While we wait - Master thesis in Landscape Architechture

While we wait...............

This thesis has been conducted while life began, ended and paused I want to express my gratitude to these special people: To my patient supervisor Ole Fryd for guidance in a chaotic process To my friend Hanne Lisbeth Jegh for listening and support To my husband for believing in me and a lot of housekeeping To my children Elva and Sigge, for bringing unlimited love every day To my Mentor Kirsten for personal support and not giving up with those time schedules To My Family and Friends

kø b e n h av n s u n i v e r s i t e t

D e pa r t m e n t o f G e o s c i e n c e s a n d N at u r a l R e s o u r c e M a n a g e m e n t

Supervisor:

Ole Fryd

Submitted:

August 2020

Author: Karin Lis Dam Eskebjerg

Student number gjd664 Title:

While we wait

30 ECTS thesis Landscape Architecture

....Jeg vil her i aften komme med min lille opfordring til, at vi sommetider gør noget andet end det, vi plejer. Noget, der ligger uden for dagligdagens praktiske gøremål.

Prøv at gøre noget, der ikke er nødvendigt, noget der ikke er behov for, .....Jeg tror, det er vigtigt med oplevelser, der taler til vores sanser, noget, der befrugter vores fantasi, som nærer tanken, og som kan gøre vores verden større.

Det er slet ikke så unyttigt endda.

H.M. Dronningens nytårstale 2017

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Nyttigt = useful Nødvendigt = necessary Unyttigt = ?

It has not been possible for me to find a direct translation for unyttig. In the assignment un-useful will repre-sent the most accurate translation.

Robert Storm Petersen Tilbage til naturen; akvarel, 1945

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“Bor her“ Jeg bor i en landsby inde i en storby, hvor du kan få en kebab-ret der slår alt andet, du har smagt.

Jeg er en af de lokale, lige der hvor jeg bor.

Jeg er en af de normale, lige der hvor jeg bor.

Ingen har problemer med mig, der hvor jeg bor.

Nogen kommer og hænger med mig, der hvor jeg bor.

Lad mig sige dig noget om mit kvarter.

Jeg kalder det for mit, fordi det er mig der bor her.

Men for nogen, så er mit noget mere.

Det er dem der selv siger, det er dem der regerer.

Alle de livstrætte typer her vil have bodega, ikke flere caféer.

Masser af spillehaller og godt med frisører.

Natbutik med sprut og rygeudstyr.

Men der er ikke plads til stikkere i nord-skudsikker.

Nitte-vest, bliv den næste der får tændstikker.

Du kan få uden bilag. Du kan få brændt din bil af, hvis du er uheldig. Knallerter ræser forbi din villa.

Gang i en masse jeg ikke ved en skid om.

Bands der øver på pladen.

Og inde i en af kasserne der tændes der op for nogle pinde, og laves en tune om hvor vi er henne.

Nordvest, det er en landsby inde i en storby, hvor du kan få en kebab-ret, der slår alt andet du har smagt.

(Jeg er en af de lokale…)

Eyo jeg kommer ikke herfra, men nu bor jeg her.

Og jeg græder for hver sur smiley og hver morder.

Mange af os må have det sådan i Bispebjerg.

Vi er født et andet sted, men nu er vi her.

Personligt stammer jeg fra det der Jyllands land.

Men jeg føler mig velintegreret og helt i stand til at passe ind i massive, her hvor menneskerne har en af landets laveste gennemsnitslevealdre.

Godt med byggetomter, autoværksteder, kommunister som der holder ud som stærk læder.

Det er ikke for smart endnu. Det er stadigvæk lokalt og internationalt. Sjollere tror, det er gået galt.

Men verdens sprog mødes inde i 5Aeren.

Atmosfæren er salaam med creme hos bageren.

Der er Panser og 52 og Ego. Der er Café Montenegro i 24 dobbelt-0.

Der er pole-dance studie i mit nabolag.

Og de har koranskole ved siden af.

Og der er et ungdomshus som var nabo til Shell.

Og bolsjefababrikkerne fremstiller hippierne selv.

Nogen de føler noget utryghed, så de sidder og kukkelurer i deres lejelighed.

Men jeg nyder, alt liv der er på Smedetoft.

Selv en tynd fredagsbøn laver trafikprop.

Enarmede i alle kioskerne.

Enkle hader på punkerne og bumserne og brugerne og muslimerne og rockerne.

Ude fra den fucking fløj af der giver de de gamle noia.

Heldigvis er deres tid forbi, nu tager vi deres tøj af.

Landsbytosser i blokkene.

Stenede typer på gaden.

Du kan få heroin, hvis du er afhængig af det.

På Clean House kan du komme og vende dig af med det.

Og jeg har hørt, at der var hi-life der nede på Night Glass, og hørt om tung hash henne på Hulgårds Plads.

Jeg bor i en landsby, der ligger lige midt inde i en storby.

Der kan du få en kebab-ret, der slår alt andet du har smagt.

(Jeg er en af de lokale…)

Raske penge

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Introduction

I am a graphic designer and I have lived in the Bird Quarter in the Northwest since 2002.

Since then, the neighbourhood has changed - and is the same at the same time! Here are still brown pubs rather than hip cocktail bars, and here are more smørrebrødsforretninger than porridge bars!

Grafiker Rikke Jensen

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Abstract By announcing that from today a specific area of Bispebjerg is now a Sculpture Park, means that some people now live in a Sculpture Park, Bispebjerg Hospital is now located in a Sculpture park, many people suddenly work and exercise in a Sculpture Park, some will now have the same but new view from their little balcony because it is now a Sculpture Park. Hopefully Bispebjerg Sculpture Park will strengthen the quirky contrasting character of its location. As I see it, the Sculpture Park already exists it just needs a narrator, attention and a name. This proposal is thought as an ongoing dynamic project where landscape, recreative experience and art share the scene in an urban context.

Through my perception of the area surrounding Lersøparken this thesis proposal investigates the potentials in the existing landscape and how adding new attention points in form of site-specific art and landscapearchitectural interventions can create a “un-useful landscape”, that expands the amount and the apprehension of recreative space accessible in an urban context.

The landscape in the project area is revealing all its present and historical layers at the same time. Like a bouquet of diverse and contrasting time periods, materials, aesthetics and interests representing each their time and purpose. Grasping this has become the focus in my approach to the area, how can the story of Bispebjerg be told in the Lersø terrain? How does it become relevant in this context?

Personally, I see all the adventures and I can change the color of a concrete bridge by imagination, I do not walk paths I explore the shrubs and I wonder about everything i see. A fence or a private property sign just makes it more exciting to see what’s hiding in here? Why does it look like that? I have learned that this way of perceiving is not for everyone and through this project I would like to show the process of trying to point out and translate these wonders for everyone else to explore. My design proposal for the project area is the beginning of a Sculpture Park.

Visit Bispebjerg Scupture Park youtubechannel https://www.youtube.com/channel/UCajNT6kOjxqLrkmTSMFroAw

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Introduction

Reading guide

This thesis is to be read like a journey, into the process of finding potential in the landscapes of Lersøen and Bispebjerg district. Based on this analysis the unfolding of a design process will lead on to a final proposal for a selection of the found potentials.

All photos and illustrations are made by me, unless otherwise stated. In the back of the thesis a list of photo and illustration credits are found together with a full reference list.

Inside the book you will find QR codes in different pages. They are connected to an extended layer of arti-cles, music videos and film recordings from the project area. These codes are created to give an extra dy-namic dimension, not limited by paper space. This makes it possible to use a mobile phone together with the printed version. Sometimes the connection between QR link and report is like a soundtrack, sometimes only connected by similar words or sometimes a full new year speech. To only watch videos filmed in the project area a YouTube channel is made for the sculpture park.

The folded map is a proposal for a “Tourist Guide Map� as well as a site map.

Enjoy reading Kind regards Karin

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Content 26 Introduction 27 Abstract 28 Introduction 28 Reading guide 38 Method 40 Project area context 42 Motivation 43 Focus 45 Research Question

Project area context 48 48 56 58 66 66 67 68

Project area context From “Madam Blå agtig” to Greta Thunberg agtig!

Spatialities within the project area Project area context - zones Project area context - adjacent recreative areas Superkilen 2012 Mimersparken 2012 Bispebjerg Cemetery 1903

Historical Landscape 74 Historical and present water cercuit 78 Lersøen - 1857/58 80 From Landfill to conservation park 94 Industry 96 Railway 100 Lersøgrøften becomes Lersørenden

Traffic Terrain Material 128 Traffic 128 Traffic infrastructure 130 Over bridges under bridges 132 Traffic-net 133 Canopy cover and building typology 134 This land is mine - This is yours 136 Material

Art

Landscape Context

142 Why Bispebjerg Sculpturepark?

142 The beginning 143 Art in Bispebjerg and the project area 144 Kunstscenen 146 Art in public landscapes 147 Public art 147 Street art 30

Content 147 148 150 152 153 156 157 162 164 166 168 176 178 178 179 179 182 186 190 192

Graffiti Street art Street art in the project area Public artwork interacting with site spatiality Public environmetal artwork Public artwork combined with funktion Autonomic public artwork related only to site as a scene Participatory art Murals Rentemestervej Murals Elsinore Controversial public art Reference project - Wanås Konst Sculpture Park Robert Wilson: A House for Edwin Denby, 2000 Yoko Ono: Wish Trees for Wanås, 1996/2011 Jan Svennungsson: The Eighth Chimney, 2007 Katarina Löfström: Open Source (Cinemaskope), 2018 Reference project - WADDEN TIDE Reference project - John Olsen Reference project - Henning Dam Awareness Tool

Project potentials 198 Project potentials 206 Farum Pillars 214 The metal people 216 A new passage 216 Potential 216 Concept Proposal 218 A new passage - Tiny Basket of Fun Park 218 Details and spatialities inside 219 Conceptual ideas for interventions 220 A new passage - Forgotten Time Forest 220 Details and spatialities inside 221 Conceptual ideas for interventions 222 A new passage - School Gardens 222 Details and spatialities inside 223 Conceptual idea for intervention 224 A new passage - A Transcendent 224 Moongate 239 Section Madam Blå Slide Tower 241 Plan view of Madam Blå Slide Tower 243 Cabinet of curiosities 249 A un-usefull story 250 The Escape-map

Outro 273 Conclusion 274 References 31

Introduction

There are many stories to tell in the area of Bispebjerg. The most acute one is the story about how the water of the catchment area is seeking back to its original flows and streams during cloudbursts, forcing the mu-nicipality to find spaces for detaining excess runoff and prevent sewer water from flooding people’s homes.

One of the greatest green spaces in Bispebjerg is Lersøparken and the most important cloudburst project in the district is placed here. A detaining basin in the open park lawns will be the last hindrance before the water is conducted to the sewers.

We know that the climate is changing and that we can expect more cloudbursts in the future and therefor green area terrains all over Copenhagen are changed to delay the heavy amounts of water.

Utility values is the focus in climate adaptation projects and the funds for changing the terrain brings along opportunity for a new surface wrapping. The new flows of water create new connections and the expected amounts of water defines the volumes of the detaining basins, located where the technical solution is most beneficial. The cloudburst solution for Lersøparken penetrates harsh barriers like railway and the detain basins will provide a more differentiated recreational value than the open grass fields covering the centre of the park today. The location of this project goes hand in hand with the green visions described in Bispebjerg district plan 2017-2020.

“Our public green areas need to have more character and support wider recreative use with better conditions for flora and fauna.”

“The cherry trees in the graveyard attracts great attention outside Bispebjerg, but the citizens in the neighborhood, could still use more support in creating ownership, local engagement and proudness over the other unique places found in Bispebjerg.”

Bispebjerg districtplan 2017-2020

The benefits of high-quality parks and green areas in the City improves our health and can improve on many of the negative effects from climate change. As climate adaptation projects comes with capital they can change the appearance of a park or green space from unknown/ low designed programmed park into high-profiled green area, which can lead to gentrification if the needs for recreative use is not recognized in the design and reflects the interests of residents living in the area. (S.Ehrmann 2018).

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Bispebjerg is a district that for some years has been climbing up the gentrification ladder, as the former in-dustrial quarter has become a creative district with art studios, tv-production companies etc. demanding good lunch and coffee. The empty office buildings and factories have either been renovated into huge apartments or exchanged with prizewinning architecture contrasting the worn down or not existing side-walks. The change however has not been as fast as in other parts of Copenhagen, this is caused by different sociodemographic factors, mainly related to the districts diverted building typology, ownership and the al-ready dense building structure. Almost 32 % of the existing dwellings are social housing apartments and the square meters per resident is the lowest in the municipality. Until the industrial quarter began its transfor-mation into modern sized apartments, resourceful families already living in the rough streets of Bispebjerg had to move to other Copenhagen districts to find a larger home. (Københavns Kommune, 2020)

“When designers consider developers and city authorities as their clients, rather than the actual user, we often see “flagship” parks as a result. Many parks are designed in a contemporary, designer-specific style that fails to emphasise the local character of the neighbourhood” .............

