Leonardo

Arne Jacobsen: Architecture and Fine Art Author(s): Rod Hackney Source: Leonardo, Vol. 5, No. 4 (Autumn, 1972), pp. 307-313 Published by: The MIT Press Stable URL: http://www.jstor.org/stable/1572585 . Accessed: 03/10/2011 23:27
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Vol. 5, pp. 307-313. PergamonPress 1972. Printedin GreatBritain Leonardo,

ARNE JACOBSEN: AND FINE ARCHITECTURE

RodHackney*

ART

Abstract-The author has carried out a study of the life work of the Danish architect, Arne Jacobsen, with whomhe workedduringhis last years. The high points of his architecturalcareer are mentionedfrom the points of view of the use of sculpture in architecture and of architecture as sculpture. Jacobsen whenever possible insistedon havingcontrol of the overall concept of a building, including interior design and decoration, and landscaping. He brought in consultantsat an early stage of eachproject to advise him on the use of sculpture and on other aspects making up a completebuilding. His own interest in design rangedfrom kitchen and bathroomfittings to tableware to machineryto book covers. Somefelt that to achieve his targetJacobsendevelopeda cold mannerin order to dictate to clients the precise environmentin which they were to work or live. The author disputes this and says Jacobsen was regardedby all who knew him well as a considerate,gentle and warm-hearted person.

I. INTRODUCTION It can be said that by being born in Denmark, Arne Jacobsen (11 February 1902-24 March 1971) began his life in a country that was in many ways particularly sympathetic to the endeavours of architects and artists alike. The country had built up a solid tradition based upon the use of reliable and proven materials and upon the production of the highest standard of workmanship in almost every field of the decorative and fine arts. The Danes were influenced, and still are to some extent, by external trends, especially from Germany and also to a lesser amount from Sweden and England, but it must be emphasized that although they meet foreign ideas with an open mind they have proved their skill in adapting them to produce an end result that is typically Danish. The Danes never managed to produce any grandiose movement and very few originators stemmed from the country. In place of any extremes of style, they still manage to influence the rest of the design world more than one would expect from their size of population. They achieve this by almost guaranteeing in their architecture and design the finest detailing and the simplest form of expression and a theme of moderation that runs through all their work. II. ARCHITECTURAL CAREER Jacobsen graduated from the Royal Academy of Fine Arts in Copenhagen in 1927 and immediately
* Architect living at 222 Black Road, Macclesfield, England. (Received 1 February1972.) 307

set the Danish design circles buzzing with interest over his winning competition scheme for a 'House of the Future' (1929). The design, which was worked out with his school friend, Flemming Lassen, was based on a spiral plan with a helicopter landing site on the roof. Although some people considered this project far-fetched, others, perhaps more enlightened, saw promise in this young architect and entrusted the design of their projects to him. One such individual was the lawyer, Rothenborg, who commissioned him to design not only his house (1931) but also the interior fittings as well, a rare commission in those days. This proved to be a golden opportunity for Jacobsen to exercise his skill at interior design which, successfully accomplished, led to other discerning clients who offered him complete freedom of expression in his work. A general overall survey of his early buildings reflects the advent of a type of functionalism in Denmark to free Danish architecture of the neoclassicism of the 1920's and early 1930's. It should be stated, however, that Jacobsen did not adopt the ideas of the European modern movement as a whole but sought to channel its influences in the direction of the simplest and clearest architectural expression most suitable for the Danish temperament, topography and climate. When he found himself rather restricted by the design of one-unit houses and bungalows, he turned his attention to competition projects, an integral part of the Danish architectural scene. Here he met with incredible success. Such an example was Aarhus Town Hall (1939-42) designed in partnership with Erik Moller. The out-cry of

