
this IS a mistake. Aesthetics, which for us as architects is fundamental,
must not be neglected in the planning of cities and the landscape. The
perceplion of an environment is of decIsive Importance, it is a discipline
which the urban designer values highly. For example, the urbanists need
to concern themselves With the great problem of traffiC, and here I find
that, as a result of the enthUSiasm for creating car parks, the urban
image is frequently overlooked. Where there were once squares between
the houses, now there are empty, unstructured spaces, alongside which
buildings are constructed. It would appear that the pedestrian streets
which have been so much In vogue recently are to subslitute for the
atmosphere of the old streets, but I feel that these concepts are not
complementary.
Lamentably, the question of who should co-ordinate the work of the team
required to carry out urban design projects is debated With passion. We
live In an age characterized by technology, in WhiCh, unfortunately,
aesthetics IS not regarded as a function. It is only in the context of relalions
that are aesthetically well resolved, and not merely perfect from the
technical POint of view, that people can grow into balanced, hopeful and
happy individuals. Nevertheless, the polilicians continue to believe that
aesthetics IS a lUXUry we can not afford. When they realize the grave
error that IS being committed here, I think the politicians will admit that
the architect has to be the one to co-ordlnate the planning task.
In draWing up plans on the large scale, the house and ItS details must not
be overlooked . If we consider the buildings with which we have filled our
cities since the war we have to admit that we have not progressed beyond
the POint we had already reached dUring the Bauhaus period. In spite of
this, I think that as a result of the extraordinary evolution of technology
we now possess construction materials that can offer, thanks to their
great quality, the possibility of significantly improving the execution and
clearly revealing the construction. This is what has led to an architecture
In which the construction IS the aesthetically dominant aspect. We
sometimes complain when we are unable to show the pillars and beams
clearly, and have to cover the building With a curtain, a curtain-wail. The
office building, more or less well proportioned, IS the type that appears
most frequently In our cities, perhaps too frequently. The public has grown
a little tired of it, and no doubt our architects have, too. While I think that
the bUilding With a curtaln-;all, well proportioned and well detailed, has
established Itself as a type that does good service, I believe nevertheless
that the road we have been following up to now can not take us very
much further. Certainly we have learned from such bUildings, and in the
future they will continue to be needed In many places. By breaking up the
large curtain-wall and utilizing the new forms of construction it will be
135

tambien se necesitaran en muchos lugares. Fraccionando los largos muros
cortina y utilizando las nuevas formas constructivas se podra dar un
aspecto mas interesante a esta arquitectura dura y algo rigida.
Hemos visto c6mo el brutalismo, por ejemplo, desarrollado en gran parte
en Inglaterra y por Le Corbusier, ha mostrado nuevos caminos. No soy
ningun gran admirador de este estilo aunque en algunos lugares podemos
encontrar ejemplos hermosos. Me produce un efecto al mismo tiempo
brutal, parad6jico y romantico. Defiendo siempre el funcionalismo puro y
tengo que decir que considero a Mies van der Rohe como el arquitecto vivo
mas importante, y a nosotros, arqu~ectos que trabajamos normalmente,
nos proporciona un ejemplo excelente de c6mo se consigue una arquitec-
tura clara, sana y claramente comprensible sin aiiadidos a la moda.
Esta arquitectura de la que he hablado no abarca la construcci6n de
viviendas que es la tarea mas significativa a la que hemos de enfrentar-
nos. La construcci6n de viviendas es un concepto completamente supe-
ditado a las exigencias econ6micas y, 10 que aun es peor, a los politicos.
Por 10 menos asi es en Dinamarca. Los politicos imponen un paro a la
construcci6n, 10 vuelven a levantar y 10 vuelven a implantar. Con ello
destruyen el ritmo de construcci6n necesario para crear un gran numero
de buenas viviendas en el menor tiempo posible.
