|Tony Fretton Architects - Fuglsang Kunstmuseum in Lolland, Denmark - Page 2|
|Thursday, 06 January 2011 12:48|
Page 2 of 2
One end of the foyer is arranged as a café, the other as a bookshop and reception area, both of which look out through extensive windows to the courtyard on one side and the other into a public art studio and beautiful existing garden behind it. A glass door in the reception area shows the way to the library and offices on the first floor, and other doors indicate the lecture hall, toilets and place to hang your coat.
The foyer is a public place in which everything is where it can be found and enjoyed in the company of friends and strangers within the landscape and spaces of Fuglsang. From within it there is a line of sight to the long central gallery of the Museum, around which the other galleries are laid out, and along it to a view of the landscape and sea at its end that resembles the first narrow view seen when entering the Estate.Connection between the two buildings is furtherThe galleries are very different in scale and character from the public space of the foyer and are places into which groups of visitors can spread out and immerse themselves in the collection, finding that it is arranged in three suites.
The first of these is to the right of the central gallery and consists of medium scale rooms arranged enfilade. Paintings from 1800-1900 are displayed in the first three rooms of the suite, which have ornamented ceilings and are lit by the diagonal roof lights that were seen above the façade.
Further along is a room for works on paper, which for reasons of conservation is artificially lit. At the end is a gallery for plaster casts that is lit by a window looking out towards Sketjen. Between the galleries are very small rooms, called pockets, where a few people can view a single work of art.
On the opposite side of the corridor is a single, large, minimally detailed gallery for temporary exhibitions. Abstract and reconfigurable, daylight comes into this tall space through a diffusing ceiling of open metal grids, above which there is space to support suspended artworks and install projectors.
Further along on this side is the third suite, consisting of a plainly detailed top lit space that is configured with screens into four rooms. Here works of Modernism from the early to mid twentieth century will be hung, ranging from medium scale figurative works to large abstract canvases.
Connecting these spaces is the central gallery, which is neither simply an exhibition space nor a place of circulation. Couches could be interspersed with artworks in the classical manner or the whole space given over to an exhibition or an event. At the end is a room that seems like a gallery but has only windows giving views of the sea and landscape, which is intended as a place to rest and reflect.
The different characters of the galleries and public spaces are designed to develop empirically, bound together in a similar way as Fuglsang itself, where very different styles of buildings and spaces are connected by simple similarities.
In this way, and through the loss and recovery of the view of landscape and sea that occurs within the Museum, some underlying qualities of the locale are introduced to the quiet, top lit exhibition spaces of the interior. The architects’ intention is for the Museum to be filled with slight differences that are stimulating but unobtrusive, so the art not the building predominates, and for there to be a combination of familiarity and emptiness that allows the building to become the imaginative property of those who come to it.
RIBA European Award 2009, Winner
Stirling Prize Building of the Year, Finalist
Worldwide Brick Awards – Worldwide Brick, Winner
Content courtesy of the architects
|Last Updated on Thursday, 06 January 2011 13:22|