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Rod Hackney monuments of Rome remained, until his death in 1971, his proudest possessions. His 'View of Positano' (1953), the Norwegian Fjord (mid 60's) and a series of Danish landscape scenes (1948) are amongst some of his most notable. His last watercolour painted during a European tour was that of Place Pattergrain in Paris (Fig. 1) prepared during the 1970 summer. The unusual aspect of this work was that he chose a scene with many vivid and bright colours, in contrast with those rather subdued renderings of his earlier works [2]. He also had a good eye for fine pen work and his latest sketch books were full of miniature domestic scenes that caught his imagination, as well as the usual documentation of buildings and details of interest. He had a great respect for fellow painters and when the opportunity arose in one of his buildings he would consult a colleague regardingthe use of a painting or tapestry in a particular location in the building concerned. In the Aarhus Town Hall, he commissioned an artist to produce storey height, room length murals at important centres of interest, such as the council chamber. A later example, the last completed architectural work before his death, was the renovation of the headquartersof the American Express Bank in Copenhagen. Here he advised the client that the banking area would be more interesting if two pieces of fine art were incorporated into the wall design. On one wall the Dane, Ann Marie Kornerup, was commissioned to design a special fabric and on the opposite wall the Japanese artist, Tabuchi, contributed a porcelain relief. IV. SCULTPURE AND ARCHITECTURE (a) Sculpturein Architecture In Leonardo [4], Art Brenner has called for more positive co-operation between architects and sculptors. Jacobsen perhaps gave a guide during his career of how the architect and consultants in

criticism from the traditionalists, who saw this as a drastic departure from the accepted design of a town hall, almost curtailed Arne Jacobsen's ambitions. However, his next town hall competition success for Sollerod (1940-2) designed in partnership with Flemming Lassen, although just as unorthodox as Aarhus, was received with less objection. His preoccupation with new ideas led him in the 1950's to introduce the curtain-wall technique into Denmark, which manifested itself in the form of three of his buildings-the Rodovre Town Hall (1955), the Jesperson Office Block in Copenhagen (1955) and the Royal Hotel/Air Terminal complex also in Copenhagen (1959). Yet again criticism followed, for the wall treatment represented a departure from the traditional Danish method of cladding a building but Arne Jacobsen once more had illustrated that he could recognize a successful building method and then adapt it to suit the Danish environment. The Royal Hotel/Air Terminal complex also exemplifies the wide extent of his designing capabilities. His internal design of the building included all furniture, cutlery, tableware, light fixtures, glassware, carpets, curtains and wall coverings [1]. During this period of trying novel ideas Jacobsen still was willing to build with traditional materials and techniques. His Munkegaard School (1952-6) and the Soholm Housing Estate (1951), both near Copenhagen, were built in typical Danish yellow brick. These two building groups represent some of his finest work. Some of his most significant European projects were executed in Germany where he worked in partnership with Otto Weitling. The Herrenhauser Theatre Entrance Foyer in Hannover (1965) and the Hamburg Electricity Works Office Building (1970) are the culmination of all Jacobsen strove for in simplicity, refinement and clarity of expression. III. ARNE JACOBSEN AS A PAINTER Owing to the fact that very few of his paintings were ever exhibited, it is perhaps little known that he was an excellent watercolour artist. His first ambition was to become a painter but for some reason his father, who contributed financially towards his education, had decided that a more rewarding career for his son would be found in the architectural field and he managed to convince Arne that his artistic talents would still find an outlet in this profession. They did indeed find an outlet, firstly at the Academy of Fine Arts where he took full advantage of his gift when it came to the presentation of his academic work and secondly in the preparation of the numerous competition projects that he participated in after graduation. His talents were further encouraged during his many European tours, organised by his history tutor, Ivar Bentsen. Some of his drawings of the antiquities of Greece and the

"PlacePattergrain", Fig. 1. ArneJacobsen, watercolour,

20 x 30 cm., 1970. (Photo: R. Hackney, Manchester, England.)