Green infrastructure is not simply a technical and quantitative exercise. It needs to consider emotive and experiential qualities”.

S.Ehrmann

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Introduction

“Atmosfæren er salaam med creme hos bageren.”

Raske Penge

Severel ghetto areas are located in Bispebjerg or close to the project area and the district has changed from a solid working-class neighbourhood to an area with a high proportion of immigrants and vulnerable families, with low income, living in small affordable dwellings. This is partly a result of Copenhagen’s social housing policies through time and the change from industrial to information society. Back in the days, Bispebjerg represented the good working class life in modern and light apartments in green surroundings, now many values and expectations for family dwellings are different from the 1930 and 40 when many of the yellow brick blocks framed the ordinary and solid times of working class dwellings.

Once a district has a certain atmosphere it attracts people with similar preferences and social resources.

People despite class like to live among people that looks like themselves and a part of Bispebjerg provides a laid back atmosphere grounded in poverty and lack of resources and a suit will, in some places, appear as weird as a homeless man sleeping at Hambros Allé. The trashy atmosphere drizzles into the quality of schools, institutions, broken pavements and trash in the street. The aesthetics and behaviour in the district have a shabby character.

During the last 10 years the percentage of social housing, private co- operative housing and homeowners has decreased 10% and the private rental housing within Bispebjerg has increased the same (Københavns Kommune, 2020). This could reflect the worldwide tendency that investors buy apartments with only one purpose, waiting for the property value to raise, and in the meanwhile renting out the apartment for a high rent. To avoid green gentrification, it is important to combine social policies to urban greening strategies. Therefor The amount of social housing in a district plays an important role as a counterpart to private in-vestors and developers, that benefit from gentrification. The amount of social housing in the district has been steady for many years, but at the time of writing, half of the apartment blocks (250 apartments) owned by Bo-Vita, in Mjølnerparken is for sale. The intention with this approach is to break up the composition of the residents. Bo-vita recognize that it has a great impact on the exact families that will be moved involun-tarily to another location in Copenhagen, but it has to be done. In the process of selling, they are aware of the impact a new powerful stakeholder can deliver to a ghetto area, the balance is to find an investor with the right intentions. It will be exiting to se if this will solve the problem.

“The behaviour and values that characterize many ghetto residents, has been termed a “poverty culture” or “unemployment culture”, on one hand the culture is a result of the poor opportunities and social isolation in the ghettos. On the other, it keeps contributing to the retention of residents in poverty and crime.

Eskil Heinesen

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“.... an investor who, among other things, must have a long-term interest in the area, and does not just see it as an opportunity for quick profits.... not an investor like Blackstone. This approach is based on the 2018 government al ghetto plan.”

11. FEB 2020 Jan Hyttel Formand BO- Vita

Tæt på salg af halvdelen af boligerne i Mjølnerparken - ÅH nej så er men jo lige vidt. Send dem der ikke arbejder til tyndtbefolkede områder i Dannmark, der kan de måske gøre nytte.

- det hjælper sgu ikke at renovere bygningerne,!!! Det sgu ikke dem der ikke kan opføre sig ordentligt !!

- Danskernes menneskesyn bliver værre og værre - Jo jo nu skal de kriminele belønnes med boliger i Bovita afdelinger på Christianshavn som så bliver ny ghetto i en veldfungerne afdeling fordi folk fraflytter gæt hvorfor Most Comments on the Story about selling half of Mjølnerparken are not very kind.

Strong oppinions are communicated directly in the street 35

Introduction

Bispebjerg is a shabby, contrasting district and this atmosphere trickles into the park and project area, here it can be experi-enced in many scales and expressions. Art pieces in form of radiant graffiti painted tunnels, classic bronze sculptures and outdoor contemporary art exhibitions appears within a short walk.

Just a few meters under your feet an old unsightly contaminated landfill is buried and now a meadow of blooming daffodils and sunbathers cover the ground.

The project area is characterized by significant traffic barriers in a sloping glacial meltwater valley. Therefor the area contains a variety of bridges and tunnel crossings, and in between a mixed building typology con-sisting of allotment gardens, Hospital, Apartment blocks, children’s institutions, The French School, an elderly home, student residences, a church, smaller office areas and education establishments. The surround-ing neighbourhoods are mainly social housing dwellings and a small number of villas north of the project area.

The general landscape of Lersøparken is classic with an open trimmed grass field, solitary trees and shrubbery on the edges. The adjacent green and recreative spaces are characterized by different accessibility, archi-tectonic style periods, ownership and former land use. This leads to a great variety in aesthetics experiences and the level of green maintenance ranges from wildered shrubs and meadows to symmetric shaped trees and perennials in the hospital gardens. In the area it is common to meet excess space with low or no pro-gram for use. Visiting these blind corners, small stripes of trees close to the railway, squished in behind sheds and old piles of rusty fencing, I always think that only Landscape Architects, homeless people and taxi drivers comes here. This is where you find mattresses, cheap vodka bottles and toilet paper.

The centre of the project area, Lersøparken, has a highly visual connection to Bispebjerg Hospital and the main entrance on the top of the hill visually owns the area. The Hospital is an architectural pearl of its time. The classic architectonic appearance refers to medical history has reminded me of movies set in a historical psychiatric hospital at every time I visited the park. This brings an odd perspective to the recreative park landscape and the hospital gardens and it is not unusual to see people enjoying a cigarette or taking a slow walk in their white hospital robes.

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Some spaces are only accessible for members and residents like the Klondike allotments gardens, in the bottom of valley, creating a small village behind locked gates and trimmed hedges, enjoying their own community.

Entering the shrubby edges of the park you will find stolen silver forks, stairs leading nowhere, and luggage cabins dropped 40 years ago. Along the railway pink raspberries and sappy pumpkins are growing where the old gutter used to run open and smelly.

Like diamonds, existing landscape experiences are already scattered across the park area. Some are still rough; some are polished and still some are hidden waiting to peep out in new unexpected relations and scales.

During my work process the word rotten has come to my mind several times, and the quality of some of these rotten places could be emphasized by adding a shiny contrast, like a poetic name, an unexpected mate-rial, the beginning of a story to get a fantastic view on an everyday landscape. There are many unuseful and rotten backside landscapes or nonplaces to be investigated and this feeling of being the only one who found this small adventure in a backside landscape is to me very exciting.

The artist Raske Penge describes these contrasts as well. The Song “Bor Her”, very accurate illustrate living in Bispebjerg. His lyrics, accompanied by a photography-based music video, pin points the many meetings between culture, religion and sociodemographic in an everyday context.

”Bricks are burdened by a story, going back to the Gothic churches there are always a feeling and atmosphere attached.” –

Per Kirkeby

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Introduction

Method

Highlight potential in the existing landscape by adding contrast

Finding Connections across borders

Finding Treasures in the existing mass

Collected Information

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Using the box of findings to illustrate the method i have used

Collected information through: Photo registration, investigating historical maps, reading historical vegetation registration reports, study historical photos and artwork related to the area. Municipal plans, contamination reports, looking at old soil drillings, digging out findings, reading historical anecdotes and listening to old local songs, art theory, art references visits to reference projects, Collecting site material, small interviews, reading old newspaper articles, investigating private hobby websites and Facebook groups with Copenhagen history and railway history, reading local factory history, reading sociodemographic reports, Architectural analysis reports, historical plan drawings, collecting plants, on site landscape analysis, studying the graphics of amusement parks and tourist maps.

Through the investigation and collection of information in the project area, boundaries and a range of project potentials where defined, to suggest ideas and further potentials of some of the places. Suggestion new additions, modification or both within different price-categories. As a conclusion to the analysis of the relation between art, landscape and context. I developed a tool trying to visualize the diversity between different installations and the site placed.

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Introduction

Project area context

Gladsaxe

Gentofte

Bispebjerg Østerbro

Brønshøj-Husum

Nørrebro

Fælledparken

Vanløse Frederiksberg

Central Copehagen 1:60.000

Bispebjerg District • Area: 6,8 km2 • Citizens: 55.476 • 9 % of all copenhageners live in the district • Citizens less than 18 years: 15 % • Citizens over 65 years: 9 %

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Introduction

Motivation I have been Living in Bispebjerg for almost 10 years and Bispebjerg has easy accessible great green infrastructure many common greens, the cemetery, Utterslev Mose, the hospital gardens and Lersøparken.

The green area of Lersøen is, despite the size of the park, not very well known to many people and the name of the park is not something that people recognize. When explaining were my thesis project is located, I have to mention Bispebjerg Hospital and then the green grass lawn sloping down towards the railway. Others know it as a green biking or running corridor connecting Nørrebro to Ryparken and further on to Hellerup.

As the most urgent thinking in the municipality of Copenhagen right now is handling cloudbursts, and the surprising amount of water. Many green areas across Copenhagen have been chosen for this purpose and by placing a street water detention basin and open canals in connection to Lersøparken, water will in the future become a visible element that bring along new social, ecological and environmental opportunities, as well as it allows attraction and interaction with water. The awareness, to the park, will be heightened and strengthened by increasing the amount of accessible coherent green / blue space in the Bispebjerg district. The planning and design of new flow paths will affect existing land use and landscapes by piercing physical barriers, closed communities, ownership and traffic infrastructure can be broken down or softened.

The values and qualities that the waterscape brings along could be many, but we have not seen them yet and is the existing landscape of no use or potential value?

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Focus The focus of this assignment has been park development in an urban setting. My entrance to the project area was designing a “street water run off detaining basin” based on the technical cloudburst project plans for Lersøparken. Because the water has great economical and health related effects flooding the district this issue is of cause important and should, now that people has settled where the water natural flows.

During my analysis of the project area I found great interest in the backside landscapes and the relation between the cloudburst project and the existing landscape qualities in the district context became more and more vague as the many contrasting details are very strong. The Historical layers, the barriers between ownership, manifested in fencing and sociodemographic difference, how the traffic infrastructure has sliced and divided former coherent land, has created many unexplored spaces and dead ends with no purpose.

With the changed focus in the assignment it developed from designing a recreative useful surfacelandscape covering hydraulic technical facilities, into unfolding a fraction of the potentials and stories related to the strong district history and the contrasting meetings of landscapes across the project area.

How can these stories become part of the park’s identity and what should a park like this be called?

Where does the park end? Inspired by the contrasting meetings of aesthetics, the unprogrammed backside landscapes and the existing currents of various art in the project area. Therefor the proposal for the project area is a sitebased sculpture park. Naming it a sculpture park opens up an approach where punctual artistic installations and landscape interventions in symphony can create an experimenting scene to tell site specific stories in relation or in solitude.

By emphasizing and translating the spirit of the site through art, it will be possible to visualize the values hidden in the existing landscape. Hopefully the sculpture park will encourage people to explore their everyday landscape added an extravagant un-useful layer.

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Research Question

How can stories in a landscape be unfolded by using site-specific art as a co-narrator?

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Project area context 47

Project area context

From “Madam Blå agtig” to Greta Thunberg agtig!

Madam Blå Glud og Marstrand

kaffedepartementet

From 1900 to 1966 Glud and Marstrand produced up to 200,000 coffee pots a year.

We have reusable to-go cups on the shelf, buy them as a gift, if you think your friends and family well may be a bit more Greta Thunberg like! kaffedepartementet

»........... This is how it goes everywhere. Then prices rise and store chains move in and the original residents must move because it gets too expensive. Gentrification is a killer. “

Raske Penge

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Classic kiosk composition 49

Project area context

Planning-Recreative visions

CO-CREATE COPENHAGEN

Bydelsplan for Bispebjerg 2017-2020

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VISION FOR 2025

Technical and Environmental Administration City of Copenhagen

In the district plan for Bispebjerg it is a highly prioritized Development Principle that nature and recreative areas Should be used as a Social Leverage supporting social coherency across cultural differences. The plan emphasize the existing green east west belt through Lersøparken and the Allotment gardens Park as a quality, soon to be even better connected all the way to Ryvang Nature Park. At the same time a great amount of both Utterslev Mose and Lersøparken are covered in by cut grass, compared to 75 football fields. A high cost for maintaining and very low biodiversity with a lack quality and recreative value.

Considered a no man’s land.

“The nature areas in Bispebjerg has potential as a leverage for social efforts.... like the School gardens, they already are the centre for social communities, and they need facilities for teaching inside. And by that the gar-dens could be used all year” “The cherry trees in the graveyard attracts great attention outside Bispebjerg, but the citizens in the neigh-bourhood, could still use more support in creating ownership, local engagement and proudness over the other unique places found in Bispebjerg.”

“Our public green areas need to have more character and support wider recreative use with better conditions for flora and fauna.”

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A City With an Edge The clash of contrasts is what infuses a metropolis with its unique sense of vibrancy. Contrast between neatly trimmed parks and roughand-ready, regenerated industrial sites. Between Michelin-starred restaurants and street kitchens. Between modern, experimental architecture and 300-year-old buildings.

