This artwork is a collaboration between visual artists Laila Kongevold and Stefan Christiansen and Handegård Arkitektur as/ Espen Handegård.

The project is a tribute to "The coward Commander", Nils Christian Fredrik Hals (1758 - 1838) who capitulated and raised the white flag during the Swedes' attack in 1814. He lost his glory, but saved many lives and made sure that the old town and the fortress Kongsten were saved. The artwork conceals some secrets you can be a part of if you qualify for the Kongsten Bath own swimming medal.

We havereceived inspiration from the different patterns and formation of bubbles in waves and water currents,as well as the voluminous dynamics of bird flocks and shoal of fish. The working title 'Minimal Resistance' came early in the process. The competition aspect, which often takes place in the swimming pool, was alsoatheme. We studied how hydrodynamic swimsuit was designed according tothe model of sharkskin and we used this asinspirationforthe construction of the steel element holders.

Thematic we have also been interested in how the sun glitter inmoving water, mirroring in silent water and the line that marks the difference between 'under and over the water'. Changes in lighting conditions throughout the day and the seasons also became an important element in the artwork.

This competition proposal is a collaboration between Handegård Arkitektur as, ZIS (ZeroImpactStrategies) and VIZ Studio.

This competition proposal is a collaboration between Handegård Arkitektur as, ZIS (ZeroImpactStrategies) and VIZ Studio. We were chosen as 1 of 30 finalists in the competition. For more info go to YAC (youngarchitectscompetitions)

Changing history:The greatest secret about history is that it can change. History dosen't just go backwards, it goes forwards too. All things that's going to happen is just history waiting to be written. It's how we write it that's going to make a difference.

To change history requires reconciliation with the past and the will to make innovation that rethink future.

Reconciliation:To reconcile with the island's past history means it has to be highlighted and not ignored.

We keep the existing buildings as memorials of Poveglias history. They will be architectural reminiscences and

contribute to demystification along with several other necessary measures; One should open up and tell the stories. Offer excursions and guided tours to the island. Tell the stories, both the ancient and the coming. One should also arrange an annual ceremony to honor and respect the victims of ancient Poveglia. It is only in such a way we gradually will be able to reconcile with Poveglias past.

The new story - Nature plus Architecture: In our western world, architecture has gotten it's independent position as a contrast to nature. In other parts of the world, architecture and nature is considered as a whole. Where nature is treated as a natural substance and architecture will abide by this, and not vice versa. They found a new equilibrium where humans lived in close contact with nature. This was an ideal, and out of this arose the idea of placing buildings that were subordinate to the natural surroundings.

In Poveglia nature has recaptured the island and the architecture. We have the opportunity to use this as a unique situation to write a new story about Poveglia. We can respect nature. Adapt to it. Ask the island where we are allowed to build - and do it on its own terms. In Poveglia we can achieve a natural development between nature, architecture and people that we have few other places in the western world - a unique charachteristic place. A way of rethinking the future that can change history.

To reduce the buildings' size and adapt to site, the primary functions are divided into independent volumes, scattered around the island, where Poveglia allows us to build. To reach the different pavillions you must go outside into the nature and walk. From a classroom to the café or from a studio appartment to the library you will always have to move outdoors in nature.

The feeling walking through new Poveglia is like being in a fairytale - where nature and architecture is combined and the mystic past still present just behind the ruins or beneath the surface.

A new pier is added in the south, where the existing pier is located, for better connection to the island for tourists and students with the ACTV transport service.

When you arrive at Poveglia, you will meet a pergola roof that floats alongside and through the existing walls, and runs through the whole campus from south to north. From this line of movement there are connection points to all walkways between buildings. The roof connects the most important facilities - the auditorium, the administration, the canteen, a café.

It also connects to the sports facilities with covered outdoor training facilites towards the canal, between the landing stage / boat house and the ruins reused for changing rooms.

On the northern island there are located various leisure and recreational facilities like tennis, petanque courts, fencing, archery, high jump etc. In these parts of the island nature is trimmed, so it becomes more open. The main path leads out to a new beach with volleyball pitch at the nothernmost shore.

Atelieret er laget for en billedkunstner som jobber med maleri. Lokaliseringen er i bakgården til ekteparets hus. Mye av prosessengikk med til a finne riktig plassering. Vi endte opp med å lage et lite infill-prosjekt. På den måten klarte vi å beholde den delen av eiendommen med gode solforhold og vi minimerte den visuelle følelsen av mengde bygg. 