La mayor parte de mis consideraciones son pequeiios suspiros que ex-
presan mi miedo frente a una desvalorizaci6n de la pr6xima generaci6n
de arquitectos. Una desvalorizaci6n que, en mi opini6n, podemos evitar
si sabemos dar a la imprescindible industrializaci6n una aportaci6n hu-
manista para elevar la construcci6n a arquitectura . Como arquitecto nor-
mal quiero decir que ahara es mas necesario que nunca ser arquitecto; si
uno se siente llama do a ello y se tiene un 10 % de talento y un 90 % de
dedicaci6n -hoy en dia hay que hablar en porcentajes- creo que se pueden
obtener buenos resu~ados, yen realidad no creo que se pueda pedir mas.
Nexus 2G
possible to give a more Interesting appearance to this hard and somewhat
rigid architecture.
We have seen how brutalism, for example, developed to a great extent in
Britain and by Le Corbusler, has signalled new ways forward. I am by no
means a great admirer of this style, although there are places where we
can find some good examples of It. It produces In me an effect that is at
once brutal, paradoxical and romantic. I have always defended pure
functionalism, and I have to say that I consider Mles van der Rohe to be
the most important living architect, and for us architects who work In the
ordinary way he provides an excellent example of how to achieve an
architecture that IS clear, sane and readily comprehensible, without modish
additions.
This architecture I have been speaking about does not Include the
construction of hOUSing, which is the most significant task we have to
confront. The construction of hOUSing IS a concept that IS entirely at the
mercy of economic demands, and what IS worse stili, of the politicians.
At least that is how It IS In Denmark. The politicians bring construction to
a halt, they set it In motion again and they implant it once more. In doing
so they destroy the rhythm of construction that is necessary to create a
large number of decent houses In the shortest possible time.
The majority of these considerations are little Sighs that express my fears
of a devalUing of the next generation of architects. A devalUing which, In
my OpIniOn, we could aVOid If we were able to make a humanist contribution
to the indispensable industrialization, In order to elevate construction
Into architecture . As an ordinary architect I want to say that now It IS
more necessary than ever to be an architect; if you feel called to the
profession and you have 10% of talent and 90% of dedication -we have
to speak In percentages nowadays- I believe that good results can be
obtained, and In reality I do not think we can ask for any more than that.
137
2G Nexus

Knud Aerbo

Discurso para la inauguracion de la exposicion de Arne Jacobsen en Aarhus

Cuando acepte decir unas palabras para esta ocasion -pense que no iba a ser demasiado diffcil- una
noche me sente y deje que mis pensamientos volaran hacia el pasado. Hacia Hans Dissing, Niels
Blinkenberg, Ole Park y todos los demas que entonces trabajabamos juntos -y por supuesto tambien
hacia Arne Jacobsen- y tome unas pocas notas sobre las anecdotas que me vinieron a la cabeza.
Cuando revise las notas me di cuenta de que habfa algun error porque 10 que habfa escrito eran los
intentos de enganar a Arne Jacobsen -de tomarle el pelo-, los momentos de risas y bromas
cuando se daba la vuelta, etc., tonterfas irresponsables que no podfan explicarse ese dfa.
Me di cuenta de que tenfa que tratar el tema de otra manera, no precisamente explicando anecdo-
tas. Y entonces me dije: iPor que todavfa pienso tan a menudo en los tiempos de Arne Jacobsen? Y he
lIegado a la conclusion de que quizas es porque entonces todo era muy diferente de 10 que vivimos hoy.
Hoy, antes de venir aquf, he estado trabajando en el despacho. En mi pequena parte de oficina -aunque
sea algo estrictamente simbolico-, los objetos, en comparacion con todo 10 expuesto aquf, repre-
sentan una cuarta parte. Trabajamos cuatro 0 cinco personas, una secretaria en el ordenador y una
persona 0 una y media dedicada a las contabilidad. Todo el mundo tiene los mejores programas de
dibujo y acceso a una estacion CAD con impresora, tenemos ordenadores que permiten insertar
textos en los dibujos, calculadoras de bolsillo para dar respuesta a todas las preguntas.
