Where and how they would like to live. The general sector accommodates all groups of people. And in fact it's every 6th Dane, who lives in general. The public housing plays a big main role in Danish architecture history. They testify to the winghouse of architecture, about the time, they are built in, and they also form a large and important piece of the History of Denmark. Today we have come to Silkeborg. Welcome to Show me your general stroke of genius. Let's get started! Welcome to you, Inge Nielsen Skytte. You are an architect and you are creative director too of your general housing department in Sveco Architects. Yes! And we stand here today in Silkeborg, a place called Kongegården. And you've helped draw it in his time, it was completed in 2018. And there are it various settlements, there are different both when owner and so it general apartments too. It is. And there are actually 76 general apartments here in Kongegården. And we asked you at Sveco, if you were to point to one of your general housing buildings, what it should then be for one. And you pointed to Silkeborg here. What's the reason for that? What's the reason we're standing here? That's because, that it is a project, that has become super good. And it's a project, who have had a really good process with the parties involved, there have been. There has been an investor. There have been A&Bs as builders. And then there has been Rema, which lies down here on the end, which is a store, who really is also an investor. And then one has built privately, too, which the investor has, of course, looked into. You've actually sat around this table and said, how can we succeed in developing this reason in the best possible ways, so we both get adapted to those they want, as the residents may have, A&B had to have, the private investor. But also had Silkeborg Municipality very close in this loop. And when we do, then we get some really good projects created, we think. It's a very beautiful construction, and I think, we're going to take a little walk down the little one area here and look at the architecture. The way, on which the settlement is created, that is, that we have been working to get the settlement to have a historical outlet. It's an old industrial plot. And there we've been out analyzing, what was it for some buildings, that was here once? And what kind of structure was it, the settlements had? At the same time, we have taken a little look at these little houses, located in the area about on the other side. How do we get mirrored ourselves in the two parameter and gets concoded this into a unified work? And that, we have worked with, it's some facades, where we create some variety. So we just get broken it all up into some devices. We have worked with wall details and stand and switch all the way around and little retraction of windows in some places. In some places they lie inside, in some places they lie out. And then we have worked a lot with the sealant. And you might say, that it is a same brick, that goes again all the way around. But with the variations, then we actually create a varied settlement. Yes, that is, the thing about that You can see, that it is the red, it is dark red color, that goes again. And you also said that with some historical perspective. It also gets the mind a little bit on some factory building. Yes, that the mind is leading one on, that they have taken their starting point. Yes, we've been in and analyzing, what has lain and what has it been. And it was all red when we looked back. And we originally had a basic idea about, that we should create some variety. And we've really stuck to that. The variation, but really gone back and said, well then we take the red brick, because it's the character trait, that was. And then there are some repeating elements, which is for industry. Well, the same holes that just like go again. And then we've worked with some offsets to break up the facades, which is also a motif, which has been in the existing settlement. And it is both in height and in the facade, You guys have been working on the offsets there, right? That you can see that they stand up. And you could say that, And we all know that, that when we build almendt, then we should think again. There is no advice for the whole palette. So what we do, we have to do that well. And we need to do it accurately. And some of it, which does not cost the world, if you can put it that way, It is to get an orderly building plan done too. So we're getting some good neighborhoods the residents in between. And we've had a lot of focus on that here, that visibility is here. So you see each other. And you just like that know, who are one's neighbors, and how do we get to meet each other. Now we've come inside. Now we're here on top of Remy 1000, that lies down below. And coming into this nice, big common room. Just accurate. And it's the old building, and it's the old rafters, we can see. And then we have the homes lying out to the side. with the botrum, which just creates some variation down there. And that, We've been working with in here, It is also to get the red tones drawn into the room here, which we had out by virtue of the bird variation. Then it will now be the plate variation in these red tones. And then we have this very unique common space, where residents can pull out. And where the housing company actually chose subsequently to make a workshop with the residents, who had moved in, to look into, how can we exploit this courtyard as best possible. And what is it, it will take, in order that they provide something more house-worthy compared to it. And after all, a covered courtyard, so it