We need to pave the way for the city’s diversity to play an even more prominent role. It would be good if Copenhagen were even bolder and had more of an edge. We need room for wild, creative initiatives and architecture that evokes strong emotions – without the city breaking at the seams and becoming divided.

To make Copenhagen a city with more of an edge, the City of Copenhagen will focus on: Flexibility and Creativity Cities that don’t constantly change become drab and predictable. We want a more flexible and dynamic Copenhagen that reflects the myriad of lives lived here.

There will be room for experimental projects that may have a limited lifespan. There will be freedom to start up and test new things. Buildings and areas will change their function over time. We must have the courage to surprise and innovate.

Unique Neighbourhoods that Belong Together While contrasts are important, Copenhagen must avoid growing into a divided city. Getting around and across it has to be easy, safe and inspiring. A city with an edge depends on its people and businesses daring to be different, so it is important that all types of people have the opportunity to live here. Neighbourhoods must all be attractive and organised in a way that supports both the individual choice and the emergence of new communities.

TARGETS 2025:

“ Everyone benefits from being out in nature.

Research shows nature experiences can have s A majority of Copenhageners consider Copenhagen a city with that an edge a beneficial effect on our mental and physical well-being.

But nottoeveryone naturally finds their s 70% of Copenhageners find that they have plenty of opportunity get involved at local level way to nature. Therefore, support is needed to s Twice as many volunteers take part in the development, care and maintenance of the city make nature accessible to vulnerable groups - stressed people, people with mental disorders, s The number of deprived areas is at least halved vulnerable families single people. s 90% of children, Copenhageners findand it easy to get around the city s At least 70% of new social housing is placed in school districts with less than 20% social housing

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Project area context

Planning-Recreative visions

KUNSTSTRATEGI FOR NYT HOSPITAL OG NY PSYKIATRI BISPEBJERG In relation to the development of the New Bispebjerg Hospital and Psychiatry (2014- 2024) the Art strategy describes how and where new art can be incorporated and how the art can create the most valuable outcome for patients, employees and public in general. The project of New Bispebjerg Hospital and Psychiatry has set aside about 39 million kr. for this purpose and the strategy relates to the unique history and cultural features that characterize the Hospital area. The vision for the future art

Woman on box 1990 Artist Hanne Varming Material bronze deposited by Ny Carlsberg Fondet

The seven Focal points of New Bispebjerg Hospital and Psychiatri.

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implementation has to relate to three elements of importance: Site Specific, Architecture and Landscape.

It is also mentioned that the seven focal points in the vision for the development of The New Bispebjerg Hospital and Psychiatry has to be considered. Bispebjerg Hospital has many public accessible sculptures in the surrounding gardens, a coloured light installation in the newly build parking house, a temporary sound piece called “Lyttehaven� creating a sound landscape celebrating the gardens in fragments.

Plan of the New Bispebjerg Hospital and Psychiatri.

Lazarus Artist: Christian Lemmerz, material Bronze, A gift From Ny Carlsberg faden, made for the hospital for the 100 year jubilee in 2013.

Small Gefion - a 1:6 miniversion of the Gefion-springvand at Langelinje.

Artist Anders Bundgaard 53

Project area context

Green/blue infrastructure

Gladsaxe MIndelunden

Gentofte

Emdrup Sø

Green Railway Corridors

Utterslev Mose

Villa Gardens

Sportsfield

Grundvigskirken green axis Lersø Park Allé Bispebjerg Kirkegård

Østerbro

Bispebjerg

Fælledparken

Nørrebro

1:30.000 54

Utterslev Mose

Grundvigskirken green axis

Emdrup Sø

Villa Gardens

Sportsfield

Green Railway Corridors

Fælledparken

Lersø Park Allé

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Project area context

Spatialities within the project area

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Project area context - zones

Lersøparken: The classic green heart of Lersøen

Bispebjerg Hospital

Allotment gardens park Lersøparken

Lygten

In 1911 Lersøparken becomes a park and it´s appearance has not changed very much since. The school gardens where established in 1924. Plan drawing, in English garden style, by Edvard Glæsel, the same Landscape architect who designed the garden pavilions around Bispebjerg Hospital, Bispebjerg Cemetery and the Fælledpark. The Plan is dated in 1908 five years before the inauguration of the hospital, this points at a desire that the hospital garden symmetry and Park initially should have been more connected than it appears today. Bispebjerg Bakke is placed on the old municipal plant-nursery lot, to the upper right of the park. The funicular tracks of Slangerupbanen runs in the lowest bottom of the park from Nørrebro to Emdrup, the terrain remains today slightly hidden in great solitary trees.

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Bispebjerg Bakke/ “Slangen” is a closely attached neighbor to the park and hospital, a giant Sculptured House is created by artist Bjørn Nørgaard.

Private Instagram photos #lersøparken

The Hospital is visually the owner of the central Lersøparken 59

Project area context - zones

Bispebjerg Hospital

Bispebjerg Hospital

Allotment gardens park Lersøparken

Lygten

Bispebjerg Hospital and the associated gardens are within the defined project area. The Hospital and Lersøparken are visually connected by the central location of the main entrance. Already art has a valued role in the Hospital landscape and architecture and it is highly prioritized in the future projects within the area. The Hospital area is a pearl and a historical time pocket and it is described like that in this thesis.

There are not marked any further potentials in that zone, even though many are waiting to be discovered.

By including the Hospital area, the diversity of landscapes, in between the Sculpture Park zones, are strengthened and supports the contrasting recreative experience within short distance.

Old entrance at Tuborgvej 60

The idyllic landscape surrounding the Hospital does not have room for landing a helicopter.

The sighing bridge, named by the deep breaths from the patients, crossing the bridge just before surgery.

Personal prescribed medication found under the bridge underpass of Tagensvej.

The social garden is a place where patients and visitors garden together

April colours in the Hospital gardens.

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Project area context - zones

Lygten

Bispebjerg Hospital

Allotment gardens park Lersøparken

Lygten

Lygten is a part of the defined project area. The area is indeed a forgotten backside landscape were buildings pop up behind each their fence or private sign. The materiality is simple, and details and refinement is not present. It is difficult recognize any coherent planning or awareness of connections except for the path along the railway from Nørrebro By Center under Tagensvej and through Lersøparken.

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Nordbro 100 meter high tower surrounded by lower storey buildings, ends Mimersparken towards Nørrebro Station and the new metro station.

Kunstscenen 2019

It appears like pieces of leftover fabric in a patchwork quilt, where the only mutual are the stitch edges.

A random expression like this is almost impossible to create on purpose, any aesthetic design placed here will appear shiny, in this trashy canvas. This happened with the Kunstscenen Project during 2019, an art scene exhibiting a different artist every month. No surveillance, no entrance. White walls and concrete floor, neigh-bouring the district heating chimney and garbage filled shrubs.

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Project area context - zones

Allotment gardens park

Bispebjerg Hospital

Allotment gardens park Lersøparken

Lygten

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One association have a deposit of garden waste outside their gates. Great piles of waste fruit apples, pears and plums are thrown out instead of used or shared.

The allotment gardens are a closed Community, in the wintertime it is possible to look through the thorn hedges and pink houses and mannequin dolls dressed like prisoners reveal themselves. The gates are always closed, during daytime in the summer season it is possible to go inside, where the hedges create a maze there are no front gardens or shared flower stands. In between the allotment gardens association there is a shared traffic road running through a grove. This is repeated on each side of Lersø Park AllÊ.

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Project area context - adjacent recreative areas

Superkilen 2012 Superkilen is located 300 meters from Lersøparken it is characterized by a highly paved surface and programmed use, furnished with symbolic interior imported from all over the world, reflecting the diversity of people living in the adjacent area.

The slim park is a part of the Green Bike lane and it is divided in three areas. The black part is the most represented in these Instagram pictures, with #superkilen. Superkilen has a very low nature value as only one part of the park has open soil.

The plantings and tree species are mostly chosen because of colour or wow effect e.g. pink blooming cherries and palm trees.

Wrapped palm trees in may

The exterior of Superkilen is not frost tolerant 66

https://www.instagram.com/explore/tags/ superkilen/

Mimersparken 2012 Across the railway on the opposite side of Lygten is Mimersparken, it is located 100 meters from Superkilen and it appears with trimmed lawns, concrete paving and several sport courts of various kind. It has a colourful, sculpture like playground and graffiti decorated walls, this is a part of the original design of the park and should reflect the colourful neighbourhood. The trees are planted like park trees and trough time they will create a great canopy cover and shady lawns. Mimersparken also have a staffed playground. Mimersparken is located just 50 meter in a straight-line form Lersøparken but right now there is no easy crossing between these two areas. There is a planned crossing at Fyrbørdervej called Nordvestpassagen, but right now there is no date for when it will be implemented.

High degree of hard surfaces

Instagram moments 67

Project area context - adjacent recreative areas

Bispebjerg Cemetery 1903 A historical landscape with a great species diversity high maintenance level and silence, compared to ordinary parks in an urban context. Except from Sakura season in spring. In many ways this landscape is comparable with Bispebjerg Hospital, Same landscape architect Edward GlĂŚsel, old beautiful, in some cases decaying trees and plantings, intimate green spaces in a largescale garden structure.

Instagram post by visitors 68

Liriodendron tulipifera blooming in the cemetary 69

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Historical Landscape

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Historical landscape

The lowest point of the project area is situated 7 meters above sea level and from here the terrain raises up towards Bispebjerg Hospital. The valley is originally a meltwater tunnel from the last glacial period created when the ice withdrew 10.000 years ago. The valley stretches from Harrestrup river valley, where the melt-water ran in two directions, towards Kalveboderne and out to Øresund, through Grøndalen and Lersødalen. Lersøparken and Søerne in Copenhagen are the last two places in the city where the ice age landscape is still visible and to a lesser degree diminished by filling and culturally based terrain changes.

In year 1550, the natural northern outlet of Lersødalen, was dammed at Rosbækken, as the water was needed in the water supply for Copenhagen.

Postglaciale Lag DG-Smeltevandsgrus DS-Smeltevandssand ML-Moræneler By-Byområde

Senglaciale lag FL-Ferskvandsler FP-Ferskvandsgytje FT-Ferskvandstørv HG-Saltvandsgrus

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Historical and present water cercuit

Utterslev Mose

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København 1846 Historical Landscape- The extension of Lersøen 77

Lersøen - 1857/58

E. Rostrup describes the area in his article from 1859. The lake had a significant span of 107 tdr. land, 59 hectares, and stretched southwest to northeast 3300 alen(2071 meter) and a width varying from 400 to 600 alen, (251 to 376 meter). Rostrup describes the progression in the vegetation after the ongoing draining of the area. From water plants, in the beginning, to plants resilient to flooding and then how seed dispersal was determined by the surrounding species, which were dominant, on the dried-up lakebed, at the time. Finally, the area got covered by a strange Willow forest, with a multitude of species described in 1858-59, with Salix Alba being the dominant species.

Up until 1817, the peasants of Emdrup and Utterslev had the right to cut grass and reeds in the area. The original name for Bispebjerg was “Biszebierg”, which translates to, “the hill where the cows stampede”.

When cows stampede, they run around crazy, and there was plenty of room for that on the elevated Bispebjerg hill, before Copenhagen spread to incorporate this area too.

The name for the area today, Lersøen, stems from this period.

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Salix alba var vitellina Britzensis

eng rørhvene

typha latifolia winther

typha angustifolia winther

Scirpus maritimus

Scirpus lacustris

Thypha Angustifolia

bredbladet dunhammer typha latifolia

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From Landfill to conservation park

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The old landfill is just under the surface, broken glass and bones found on the surface after construction work.

From about 1880 to 1920s Lersøparken/Lersøen was serving as a landfill, with a latrine station. Due to the growth of Copenhagen, the rising amounts of latrines, in the period from 1891 to 1906, the waste was trans-ported out of the city to Målev, Hedehusende and Lillerød. The latrin station at Lersøparken was closed in 1906, where Amagerbanen took over the transportation of latrines, and the waste was driven to the farms on Amager instead. In 1905 Copenhagen municipality established a vast burning area in Lersøen where branch-es, dry shavings, oil and varnish containing material was burned until 1937 Two landfills were located in Lersøen, one in the northern end, active until 1922 and one in the southern end, that was covered with ex-cavated material from the construction of Bispebjerg Hospital. (J. M. Eriksen, 1996).

In “Lossepladser og opfyldning i København: historisk redegørelse for Københavns opfyldninger og losse-pladser fra omkring århundredeskiftet til 1995.”, John M. Eriksen wrote the following in 1996: “The landfill continued in the northern part and must have been discontinued before 1922. It is stated in report III from 1938, where it is mentioned that from 1922 only Valby Fælled will be available for refuse collection. No accounts or summaries from City Council’s meetings have further information about the content of the waste.”

“There have previously been conducted investigations into the impact on surface water from multiple large old landfills, but the total scope of the problem has not been documented.