EI telefono ha sonado veinte veces: dos 0 tres ingenieros, autoridades, clientes, contratistas nos
han dado sus buenos consejos. EI fax ha impreso un monton de mensajes referentes a compromi-
sos, y hemos utilizado la fotocopiadora para ampliar y reducir los dibujos que hemos hecho hoy.
Lo que tenfamos cuando trabajabamos con Arne era 10 siguiente:
Una mesa de dibujo, es decir un tablero de 90 x 160 cm con la superficie rugosa; una silla sin
brazos con el asiento de paja . Una escuadra, un cartabon y un lapiz para cad a uno, al que tenfamos
que sacar punta con un cuchillo.
Un telefono que se podfa conectar a su despacho privado . Un par de veces a la semana venfa una
senora media jornada y escribfa a maquina las pocas cartas que habfamos escrito (con seis copias
en papel carbon) y Ilevaba la contabilidad de las pagas.
Una caja de carton negra era nuestro archivo para los proyectos y en un ~ ajon guardabamos los
originales. Para sujetar el papel utilizabamos chinchetas , todavfa no se habfa inventado la cinta
adhesiva.
EI membrete para el papel de carta 10 hacfamos con un tampon que apretabamos contra el papel
en el margen superior izquierdo. ~

138
Speech at the opening of the Arne Jacobsen exhibition in Aarhus

When I agreed to say a few words on this occasion -I thought this would not be too difficult- I sat
one evening and let my thoughts travel back to the past. To Hans Dissing, Niels Blinkenberg, Ole
Park and all the others that worked together then -and of course Arne Jacobsen- and put down a
few notes about incidents I came to think of.
When I had a look at the notes I realized that there was something wrong, because what I has written
was about attempts to tease AJ -make fun of him- having fun and games, when he turned his back
etc. -all irresponsible fiddle-faddle, which cannot be mentioned on this day.
I realized that I had to deal with the matter in another way -not just tell little stories.
And then I asked myself why I still think so often of the time at AJ? And so far I have come to the
result that it might be because everything was so different from what we experience today.
Before I came here today, I was at work. In my small part of the office -if that strictly symbolically-
should be compared with the material shown here, my commissions fill probably one fourth. We are
4-5 people, a secretary at the word processor and one or one and a half bookkeeper. Everybody
has the best drawing machines, access to a CAD-station with printer, we have computers to write
text on the drawings, pocket calculators to answer all questions.
The phone has rung 20 times -2-3 engineers, authorities, clients, contractors have given us good
advice. The fax has printed a pile of messages to commit oneself to -and we have used the
photocopying machine to scale op and down the sketches we have produced today.
What we had when we worked with Arne Jacobsen:
A drawing table -a 90 x 160 cm uneven tabletop- a side chair with a straw bottom . Our own T-
square and square and a pencil which had to be sharpened with a knife .
One telephone with the possiblity to switch to his private quarters. A lady came two half days a week
and typed the few letters we had written (with 6 carbon copies) and to keep the wages accounts.
A black cardboard box was our archive for each project and a drawer for the originals. Drawing pins
to hold the paper; tape was not invented yet.
The head of the writing paper was an embossed stamp we pressed on the paper at the top on the
left side. ,
If you look at it today, you will have to say: it could not be done. But luckily we did not know then.
I wish I could say that it was AJ who had the qualities of leadership -or mainly I wish I could say: we
were just a bunch of genies who could do it! Neither is right. And I don 't know the answer how things
could develop, become so complicated. But I will (when I am left in peace from the phone, meeti ngs,~

139
2G NeXl
... Si 10 vieran hoy, se sentirian obligados a decir: no es po sible. Por
suerte entonces nosotros no 10 sabiamos.
Me gustaria poder decir que Arne Jacobsen era quien tenia las cualida·
des de lider, 0 por 10 menos me gustaria poder decir: ieramos un grupo
de genios que ibamos a conseguir 10 que nos propusieramos! Ni una
cosa ni la otra son ciertas. Y no se encontrar la respuesta a como se
desarrollaron las cosas, como se lIegaron a complicar tanto . Pero la
buscare (Ia buscare cuando el telefono, el fax y los ordenadores me
dejen en paz), me sentare y tratare de buscar la respuesta, aunque no
tengo grandes esperanzas.