gets a whole atrium feel. Just accurate. And it's going to be super good. And then there are also these niches, that just as we had at the dwellings, exterior, then there are these private niches. When going in to the dwellings, then you have like some front gardens here too, where to draw and align with the identity, which the residents really have inside the back. So it's very clear after all, when is it, that there is one, who have an interest in planting, and when is there any, that has some small sizes, which needs a small car, etc. And I think that is really very liberating, that one gets the identity pulled out here. Inge, I'm kind of interested in this with, what drives you compared to drawing the general. When we draw the general, then we shall take care of ourselves. We have to choose two or three things, which does, that the settlements are going to stand out and gets an architectural edge. And when we work, we know what the spotlight race is. We know exactly what we're dealing with. And the dialogues, as we have with the housing companies and many times construction committees, it's mega good. And this with the fact that you can taper a construction and a process, where these voices are heard, and the residents actually come out and watch afterwards. Yes, that was damn it, I had imagined. It's gotten super fine. I really want to do that. I think that's mega fine. And that's also it, that I sometimes get pushed, that is, that my notion of living and the good residential life, That's one thing after all. But another thing is also getting it designed to those who are going to live here. This, you also think, it in when you need to draw public housing, that architecture should be able to accommodate the different groups of people, like the general sector has? We do that every time. But so do the housing companies in particular, because they have a focus on, who is it, who shall live here, and do we have housing for everyone? And we're thinking a lot of flexibility in as well. How can we future-proof this dwelling, so it can be rented out many years ahead? So that way it's very holistic in the way, we go to it on. It's not because, it's focus pocus, but that is, a few grips within seeing. For 14 days, 3 weeks, can we make some changes to the housing, which does, that we might reach wider than the citizens' group. The tank behind, So it's something like that, that is, a relief, bricks, the masonry. What are the thoughts behind? It is for, again, to create a variety in the facades, but also to create a human scale here, where we go. We can safely see it on that facade over there, how much shade and it really gives, that there are these reliefs coming in. And it is also an etchy and an interpretation from the point of view of the ancient settlements, that lay here, who also had some ormystomy. And how can we interpret it further, so it gives some variety? Yes. Well, Inge, when you now this program like is called, show me your general stroke of genius, and that it may, of course, be very vocal to say, like put forth on the table, that this is my general stroke of genius, but what is that special, this construction, it can? That is, what's really unique about this project in my optics, that is, that you've wanted this project the very best with them, who have been involved in the design and invested in the project, both privately and all at least. And when we do, and we have a completely targeted focus and cooperation on, how do we create the best homes right here, then it will be really, really good. And we have private over on the other side, and we have the general here, and you can't tell the difference between, what is private and general. No, it is not necessarily successful itself, but that's the success here, that is, that neighbouring community among these residents, it will succeed in relation to both design on the buildings; but also these courtyards, that has come between the settlements. And then we've managed to make some gripes, which have been evident and which makes a variation compared to some facade jumps, and work with some joint color change and standel change, which does, that the settlement is given a human scale, where that neighbouring community may unfold. And we see it clearly here, where they small terraces here lie facing each other, and all have balconies of them, coming up on the 1st and 2nd chambers and the 3rd chambers, where I think, that there must also be one, that is, in private, There you stand to drive and all things like that yourself, and then there is the general, where there is someone to drift. Just accurate. And one would say, that general, There you can also easily cut his hedge, and you can see that too, there are different heights and droppings. But that, one has wanted here, After all, it is also to create a relationship with each other, there is not far between the houses, and there have also been, that is, the variation, who work with in the landscape, also help to create such a common front garden, so you get these look at each other. And it's also mega fine, then you can sit in there maybe as a grandparent and drink coffee, and then the grandson can be flown off here on a bicycle. And you don't let anyone out, one invites the public in, so that one can pass through, both if one must down and act, or on its run compared to that. And it gives some reassurance, that one knows, who one lives with, and keeping a little eye on each other compared to that. The balconies are also not, who sit right across from each other, they are also a bit on the scutte, as you can see. And so are the niches for the terraces, so you again