Environmental authorities have, yet, no overview of how many of the old landfills that pose a real problem (Teknik og Administration Nr. 1 2012).”

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From Landfill to conservation park

The conservation of Lersøparken is a declarative conservation, which implies the municipality voluntarily have applied an easement to the area, about how the area is managed, and that prosecution authority lays with FredningsnÌvnet.

The allotment gardens are included in a collective conservation plan for 8 of Copenhagen’s parks, which the municipality proposed in 2007. But as early as 1958, Danmarks Naturfredningsforening submitted a wish to conserve the parks in Copenhagen.

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Målforhold Dato

1:10000 06-12-2018

Signaturforklaring Jordforurening - V1 Jordforurening - V2 Målforhold

Mapped contaminationDato

1:10000 06-12-2018

Protected area

Signaturforklaring © Københavns Kommune, © Danmarks Arealinformation

Jordforurening - V1 Jordforurening - V2

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From Landfill to conservation park

Vagabonds, drunkards, whores, thieves and free spirits, for whom work was loathed, lived in Lersøen in the last part of the 1800s. At this time the lake where more a swamp than a lake and willow was grown in the area, for The Institute for the blind and basket makers.

Lersøbøllerne build huts in the shrubs in summer, by binding the tops of the willows together and covered them with waxed paper. They found mattresses and cooking ware in the landfill, washed themselves and their clothes in Lygteåen and hung their clothes to dry in the willows, while they sunbathed on the grass.

It is described that the willow shrubs were a labyrinth of hideouts and paths, which proved useful when the police began patrolling the area, after the incorporation of Utterslev into Copenhagen municipality in 1901. Prior to 1901 the area was outside of the police jurisdiction, so the police could not bother them, but after the incorporation the area was no longer a haven and Lersøbøllerne disappeared little by little from the area and by 1908-1910 there were no longer room for them, as industry and residential area had expanded closer and closer to lake (A. Enevig,1963). The area became too neat for them.

Historical anecdotes implies that the multi artist Storm P. found inspiration for his vagabond drawings among Lersøbøllerne, and this could be the case as the sloping terrain with pollarded willow and poplar trees, resembles the landscape that dominated Lersøen before 1901.

In 1911 the Lersøen was designated as a park and renamed as Lersøparken. The area was protected in 1969 as a declarative conservation, which means that Copenhagen municipality are committed to preserve Lersøparken as a recreational park. This implies that changes to the park must get permission from the preser-vation committee. There are no examples of changes being rejected in the documentation.

Storm P.:Forår 84

The last remains of old pollarded poplars, like white sculptures the decaying trunks are slowly disappearing.

Storm P. Flue 1939-1940

January 2020, the naked shrubs reveal a resting spot, designed very similar to the description of how the Copenhagen outcasts lived in the willows in the late 1890´s.

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From Landfill to conservation park

Plan drawing, in English garden style, by Edvard Glæsel, the same Landscape architect who de-signed the garden pavilions around Bispebjerg Hospital, Bispebjerg Cemetery and the Fælledpark. The Plan is dated in 1908 five years before the inauguration of the hospital, this points at a desire that the hospital garden symmetry and Park initially should have been more connected than it appears today. Bispebjerg Bakke is placed on the old municipal nursery lot, right to the park. The funicular tracks of Slangerupbanen runs in the lowest bottom of the park from Nørrebro to Emdrup, the terrain remains today slightly hidden in great solitary trees. Some of the curving paths and the edge plantings are recognizable in the present park and have a similar parallel to Fælledparken. Lygte åen is open and menders through the open fields and a wide canal runs under the tracks making it possible for excess water from the meltwater valley sides to gather and be led to the sea. A great piece of the left side of this proposal is now where the school gardens are located.

1908

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Københavns Kommune - Fælledparken Edvard Glæsel 1908

%DVARD 'L SELS PLAN FOR & LLEDPARKEN FRA 87

From Landfill to conservation park

1951

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Park Plan idea 1908 VS ortophoto 2019 89

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Lersøparken_Tagensvejbro_13.9_1910.jpg 91

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From Landfill to conservation park Railway The terrain in Lersøparken appears randomly planned, as different land use and interests has formed and left the remaining terrain for a green urban park. The dismantled Slangerupbanen lies like a curved shape through the low point of the park stretching into the thicket along the S train tracks. Here you can find remnants of concrete casts, signal masts and former railway related garden plantings.

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Hight map revealing the hight difference from the old tracks.

Simple geological soil drilling map 1906, showing the location of the former railway

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Path through the shrubs on the elevated track terrain.

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From Landfill to conservation park Lersøgrøften becomes Lersørenden Lersøgrøften was originally an open sewage ditch, that ran along the tracks of Ringbanen´s northern edge, from Nørrebro Station too Hellerup Station. The stretch from Lersøparken to Mindelunden was the last stretch of open ditch and was 1800m long, 10m wide and 8m deep (dams.dk). This stretch was piped and covered in 2008, at the time it was the largest sewage pipe in Denmark (ramboll.dk).

Closing the ditch was a part of Copenhagen’s vision to clean up the water in the harbours and it resulted in Svanemøllebugten opening for bathing. Another benefit was that a smell free barbeque became possibility in the allotment gardens (politiken.dk).

Kolonihaven v. Lersøen_7. maj 1949_kbhstadsarkiv.jpg 100

Piping of Lersøledningen 2008

Today it is rather unknown recreative area with low landscape programming in the form of a meadow belt, a gravel road for rail maintenance and the trimmed hedges encircling the allotment gardens. Along the rail a fens blocking entry to cross the tracks, making a 18m wide path along the rails. In the western end of the area, day gardens was established in 2012, partitioned into 150 gardens of 12m2, called Integrationsbyhaver, where half was leased to persons born in Denmark and the other half leased to persons born outside of Denmark. It is the associations hope that they in the future can expand the project and establish gardens along the tracks from Lersøparken to Lersø ParkallÊ (lersogroften.dk).

Day garden

Urban food growing 101

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Findings

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Traffic Terrain Material 127

Traffic Traffic infrastructure

Bispebjerg Nørrebro

Subway Station 1:15000 128

The connections between northern Nørrebro and Bispebjerg are extremely limited and between Nørrebro Station and Lyngbyvejen there are only two possible connections to get North/South, at Tagensvej and Lersø Park Allé. Lersøparken is located in between strong traffic barriers and none of the park entrances are significant in the immediate area. This is also pointed out the development plan for the park 2018.

The harsh meetings between historical connections and present creates dead ends and divide former connected land and communities.

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Lyngbyvej view towards Central Copenhagen

Tagensvej

Railway

Strødamsvej just ends, cut off by the elevated tracks.

Tracks splitting the allotment gardens.

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Traffic Over bridges under bridges

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Traffic Traffic-net

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Canopy cover and building typology

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Traffic

This land is mine - This is yours Across the project area and adjacent neighbourhood, fences and hedges divides the land and in some cases this creates non necessary barriers for a dynamic flow inside and between different possible recreative experiences. Many of these could be made publicly accessible and at the same time still focused on the unique use of each community, hidden behind their locked gate or tall hedge. Visual access as well as interaction and each community already have potential for contributing with each their diversity of cultural landscape qualities, from urban gardening to classic aesthetic gardening. In a densely build typology owning land is a privilege and sharing as much as possible, also visual, can increase the quality of green experience and benefits attached.

In some cases, a gate is left open or a fence is cut through, a sign of such an “important� connection that a fence was not strong enough to willpower and pliers where used to enter. Like closed surfaces are used for graffiti the wire fence creates opportunity for street art interacting with the fence in 3 dimensions.

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Material

The yellow brick is an iconic material for the Bispebjerg district and living in the area it is the background material for your everyday life. Walking on it, learning your bike against the wall and looking out the win-dow. The old bricks have great variation in colour and structure.

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The Northwest district in Copenhagen represents the labour movements great vision and reflects a pride and a progressive approach that makes the area an architectural monument of the welfare state history. The buildings were built at a time of great material scarcity and thus demonstrate a great willingness to offer good and healthy homes in green surroundings to the working class.

Dansk Bygningsarv 2015 om Bispeparken View from Bispeparken towards Grundvigskirken 137

Material

Unfortunately, many old bricks are replaced with low-cost types when they need replacement.

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Most of us know the feeling of being moved by a work of art, whether it is a song, a play, a poem, a novel, a painting, or a spatio-temporal experiment. When we are touched, we are moved; we are transported to a new place that is, nevertheless, strongly rooted in a physical experience, in our bodies. We become aware of a feeling that may not be unfamiliar to us but which we did not actively focus on before. This transformative experience is what art is constantly seeking.

I believe that one of the major responsibilities of artists – and the idea that artists have responsibilities may come as a surprise to some – is to help people not only get to know and understand something with their minds but also to feel it emotionally and physically. By doing this, art can mitigate the numbing effect created by the glut of information we are faced with today, and motivate people to turn thinking into doing.

Olafur Eliasson

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Art Landscape Context 141

Why Bispebjerg Sculpturepark?

The beginning

Every artwork represented in Bispebjerg will be marked with this figure

The following chapter is a mosaic of artistic impressions, findings and perspectives that could be relevant in the context of Bispebjerg. The last part contains two reference projects of site-specific art in a landscape and the last one justifies the wonders of collecting things. This chapter is thought as a pair of art-spectacles that can change the vision for everyone to see the many stories hidden in the everyday landscape.

Mathias practising his saxophone on an August day.

“A lot of people stop; you are not the only one. Then they just come over and chat. I think that there could be more places for music, like this, in Denmark in general. It might not be the best place to spread the word, in a park like this, but there could also be more music on the street in different places. If there were like a music forest, then it could be quite enchanting to walk through, right! If there were made some great conditions where you could stand playing.�

Mathias

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Art in Bispebjerg and the project area

“Artists can work with nature in a way that makes you want to be out there. This can be done both in cities and in rural areas.”

Landskabskunstner og billedhugger Marianne Jørgensen

On my very first meeting with Lersøparken I met Mathias playing his saxophone. Mathias finds the akustics great at this place outside the rehursel bunkers. The saxophone is a street instrument and as a surprise to him this spot close to trafficnoise from Tagensvej in between the trees, his instrument is a delightfull experience for him as well as for people passing by. Unformally the music wraps this corner of Lersøparken in great sound spreading good vibes.

The two most prominent types of public art in Bispebjerg are the bright coloured murals in the former in-dustrial neighbourhood and the many sculptures and classic statues situated in Lersøparken, around the hospital gardens and in between the social housing blocks. Like a metaphor for the contrasting district the modern colour-screaming murals represent that the new are covering the old. A district spirit changing from working-class uniform to contemporary urban individual expression, these large paintings mark the change of territory.

The Murals on Rentemestervej

Pige der sætter sit hår (copy) - Povl Søndergaard (1905-89) placed in 1931 143

Why Bispebjerg Sculpturepark?

Kunstscenen

Kunstscenen is an outdoor exhibition space by Magnus Thorø Clausen and Kåre Frang 2019

Along with the murals, sculptures and statues, the temporary installation KUNSTSCENEN represented, to me, an important argument for the discussion and relevance of a sculpture park situated in the project area. The temporary installation exhibited a new artist every month during 2019, no entrance fee or carefree framing that the museum supports, just real art where brought to you. The contrast of a white museum corner on this location divided line between installation and place. The idea is an installation, of a recognisable museum corner and the exhibited art content are supporting this concept. “We are looking for ways of naturalizing the art context, to create a new space somewhere between art space, public space and nature, where the boundary to everyday life is less absolute.” (M.T. Clausen and K. Frang) Experiencing KUNSTSCENEN reminded me of the Olafur Elliason RIVERBED installation in Louisiana in 2014 and the montres build around JELLINGSTENENE in 2011. Each of these representing a

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different scale of emphasizing and framing content making It more important working with frame and context.

RIVERBED pushed the white walls of the museum to their physical boundaries and a imaginative experience was inevitable too sense for the receiver walking inside in a realistic outside landscape. The euphoric experience of running water, pale cool light and the sound of pebbles rubbing against each other under your feet. Installation and museum is the two components of this exhibition and together they create the whole experience. KUNSTSCENEN have three components 1.) nature background 2.) the white walls of the museum corner 3.) the art exhibited in the corner. The art content has no importance or relation to the site. The white walls and the nature scene are the spectacular of this installation, placing a clean white corner in the trashy, Non-site location. Both KUNSTSCENEN and RIVERBED are temporary and play with context of nature and museum. JELLINGSTENENE is not categorized as art, but a historical memorial considered great cultural value. After more than a 1000 years just standing in all kinds of weather for everyone to touch, it was captured in a montre surrounding them on site, with spotlight, regulated microclimate and now only a few chosen people can get the privilege of feeling the granite stones. By seriously framing an old stone it is possible to create a spirit of importance to historical remnants in present time.

