The canalhouses are build following Dutch inspiration as slim & tall flats, being in direct contact with the water at the canal. The task for Sluseholmen C, was to design the façades for two individual canalhouses. The goal with our proposals was to design two juxtapositions: a classical tactile façade, and a modern minimalistic façade. The classic facade is inspired by the romantic detailing of Venice- canalhouses, yet using modern materials and ways of filtering light. The modern façade is mainly structural glazing, penetrated by wooden frames. The wooden frames indicate the balcony openings and give depth to the façade.
At Sluseholmen D, we designed six Canalhouse- and two Quayhouse façades. The goal with our proposals was to design the façades as a transition zone that could be used actively. In that way, inhabitants could sit and read in the window-niches, peek down the canal or just change the visual properties of the façade. The Canalhouses are kept in very different materials: mosaic tiles, render, galvanized steel, glass and wood. The façades all play with different approaches of activating the use and changeability of the façade. The given material for the Quayhouses was masonry. The two buildings are juxtapositions in colour and bond. We wanted to explore the classical scandinavian masonry in a modern, yet complex and tactile way. Challenging the classical expression of masonry, by different formats and combining with new materials.
The task for Sluseholmen F, was to design three individual façades with the given material: masonry. The goal with our proposals was to explore the classical scandinavian masonry in a modern, yet complex and tactile way. The façades should express familiarity in detailing and at the same time be very different. We wanted to challenge the classical, modular expression of masonry, by new materials and a graphical / pixel-oriented approach.
HOUSE 13: The building is a cornerhouse, with one façade situated directly at the canal. The corner is rounded to underline the connection between the two façades. To articulate the movement around the corner, the bond is oriented vertically – with white, glazed tiles. On the first floor the balconies are connected into one ongoing stretch from south to east. On the three upper levels, the balconies are connected by vertically oriented white concrete frames, cantilevering 400mm from the façade. Here the bond is a pattern-bond creating diagonal lines. Unfortunately some details have been altered for economical reasons, after the final presentation.
HOUSE 4: The façade is partitioned into three rectangles by colour and bond . The partition mirrors the inner diversity of the three different plans: commercial groundfloor, 1. floor with circulation and flats and the three upper levels with identical flats. The upper part of the façade is held in a pattern-bond creating diagonal lines.
HOUSE 16: The focus was to create a lively façade, by structuring it with white concrete frames, which blur the visual partitions between levels and flats. The primary façade is held in a grey bond, where the area around the entrance is emphasized by pushing-in part of the masonry. All windows and balconies are framed by white concrete, sticking out by 100mm, to give a sentence of depth to the façade. The right part of the façade is pushed back, to mark the drive-way / ramp to the subterranean parking. Here the façade is black, with a pattern-bond creating diagonal lines. Unfortunately some details have been altered for economical reasons, after the final presentation.