Tambien era distinta la manera de contratar a la gente. Una vez al ano,
Arne Jacobsen Ie pedia a un profesor conocido suyo de la Academia que
escogiera de H2 a unos cuantos alumnos prometedores y futuros arqui·
tectos.
En 1932 nos escogieron a Hans Dissing y ami, y fuimos a hablar con el
maestro. Nos pusimos de acuerdo y empezamos inmediatamente con
un sueldo de 4,25 coronas la hora.
Eramos seis 0 siete empleados -sin jerarquias-, nadie nos controlaba:
era la estructura piramidal mas plana que he visto jamas. Un unico nivel,
incluido el 'gordo' , como soliamos lIamarle. Era una especie de mano a
mano con Arne 0, si 10 prefieren , un 'por encima del hombro' . EI no nos
ayudaba en nada referente a cuestiones tecnicas 0 constructivas.
Sugirio seriamente que hicieramos un tampon para los pianos con el
texto siguiente: 'Sin garantias para la construccion ni la ejecucion'. 'En·
tonces, ,que es 10 que queda", Ie preguntamos con desdeno. 'La res·
ponsabilidad estetica'. Y 10 decia en serio.
La ayuda que obtuve cuando lIegue y supe que tenia que dibujar un edif~
cio administrativo para el ayuntamiento de Redovre fue esta: tendra aprox~
madamente 1500200 trabajadores, tiene que tener unos 90·100 me·
tros de largo y un doble pasillo y tres pisos. Pero queria construir -y eso
era crucial- un muro cortina, es decir, una sola fachada de vidrio que
colgara sobre la estructura.
Y entonces me dio un recorte de una revista americana del edificio de la
general Motors en Detroit y me dijo: 'Pero las columnas no deben ser
mas anchas de ... 7 centimetros'. Y eso fue todo.
Pero en el dia a dia, que nos lIevaba a estar muy cerca de Arne -de las
ocho horas de trabajo se pasaba seis con nosotros-, pudimos aprender
unas cuantas cosas gracias a el. No, no quiero decir 'aprendimos' , eran
las cualidades personales de Arne . Cualidades que Ie convertian en el
'maestro'.
Entre esas cualidades podemos destacar:
1. EI talento artistico: algo muy dificil de aprender.
2. La tenacidad -Ia voluntad de Ilegar a las metas que nos habiamos
propuesto sin tener en cuenta los costes.
3. La seguridad en si mismo y el aplomo. La confianza en 10 que entrega·
ba desde un punto de vista artistico. Nunca miraba un caso desde dos
puntos de vista. No daba alternativas.
4. La vision general de un encargo: ademas del proyecto siempre dise·
iiaba sillas, mesas, alfombras, cortinas, el mobilia rio de oficina, sofas y
sillones, fundas para los muebles, ceniceros, relojes, accesorios, lampa·
ras, insignias de ciudades, letreros, jardines, etc.
5. La abertura a las tendencias del momento. Estas tambien se expresa·
ban robando de los demas a escondidas.
6. Ser visible, 10 que hoy en dia Ilamariamos relaciones publicas. Hoy nos
podemos beneficiar de ello: un proyecto estaba terminado cuando esta·
ba completamente fotografiado, los dibujos recortados y montados. La
participacion en concursos.
7. Y unas cuantas cosas practicas: callarse cuando nos golpeaba en la
espinilla sin que nadie Ie viera. iPequeiias mentiras sin mala intencion '
140
... faxes and computer tranSCrIpts) Sit down and try to find the answer -
Without great expectations though.
