TISVILDE TIME LAPSE
HOME
Restoring his 1930’s Beach House, architect and photographer Jonas Bjerre-Poulsen obsessed on period details, grey scales, and capturing its essence in photography.
Walking into No. 16, a 1930s beach house in Tisvilde, the first impulse is to drop your shoulders and comment on how calming it feels with its chalky grey walls, pine floors and soft light. If your nose is attuned you can even smell its atmosphere, a mix of salt and citrus evoking a carefree endless summer. It’s exactly the response Jonas Bjerre-Poulsen had in mind, when he undertook the renovation of the former guesthouse into a place of respite. This work gave him the opportunity to push further into a territory with which he is increasingly exercised: what it really means to be sustainable, ow to give used construction materials another life, and how to choose new materials and finishes that will ensure longevity. On the creative process he notes, “I felt very much like being the client myself. This is a restoration project, in many ways it was about creating a house that felt like there was not an intervention of an architect. Of course you can sense it in a few places but it was making choices that went well with the atmosphere of the site. Finding that balance between the Italian charm of the house, the Nordic elements from that period, and then there are some small Japanese wabi influences.”
Finally, a central part of Bjerre-Poulsen creative process is his photography. He always has a camera at hand, looking through the lens enables him to perceive space in a different way, even or especially his own work. His images of the house show large spatial scenes and a lot of details of surfaces, compositions, light and shadow. “It’s really educational photographing your own projects. When you look through a camera lens, you’re automatically directed to the elements in the space that are truly important because you need to capture the essence of what stands out.” It is a different experience from being in it and sensing the atmosphere as a “kind of collective totalisation of sensing all the parts in the one which becomes a feeling somehow.”
Read the full Home feature in Volume XIII.
WORDS JENI PORTER
STYLING PERNILLE VEST
PHOTOGRAPHY JONAS BJERRE-POULSEN
MARFA MANIFESTATION: Donald Judd’s Marfa buildings restored through measured restraint
In the small town of Marfa, Texas, the Judd Foundation cares for 22 buildings acquired by Donald Judd and, since his death in 1994, has preserved them according to his artistic and architectural thinking.
MARAZZI, SHAPING INNOVATION THROUGH CERAMIC CRAFT
In the language of surfaces, few materials carry both memory and modernity as effortlessly as ceramic. For Marazzi, this duality has long defined its approach, an enduring dialogue between industrial precision and the human hand, between innovation and heritage.
THE MECHANICS OF SCENT
Previously presented in Paris, Los Angeles, and New York, FRAMA’s exhibition The Mechanics of Scent arrived in Copenhagen, inviting visitors to reconsider one of the most overlooked dimensions of design.
TISVILDE TIME LAPSE
HOME
Restoring his 1930’s Beach House, architect and photographer Jonas Bjerre-Poulsen obsessed on period details, grey scales, and capturing its essence in photography.
Walking into No. 16, a 1930s beach house in Tisvilde, the first impulse is to drop your shoulders and comment on how calming it feels with its chalky grey walls, pine floors and soft light. If your nose is attuned you can even smell its atmosphere, a mix of salt and citrus evoking a carefree endless summer. It’s exactly the response Jonas Bjerre-Poulsen had in mind, when he undertook the renovation of the former guesthouse into a place of respite. This work gave him the opportunity to push further into a territory with which he is increasingly exercised: what it really means to be sustainable, ow to give used construction materials another life, and how to choose new materials and finishes that will ensure longevity. On the creative process he notes, “I felt very much like being the client myself. This is a restoration project, in many ways it was about creating a house that felt like there was not an intervention of an architect. Of course you can sense it in a few places but it was making choices that went well with the atmosphere of the site. Finding that balance between the Italian charm of the house, the Nordic elements from that period, and then there are some small Japanese wabi influences.”
Finally, a central part of Bjerre-Poulsen creative process is his photography. He always has a camera at hand, looking through the lens enables him to perceive space in a different way, even or especially his own work. His images of the house show large spatial scenes and a lot of details of surfaces, compositions, light and shadow. “It’s really educational photographing your own projects. When you look through a camera lens, you’re automatically directed to the elements in the space that are truly important because you need to capture the essence of what stands out.” It is a different experience from being in it and sensing the atmosphere as a “kind of collective totalisation of sensing all the parts in the one which becomes a feeling somehow.”
Read the full Home feature in Volume XIII.
WORDS JENI PORTER
STYLING PERNILLE VEST
PHOTOGRAPHY JONAS BJERRE-POULSEN