“in a museum, the framework is clearly present. museums offer structures and communications that affect how viewers experience art. I do not necessarily go against the signature of the museum, but I do try to make it explicit. I would like people to become aware that the museum is also a construct, that the artworks and experiences are relative to the users and to how the space is programmed. Exhibiting in public space always entails working in a participatory way, but I actually don’t really distinguish between the two; public spaces also have their own regulatory premises, their hidden or visible ideologies, and the museum is very much part of the world – entering a museum may even make you come closer to the world.”

Olafur Eliasson

Olafur Elliason Riverbed installation Louisiana 2014/15 145

Art in public landscapes

Definitions are needed when Entering the discussion and division between art in public landscapes.

Street art is not the same as Public art and almost all Graffiti from Tagging to Masterpieces are rooted in marking out gang territory or manifesting your calligraphically skills to other graffiti artists. “The goal for most graffiti writers is to gain as much notoriety within the graffiti community as possible.” (S. Bacharach) Public art is financially supported by government institutions and are done legally and placed in accordance with the owner of the place, the art piece can mimic aesthetics from the illegal art and some artist has trained their style and skills as former illegal artists. Graffiti and street art are placed without permission on other people’s property. Graffiti sticks to one medium, spray painted letters on mostly a plain surface whereas street art works within many materials and dimensions. Street art interacts with the site and mostly have a political agenda and use the aesthetic value actively as a comment.

Street artists present an alternative way of experiencing the space around us and conceptualising the role of public space. Rather than a purely utilitarian space through which one is forced to trudge to get from one activity to another, a bleak and impersonal environment devoid of meaning that is completely unrelated to one’s own world, these artists re-conceive the public realm as one that is itself worthy of inhabiting, experiencing and enjoying.

Sondra Bacharach Victoria University of Wellington

NeSpoon street artist 146

Public art

• Legally placed on site in accordance with the property owner • Financially supported by government institutions • Use different mediums Street art

1. a consensually produced (made without the consent of the property owner on whose property the work exists) in a way that 2. constitutes an act of defiant activism designed to challenge (and change) the viewer’s experience of his or her environment.

• Illegally placed on site without permission from the property owner Graffiti

• Illegally placed on site without permission from the property owner • Gain as much notoriety within the graffiti community as possible • Marking out gang-territory • Manifesting your calligraphically skills to other graffiti artists • One medium: Painted Letters • Illegally placed on site without permission of the property owner Sondra Bacharach, Victoria University of Wellington

Isolated graffiti

• On smooth and homogeneous surfaces • Mainly relates to itself and its interne Structures e.g. the letters typography, colours and composition of the art piece and the illusory and spatial perspective it creates on the wall.

Contextual graffiti

• On uneven and heterogeneous surfaces, • Relates actively to the surface, to the actual structures and non-illusory three-dimensional space.

Jakob Schweppenhäuser, Aarhus University

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Art in public landscapes Street art Street art appears like a inexhaustible source a great variety of categories by mixing humour, political issues, questioning behaviour, creating awareness using contrasting aesthetics, contrasting materials, contrasting time perspectives all created by adding og removing material. Rarely street art can be made in great scale, as it takes time to create great pieces. Guerrilla knitting is a way of creating site-specific pieces prepared to “Attach�, and only time for applying is needed on site.

Some artist has moved from street to gallery but they are still doing illegal pieces like Banksy and Mademoiselle Maurice.

Mademoiselle Maurice Origami Street Art

Mademoiselle Maurice, artwork for Galerie Mathgoth in Paris

Street art by Banksy

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reverse graffiti, cleaning away material, unknown artist

Artist Ne Spoon

Bodies in Urban Spaces, artist Willi Dorner

Humourus unknown artist 149

Art in public landscapes Street art in the project area Street art is not something you find in the project area, the closest attempt is a very exposed stone with the word Queer written on it and well hidden punch lines like Knus Kapitalismen., Even though these are signs of people having a comment concerning a wider audience, than the territory tagging, they just disappear into the indifferent mass of unskilled letters. I found a small weaved artwork on a fence.

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Birch restoration Hanna Streefkerk 151

Art in public landscapes Public artwork interacting with site spatiality

Arne Quince The Sequence

Torben Ebbesen Reflector at Emdrup campus

RedBall Project Kurt Perschker 152

Public environmetal artwork

1982"Wheatfield - A Confrontation," two acres of wheat planted and harvested in Manhattan's financial district, Battery Park landfill, downtown Manhattan. Commissioned by the Public Art Fund, New York

The Blue Trees art installation Photo: Lisa Martin

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These no-man’s-lands have telling pasts, and their narratives force us to reflect on how our culture designs, uses, and otherwise interprets built environments. No-man’s-lands reveal the forces of landscape generation, including the industries and social norms that create new ones, as well as the economic and cultural forces that compel us to abandon old ones, casting them in some in-between state. The market has left these places behind, so to give them a future we must own, understand, reckon with, even inhabit (metaphorically at least) them as public landscapes—representing a shared, collective past and future.

Randy Mason

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Katharina Grosse Psychylustro

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Art in public landscapes Public artwork combined with function

Aspire (2010) by Warren Langley

Jeppe Hein

Megx 156

Autonomic public artwork related only to site as a scene

Great Leaf

by Sigrid LĂźtken Placed 1990, deposed by the artist

Puppy Bilbao Guggenheim Jeff Koons 157

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Underpass Park, Toronto

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Wish Come True Festival 2010, Toronto. “Friends With You”

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Art in public landscapes Participatory art Government supported Public art is scattered all over the Bispebjerg district. Represented in varius mediums like classic metal and granite statues, colourful murals, smaller theatre festivals and from time to time artist coordinates temporary installations in collaboration with citizens. Together they create colourful imaginative artwork of great attention value. The ongoing project Collective Strings by artist Karoline Larsen, was situated in the common green Grønningen which is a part of on the visual axis to Grundtvigskirken. The idea is that strings are randomly thrown over each other and by that a web stretches from the edges of the space creating a ceiling with a maze of hanging strings. This project was the beginning of developing a new urban park in the green lawn.

Karoline Larsen

“When artists move into a run-down or disused area, it can help boost urban development.

Artists and the tools of art are often used to attract people to forgotten or desolate places that private developers want to put on the mental map and make attractive. It causes the value of their properties to rise. That power can also be utilized in the vulnerable residential areas.

Here it is not the private developers who reap the rewards. Here it is a value that benefits vulnerable citizens.”

Karoline H. Larsen, kunstner “I definitely include the strategic plans in my work. I grind it all, all the material, and talk to all the people. Then I take it all the way down to earth and based on how we move in daily life. And I wonder how the art can further expand the area’s resources?”

Karoline H. Larsen, kunstner

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Art in public landscapes Murals Rentemestervej All types of art in public space will in some degree relate to the site just by the placing of it. And depending on how effectful the expression is in colour, idea and material the surrounding landscape and receiver of the sculpture or mural will be a part of the artwork. An example of effectful contemporary public art is the murals placed on Rentemestervej and Møntmester vej. A private curator Jens-Peter Brask has worked with 16 Danish and international artists, 12 mail and 4 females, decorating each their wall.

Each one using the wall as a canvas and expressing their style and skills. Except for one work by Timmi Mensah, the murals do not relate to the site context neither historical, landscape features, political issues, local surroundings or anecdotes related to the place. The contribution from Mensah is in a way a part of a series of tourist like condensed characteristic posters.

These walls can be compared with great canvasses in an outdoor gallery. They do contribute to the site as a genre of public art expressed by professional artists with high quality compositions in colour and motive. Together they create a spectacular view of single paintings in a rhythmic relation to each other.

Also, they contribute with a coherent character and atmosphere.

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“What was once known as “the biggest countercultural movement since punk” has matured, and unfortunately lost some of its anarchic charm in the process. Banksy’s shtick remains interesting because the spontaneity of the field has grown scarce. It’s painful to concede, but street art has started to be associated with gentrification.”

Thomas Musca writer for ArchDaily and Metropolis Magazine.

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Art in public landscapes Murals Elsinore An example of murals with a higher degree of site-specific interrelation can be found in Elsinore. Like the murals on Rentemestervej/Møntmestervej they are painted by international artists. The great difference is that they are more poetic in their expression and the artist used the site and local area in their paintings.

The murals have a local story to tell a story already a part of the residents now expressed visually. The artist do not compromise their artistic style and they incorporate their own interests in their visual story, but it becomes relevant because of the city´s relation to Oresund, the relation to Hamlet and in the book as a roof in a local library where urban gardening, sunflowers and man are strong vibes of the area.

Under the roof (2018) Rustam Qbic Russian Artist

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On the trail of Hamlet - Eron

Life in oeresund - Italian street art artist Ericailcane 167

Art in public landscapes Controversial public art Love Buster has, despite that it is a supported piece of public art, a very strong comment to the violence in the neighbourhood. The artist is satisfied with his work because the sculpture does not end where material and physical appearance stop. His intention succeeded with his work as the reactions and following debate in-between the affected people makes the piece greater than that. Hornsleth places his work, himself and the people understanding the abstraction of the un-useful Knuckle Buster, on a powerful pedestal, raised above negative critique, by say-ing that: “I understand the criticism, but that’s because they haven’t familiarized with what it is really about. When people understand the sculpture, we all become wiser. It is a polemic work of art that pays homage to man’s most difficult choice, whether to do the good and the right in life. But also, why we can’t figure out what to do right? - that’s what the work is about.”

The sculpture and artist are choosen, paid for and placed on a classic pedestal from a Top-Down perspective by the housing association and the municipality. No artists-competition or democratic participation from the residents in Baldersbo. The controversial sculpture succeeds in creating an important debate about human choice between violence or love, and the happening also attracts attention outside the residential area. The balance in this is what the sculpture actually brings to the area? if it is misunderstood and becomes a landmark supporting the existing negative reputation of Baldersbo, is it then the right thing to place a giant Knuckle Buster at the entrance of a ghetto area? The sculpture truly becomes the perfect controversial piece of art by interacting with real people’s feelings, life situation and negative sides of living in a vulnerable low-income area. The question is if it is the right battlefield if it is misunderstood.

How can this important issue of violence in a vulnerable residential area get attention and at the same time create positive change? Could the Lovebuster be a temporarily installation, could it travel and by that create the debate in other places as well and bring the debate to other sites with differ

Love Buster by Kristian Von Hornsleth. Foto Jyllands Posten Material: Polished steel.

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“A good work of art can continue to ask questions and have a built-in debate. It does not come with an answer as the answer is independent of the message. The misunderstanding is also part of the work and I the rest of my works. It is the duality that is so beautiful. A lot of art nowadays is sickening, there's not much protest about it anymore.”

Kristian Von Hornsleth

- Mathias: tror også jeg havde valgt et knojern, hvis jeg skulle præsentere “Balladerup” - Emilie: så er byen lidt stemplet.

- Peter : det område er fortabt haha - Alex: Haha de rammer spot on mine tanker om Ballerup Scornful comments from people not living in the area on BT´s Article on Facebook

“Amazingly fine art exhibition by Hornsleth, right outside our window, In the Hedeparken A knuckle with hearts inside. It looks like an indication that we are aware that violence is present, but that we will not accept it, love lasts forever, and coveted, it does not violence, I applaud the Sponsors and the Municipality of Ballerup as well as the housing company Baldersbo which has made this possible. “ A satisfied resident of Hedeparken

“Thank God I can’t see it from home. And it probably doesn’t get much attention from me as I pass by. Exciting how long it can stay in peace.”

A dissatisfiedresident of Hedeparken

“Artists often work insularly and socialize mostly with others in the field. Combating gentrification may mean getting out of that bubble and linking up with resistance movements which may have little in common with the art world, but which are in desperate need of help.”

Peter Moskowitz independent journalist, The Guardian

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Art in public landscapes

ent sociodemographic compositions?, could it be placed on ground, underground or should it just wait for a riot attacking it?

The idea of the Love Buster was not specifically created for Hede-Magleparken, it is an enlarged “variation/ copy” on a Knuckle Buster interest to the artist as a synonym of raw violence. It is quite

“I am incredibly pleased with the sculpture, it does well in the area, it is beautiful craftsmanship and it gives some debate. However, it surprises me that many do not understand the symbolism, “

direktør i Baldersbo, Søren B. Christiansen

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Yes, it is nice, but just do not really belong in my residential area!! Sorry to say, you must live here to understand how inap-propriate it is!! The message behind it, is not what the young kids think about, they just find it cool with a giant knuckle!!! Especially the little brothers who look at the bigger boys.

A dissatisfied resident of Hedeparken

Bronze 23cm 2017 a series of 50 pieces

2015 Randers Kunstmuseum

Club Flamingo, 2019 Oil on canvas

common that artist have periods with a certain motive or expression like the enlarged knuckle buster.

Also, the artist Anders Brinch has magnified an oil painting in his contribution to a mural artwork, this takes us to the question. When is art in pub-lic space site-specific? Is it important? and how should an art piece relate and effect the receiver, the landscape, other sculptures and the existing spirit of a place.