work with the different zones in relation to the privacy, as desired. Yes. And then you can actually see, I don't know, whether you should find, but here it's actually the throwing plates underneath, and as it will be solved too, then I thought, hoof, hoof, we make straight clear. And that's kind of some of those things, as, and it works nicer with the red one there, doesn't it? Yes, it does. It seems like a very safe area, and it is also something, You have worked deliberately with, that there is... Yes, and we've been out registering several residential areas. Where is it, that there's nice to be in these spaces? Yes. So there are several settlements, we have said, this, think we're a really good bet to measure up and do by, and there is something, we have sorted from, and there is something, we've sorted to. But that's really expressed here, isn't it? Down through. Fucking nice. Well, yes. And that one, So you get that structure of settlement, that is, of the houses, which has really been the vision from the start, that we are going to live in a city. Well, a neighborhood with houses. Yes. And then we've worked on it. Yes. With getting cloudy. Once or twice on a facade, and then the balconies, so we get those three depths, which provides some space. Yes. Well, Inge, We have come inside one of the general apartments. Mhm. Ground floor. And now we've just heard from the resident that it's, about 111 square meters. After all, it's exciting to see, how, I think for you too, how the different have arranged themselves, or how they've brought it into service. Yes. Well now I want to say, That now we are not actually going. But the first thing, we have come to, there is one time. And when you have a big apartment, then most likely more people live here as well. And then we have to have some proper space, so we can weathered those school bags. Yes. So we can get a sound in the living room, and all those things. I can, too, at home for myself, that the kids are coming home. And then It says only four bags there. Yes. So it's something about, how do you get a dwelling together, which one can actually live in, and where one lives several together with each its zones. Yes. In addition, it saw, that's been working on this, which is then the kitchen age, which is the heart of the dwelling here, it is getting light for better in the corners of the world. Yes. And get a look out to the garden, there is a direct access out. Here to a spacious terrace. Yes. And at the same time it is also look over towards one's neighbors, as one can see, and this street, we went out on before, which is there. And this afternoon, there will certainly be lights on this terrace, and this street, we went out on before, which is there. Yes. And this afternoon, there will certainly be lights on this terrace, and in the evening also will be somewhere, that could provide value relative to it. Yes. And then we have disposed of kitchen. It is there, one can stand and arrange different things, and then look out. Yes. And here you can also sit and eat. But when you lie down on the couch at the end of the day, then that's it, that are pulled slightly away from the whole large glass partitions. Yes. Then you're pulled a little into the center of the dwelling. Yes. So when we are in the dwelling, then there are also different degrees of public one would like to appear outwardly. Yes. You could say that it exudes this openness, and that there are these big windows, but then at the same time you have also thought a little in this closeness, that when one would like, then one can withdraw. Yes. And one, yes. Yes. Then you can have that game, to take place on the couch in peace and quiet, or watch some television, or whatever one wants. Yes. Another thing, I work with too, that is, these windows that you can see. In some places, there they are pulled out completely in the facade, so you get such a spatial window fight. Yes. And elsewhere, there it is drawn in, as you can see here. Yes. And that's something, that both give a little inward to, but also outward to, so that the facade gets some variety, and this light and shadow is being worked on in different ways. Yes. Well Inge, we've been around here in The Royal Courtyard in Silkeborg. The red, the red builders, I guess we can call them. There is a very nice review of the here dark red color in different shades. Is there anything you want to highlight here eventually? For that is, You've talked a lot about this with the community, that it's really the core here in Kongegården. Yes. The last thing I want to highlight, that is, we just love these projects. Where the builder is close, and the big is close, and those projects, we can solve jointly. And it's so nice to see, that when all the thoughts and visions, which us the team has had behind, that they are actually brought to life, and that's also it, man notices, when walking around here. Yes. So we, it's so great to come here again. And behold it, when things also like have come up. Yes. And we really also could label it here with the neighbourhood and people, who invites us inside. Yes. And then that... That's the great thing about getting out of the province. Yes. It is that there is warmth and open high. Yes, and open door. Yes. Here in Silkeborg, so thank you very much for your time. Yes, thank you. That's how we got around the royal courtyard here in Silkeborg. If you would like to see more of Almene Sinistreger, so stay tuned here on the youtube channel. And if you would like to read something more about general architecture, then follow along inside fagbladboligen.dk. Thank you for your time, and thank you for today.