The artist studio is made for a visual artist working with paintings. The location is in the backyard of the coupleshouse. Much of the process was finding the right placement. We ended up making a small, infill project. In that way, we managed to keep the part of the property that has good sun conditions and we minimized the visual feeling of the amount of buildings.

Handegård Architecture was presented in the Typhoon Class Submarine Exhibition which included 22 winning projects from the Typhoon Class Submarine Copetition. The main purpose of which was to transform the Soviet 175 meter long nuclear submarine, the world's biggest submarine ever built, into an architectural object with a peaceful mission. Exhibition took place in the "Tunnel" which is situated 10m under the oldest Russian Design Academy - Moscow State Stroganov Academy of Industrial and Applied Arts.

t ä h k ä

This competition proposal is a collaboration between Handegård Arkitektur as, ZIS (ZeroImpactStrategies) and VIZ Studio.

Urban concept

Keeping two main qualities in the area forms the basis for the urban concept. The museum park is kept as open as

possible, strengthening the green character and the connection between the Amuri and the Pyynikintori residential areas.

The Pyynikintori square is also kept as open and grandiose as originally planned, reintroducing the historic elements

constituting the square, with the new bus terminal.

Keeping these two large public spaces free from buildings means densifying the built environment along the Puutarhakatu

and the Pirkankatu (Heinätori), and more dense than if all 16000 m2 would have been evenly distributed on all accessible

building grounds. In both areas there is a mixed development of mainly housing and outward bound activities on the

ground floor, such as shops and services. All development has extensive combined basement parking / car-pooling.

The Pyynikintori square is developed into a new bus terminal (which also connects with the subterranean parking) and a

redesigned playground and cycling ground on the southern side of the Pyynikintori square.

The overall layout includes approx 16000 m2 of development, as intended in the overall planning (sub terrain parking

excluded).

Urban references

The character of the new urban development pays tribute to the historic traces found in the area - the original bus station /

gas station is reinvented into the covered waiting areas for the new bus terminal, a building that connects the outdoor

ground floor level with the subterranean parking underneath the square. The new developments are interpretations of the

modern free standing block development that transformed Amuri from the low dense wooden blocks, giving a lush green

feel to the whole Amuri.

Museum Concept

The museum draws its inspiration from the original granary´s design as a pavilion, and respecting the humble scale of the

original building for the extension. The new museum extension is divided into several smaller pavilions, precise volumes,

separated by in-betweens that let light into the museum and lets the visitors connect with the museum park on the outside.

The basement connects all the smaller pavilions, and connects the old with the new.

The pavilions have their landscaping «shadows» on the eastern side of the Saarikuja, mirrored along the street. They form a

head of grain, and have a deeper connection to the museum building´s origin, as a granary. The transformation of the

museum yard between the existing museum and the extension plays on these shadows, marking spots for art and a new

interpreted design for the existing amphi. It also provides the new boundary for the wardens house, which is converted into

a unique artists residence and gallery / event space.

The original building, in essence being a container of grain, is also a conception applied for the new extension - the new

pavilions are containers of art.

Museum references

The museum draws its inspiration from many layers of the Tampere community and its cityscape. Being an industrial city it

has a very «brown» feel to it, both when it comes to its working class ethics and its industrial brick-building tradition. The

roughness of its central industrial area is mirrored in the material selection and the detailing of the new extension, and it

resonates with the old granary building as well. The granary building is elaborated in its details and the new extension

repeats this in a very subtle and more modern way. It is a frank and honest building, in tune with the Tampere mentality. The

brick detailing forms a pattern inspired by the breeze blowing over the acres of rye, and thereby disrupts the traditionally

regular pattern of the brick layers.

Atelieret er plassert i utkanten av den nesten to mål store tomten. Sammen med hovedhuset og uthuset er atelieret med på å ramme inn eiendommen for å skape et definert uterom mellom bygningene. Bygget åpner seg opp og henvender seg mot hovedhuset.