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Site-Specific?

Very well hidden in an amphitheater scene at DPU/ Emdrup Campus the mirror-sculpture called Reflector surprise the visitor by size and site. An une pected amputated 15 meter long tree you will only meet if you have a purpose in the university or explore corners of a neighboorhood with no agenda.

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The artist Torben Ebbesen has given an interview about the importance of the relation between public art and site. He is the artist behind the sculpture Reflector placed at DPU/ Emdrup Campus in Bispebjerg. According to him there are several considerations to be made before placing a sculpture in a public space. He first points out that many artists are not skilled for working with art in public space, they are not carefully enough, and they don´t incorporate the spirit of the place enough. It is a problem when artist have difficulty putting themselves aside and let the place guide them and not the opposite. On the other hand, public art shall also bring something to the table on different levels, not only having one purpose.

“My new sculpture reflects the world; it sucks it in and throws the world back at the world. It is flexible and reflexive like a thought, and it changes with the course of the world, with the light, the season, the time of day and so on. Because it is mirror-shiny, it constantly changes according to conditions. It looks fantastic with snow on. It wedges into the flesh of the building and connects the upper campus with the amphitheatre stage platform .... The sculpture is a gift to the surroundings. It is an enig-matic and poetic diagonal, which gathers all the heterogeneous space behind the DPU while keeping the mind going. “ Artist Torben Ebbesen “A work for the public space differs significantly from the autonomous work, which joins on itself, like it appears in the gallery room or the museum. When you, as an artist, move out into the public space, you must add something new to the room, some-thing of another observation, another world. At the same time, it must not seem like a foreign body. At the same time, it must be different and appear as if it belongs and has always been there. Yet it must also seem completely ineffective and way out at closer reflection. It must be able to form and illuminate the landscape architectural space, and it must be able to stimu-late and add significance on several levels. That is why most equestrian statues are boring to look at. There is a difference between monotone and monument.”

Artist Torben Ebbesen

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Site-Specific?

The definition of site-specific art: ...refers to a work of art designed specifically for a particular location and that has an interrelationship with the location. (TATE) Investigating art placed in public landscapes is a scene of many actors and interests: different receivers, who is paying? Who is deciding what role of agenda and responsibility the artist has with their work?

What is the purpose of the artwork to the artist? What genre of artwork is it? What can a sites-specific artwork bring to a place and should the artwork always have a unique relation to a place to have a certain value? A site-specific artwork can have a strong visual connection to a site if it interrelates with the specific architecture and landscape characters. If the site is used like a canvas, it would in most cases be possible to have a local relation and the fingerprint of the artist at the same time.

Public art is not only placed in publicly owned space. When an artwork becomes visible and accessible it is everyone’s space, and the visual and physical experience the everyday perceiver of the artwork have, should at any times by considered. Everyone in the project of bringing art into public accessible space have responsibility for what story they tell, where and how it is told.

If an artwork is to be repeated on several locations it is possible to do so, if the interaction with many different sites is a part of the overall idea. In that case the artwork can, at the same time have a local and international relation while being sites-specific. This similar appearance can be seen in The Brick Sculptures of Per Kirkeby, Yoko Onos Wish Trees and the RedBall Project by Kurt Perschke. These installations can adapt to changing sites because of form and material. The cohesion of these kinds of artworks become greater than the specific place and their own physical appearance.

The artists agenda for use of a site or art assignment can appear more personal to the artist if the sculpture is a repetition in a new scale, placed in a new context, there is a great difference between a artwork in form of a bookend to a public sculpture or from bed piece to a mural.

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Reference project - Wan책s Konst Sculpture Park

On one of the shortest days in December 2018 I visited Wan책s Kunst Sculpture Park as a reference project. An outdoor gallery in a rural, agricultural context, with an entrance fee. The land is privately owned and located in the landscape surrounding a medieval castle in the north-eastern part of Sk책ne.

My visit was very much out of season and despite the park yearly has 75.000 visitors, this afternoon, my friend and I enjoyed the park all alone. Since 1987 the park area has grown to a collection of 70 sitespecific sculptures and installations scattered across a various terrain such as field, beech forest, lake and the castle garden. The artists contributing with their works are scaled from internationally known artist to art students. Several Danish artists has contributed to the collection as well.

The overall experience walking around the park is the excitement of being surprised by a new installation from a distance, then moving through the forest paths until you have reached it and then sensing the sculpture by interacting with it on the levels defined by material and scale in relation to the site. I have used the visit as an inspiration with an international perspective where the relation between sculpture/ intervention, site history and reciever is the only factors of concern. Compared with the contrasts of the urban frame my project area is set in. Wan책s Sculpture Park is exempted from concerns such as vandalism, sociodemographic contradictions, political interest and support and the only purpose of the park is exhibiting sculptures.

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Walking around the park, small scale interventions like a sliced branch and the old gate with one open door is to be found and creates minor transcendences.

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Reference project - WanĂĽs Konst Sculpture Park

Robert Wilson: A House for Edwin Denby, 2000

Speakers are installed in the trees, as you get closer to the blue wooden house, a man is reading a text.

The condensed architectural style in an odd 1:2 scale, reminds you of the church or school set in the tv-series the little house on the Prairie. It`s like looking inside a house were the person speaking just left or suddenly will surprise you. Imagine in a leaf covered forest the sound will get your attention long before you notice the house.

Yoko Ono: Wish Trees for WanaĚŠs, 1996/2011

These trees are a part of a worldwide wish tree project, the visitor writes a wish on a note and hang it on the tree, when the tree is full of wishes they are collected and buried under the Imagine Peace Tower in Iceland. A light installation memorial to John Lennon made by Yoko Ono. More than one million wishes are buried here.

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Jan Svennungsson: The Eighth Chimney, 2007

In the December forest the chimney blends in with the beech trunks. Finally, reaching the brick chimney after climbing a stone fence and walking the rocky path “all” you can do is walk around it look up and find out that it’s a dead end and go back.

Katarina Löfström: Open Source (Cinemaskope), 2018

A screen of many small steel plates creating a blurring mirror reflecting the surrounding light and forest in a pixelated representation. The light blank steel is a contrast to the saturated, matte natural surfaces of the trees and forest floor.

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Anne Thulin double dribble

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Reference project - WADDEN TIDE

Working in an Urban Landscape context it is easy to be induced by the aestetics already present in the artworks within urban public spaces. To challenge the Urban aesthetics and focus I have investigated the WADDEN TIDE sculpture festival, every second year an exhibition creates awareness of the values and importance of the Wadden Sea nature area. The artworks represented are quirky, poetic and related to their specific site by using natural elements, local findings, unfamiliar materials, details and scale.

Each artwork tells an individual local based story characterized by the artists particularity in solitude and through the connecting theme. The artworks frame and emphasize the Landscape by creating new perspectives of perceiving the world.

The temporary exhibition has other possibilities than permanent artwork in public space. A Non-place can become a place by using the power of artworks to tell hidden stories in both a large domestic scale but also in a more detailed, hands-on and grounded way as the installation or sculpture are not permanent.

The possibility to work with locals participating in a festival and create artworks in collaboration can easier be investigated in the non-permanent time frame.

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Foto Tim Johnson Edgar Massul, Portugal I REMEMBER THE DAY I FLED MY COUNTRY

Foto Tim Johnson Hannah Streefkerk, Netherlands CABINET OF NATURAL (VADEHAVET) MEMORIES

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Reference project - WADDEN TIDE

• Environmental Art • located in the Wadden Sea National Park, a UNESCO World Heritage Site • focuses on site-specific aspects of the cultural and natural environment by the Wadden Sea. • international sculpture project • Every second year a new exhibition and a new theme, in 2019 the East Atlantic Flyway - an important bird migration route.

• The artists are selected on their artistic practices and the group brought together to create an exhibition that reflected a diversity of expression, materials and themes

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Foto Tim Johnson Britt Smelvær, Norway KOMPASS

Foto Tim Johnson Kate Skjerning, Denmark THE COLORED SEA 185

Reference project - John Olsen

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detalje undrekammeret Holstebro Kunstmuseum John Olsen 1938-2019 foto: Ole Bjoxxrn Petersen

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Reference project - John Olsen

“The most important thing is to see! Making experience through the eyes as sense. It should be a subject in school to teach the children to see. It is as if experience gained through the eyes does not really count, as if all knowledge must be acquired by reading and going through the brain to be counted” John Olsen

The artist John Olsen and his Wonder Cabinets has been an inspiration to me concerning the findings I have made in the project area. What relevant perspectives can collected items of natural structures and artefacts reveal of a place. Can independent findings side by side be used for telling a story about a place?

John Olsens Wonder Cabinets are not based on findings from within a specific area, he works with his objects from his fascination of random graphical aesthetics and natural structures that cannot be made by any artist, the beauty of decay is the central perspective in his work with the collection-like artworks.

John Olsens works are by art historians compared to the renaissance Cabinets of Curiosities, originally a room of notable thing and later on a variety took form of different display-cabinet furniture’s.

The scene of the tightly packed wonder cabinet can be viewed from different angels. The single object brings its own story to tell, the artist/curator of the collection can use the contrasting stories of the differing objects as a springboard for the receiver’s imagination to create their own stories.

The items of my collection from the area represents different categories of both natural decay but also the decay that nature can force on artificial objects like bottle labels, plastic trash, rusting metal. I have collected some leaf ’s and flowers which I have pressed and dried, it is not a complete herbarium but it has the sense of it and it is a great tool of preserving a certain day, a season, colour or pattern that is not available tomorrow.

To me a collection of things from a site can bring home a piece of the site in a way that a photo or film is not capable of. When your pick up an artificial thing like a vodka bottle or candy wrapping it is possible to exhibit not only the item but also the abstractions they can lead to. Stories from a vodka bottle found in the shrubs can expand and call attention to for example social issues of homeless people in a story like: “Someone slept here last summer, at least you hope that it was in the summer, this person drank a bottle of vodka and slept just beside the railway on a mold grown pillow and a doormat as a roof.”

A package of pain reducing tablets with a full name, social Security number and date lying under a bridge pass is also a wonder of why? Was his sports bag stolen? Was he here and left his socks, magnesium tablets and protein powder on purpose?

Every finding from broken car glass to snail houses has a story to tell and the story changes and become important the moment it is picked up and raised to the un-useful collection just for wonders.

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Reference project - Henning Dam

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2020 A random Cabinet of curiosity, a collection and composition not planned just happend. A small collection of snails and stones and coinsidently items placed when needed.

Created By “Artist� Henning Dam born 1931 191

Awareness Tool

The vision of creating a sculpture park in the project area stated some questions to the existing artworks and how they appear in the landscape and interrelate with the interventions there will come in time. In my work of investigating, just a fraction, of how art can catch our attention and senses. I found it difficult to categorize the similarity and differences in the single pieces and in interaction with people and site.

Trying to somehow measure this in a graphical way I created a wheel of different scales, a visual tool that together with a text can describe the artwork in a less subjective way. The graphics will never be stationary as seasons, future installations and landscape etc. will change and the observation is forever dynamic.

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Graffiti in bridge underpass

No affect on other instalations

Exposed Body interaction

Not activating sorroundings

Reflecting

Motion

Sek.

Km.

Cm.

Century

Stationary

Activating sorroundings

Absorbing

Visual interaction Hidden

Affect on other installations

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Awareness Tool

Pige der sætter sit hår (copy) - Povl Søndergaard (1905-89) placed in 1931

No affect on other instalations

Exposed Body interaction

Not activating sorroundings

Reflecting

Motion

Sek.

Km.

Cm.

Century

Stationary

Activating sorroundings

Absorbing

Visual interaction Hidden

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Affect on other installations

Marionetdukkepavillonen - Hartmut Stockter

No affect on other instalations

Exposed Body interaction

Not activating sorroundings

Reflecting

Motion

Sek.

Km.

Cm.

Century

Stationary

Activating sorroundings

Absorbing

Visual interaction Hidden

Affect on other installations

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“I hope that the Sculpture Park will leave a poetic imprint and support an area of copenhagen with great potentials and unexplored landscapes.�

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Project potentials

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Project potentials

The proposal in this thesis is strongly based in the historical remnants present under and above ground.

Inspired by how various art pieces can frame and change a context, I wish to create the beginning for a different landscape layer, a layer supported by imagination and emotions, a landscape where the final story is only known by the individual, as it relates to our personal experience.

This will be implemented by adding a mixed bouquet of landscape architectural interventions, site specific art an experimental landscapes exploring how art and nature can contribute to one another and create an exciting everyday park.

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Project potential A hole in the hedge -Pruning the Schoolgarden hawthorn hedge. Its long, its tall, its hiding a cosy lush garden. Make the the garden secrets visual accessible.

A new Passage -Connecting Lersøparken with Tagensvej and Childrens Institutions, a route through the Schoolgardens

Basket of fun - Existing basketcourt, map it, connect it.