ArneJacobsen: Architectureand Fine Art fine art should work together. I should like to name two of his most famous schools built in Denmark as examples where small scale sculptural figures and reliefswere successfullyincorporatedinto the overall design of the buildings. Munkegaard School was built as an elementary institution for children ranging from 7 to 15 years old. The plan comprised 24 classrooms arrangedin pairs, all of which opened out towards small internal patios. It is these patios rather than the interior of the building itself that are notable. His own brief required that each classroom should be provided with an identity of its own and he chose to do this by treating each patio differently by the clever use of various types of paving materials, a range of flowers and shrubs and a large number of copies of classical and modern sculptures. It is to these sculptures that the children associate their individual areas in the building and, when directions are given, it is to these sculptures that they refer, proof enough of the success of an architect's planning. A photograph shows the level of intimacy that Jacobsen managed to achieve in the layout of these patios (Fig. 2). His success at this school led him to use similar techniques when it came to the inclusion of sculpture in the Rodovre School (1961-5). As well as the busts used in the corridors of the school, he again incorporated sculptural pieces in the outdoor areas. In this example, he chose to use sculpture that was designed in the form of slab reliefs as a screen between classrooms. To do this, the reliefs, which were all of standard size, were mounted at eye level to a series of supporting posts. In some cases, he chose a simple slab of concrete to be supported in the same manner as the reliefs, so that a few tophung reliefs could be mounted onto the slab and later removed when interest in the work had subsided (Fig. 3). In this way, the concrete slabs could

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Fig. 3. Arne Jacobsen, removable relief in an internal patio of the Rodovre School near Copenhagen, Denmark,

1961-65.

also act as supports for exhibitions that are held from time to time. He also used modular-sized reliefs embedded flush into masonry walls in other outdoor areas to provide additional interest for the school children. Earlier co-operation between Jacobsen and sculptors occurred when he worked as a partner with Ankar Hoffmann in the Vitus Bering Minde competition project (1941) [3]. The scheme brought the two designers a bronze medal. Shortly after the completion of his work on this project Arne Jacobsen escaped to Sweden where he remained until the end of the Nazi German occupation of Denmark. A visit to St. Catherine's College in Oxford, Jacobsen's only completed English building (19615), again reveals the successful coordination of the use of sculpture in architecture. There are two bronze figures, one designed by Barbara Hepworth and the other by Henry Moore, located in the external landscaped areas of the small formal gardens, which he designed. (b) Architectureas Sculpture He never used large scale sculpture as described in the article by Art Brenner [4]. Jacobsen's arguments were that small scale sculpture, as used in the two schools I have just described, was to be used at a human scale to help towards the intimate atmosphere that is most essential in providing the right working or living environment within a

Fig. 2. Arne Jacobsen, internalpatio of the Munkegaard School near Copenhagen, Denmark, 1952-56.

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Rod Hackney

building. On the other hand, he would often treat the overall design of his building facades as sculpture in themselves, thus making redundant any need for the 'planting' of large monumental sculpture. If the building form itself could not transmit the message of direction or emphasis through the design of its facade then the architect had failed in his endeavours. He felt that Ruskin was right when he wrote: 'No person who is not a great sculptor or painter can be an architect. If he is not a sculptor or a painter he can only be a builder' [5]. The following works all possessed the quality that they were complete in themselves as sculptural forms. Rather than being chiselled out of stone, their external expression had been determinedby the function of the internal spaces and by the nature of the structural and cladding materials employed. The Herrenhauser Restaurant and Viewing Gallery (designed 1964) [6] (Fig. 4) was conceived as two large saucer shaped slabs supported upon a pair of columns. The larger of the two slabs was designed to serve as the foundation of the restaurant and as a viewing platform for the spectators who wished to witness major activities being organized in the park below. The upper of the two slabs was designed as a roof to the indoor restaurant. To avoid any complicated servicing problems that might compromise the simple form of the building Jacobsen planned the kitchen in a hidden basement area that was to be connected to the restaurants by lifts accommodated within the structural column zone. The two shells were planned to be built in three-dimensional lattice construction based upon the use of steel, and the whole covered with a thin skin of plastic. The important point regarding the design of this building was that it made the statement that little was missing and nothing could be added. Other projects that transmit a similar message, although perhaps more conventional in their use of materials, include the Central Bank of Kuwait (designed 1965-71) [7] and the Swimming Pool at Lyngby in Denmark (designed 1965) [8].

