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Hans Christian Andersen Museum House of Fairytales Ideas Competion Jacob Miller, Adam Anderson and James Bogle


An Ugly Duck Thoughts for a new House of Fairytales Reference # 90274

Hans Christian Andersen is surely a man who has shaped the modern world at a global scale. With almost two hundred stories translated into many different languages, KLVLQĂ&#x20AC;XHQFHUHDFKHVIDUSDVWWKHFLW\OLPLWVRI2GHQVH <HW2GHQVHZDV$QGHUVHQÂśVELUWKSODFHDSODFHZLWKD strong local culture evident in everything from its people, to its architecture, to the rich identity expressed in his VWRULHV2XUSURSRVDOUHFRJQL]HV+DQV&KULVWLDQ$QGHUVRQ DVWKHOLQNEHWZHHQ2GHQVHDQGWKH:RUOGDQGKLV museum must make it its mission to bring into being the importance of this relationship.


We have observed two existing conditions that the House of Fairytales must navigate: the global context of Hans Christian Andersenâ&#x20AC;&#x2122;s work and the local context of Odense. We have We have observed two existing conditions that the House of Fairytales must navigate: the approached this context in terms of the anti-icon and the icon, or the ugly duckling and the swan. The *OREDOFRQWH[WRI+DQV&KULVWLDQ$QGHUVHQÂśVZRUNDQGWKH/RFDOFRQWH[WRI2GHQVH7KLV anti-icon acts in favor of the local, it is completely respectful of the physical and ephemeral characteristics of its physical surroundings. Its architecture may not be LVRXUODXQFKLQJSRLQWDQGLQDQDWWHPSWWRUHDOL]HLWVIRUPZHFDQGLVFXVVRXUSURSRVDOLQ extreme, but it goes out of its way to establish itself as something which belongs. Through two parts: The Anti-Icon and the Icon, or the ugly duckling and the swan, or the Icon. The the use of a mat building typology, the House of Fairytales can maximize its use of site by anti-icongalleries (ugly ducking) in program) favor of the local, it is of the physical scattering (the bulkacts of the throughout its completely eastern siderespectful while remaining low andephemeral out of sight. Bright and transparent corridors take the visitor a journey that and characteristics of its physical surroundings. Itson architecture may not be has been conceived as a narrative between the work on display and the Fairytale Garden. extreme yet it goes out of its way to establish itself as something which â&#x20AC;&#x153;belongsâ&#x20AC;?. Through This dialogue is present throughout the museum, whether one is looking from the galleries into one of WKHXVHRID0DW%XLOGLQJ7\SRORJ\WKH+RXVHRI)DLU\WDOHVFDQPD[LPL]HLWVXVHRIVLWHE\ the three central gardens, or watching the performance of a story in the outdoor amphitheater. The scattering galleries (thefloor, bulkrespecting of the program) throughout eastern sideOur while remaining museum remains a single the character of theits neighborhood. strategy seeks to fully engage the public at the ground level through the weaving of museum program and garden. ORZDQGRXWRIVLJKW%ULJKWDQGWUDQVSDUHQWFRUULGRUVWDNHWKHYLVLWRURQDMRXUQH\ZKLFK

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On the siteâ&#x20AC;&#x2122;s west side one encounters the Icon. Here, Lotzeâ&#x20AC;&#x2122;s Garden raises dramatically from the The two are constantly in dialogue with one whether looking onfabric, to oneand of the three ground, offering a unique formal engagement withanother, Odenseâ&#x20AC;&#x2122;s developing urban serving ascentripetal the gateway into thewithin world of Christian Anderseninbythe offering views of the or historic district of gardens theHans Museum, performing new â&#x20AC;&#x153;tinderboxâ&#x20AC;?, admiring Odense and Lotzeâ&#x20AC;&#x2122;s Garden. The garden offers open space, an outdoor performance space, Âł/RW]HÂśV*DUGHQ´7KHPXVHXPUHPDLQVRQHVWRU\WDOOUHVSHFWLQJWKHSURSHUW\RIWKHand easily accessible views both outward and inward. Beneath this garden canopy, visitors are greeted asQHLJKERUV2XUVWUDWHJ\VHHNVWRIXOO\HQJDJHWKHSXEOLFDWWKHJURXQGOHYHOWKURXJKWKH they enter by stone sculptures of Hans Christian Andersenâ&#x20AC;&#x2122;s characters. These function as column supporting canopyâ&#x20AC;&#x2122;s program structure.and At the museumâ&#x20AC;&#x2122;s center, Hans Christian Andersen Tower rises weaving the of museum garden. above the city, surmounted by a statue of the man himself, dipped in gold. An elevator allows visitors to access the towerâ&#x20AC;&#x2122;s top where they can stand beside the golden Andersen and survey the city /RFDWHGRQWKHVLWHVZHVWVLGHRQHHQFRXQWHUVWKH6ZDQ ,FRQ +HUHÂł/RW]HÂśV*DUGHQ´ from above. This feature also serves as an iconic beacon to be seen from near and far, a wayfinding raises from the ground.forAn gesture offering a unique formal engagement device fordramatically the city and an advertisment theiconic museum.