Arkitektonisk er bygget planlagt med et stillferdig og rolig uttrykk og som en del av hagen for å ikke konkurrere mot de formsterke bygningene i området. Taket er tegnet som en statisk tykk horisontal flate som strekker seg utover, binder elementene sammen, trekker ned høyden og roer uttrykket. Ytterveggene er kledd med en ubehandlet horisontal spilekledning i malmfuru og bidrar til å forsterke det horisontale og stillferdige uttrykket. For å avgrense bygningens flate og tilnærme seg hagen dekkes deler av fasaden med et ytre sjikt av espalier med vintergrønne klatreplanter.

Innvendig er gulvet slipt betong, mens overflatene ellers er furu. Store skyvefelt er montert i fasaden ut mot en forlengelse av betonggulvet, der kunstneren kan jobbe med skulpturene utendørs. En vindusstripe ligger oppunder taket og filtrerer dagslyset inn i atelieret.

The artist studio is located on the outskirts of the nearly two-acre plot. Along with the main house and the outbuilding it is framing the property and creating a nice outdoor space. The studio opens up toward the main house.

Architecturally, the building is planned with a subdued and calm expression, as a part of the garden and not to compete against the strong formal buildings in the area. The roof is designed as a static thick horizontal surface, that extends beyond, binding the elements together, pulling down the height and makes a silence expression. The outer walls are cladded with ore pine that helps to reinforce the horizontal and silent expression. To limit the building's surface and approaching the garden, parts of the facade is covered with an outer layer of trellis with evergreen climbing plants.

Inside, the floor is sanded concrete, while the surfaces otherwise is pine. Two large sliding doors are mounted onto an extension of the concrete floor, where the artist can work outside. A horizontal window is located under the roof and filter the daylight into the studio.

Tittel: Geysissvædid i Haukadal, kongsstien

Ansvar: Arkitektur

Type prosjekt: Idékonkurranse om plan og design av jordvarmeområdet rundt  "Geysir" på Island.

År: 2014

Samarbeid: Eirik R. Andersen fra Zero Impact Strategies

Oppdragsgiver: Blaskogabyggd kommune, i samarbeid med landeierne

Fra de store parkeringsplassene beveger du deg som fotgjenger uhindret langs servicebygget, og avhengig av om du kommer fra vest eller øst velger du enten eksisterende eller ny inngang. To "flater" kommer ned fra jordvarmeområdet og "henter deg"; cortenstålplater nedfelt i bakken, som striper i fotgjengerfeltet og som kontinuerlig plate foran porten. De nye overgangene avgrenser en roligere sone der turist-busser har dropoff og biltrafikk generelt er på fotgjengernes premisser.

Innen jordvarmeområdet etableres en ringvei, og ved å legge den nye traséen på nordsiden av Thykkvihverir får man bedre oversikt over alle de mindre oppkommene her. I tillegg gir den nye traséen tilgang til de varme kildene man ikke når i dag. Ringveien er oppvarmet og isfri, som et flaterelieff i sandblåst betong, der tilslaget er av samme type som grusen generelt i området. Sekundær tverrforbindelse utformes som en ribbekonstruksjon av cortenstål med gjennomgående vannvarmerør - dette danner et tørt og isfritt "teppe"  over de våte områdene og slipper vannet gjennom på tvers. Stiene til Utsiktspunkt, Laugarfell og Konungs-steinar tydeliggjøres, med frittstående lysende "ledestener" som markører.

Den nye ringveien danner en hel sløyfe som omfavner Blesi. Alle elementer "kobler seg til" denne hovedsløyfen - utsiktsplattformene bretter seg ut fra disse, benkene og skiltene trekkes opp og brettes, ledesteinene felles ned eller danner synlige ledemarkører langs stiene i landskapet. En tydelig sekundær bevegelse er tverrforbindelsen, som funksjonelt sett må slippe vannet i gjennom. Stiene til Konungshver, Utsiktspunkt, Konungssteinar, Háihver og Laugarfell er mindre benyttet, og frittstående ledestener er nok til å styre bevegelsen mellom objektene i landskapet og forhindre slitasje.

Det er benyttet få, men varige materialer, valgt for å falle inn i omgivelsene og gjøre så lite som mulig ut av seg. "Grusveier"  av plasstøpt betong, sandblåst, med lokalt naturlig tilgjengelig grus med samme farge som i området som tilslag. Gangveien oppfattes som relieff i flate. Vannvarme i rør for å holde gangbanen isfri. Cortenstål som kontrastmateriale på kant i våtmarksstier, utsiktsplattformer, skilt, benker og ledestener. Vannvarme i bøyelige gummirør som avstiver ribbekonstruksjonen til våtmarksstiene og under utsiktsplattformene. Selvlysende malte kanter og QR-koder i tydelig kontrast for viktig merking og formidling.