Fig. 5. ArneJacobsen, Carl ChristensenCylinderBoring Factory, Aalborg, Denmark, 1959. (Photo: Struiwing,

Birkerod, Denmark.) The nearest Jacobsen ever came to providing a large scale sculpture as described by Art Brenner [4] was in the Cylinder Boring Factory built for Carl Christensen in Aalborg, Denmark (1959) (Fig. 5). I am referring to the chimney stack, which also accommodated the Carl Christensen emblem, where Jacobsen saw the height and proportion of the steel tube as a balancing factor to the horizontal brick elevation of the workshop. One must not forget, however, that the prime reason for the erection of the chimney stack was practical rather than aesthetic. V. COMPLETE DESIGNER I mentioned in the chapter concerned with his architectural career that Jacobsen was sometimes also given the opportunity of designing all the interior parts of the building. He could not bring himself to accept that architects should leave the design of the inside of their buildings to somebody else and he was not content until he could convince his client that he should be given the job of designing the complete work. His careergives many examples where he came in conflict with his client regarding this viewpoint but, where he was given the freedom he sought, the end result was undoubtedly worthwhile both for the client and the design world alike. It is perhaps in this respect that he made his greatest contribution to the design profession. In this age of ever increasing specialization, there are very few who seem to have taken up his message and his death removed from the scene one of the last versatile artists who could hold claim to the title of being a 'complete designer'. He designed his first chair whilst at the Academy of Fine Arts in 1925. His tutors were so impressed that they exhibited it at the Paris Exhibition of the same year. After graduating,his work as a furniture designer was almost exclusively with untraditional materials such as steel, laminated wood and artificial compounds. His designs reveal an extremely personal and artistic ability to exploit the latest techniques in manufacturing. In collaborating with Fritz-Hansen, one of the oldest and most advanced furniture manufacturers in Denmark,

Fig. 4. Arne Jacobsen, Herrenhauser Restaurant and Viewing Gallery, Hanover, Fed. Rep. Ger., designed in 1964 but not built.

Arne Jacobsen: Architecture and Fine Art

311

he created a large number of products suitable for mass production, several of which stayed on the market for 20 years or more. Most of his furniture was originally designed for the buildings whose interior layout he had undertaken. The high backed 'Oxford Chair' was thus designed for St. Catherine's College. It was made of laminated plywood and upholstered in leather or cloth. The base had a swivel stand of cast aluminium. The 'Swan' armchair was designed for the Royal Hotel/Air Terminal building in Copenhagen. It was made of moulded plastic with leather upholstery and rested on a cast aluminium base. His most famous chair design was the three legged 'Ant', designed in 1951-2, and still in great demand in the design world (Fig. 6). The chair, which was also designed for economic stacking one on top of another, was constructed out of a single piece of laminated veneered plywood which rested on three steel chrome plated legs. Although the chair has gone through many modifications since the time of the original, with the addition of arm rests and the use of four legs, it was the first design that appealed most to the public. The chair became one of Denmark's largest selling design exports [9]. Amongst the many series of tableware that he designed, the 'Cylinda Line', remained the most successful (Fig. 7). Designed in the mid-1960's, the range included tea and coffee pots, milk and water jugs, sugar bowls, ash trays, ice buckets, pepper mill and cruet sets. At the time of his death, the series was still being expanded. The cylinderware reflected everything Jacobsen strove for in his life work. It was completely functional and by being rational in concept was suitable for mass production and, therefore, in the long-run, inexpensive to produce. All the constructional details with their clear and simple lines bear the hallmark of the designer. The only decorative element on the pots was the black plastic handle. He was also responsible for the design of the packing cases for each item [10]. In 1969, he completed his design for a unique series of kitchen and bathroom fittings (Fig. 8) The series, manufactured by I. P. Lund in Denmark, was revolutionary in that the taps were designed to accommodate a new type of valve that not only controlled the amount of water pressure but also the water temperature. The series included a single tap, replacing the traditional double tap requirement, and a number of optional extras, including soap, glass and towel holders. The series includes a wall face plate that is designed to suit the ceramic wall tiles most commonly available [11]. Jacobsen's light fittings and fixtures, like his furniture, were normally designed for a specific building in mind and later put into mass production. The 'Munkegaard' ceiling fixture was such an facturer:Fritz Hansen, Denmark.) (below)A stack of 'Ant' chairs. (Photo: Striiwing, Birkerod, Denmark.)
Fig. 6. (above) ArneJacobsen, 'Ant' chair, 1952. (Manu-