Behind the black fence - artist project, a very unkind fence, hiding the danish agility association

Berry Flower Sewer Gardens - Extend the gardens with berrys and flowers for everyone passing, eating spots, play spots etc. Many potentials for art and build on the existing community with the day gardens.

Bridge Gallery - Use the underpasses as an exhibition hall for temperary og permanent art pieces

Farum Pillars - Exiting construction, trains in the air! How can we use the pillers? Were do we watch them from. Art and landscape project.

Gate - Maintain the red gate leading to the train Thicket, create more attention by a path combined with permanent/temperary art projects.

HELLO!..is it me your looking for?

- Entrance sign tagensvej, Neon? In generel creating attention to the park.

Lundehus Church Park - A new name, a better use and connection in between church and park

”Man with discus” ”Woman puts up her hair” ”Den humane sygepleje” Classic Bronze Statues in Lersøparken - How do we se him/ her? What is their history? A permanent or a temperary storytelling created by artist/Landscapearcitecht/Architect

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Mathias Music Garden - just by playing an instrument in the park, a new place arises, could he use a stage, a cafe´, a dancefloor, or just a salary?

No Mans Land is my Land - Lygten is a randomly composed landscape, with many fences, non spaces, parking lots and private property signs. A mixed buisness, industrial office and living area. Who owns this land? Many different projects of different scale both art, landscape and social interaction.

Just do it 50.000 to 0-50.000 500.000

500.000 to 5.000.000

5.000.000 to 20.000.000

Location 14

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Project potential

Just do it 50.000 to 0-50.000 500.000

500.000 to 5.000.000

5.000.000 to 20.000.000

Oak Walk - Great green passage with many potentials for playfull art exhibitions, interaction between people, art, and nature.

Queen Margrethe 2. passage - were rotten and shiny mets. Many potentials for temporary and permanent happenings and instalations.

The Sandwich Grove - a walk in between the allodmentgardens hedges - Great green passage with many potentials for playfull art exhibitions, interaction between people, art, and nature.

Snake in the Thicket - A hidden parallel walk with The sculptural ”Snake” apartmentbuilding on one side and thicket an open grass field on the other. What are the potentials here?

Openings and cohesion between the living area and the Sculppture Park.

Stairway to Gasoline - A view to the sky in between the train and carbridges. Maybe the goldenreflecting stairs will lead to....a Gas Station in Rovsinggade. A great new, shiny and surprising connection to Bispebjerg Sculpture Park.

Swirly Swedish Willow Canal - The history of the willows on a sign, the canal will be a reality in cloudburst project plans, leading rooftop run of and secundary water from Lyngbyvejen to Lersøparken in an open canal.

The Dog Fontain - An existing spring in the bottom of Lersøparken can create a new Fontain.

This used to be five gardens

- Pruning old gardenplantings as a surprising contrast to the wild thicket. An art project. Lets see what can happen here close to the tracks.

Train Thicket to ride - Hidden stairs, terrain, tracks and poles. How can we explore it and still keep it a secret what we find in the thicket

Walking on Broken Glass ...and bones - How could the history of the rotten underground be told. The landfill, ” Lersøbøllerne” (the outcasts) living in the swamp.

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Warm Glade - Map it - An existing south facing, sheltered, oval spot.

Water behind bars - map it, tell the history about the the piped sewer canal and the meltwater valley etc. For learning.

Look at the attached folded map for location of project ideas 205

Farum Pillars

“Farum - a name which in Old Norse meant "square at the passage" in the broad sense of road tracks, crossing or transition.�

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Farum Pillars

Conceptual idea:

“A significant color”

Reference Bridge in Jægersborg

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Farum Pillars

Conceptual idea :

�All that glitters is not gold�

Shakespeare

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“I admire those who put the effort in to adding this slight detail to make the communal concrete slabs that all of us New Yorkers share that little bit more appealing, a mirror for our dreams and aspirations.�

Alex Budman - Magic in the Mundane

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Farum Pillars

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The metal people

Conceptual idea :

”A new spot”

Den humane sygepleje - Jens Bregnø Photo: Claus Peuckert Statue i kobber. placed 1941, a gift

Pige der sætter sit hår (copy) - Povl Søndergaard (1905-89) placed in 1931 this girl has two identical sisters placed in Nyborg Strand (Original) and in Bronze sculpture Frederiksund. A gift.

In the park the statues stand close adn they are visible to one another

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A new passage

Potential By sharing and connecting existing recreative space through new additions. The potentials and qualities of each site can create new dynamics.

Concept Proposal Site-specific art and Landscape interventions will lead you through A new Passage of 3 adjacent landscapes. Conecting home and park.

1. Using the existing path through the Tiny Basket of fun park.

2. Designing a new passage called the Forgotten time Forest.

3. Create openings to the lush school gardens a change of landscapes.

The new passage will bring park and home closer together, yellow bricks will be melting down into the path and will be visible in the different interventions along the way. An extended idea would be to add a crossing over Tagensvej in connection with the passage.

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A new passage - Tiny Basket of Fun Park Details and spatialities inside An existing path through a small park passage in between the french school and a kindergarden a small gravel plaza and an asphalt covered playcourt for ball games. It has a ditch along the path with lilac and yellow iris and water tolerant grasses. In generel a low maintained area with medow like sides growing black berries, elder, birch, poplar and mapple trees. Not very much used as it leads to the path going north to the hospital and south back to Tagensvej.

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Conceptual ideas for interventions

Moongate Tagensvej

Moongate from inside facing Tagensvej

Follow the Yellow Brick Road by Lone Højer Hansen

Many of Per Kirkeby’s sculptures are located in transit points, where people either pass by or through. They act as a link between places.

Bricklab

Elements from Kirkeby Sculpture at the north south path

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A new passage - Forgotten Time Forest Details and spatialities inside

Between the path to the Hospital and the School Gardens a narrow strip of unused forest is found. It is fenced on both sides and no signs of paths going through the wildly growing understory and mainly maple trees. By connecting the School Gardens and the Tiny Basket of Fun Park through this forest the walk from home to park will be through three quite different landscapes.

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Conceptual ideas for interventions

Slide and stairs

Brick path and cut fence to the school gardens 221

A new passage - School Gardens Details and spatialities inside

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Non accessable recreative space

Fence

The school garden is a closed community and the inside is only open during the weekdays. Learning about gardening is the essence in here and the small garden allotments must be protected from tempted visitors and vandalism. By changing the fenced non accessible areas from the boundary of the whole garden to protecting only the cultivated part the atmosphere and the labyrinth of stick-huts, tunnels, blackberries and sunflowers can be shared with the neighborhood. The path through the garden will only be on foot and like a cemetery closed in the night hours.

Path of yellow bricks under the fruit trees

Conceptual idea for intervention

“A hole in the hedge�

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A new passage - A Transcendent Moongate

Moon Gate at Springforbi, originally a creek ran through a private garden wall. A historical trace that became a landmark in the sorrounding lanscape formed by C.Th. Sørensen.

“In china the circle is a symbol of heaven and perfection...gates like this focus down the eye and acts like a light stop on a camera. This to intensify and concentrate all that is revealed beyond. The dramatic intense effect is caused by the round shape and the thickness of the wall and the completeness of the circle contrasts sharply to the irregularity of the garden...the bottom of the circle creates a centered step into the garden and the visitor are welcomed one by one making each entrance special (Keswick, M, 2003).�

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Nivaagaards Malerisamling

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A new passage - Madam BlĂĽ an icon from the past

Summer display in Gladsaxe Library July 2020 226

The iconic coffee pot was produced just around the corner of Lersøparken on Rentemestervej. It has extraordinarily little relevance today as a coffee pot, still it is found in contemporary compositions when a certain classic Danish atmosphere is wanted. Everyone knows Madam Blü, and the close relation to Bispebjerg brings along stories of the time when it was a working-class district. New wonders can arise when you look back and bring history to a new context. A look back in time is a counterpart to the development dominating parts of the Bispebjerg district today. The coffee pot cannot last forever, but the story about it should be remembered.

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A new passage - Design Sketching

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Section Madam BlĂĽ Slide Tower

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Plan view of Madam BlĂĽ Slide Tower

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Cabinet of curiosities

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Fun Park

Coffee Pot Gate

Curiosity Cabinet

Forgotten Time Forest

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Fence

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Tiny Basket of Fun Park No affect on other instalations

Exposed Body interaction

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Affect on other installations

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School Garden Forgotten Time Forest

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The Carrot

GULERODEN Guleroden sover sødt i sin udtræksseng mens hans Laila går rundt og siger hårde ting fulde stodder stå dog op hva med at få dig et job men han hører ikke en pind for han er i drømmeland ta det lidt med ro et minut eller to hviskede drømmen så stille til ham men det var nok bare en forkert besked Guleroden vågner op henad klokken fem og da solen blir rund titter han frem får en bajer eller to med en skraldemand mens et vækkeur kimer i det ganske land ta det lidt med ro et minut eller to hviskede vinden stille til ham men det var nok bare en forkert besked Guleroden får en tjald og blir temli skæv Laila kommer forbi og lover ham tæv guleroden griner højt det rager sgu mig en døjt og så svajer han hen og spiller billard ta det lidt med ro et minut eller to hviskede keglerne stille til ham men det var nok bare en forkert besked 248

“ King Carrot”

play king carrot To act superior and swollen.

The term play king carrot comes from the name of the French satirical operetta Le Roi Carotte ‘King Carrot’ by Jacques Offenbach from 1872. In it, the carrot takes the lead in a revolt in which all the vegetables in the kitchen garden take power in France.

A un-usefull story During this assignment i have been searching for the useful in the un-useful, by investigating un-useful values in the existing un-useful landscapes, situated in a un-useful Copenhagen district, with un-useful residents, by locating an un-useful small percentage of the un-useful potentials in un-useful spaces. By giving un-useful places un-useful poetic names inspired from what came to my un-useful mind, related to an un-useful feeling, un-useful sense of spatiality or un-useful historical reference.

My un-useful dream of doing an un-useful project has been fulfilled by a long un-useful journey with an un-useful idea of doing un-useful things inspired by an un-useful lady, that has no other un-useful purpose than being a un-useful colourful sugar cake figurine wishing us an un-useful happy new year. My thesis has now unfolded its un-usefulness and while we wait.... we should explore as many un-useful things as possible.

The most un-useful thing that thrilled me the most was discovering the biggest carrot I have ever seen, digging away the frozen cold soil around it, wiggling and turning it despite my hurting fingers. Then I stole it, put it into a Harald Nyborg bag, I have inherited from my late farther, because I wanted to exhibit it for my thesis exam. A gigantic, overgrown carrot, not edible, with worms and cracks, an un-useful vegetable to keep. How long can you keep a carrot before it is not a carrot anymore?

As this un-useful project has unfolded, I believe that the project area has an overload of un-useful potential and my vision for Bispebjerg Sculpture Park is to keep it as un-useful as possible by saving unprogrammed space for future investigations.

There are so many unmeasurable un-useful values and stories to find and enjoy in Bispebjerg Sculpture Park, that everyone visiting can find their own un-useful carrot.

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The Escape-map

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Harald Henriksen (1883-1960) Ved Lersøen, tusmørke 1906.

Olie på lærred 41 x 58 cm

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Conclusion This project area is an inexhaustible source of themes and details waiting for a poetic translation. The area has enough useful paths, traffic structures, trimmed lawns and solitude trees to enjoy. The adventure is waiting in the shrubs and in relation to backside landscapes and concrete structures. By using art as an acupunctural co-narrator, the existing potentials in these unknown landscapes can become places with great abstractions contrasting everyday life.