" History creates us, and we create history. The Viking Age have shaped us as proud individuals, but also as a proud nation, and this must be dealt with respectfully. Understanding the ships and their sacred vaults as a continuus legacy, where the ships and halls are inseparable parts of one another, is vital for a contemporary reading of history. The new Viking Age Museums vision starts here, accepting that the "church" without its "relics" is an empty place stripped of meaning."

The competition proposal was done as a collaborative work of the Architects Collective EX3 at the Hydrogenfabrikken, which consists of ZIS AS, Handegård Arkitektur AS and VizStudio (3D visualizations).

The Viking Ship Museum currently plays a vital role in the dissemination of the Viking age. The existing building has its own significant story, being a prime example of a design for an object based dissemination of archeology. Each object is taken out of its context and focused on individually, placed in display cases (smaller items) as well as individually designed halls (the ships). This understanding, and their manifestation in the existing building, are also part of our history, our legacy. The narrow halls create a sense of closeness to the ships, an intimacy where one can almost touch the wood, smell the tar and salt water and imagine the sound of waves and wind. Without the ships the halls lose their purpose - they were created for the ships and form a symbiosis with them. We therefore choose to respect this as a continuing saga, where the ships and their halls no longer can be seen as fragmented or detached heritage, and let the ships remain in the building as they stand, where they belong.

Our proposal is bold, yet gentle. It is simple, yet complex. It is highly symbolic and it will continue to display our mentality as a nation with pride. We give the place a new subtle historical layer by embracing the existing with a circle. The circle is one of the strongest symbols we have. It is also one of the most beautiful forms that exist, and gives us a sense of reverence and respect. But our circle is just a circle in plan. It is in fact a spiral, a snake with a beginning and an end. Where the head meets the tail, the spiral has disappeared under the earth, to symbolize the uncovering of the secrets from the past.

The experience as a visitor:

Once you arrive along the Langvik road or the Huk avenue, Arneberg's buildings will meet you and appear unchanged, while you notice a gently rising shape to the east, encirlcling the existing building, and a new entrance that stretches out and invites you in, towards the south. The tourist busses stop in front of the building to the southeast, while those arriving by car pass the museum and park in the park to the northwest.

The sheltered entrance invites you in from both sides. The contemporary facade in carbonized wood, which guide you to the entrance, also functions as an invitation and a hint of whats to come when you enter. The abstract translations of the Viking Age woodden patterns enhances the expectations.

In the lobby you are met by the reception and you are introduced to the museum shop to the right, which extends into the existing building. There´s also a possibility of a separate access to the shop via the old main entrance, when the museum is closed. From the lobby you get clear views of the original building, which proudly displays its facade to the visitors.

After you have bought your ticket, you are led further into the vestibule, where you pass the café and outdoor serving area, more quietly placed towards the west, with sun from 10 am and throughout the day til closing time. At your right, side the main staircase follow the terrain down to the lower floor and hints towards the journey to come.

From the vestibule you enter the exhibition and its Icon trail. The curved shape of the new extention makes the exhibited objects to gradually emerge and pull you deeper, and after a while gradually downwards. The gable of the wings of the existing building are removed, and the different ships in their halls are revealed. You flow freely from the existing to the new. At the center of the existing building, there´s made a hole in the floor and you can observe the basement level, where archeologists and conservationists are treating the different items in the museum collection.

As you continue your journey through the exhibition, you notice that the new exhibition space is slightly descending downwards. Along the way you pass the different thematic exhibitions along the outside wall with the specialized topics in the icon trail, related to the bigger items displayed in between.

As you move along, at each gable of the existing building you can choose to view the ships in their halls, or descend to the basement level where you will find the labs, different workshops / paint area or the other archeological / conservational facilites. Eventually you come down to the basement level, where you end the exhibition trail with the activity area, as the daylight reappears and you look out towards the park to the north. Here you will once again find the stairs you passed in the vestibule at the beginning of your visit, that brings you back up again to the café. At this point you can also reach the privatized outdoor exchibition areas between the new extension and the existing building. After you've been to the cafe for a while you can take the walk up the stairs to the roof of the building. Here you can wander slowly down again while watching the scenery and the original Arnstein Arneberg building, while getting glimpses of the Viking ships through the windows in the gables.