Also the way people were hired was different. Once a year AJ asked a
teacher he knew at the Academy to pick a few promising, prospective
architects from H2
In 1932 It was Hans Dlsslng and I who got the chance -and went to talk to
the Master. We got engaged and could start at once and received a salary
of DKK 4.25 an hour
We were 6-7 employees -no hlerarchy- nobody checking up on us -the
flattest staff pyramid I have met ever since . Only one layer -also With "the
fat man" as we used to call him. It was a solitary approach With AJ hand In
hand or on one's neck, whatever you prefer.
We had no help from him regarding technical or construction matters.
He suggested seriously to have a stamp made for the drawings With the
text: "No guarantee for constructions and Implementation".
"What IS left then," we asked him contemptuously. "The aesthetiC
responsibility" and he ment rt.
The help I received, when I came and learned that I should draw an
administration building for the muniCipality of Redovre, was: There have to
be approx. 150-200 employees, It has to be approx. 90-100 m long and
with a double corridor, 3 storeys high. But he wanted to try -and that was
crucial- a curtain wall construction, I.e. With a only a glass facade hanging
on the bearing structure.
And then he gave me a cutting from an American magazine of General
Motors In DetrOit and said: But the pillars must not be broader than ... 7 cm.
And that was it.
But when we were so close In everyday life -he was present 6 of the 8
hours of the day- we learnt a few things from him. No -I don't want to say
"Iearnf': It was the personal qualities of AJ. Qualities which made him the
"Master".
Amongst these qualities could be mentioned:
1. Artistic talent -alone thiS could be hard to learn.
2. Persistence -the Will to reach the goals he had set- Without regard for
the costs.
3. HIS self-confidence and pOise. A confidence In what was delivered was
right from an artistic POint of view. Never look at a case from two Sides.
No alternatives.
4. HIS overall view of a commiSSion: BeSides the project he also deSigned
chairs, tables, carpets, curtains, office furniture, sofas/armchairs, furn"
ture coverings, ashtrays, clocks, fittmgs, lamps, coats of arms, signboards,
gardens, etc.
5. To be open to the tendencies of the time . ThiS can also be expressed as
stealing from others without it being revealed.
6. Be Visible, which means today: PRo This is what we benefit from today-
a project was first finished when It was completely photographed, the
pictures cut and mounted. To participate In compelilions.
7. And a few practical things: Shut up, when he kicked us on the shin.
Small white lies! For him the goal Justified the means, from an artistiC pOint
of view.
How was he to work for'
We were not driven hard -we got all the time we needed. Contrary to now
-the client could not force the projects. AJ told them that the houses could
not be built before the draWings were flrushed.
He never followed the line of least resistance. Which I was Inclined to -my
Impalience-I once thought I could make him embarrassed, perhaps educate
him a bit. I was draWing 5Q.U0 different proposals for a house end of a one-
family house. The draWing was approx. 12 m long -reached through the
whole length of the office. He just went up and down a few limes and then
put hiS foot on one of the proposals and said: "I think you should carry on
J~
2G Nexus
Para el, el fin justificaba los medios, desde un punto de vista artistico.
,Como trabajaba?
No trabajabamos con demasiada presion, teniamos todo el tiempo Que
necesitabamos. AI contra rio Que ahora, el cliente no podia forzar los
proyectos. Arne les decia Que las casas no se podian construir antes de
Que los pianos estuvieran terminados .
Nunca seguia el camino mas facil, cosa Que yo, por impaciente, me
inclinaba a hacer. Un dia pense Que podia ponerle en una situacion
embarazosa, tal vez enseiiarle algo. Yo estaba realizando entre 50 y
60 propuestas para terminar una vivienda unifamiliar. EI plano media
aproximadamente unos 12 metros de largo, ocupaba todo el largo de la
oficina. EI no hacia mas Que andar arriba y abajo recorriendolo hasta Que
al final puso el pie encima de una de las propuestas y dijo: "Creo Que debe-
rias continuar trabajando en esta".
Las conversaciones acerca de los sueldos siempre se lIevaban una par-
te sustancial de nuestras energias . Cuando teniamos Que trabajar en un
gran espacio, las negociaciones siempre se lIevaban a cabo en su co-
che, de camino a alguna reunion . Ello sabia -<lebia ser parte del juego:
escuchar un monton de Quejas por un cuarto de corona mas la hora.