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Rod Hackney
. ??::::!:::!:(:;:;:i . .. ^College X'*^*"fe--" ' X':. !:' ""' *this .. _*;'"
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of the plants specified for use at St. Catherine's

had successfully flourished in his own garden. When he attended the opening ceremony of building in Oxford in 1965, he expressed his X' wish to all present that they revisit the site 15 years :..:'}~':i;:1:'-:'~'~:! ': ." later to see how his landscape treatment had ma.....;..j |k _^^^^^^^. .....!|i:.rtured. It is not difficult to imagine the college as a . great sculpturelying on a low plinth in the meadows of the town. He no doubt visualized how his green .i ^EB: ""''l > . foliage would gradually spread over the plinth SISB ?fk. .. . . " B 'and - ::i?.;-:i eventually up the sides of the building [12]. :x _:.:-.:' He designed the Oxford gardens to contrast with w_ i :Xj ^^^^therigid geometry of the buildings by providing arrangements and using the maximum ':maze-like ? . variations of shades of colour. Since the garden :. .; .;~~~~~~..... _i layout and buildings were conceived as one, the . * . . ':.X cannotbe adequately ....::'.whole judgeduntilthe former ...'. . IIIII_. has matured and the latter aged. Only then will _. . :;: '. one be able to witness the wisdom of the designer. _?^^? S His interest in landscape design and miniature ..... gardening was not confined to external areas. Where he found that a project had some severe Fig. 7. ArneJacobsen,'CylindaLine', coffeepot, milk A/S restrictions regarding the use of plants externally, jug and sugar bowl, 1967. (Manufacturer: Stelton Denmark.) Copenhagen, he would do his best to make up by providing artificial- or natural-lit internal plant boxes within the building. In the Royal Hotel in Copenhagen, lobby gives access to a winter garden, which ;;ithe extends through two structural floors. He designed glass boxes in double glazing and made ^?^.................................:large ================ ....=== for natural roof lighting to give the ...=.=. = = ..==.=.provision ' required illumination. The air conditioning within "!.... ^ ::S.:^^. ?^, ... ......... the plant boxes provided a hot-house climate ...== = .: .=====..=.==.. suitable for the cultivation of many different .... . specimens, including orchids that have now ma........ '*:':'"..::. to give . ======:===========;=====B========:===:====tured a tropical luxuriance. Once successful .a* this building he repeated the idea in many ?"*^^ ....:":^.'::'| ^with "' subsequent ones, the last being the Hamburg ?^ ^ ..:::: Electricity Board building (Fig. 9). Here he designed a number of rectangular and circular shaped plant boxes in the public areas to provide the with a design interest as they made their . ] | ^^J^.joccupants c-""',,_^"B ^te;9i ^.. ...... way from one room to another. ~ ? I ^BB^B love of plants led him to incorporate flower ................. IiHis .I ?i' ";'"
)
....... ..

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Fig. 8. Arne Jacobsen, 'VOLA', shower unit, 1969. (Photo: R. Mydtskov and S. R0nne, Copenhagen, Denmark.) example. First designed in 1952 for the school of the same name, its range was later increased and now, 20 years later, the manufacturers, Louis Poulsen of Denmark, offer three alternative sizes to accommodate either circular fluorescent tubes or normal tungsten filament lamps. A stroll through Jacobsen's own miniaturegarden in S0holm, near Copenhagen, reveals his love for nature. One can find hundreds of different plants, some brought back from his many European tours, such as poppies from Athens. He used this garden, which he could supervise every day, as a
proving ground for the various species that he was