ZLWK2GHQVHÂśVGHYHORSLQJXUEDQIDEULFDQGVHUYHVDVWKHJDWHZD\LQWRWKHXQLYHUVHRI+DQV &KULVWLDQ$QGHUVHQDVZHOODVWKHKLVWRULFGLVWULFWRI2GHQVH/RW]HÂśV*DUGHQRIIHUVRSHQ space, an outdoor performance space and easily accessible views both outward and inward. %HQHDWKWKLVJDUGHQFDQRS\YLVLWRUVDUHTXLWHOLWHUDOO\JUHHWHGDVWKH\HQWHUE\IDYRULWH+DQV &KULVWLDQ$QGHUVHQFKDUDFWHUVVWRQHVFXOSWXUHVRIVRPHPRVWUHFRJQL]DEOHIXQFWLRQDVWKH FDQRS\ÂśVVWUXFWXUH7KLVDUULYDOKRSHVWREHDVSHFWDFOHWKDWZRXOGDWWUDFWWKHDWWHQWLRQRID global audience. At the museums center, Hans Christian Andersen Tower rises above the city. At the museums center, Hans Christian Andersen Tower rises above the city. At its top is the man himself, dipped in gold. An elevator allows visitors to access the towers top, where accompanied by a statue of Hans Christian Andersen, they are treated to panoramic views of the city. The tower and the glowing statue of the man himself serves as an iconic beacon seen from near and far, an orientation, and foretelling of the inner beauty of the museum and garden below. We can only project as to how much of a global presence this, or any proposal will have. <HWEHFDXVHRIWKHQDWXUHRI+DQV&KULVWLDQ$QGHUVHQÂśVZRUNWKH+RXVHRI)DLU\WDOHVZLOO EHDQLQHYLWDEOHOLQNEHWZHHQ2GHQVHDQGWKHZRUOG7KHUHIRUHLWVVXFFHVVDVDSRWHQWLDO must see attraction relies on the dialogue between the work on display and its dialogue with WKHPXVHXPVPRUHDFWLYHSURJUDPVXFKDVSXEOLFJDUGHQVSHUIRUPDQFHVSDFHFDIHVDQG VKRSV2XUSURSRVDODWWHPSWVWRUHDUUDQJHWKHH[LVWLQJSURJUDPLQDZD\WKDWDOORZVIRUWKH possibility of discovery at the home Hans Christian Andersen.

An Ugly Duck Thoughts for a new House of Fairytales Reference # 90274


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Located on the siteâ&#x20AC;&#x2122;s west side one encounters the Swan (Icon). Here, â&#x20AC;&#x153;Lotzeâ&#x20AC;&#x2122;s Gardenâ&#x20AC;? raises dramatically from the ground. An iconic gesture offering a unique formal engagement with Odenseâ&#x20AC;&#x2122;s developing urban fabric, and serves RQWKHVLWHÂśVZHVWVLGHRQHHQFRXQWHUVWKH6ZDQ ,FRQ +HUHÂł/RW]HÂśV*DUGHQ´UDLVHVGUDPDWLFDOO\IURPWKHJURXQG as the gateway into the universe of Hans Christian Andersen, as well as the historic district of Odense. Beneath this FJHVWXUHRIIHULQJDXQLTXHIRUPDOHQJDJHPHQWZLWK2GHQVHÂśVGHYHORSLQJXUEDQIDEULFDQGVHUYHVDVWKHJDWHZD\ garden canopy, visitors are quite literally greeted as they enter by favorite Hans Christian Andersen characters; stone XQLYHUVHRI+DQV&KULVWLDQ$QGHUVHQDVZHOODVWKHKLVWRULFGLVWULFWRI2GHQVH%HQHDWKWKLVJDUGHQFDQRS\YLVLWRUV sculptures of some most recognizable function as the canopyâ&#x20AC;&#x2122;s structure. This arrival hopes to be a spectacle that OLWHUDOO\JUHHWHGDVWKH\HQWHUE\IDYRULWH+DQV&KULVWLDQ$QGHUVHQFKDUDFWHUVVWRQHVFXOSWXUHVRIVRPHPRVW would attract the attention of a global audience.

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An Ugly Duck Thoughts for a new House of Fairytales Reference # 90274

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An Ugly Duck Thoughts for a new House of Fairytales Reference # 90274


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House of Fairytales Ideas Competion  

A collaboration with Adam Anderson and James Bogle