Experience as an employee:

As an employee you park at the northwestern parking, and enter the museum complex underneath the new extension into the basement level at the north wing of the existing building. You can also choose to use any of the other public entrances. At the basement level there are various rooms for item handling /  processing and office facilities. The floor to ceiling height is approx 2.8 meters. The existing non-loadbearing internal walls are demolished, and new glass solutions inserted, to enhance the daylight qualities in the basement as a whole. The floors are reconstructed with contemporary technical solutions like culvert ventilation and new moisture barriers integrated into the design.

Deliveries:

Both goods and archeological items are transported to the goods reception at the basement level in the new extension, towards the northwest. The large items can either be transported directly into the item handling facilities, directly into the exhibition itself, or taken into the basement level for further processing. The café and museum shop can receive goods directly from the main entrance if necessary.

Exhibition Concept:

The Icon trail is a spiral around the existing building. Along the outer edge of the circle, towards the more closed public facade, are exhibition spaces for the themes of the icon trail. These can vary in size and transparency and include closed spaces for film projection or open forms of communication. The curvature of the building has the great benefit that the visitors are constantly being introduced to the new topics of the exhibition as they walk along. Along the icon trail the existing building with its vaults are functioning as large showcases and cul-de-sacs of the icon trail. The icon trail ends with the flexible exhibition space and activity / auditorium spaces for school children and other groups visiting for special events. Here you can also have ineraction with the museum as a workplace and would be the starting point for guided tours of the workspaces. This part of the museum has a separate entrance, and can thus be isolated from the museum at special occasions. The exibition concept has great flexibility, when it comes to changing the content and focus. All the ships are reached directly from the icon trail, still in their original halls, accessible through the openings they once entered the building. Where the existing building meets the new extention, there are interaction points between the workplace and the visitors, as dedicated activity zones.

Sustainability:

It is the architecture itself that showcases the sustainability of the project. The architectural qualities of a clearly defined concept. The symbolism, the spatial experiences, the respect for the existing and the multifunctionality and interaction with the existing building and its cultural treasures. How the museum complex is in dialogue with the landscape and safeguards its characteristic qualities.

The museum complex forms a durable and solid piece of architecture that will become part of our history, such as the Viking era is part of our history. In addition, the use of durable materials provide the building with a long lasting durable patina. Covers and floors are concrete with large heat storage capacity. Together with the green roof that provides good attenuation of rainwater, The construction creates a very stable and predictable indoor climate.

The museum complex has a very rational form and effective public flows, easily susceptible to changes without loosing its conceptual strength. Such a rational building, with a high degree of reuse of existing spaces and shared multifunctional spaces, ends up with a very good gross / net factor. This has in its turn a very positive impact on the CO2 footprint.

E-MOTION is going to be presented in The Venice Architecture Biennale 2016.

Typology: Installation

Year: 2014

Size: 17mx10m. 5km aluminiumtubes

Cooperation: Fireco, Cowi, HPC, Netron (photos and movie)

Client: Askim municipality

E-MOTION

Some say it´s a vertical wave. Some say it´s visible music. I only try to make people curios.

The experience will vary depending on the sun's position, the weather, the season, if you drive past or maybe walk on the trail below. The variation is it´s strength and is what makes it interesting as an art installation. If you come by car the installation will appear as a two-dimensional experience until you pass it. Then it will suddenly give you a glimpse of it´s three-dimensional shape.

It will create a curiosity and wonder of structure and fascination of form. If you walk, you will experience the dynamics, its composition and size. The variation and difference in experiences will make the installation actualized over time.

e-MOTION is at the highest 17m and has a length of 10m. The shape expresses waves by perforating a composite wall in various depths with 2500 aluminium tubes. The end of each aluminium tube is plugged with a coloured disc. These discs will together constitute a surface that moves in the outer part of the shape. Since the tube length varies this creates a light effect caused by the difference of visibility of the composite wall.

The installation will "grow" out of the countryside. It´s placed on a rock which serves as the foundation. The installation will have an bold relation to the surrounding terrain, where conventions concerning materiality and sizes are challenged.