Pronto descubri Que no era ningun tonto. Cuando me pregunto, despues
de haberle hablado de mi mujer, nuestros hijos, nuestra casa adosada,
etc. cuanto ganaba en aQuel momento, yo Ie dije Que ocho coronas (en
realidad estaba ganado siete, pero estaba convencido de Que me mere-
cia nueve). Entonces me dijo: ni hablar, como maximo puedes cobrar
8.50 coronas la hora. Bien, representaba una corona mas en el bolsillo y
no tuve ningun tipo de mala conciencia.
Lo mas dificil de trabajar con el -por extraiio Que pueda parecer- era
dejarlo, sin Que el se 10 tomara como un insulto personal. Pero todos
sabiamos Que podiamos lIevar una vida protegida bajo la sombra de su
poder y Que si Queriamos hacernos una carrera en la vida real teniamos
Que dar el saito, de 10 Que por mi parte nunca me arrepenti.
Para terminar, un peQueiio parente sis relacionado con esa enorme mues-
tra de arQurtectura:
Nunca lei ningun analisis escrito sobre la construccion de un edificio,
analisis de los pensamientos Que tenia el "maestro" y de la expresion Que
Queria alcanzar.
EI otro dia encontre un articulo -una exaltacion en dos paginas (con la
traduccion al ingles y al aleman) en una famosa revista actual. EI articulo
hablaba de unas escaleras espantosas en una jaula de cristal, unas esca-
leras Que casual mente habia diseiiado yo mismo para un edificio adm~
nistrativo en Nyropsgade.
No podia creer 10 Que leia. Bien, es cierto Que habia dedicado algo de
tiempo a pensar en aQuelias escaleras, pero no para merecerse dos
paginas enteras y menos con las elaboradas palabras Que se utilizaban
en el articulo.
Lo maximo Que fui capaz de recordar sobre las consideraciones Que
hice entonces fue: 10 hacemos asi y les tomamos el pelo .. . a veces
funciona.
Den un vistazo a los dibujos y disfruten ... espero Que no encuentren
demasiados fallos.
Knud Aerbo
7.1.1992
142
working on this". Wage talks always took a substantial part of our energy.
When we were working In one big room, the negotiations always took
part In his car, on the way to a meeting. He knew it -and it must have
been a part of the game. listen to a lot of misery Just for the sake of 25 0re
more an hour.
I discovered QUickly that he was no fool. As he -after I had spoken about
my Wife, our child, the terraced house etc.- asked me: How much was I
getting at present -I said 8 Kroners- no matter that It was only 7 Kroners
-I was convinced I deserved 9 Kroners- he said -No way: You can only
get 8.50 Kroners an hour. Okay, that was 1 Krone more In the pocket and
I did not have a bad conscience about that.
The most difficult In being With him was -strange as it may seem- to
leave him -without him regarding it as a personal insult. But we all knew
that we could live a protected life in the shadow of hiS power, and If we
wanted to make a career in real life we had to take the Jump, and for my
part I never regretted It.
Finally a small, professional sigh in connection with thiS enormous dis-
play of architecture:
Never read an analYSIS written after the construction of a building.
Analysis of the thoughts the "Master" had and the feelings and the
expression be wanted to achieve.
The other day I found an article -a glOrification In 2 pages (with English
and German translation) in an acknowleged modern magazine. About a
wretched steel staircase In a glass cage -a staircase I InCidentally had
deSigned for an administration bUilding in Nyropsgade.
Don't believe that Jazz you read. Okay, I had given the staircase some
thoughts, but they could never be spread over 2 pages and never With
the elaborate words which occurred In the article.
The closest I could come to the conSiderations I made then, was: We do
it like thiS and take the others for a ride -sometimes It comes off.
Have a look at the draWings and rejoice -that you cannot (I think) find
compromises .
Knud Aerbo
7.1.1992
Acuarela de Watercolor by
..
Arne Jacobsen