Amidst the bustle of Copenhagen, Denmark’s capital, a modest but powerfully message-driven structure has appeared at Gammel Strand Square: “Barn Again.” This work, designed and built by the British architecture firm THISS Studio and designer Tom Svilans, is one of two “Slow Pavilions” selected for the Copenhagen Architecture Biennial (CAB) 2025. The material for the entire pavilion is reclaimed wood salvaged from disused barns and landfill sites in Norway—material that would otherwise have been burned. With its stepped, overlapping form resembling a cocoon, “Barn Again” is not just a shelter but a bold statement about the aesthetic and structural potential of recycled materials. Its purpose is to invite the public to pause, reflect on the lifecycle of materials, and affirm that the resources needed for future construction already exist in the world today.
Context: The Call For ‘Slow’ Architecture
The Copenhagen Architecture Biennial 2025 (CAB), organized by the Copenhagen Architecture Foundation (CAFx) and directed by Josephine Michau, takes the overarching theme of “Slow Down.” This theme is an urgent call to the global construction industry, one of the world’s largest generators of carbon emissions and waste, to slow down its unsustainable pace of resource extraction and consumption.
Michau views CAB as a form of “soft activism,” where architecture is used as a medium to push for change. In this context, two temporary structures, including “Barn Again” and Slaatto Morsbøl’s “Inside Out, Downside Up” (also using reclaimed materials like perforated bricks), are erected as physical proof of the possibility of creating high-quality, soulful architecture without relying on virgin materials. This is a direct challenge to the conventional supply chain, where building materials often travel directly from extraction to the landfill.
The choice of scrap timber from Norwegian barns—a voluminous source of wood that is typically discarded—demonstrates an effort to find practical and economically viable solutions. This is not merely a symbolic act but a first step in establishing a new supply model in architecture, where old materials are treated as the most valuable resource.
“Barn Again”: From Scrap Pile To Sculptural Form
In terms of design, “Barn Again” possesses a form that is both rough and sophisticated, demonstrating respect for the materials used. The pavilion structure is built from thousands of recovered wood boards, each bearing deep marks of time and human activity. Its overall shape is a stepped structure, stacked and layered, curving up to form a tunnelling roof or a cocooning environment.
The architects explain that this layered form mimics the exact way the timber boards were transported from Norway—stacked on pallets. This is an ingenious transformation, turning a purely logistical process into a key architectural principle. This form provides both structural stability and spatial enclosure, offering a feeling of being embraced and completely separated from the surrounding urban noise.
The reclaimed wood material itself is the strongest architectural element. It is described as heavily textured, deeply imprinted with the harsh weathering and “carpenter’s marks” from its original construction. This roughness and antiquity become a unique, aesthetically profound exterior, a stark contrast to the smooth, flawless appearance of typical modern architecture.
History Imprinted On Material
Each piece of timber in the “Barn Again” pavilion is a snippet of the past. THISS Studio co-founder Tamsin Hanke shares that the tiny details, from the score marks of the carpenter’s tools to the discoloration from weathering, tell the story of their enigmatic lifespan. This is a celebration of the concept of “architecture with history.”
Upon entering this cocoon-like space, the sensory experience is elevated. The architects hope the space will be a “real moment of pause” in the city, not just because of its enclosed form but also due to the quality of the material. Sash Scott, co-founder of THISS Studio, emphasizes that the space will “smell great and feel great” because of the distinct aroma of the aged timber. This combination of scent, visual texture, and a sense of enclosure creates an ideal environment for contemplation.
This spatial arrangement invites the public not only to admire but also to “meditate on the lifespan of those individual pieces of timber.” In this way, the material transcends its role as a mere means of construction, becoming a philosophical object that stimulates thought on sustainability, waste, and the inherent value of the old. This is how “slow” architecture impacts public consciousness.
The Circular Economy: A Temporary Interruption
More critical than design and aesthetics, “Barn Again” is a perfect illustration of the circular economy model in construction. The structure was designed from the outset with a clear lifecycle: built, exhibited, and completely dismantled for reuse.
The architects described the pavilion as merely “a temporary interruption in the supply chain” and “just a storage until it goes through to its next site.” This confirms the philosophy that no structure is permanent and no material is waste. The fact that the pavilion is built from reclaimed material and designed for easy disassembly demonstrates a profound commitment to sustainability. The entire structure is formed by modules that are simple to assemble and detach.
Although the exact future site for reuse after the Biennial concludes (October 19, 2025) is yet to be determined, this clear intention sets a new standard for temporary architectural projects. It proves that architecture can serve as a material bank, where constituent elements retain their value and are ready for subsequent assembly, rather than ending up in a landfill.