Fig. 9 Arne Jacobsen, interior view of Hamburg Electri-

later to use in his landscape architecture. Many

builtin 1970. city Building

Arne Jacobsen: Architectureand Fine Art and leaf motifs in his textile and wallpaper designs. His most famous examples date back to his time of exile in Sweden where he worked in close cooperation with his wife, Jonna, a qualified textile designer, on a series of designs that went into mass production at the end of World War II. Later on in his life his textile designs, like those of his carpets, became much more subdued and he graduated to making use of texture and weave rather than pattern to give the desired effect. The range of his other design interests included the design of glassware, porcelain, ironmongery, clocks, ranges of cutlery, ceiling tile systems, lamp standards, industrial machinery, road bridges, book covers, pre-fabricated housing systems and loudspeaker systems. His versatility was truly vast. VI. CONCLUSIONS The secret of Jacobsen's apparent success with the tasks he undertook was perhaps in the fact that he never lost control of an overall concept. He had most elements under his thumb and he achieved this by either designing the overall exercise in his own office or by bringing in consultants at the early stage of the design process. Some may say that to achieve this target he had to act in a cold manner, by dictating to his client the precise environment in which he should work or live. This led some critics even further to suggest that his designs reflected his coldness and his buildings gave the impression of being clinical and unfriendly. I dispute this and I know it could never have been a reflection upon his character. He was regarded by all his acquaintances as a gentle and sympathetic person with a rare sense of humour and a warm heart. Typical of their mentality, the Danes seemed too modest during his lifetime to recognize that their small country could produce a designer of such international renown. As posthumous tributes continue to come in from around the design world, it may perhaps register in their minds that this simple and modest man of genius had the qualities that combine to produce a national hero [13]. REFERENCES 1. R. Hackney, Obituaryof Arne Jacobsen, Architectural Review, 63 (July1971). p. 2. Jacobsen presented this painting to a personal friendjust priorto his death. 3. The sculpture was designed to be installed in Amalielund Caroline Park,Denmark. 4. A. Brenner,ConcerningSculptureand Architec4, ture,Leonardo 99 (1971). and 5. J. Ruskin, Lectureson Architecture Painting (New York: Smith,Elder& Co., 1854). Addenda, p. 61.

313

6. TheHerrenhauser Restaurant ViewingGallery and was never built. The City Authoritiesmet with many protests from the public regarding the preservationof the park in its natural beauty. ArneJacobsenwas latergiven a smallerprojectto design, a Theatre Entrance Foyer, also in the HerrenhauserPark and this was completed in 1965. 7. Kuwait Central Bank has been on the drawing boardfor 6 years. The latest projectwas designed by the authorduringthe 2 yearshe was employed by Jacobsen in Copenhagen. Construction on site is expectedto beginin 1972. 8. The Swimming Pool at Lyngbyhas yet to be built. Althoughoriginallydesignedin 1965,the idea was revivedby theLyngbyCouncilin 1971butsufficient financeshave yet to be found for the project. 9. The 'ANT' chairis now availablein 8 coloursand also in natural wood shades on request. The awards for this chair include the 'Diplome d'Honneur', X Triennale in Milan and 'Good Design',U.S.A. 10. 'CylindaLine' is manufactured A/S Stelton in by Copenhagen. It was awarded the Industrial DesignPrizeof Denmarkin 1967. 11. Thesebathroomand kitchenfittingswereawarded the Industrial Design Prizeof Denmarkin 1969. 12. P. E. Skriver, Arkitektur(Copenhagen), p. 1 (February 1965). Article on St. Catherine's College,Oxford. 13. This last paragraph was originallypublishedas a statementby the author in an interviewby M. Borgen that was published in Familie Journal (13 July 1971). (Carl Allers A/S, publishers, Copenhagen.) Arne Jacobsen: architecture et beaux arts Resume-L'auteur a effectue une etude de l'ceuvre de l'architecte danois Arne Jacobsen, avec qui il travailla durant les annees qui precederent sa mort. II rappelle les grands moments de sa carriere d'architecte en montrant a la fois l'utilisation qu'il faisait de la sculpture en architecture, et l'usage de l'architecture comme sculpture. Pour Jacobsen, le plus important etait de maltriser dans sa totalite le concept d'une construction, y compris la conception et la decoration interieure, et l'environnement. Au debut de chaque projet, il demandait a des experts de le conseiller sur l'utilisation des sculptures, et sur d'autres aspects necessaires a la realisation integrale d'un batiment. I1 s'interessait personnellement tout autant aux installations de cuisines et de salles de bain qu'a la conception des pieces de vaisselle, a la machinerie ou aux reliures de livres. Certains eurent le sentiment que pour atteindre son but, Jacobsen affichait une certaine froideur afin d'imposer a ses clients l'environnement precis dans lequel ils allaient devoir travailler ou vivre. Ceci est refute par l'auteur qui affirmeque Jacobsen etait considere par ceux qui le connaissaient comme un homme aimable et d'un grand coeur.