Konkurransebidrag for nytt Rådhus i Sola Kommune - et samarbeid med ZIS as og ViZ Studio.

Rådhuset ligger som en selvstendig og formsterk struktur, med et parkdrag flytende igjennom. Bygget utstråler en solid arkitektur. En arkitektur som gir følelsen av trygghet og troverdighet. Parkdraget leder folk til og igjennom rådhuset. En åpen fasade mot rådhusplassen og parkrommet inviterer folk inn i bygget for å delta og gi sin innflytelse. En arkitektur som bidrar til tillitt og trygghet – et sted man kommer for å få råd.

Tittel: What A Mess

Ansvar: Arkitektur, Installasjon

Type prosjekt: Installasjon/ utstillingsarkitektur

År: 2012

Størrelse: 518m2

Samarbeid: Billedkunstner Arne Revheim

Oppdragsgiver: Hydrogenfabrikken Kunsthall

Handegård Arkitektur utførte i samarbeid med billedkunstner Arne Revheim utstillingsarkitekturen for kunstutstillingen ”What A Mess” i Hydrogenfabrikken sommer 2012. Her presenterte 30 gallerier seg og sin kunst. Utstillingen ble omtalt i magasinet ”Billedkunst” og ”Kunstkritikk”

Konstruksjonen består av spesialbestilte støperør av papp og sammenføyninger i MDF. Rammen er avstivet med barduner. Veggene er malte og umalte asfaltplater.

Alle delene kan føyes sammen og demonteres uten bruk av skruer eller spiker. Utstillingsarkitekturen er gjenbrukbar og viser en bærekraftig bruk av rimlige og holdbare materialer brukt på en ukonvensjonell måte. Deler av utstillingsarkitekturen var pånytt montert i forbindelse med Grafikkutstillingen sommer 2013.

Typology:  Installation

Year: 2015

Cooperation: Arna Magica, Viz Studio, Netron, SNØ designstudio

What if we could visualize the power consumption so that we could have a more conscious knowledge about energy.   

The installation will respond to the power consumption of a community with a large population. It will communicate this by changing colour. The population will get a more conscious relationship to power consumption, which is related to and have a climatic impact.

The installation is planned position several places in the world. Each place is unique and the installation will adapt to the environment, whether it´s placed in the middle of the city or out in the nature. The installation will give visitors a new experience of the site, whether it is located up between the trees or skyscrapers, or submerged into water or the city-square.

You will get the opportunity to wander through and interact with it, while you experience it as a living symbol of energy.

Ansvar: Arkitektur

Type prosjekt: Konsept, skisse og forprosjekt

År: 2010 - 2011

Samarbeid: Asplan Viak

Oppdragsgiver: Orkla/ Øra Industripark

Vi utarbeidet et forslag for å transformere den eksisterende Hydrogenfabrikken på Øra industripark. Transformasjonen har nå blitt et senter for kreativ næring med atelier, verksteder, kontorer og en kunsthall på over 500m2. 

Ansvar: Arkitektur

Type prosjekt: Villa A-ARK modular system

År:  2012

Illustrasjon: Viz Studio

The villa consists of a modular system of cross laminated wood. The modules are highly flexible so that the function and adaptation to terrain is possible.

The intention is to create a villa that not take too much attention from the surrounding buildings and adapts as much as possible to the terrain. The villa is placed between the trees and partly stands on pillars, so that we achieve the least possible interference with the terrain.

Typology: Sommerhouse

Year: 2015

En eksisterende hytte fem meter fra sjøen blir oppgradert slik at den tilpasser seg omgivelsene og utnytter potensialet tomten gir.

Grunnmur og yttervegger blir stående, men kledning byttes. Taket legges nytt og følger funksjonene og en mindre utvidelse for å imøtekomme dagens behov og krav utføres.

Planløsningen og snittet gjennom bygget endres. Fellesarealene er åpne og legges mot utsikten, mens bad og soverom er mer lukket og blir liggende i bakkant.

An existing cabin five meters from the waterfront is being upgraded. The cabin blends into the environment and uses the potential the site offers.

Foundations and outer walls are kept but cladding are replaced. A new roof follows the functions and a smaller expansion to accommodate current demands is performed.

 Layout and section are changed. The common areas are open and placed against the view, while bathrooms and bedrooms are more closed and placed in the back.

Typology: Villa, private house

Year: 2014

The villa is located on a ridge and follows the contour height to adapt to the terrain as good as possible. The building consists of two floors that occupy the difference in hight along the terrain. On the main floor, service functions and the private zones are located to the north and east, while the common area is set to the west and south. Bedrooms and livingroom are located downstairs, as well as a rental unit with a separate entrance.

Ansvar: Arkitektur

Type prosjekt: Ombygning, utvidelse enebolig

År: 2013

Størrelse: 280m2

Illustrasjon: Viz Studio

Prosjektet er en total renovering og ombygning av eksisterende hus. Bygget er plassert i et etablert boligfelt hvor omgivelsene har fått tid til å etablere seg og skape et godt bomiljø. Tomten har perfekt beliggenhet ift. sol, utsikt og dagslys, men eksisterende bygg utnyttet ikke muligheten spesielt godt. Det har vi gjort noe med. 

Ansvar: Arkitektur

Type prosjekt: Rasteplass

År: 2011

Størrelse: 150m2

Oppdragsgiver: Fredrikstad Kommune/ Nabbetorp vel

Rasteplassen ligger langs Glomma-stien i Fredrikstad og er utført for Nabbetorp Lokallag og Fredrikstad Kommune. Anlegget inneholder bålplass, benker og en petangue-bane.

Rasteplassen er plassert inn i landskapet der en levegg følger terrenget og skaper et skjermet uterom samtidig som den åpner seg ned mot elven. I dette prosjektet har man prøvd å håndtere landskapet på en mest mulig skånsom måte ved å gjøre minimale terrenginngrep. På den måten fremstår anlegget som et naturlig uterom langs stien. Stedet brukes av turgåere og ofte barn / barnehager. Tre er derfor benyttet i stor grad for å oppnå den varme og behagelige taktile følelsen materialet gir.

Ansvar: Arkitektur

Type prosjekt: Invitert konkurranse

År: 2011

Oppdragsgiver: Orkla

Samarbeid: BAS Arkitekter, 5B Prosjekt

Handegård Arkitektur samarbeidet med BAS Arkitekter og 5B Prosjekt i konkurransen om nytt administrasjonsbygg for Borregaard i Sarpsborg. Forslaget viser en bevaring av dagens Stjernebygg, siden bygget har stor symbolverdi, ikke bare for bedriften men også for Sarpsborg som by. Stjernebygget er i dag svært ineffektivt både funksjonelt og energiøkonomisk. Ved å slå ring rundt stjernen og danne en sylinder får man lukket "kake"-segmentene og man løser både funksjons-og energi-problematikken.

Ansvar: Arkitektur/ kunst/ utsmykning

Type prosjekt: Invitert konkurranse

År:  2010

Oppdragsgiver: Drammen Kommune

Samarbeid: Billedkunstner Stephan Christiansen

I samarbeid med billedkunstner Stephan Christiansen deltok vi i en idékonkurranse om kunstutsmykning for et nytt parkeringshus i Drammen. 

Vi ønsker at bygget skal representere fremtid, dynamikk og konstant endring.

Forslaget består i å kle hele byggets firefasader med bearbeidede tynne stålplater. Bearbeidelsen består i å kutte ”luker” i stålplatene som bøyes utover i forskjellige vinkler. ”lukene” vil danne organiske former/ rekker som bølger seg rundt bygget.

Ansvar: Arkitektur, utsmykning

Type prosjekt: Åpen idékonkurranse

År: 2013

Handegård Arkitektur deltok med prosjektet "Friskhus" i konkurransen om utsmykning av det nye sentralsykehuset i Østfold. Ordene "frisk" og "friskhus" samt deres speilvendte kopier vises på fasadene. Ordet "friskhus" er ment som en replikk på ordet "sykehus" og en tro om at det er vel så bra å være på et "friskhus" som et "sykehus. Bokstavene som er stanset ut av aluminiumsplatene er like mye en utsmykning som et grafisk element og er derfor ikke ment å være umiddelbar gjenkjennelig som et ord, men heller som uthevede bølger på en flate. Det er ønskelig å skape undring og begeistring hos de nysgjerrige betrakterne som oppfatter ordet.