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Full quote-chronologically listet H.M. Dronningens nytårstale 2017 p.1 Dronningens nytårstale 2017 (Dec 31, 2017) YouTube video, added by Det danske kongehus[Online]. Available at https://www.youtube.com/watch?v=fvBvqR4D_xI[29-07-2020] Rettigheder: DR © Raske penge p.3 Raske Penge: ”Bor Her” (Sep 19, 2011) YouTube video, added by Raske Plader[Online]. Available at https://www.youtube.com/watch?v=xJY9yn_hZcU [29-07-2020] Grafiker Rikke Jensen p.26 https://www.rikkejensen.dk/om-mig/, [29-07-2020] Bispebjerg districtplan 2017-2020 p.32 Copenhagen Municipality (2017) ”Bydelsplan for Bispebjerg”, Bispebjerg Lokaludvalg, Available at https://www.kk.dk/sites/default/files/uploaded-files/bydelsplan_for_bispebjerg.pdf[29-07-2020] S.Ehrmann p.33 Ehrmann, S (2018)” Green gentrification and how to avoid it ”, Foreground, Available at https://www.foreground.com.au/parks-places/green-gentrification/ [29-07-2020] Raske Penge p.34 Stougaard, J (2019) ”Nordvest-rapper: »Gentrificeringen er en dræber«”, ugeavisen.dk, Available at https:// ugeavisen.dk/noerrebro/artikel/nordvest-rapper-gentrificeringen-er-en-dr%C3%A6ber[29-07-2020] Eskil Heinesen p.34 Heinesen, E (1999) ”Social arv og sociale forhold i boligkvarterer”, Socialforskningsinstituttet

Jan Hyttel Formand BO- Vita p.35 Eller, E (2020) ” Mjølnerparken vil af ghettolisten: Nu skal halvdelen af blokkene sælges”, dr.dk, Available at https://www.dr.dk/nyheder/politik/mjoelnerparken-vil-af-ghettolisten-nu-skal-halvdelen-af-blokkene-saelges [29-07-2020] Per Kirkeby p.37 Bonde, L (2017) ”Manden, maleren og muserne”, kunsten.nu, Available at https://kunsten.nu/journal/manden-maleren-muserne/ [29-07-2020] Dansk Bygningsarv 2015 om Bispeparken p.137 Dansk Bygningsarv (2015)”BYGNINGSKULTUR OG 1940’erne og 1950’ernes murede boligbebyggelser BEVARINGSVÆRDIER”, Dansk Bygningsarv, ISBN 9788799655175,Available at https://www.lbf.dk/media/1275449/Kortlaegningspublikation.pdf [29-07-2020] Olafur Eliasson p.140 Venitis, B (2016) ” THE FEELING OF BEING MOVED BY A WORK OF ART”, VENITISM, Available at https://venitism.wordpress.com/2016/02/19/the-feeling-of-being-moved-by-a-work-of-art/[29-07-2020] Landskabskunstner og billedhugger Marianne Jørgensen p.143 Dalgaard, D (2014) ” Kan landskabskunsten lokke os mere ud?”, dr.dk, Available at https://www.dr.dk/nyheder/viden/naturvidenskab/kan-landskabskunsten-lokke-os-mere-ud [29-07-2020] Olafur Eliasson p.145 Azzarello, N (2015) ”interview with artist olafur eliasson«”, designboom.com, Available at https://www.designboom.com/art/olafur-eliasson-interview-artist-designboom-02-16-2015/[29-07-2020] 274

Sondra Bacharach, Victoria University of Wellington p.146 and p.147 Bacharach, S Street Art and Consent, The British Journal of Aesthetics, Volume 55, Issue 4, October 2015, Pages 481–495, https://doi.org/10.1093/aesthj/ayv030 [29-07-2020] Jakob Schweppenhäuser, Aarhus University p.147 Schweppenhäuser, J 2013, Mur & rum: om graffitiens forhold til stedet. i Dansk Graffiti 1984-2013. KUNSTEN Museum of Modern Art, s. 20-28 Randy Mason p.154 Mason, R (2015) ”Learning to See psychylustro”, THE PEW CENTER FOR ARTS & HERITAGE, Available at https://www.pewcenterarts.org/post/learning-see-psychylustro [29-07-2020] Karoline H. Larsen, kunstner p.162 Slots og Kulturstyrelsen (2019) ”Kunst som løftestang - Inspiration til udvikling i udsatte by- og boligområder” p.24, Available at https://issuu.com/kunststyrelsen/docs/kunstsomloeftestang_statenskunstfond_2019 Thomas Musca writer for ArchDaily and Metropolis Magazine. p.165 Musca, T (2017) ”How Developers Turned Graffiti Into a Trojan Horse For Gentrification”, ArchDaily, Available at https://www.archdaily.com/871531/5-pointz-how-developers-turned-graffiti-into-a-trojan-horse-for-gentrification [29-07-2020] Peter Moskowitz independent journalist, The Guardian p.169 Moskowitz, P (2017) ” What Role Do Artists Play in Gentrification?”, occupysf.net, Available at https:// occupysf.net/index.php/2017/09/19/role-artists-play-gentrification-peter-moskowitz/ [29-07-2020] Kristian Von Hornsleth p.169 Kristensen, K (2017) ”Kunst eller spild af penge? Fem meter højt knojern til 600.000 kroner pryder nu dansk by”, JYLLANDS-POSTEN, Available at https://jyllands-posten.dk/kultur/billedkunst/ECE9286376/kunst-eller-spild-af-penge-fem-meter-hoejt-knojern-til-600000-kroner-pryder-nu-dansk-by/ [29-07-2020] Direktør i Baldersbo, Søren B. Christiansen p.170 Kristensen, K (2017) ”Kunst eller spild af penge? Fem meter højt knojern til 600.000 kroner pryder nu dansk by”, JYLLANDS-POSTEN, Available at https://jyllands-posten.dk/kultur/billedkunst/ECE9286376/kunst-eller-spild-af-penge-fem-meter-hoejt-knojern-til-600000-kroner-pryder-nu-dansk-by/ [29-07-2020] Artist Torben Ebbesen p.173 Bonde, L (Date?) ” Portræt - Torben Ebbesen”, kunstonline.dk, Available at http://www.kunstonline.dk/profil/ torben_ebbesen.php John Olsen p.188 Haarby, P (date?)”Portræt - John Olsen”, kunstonline.dk, Available at http://www.kunstonline.dk/profil/ john_olsen.php [29-07-2020] Bricklab p.209 STRØJER TEGL A/S (2018)”ET BINDELED MELLEM STEDER”, Bricklab, Available at http://www. bricklab.dk/per-kirkebys-murstensskulpturer/ [29-07-2020 Alex Budman - Magic in the Mundane p. 221 Budman, A (2014) ” Behind the Scenes: Magic in the Mundane”, Behind the Scenes: Magic in the Mundane”, blogs.adobe.com, Available https://blogs.adobe.com/chasingstories/2014/06/03/behind-the-scenes-magic-inthe-mundane/ [29-07-2020] 275

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KUNSTSTRATEGI FOR NYT HOSPITAL OG NY PSYKIATRI BISPEBJERG

https://www.bispebjerghospital.dk/om-hospitalet/ oplev/oplev-kunsten/Documents/kunststrategi%20for%20Nyt%20Hospital%20og%20Ny%20 Psykiatri%20Bispebjerg.pdf

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https://www.billedbladet.dk/nostalgi/husker-dumadam-blaa

https://www.instagram.com/p/B6ILFcPBsBU/

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Bydelsplan for Bispebjerg 2017-2020

A new report is made since I found this old drilling sheet, it has not been possible to find this dokument link again.

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CO-CREATE COPENHAGEN

https://jupiter.geus.dk/cgi-bin/svgrapport.dll?borid=164344&format=pdf

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VISION FOR 2025

Technical and Environmental Administration City of Copenhagen

A City With an Edge The clash of contrasts is what infuses a metropolis with its unique sense of vibrancy. Contrast between neatly trimmed parks and roughand-ready, regenerated industrial sites. Between Michelin-starred restaurants and street kitchens. Between modern, experimental architecture and 300-year-old buildings.

We need to pave the way for the city’s diversity to play an even more prominent role. It would be good if Copenhagen were even bolder and had more of an edge. We need room for wild, creative initiatives and architecture that evokes strong emotions – without the city breaking at the seams and becoming divided.

To make Copenhagen a city with more of an edge, the City of Copenhagen will focus on: Flexibility and Creativity Cities that don’t constantly change become drab and predictable. We want a more flexible and dynamic Copenhagen that reflects the myriad of lives lived here.

There will be room for experimental projects that may have a limited lifespan. There will be freedom to start up and test new things. Buildings and areas will change their function over time. We must have the courage to surprise and innovate.

Unique Neighbourhoods that Belong Together While contrasts are important, Copenhagen must avoid growing into a divided city. Getting around and across it has to be easy, safe and inspiring. A city with an edge depends on its people and businesses daring to be different, so it is important that all types of people have the opportunity to live here. Neighbourhoods must all be attractive and organised in a way that supports both the individual choice and the emergence of new communities.

TARGETS 2025: s A majority of Copenhageners consider Copenhagen a city with an edge s 70% of Copenhageners find that they have plenty of opportunity to get involved at local level s Twice as many volunteers take part in the development, care and maintenance of the city s The number of deprived areas is at least halved s 90% of Copenhageners find it easy to get around the city s At least 70% of new social housing is placed in school districts with less than 20% social housing

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Målforhold Dato

1:10000 06-12-2018

Signaturforklaring

© Københavns Kommune, © Danmarks Arealinformation

Jordforurening - V1 Jordforurening - V2

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LØRDAG 15. FEBRUAR 1913 Politikken

%DVARD 'L SELS PLAN FOR & LLEDPARKEN FRA

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https://www.streetartutopia.com/?p=9378

https://hannahstreefkerk.viewbook.com/ art-in-nature/album/birch-restoration

https://artsandculture.google.com/asset/ psychylustro-drama-wall-in-progress-katharina-grosse/6wFR65qOL3UlWA?ms=% 7B%22x%22%3A0.5%2C%22y%22%3 A0.5%2C%22z%22%3A8.86035756549 373%2C%22size%22%3A%7B%22width%22%3A1.8593100890207712%2C%22he ight%22%3A1.2375%7D%7D https://www.timeout.com/sydney/art/aspire

https://www.magasinetkbh.dk/indhold/taarnby-baenke-jeppe-hein

https://plugon.us/travelguru/lego-bridge-wuppertal-germany-ca27b

http://travelersproject.over-blog. com/2015/06/museo-guggenheim-bilbao.html https://64.media.tumblr.com/086bd15f54732282d65b363243337a13/tumblr_mg4ctyxCZN1qe31lco2_1280.jpg https://waterfrontoronto.ca/nbe/wcm/connect/ waterfront/waterfront_content_library/waterfront+home/news+room/image+galleries/ galleries/underpass+park/?id=9 https://friendswithyou.com/portfolio/thewish-come-true-festival-by-fwy/

http://www.luxe-en-france.com/wp-content/ uploads/2013/04/RBPARIS_PASSERELLE-SIMONE-DE-BEAUVOIR.jpg

https://www.metropolis.dk/groenningen-som-labyrint/

https://kunsten.nu/journal/galleries/billedserie-16-husgavle-er-blevet-til-kunstvaerker-i-nordvest/#163784

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https://www.timmimensah.com/shop-1

https://www.timmimensah.com/shop-1

https://www.tv2lorry.dk/ballerup/beboere-raser-mod-kunstvaerk-i-plaget-omrade-tabeligt

https://www.lauritz.com/da/auktion/kristianvon-horsleth-love-buster-knojern-af-massivbronze/i5707547/

https://en.kunstogbyrum.com/gadekunst?lightbox=dataItem-jlgov3mk

https://en.kunstogbyrum.com/gadekunst?lightbox=dataItem-jah3un4y

https://en.kunstogbyrum.com/gadekunst?lightbox=dataItem-jes7pmw62

https://www.facebook.com/buyYourArtAtHornslethDotCom/photos/pcb.262068905129 8009/2620688661298048/?type=3&theater

https://jyllands-posten.dk/kultur/ ECE9373766/df-beboere-skal-have-direkte-indflydelse-paa-koeb-af-kunst-i-almene-boligomraader/

https://www.artsy.net/artwork/anders-brinch-club-flamingo

https://www.wanaskonst.se/Portals/7/Documents/_Wanas%20Konst_BESOKSKARTA%20vinter%202019.pdf

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http://www.waddentide.dk/wadden-tide/fotohaefte-om-wadden-tide.aspx

https://issuu.com/taarbaeknyt/docs/strandvejen_-_f__r_og_nu_taarb__k side 64-65

http://www.waddentide.dk/wadden-tide/fotohaefte-om-wadden-tide.aspx

http://www.waddentide.dk/wadden-tide/fotohaefte-om-wadden-tide.aspx

http://www.waddentide.dk/wadden-tide/fotohaefte-om-wadden-tide.aspx

http://www.waddentide.dk/wadden-tide/fotohaefte-om-wadden-tide.aspx

http://www.waddentide.dk/wadden-tide/fotohaefte-om-wadden-tide.aspx

https://kunsten.nu/journal/john-olsen-og-skoenheden-i-forgaengeligheden/

https://denstoredanske.lex.dk/Richs?utm_ source=denstoredanske.dk&utm_medium=redirectFromGoogle&utm_campaign=DSDredirect

https://www.vestmuseum.dk/ det-sker/s%C3%A6rudstillinger/tidligere-s%C3%A6rudstillinger/tak-for-kaffe

https://www.arkitekturbilleder.dk/bygning/ gangbro-jaegersborg/

https://www.sydsverige.dk/?pageID=139

https://www.worthpoint.com/worthopedia/ vintage-1958-walt-disney-guide-1945689692

http://pinotglobal.com/maps/map-of-disneyland/attachment/map-of-disneyland-as-including-the-best-maps-in-the-world-5

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https://kulturkanon.kum.dk/musik/vaersgo/

http://www.operette-theatremusical. fr/2015/09/20/opera-bouffe-le-roi-carotte/

https://kbhbilleder.dk/kbh-arkiv/94835

https://www.haraldhenriksen.dk/galleri.html

http://www5.kb.dk/images/billed/2010/okt/ billeder/object421951/da/

https://skraafoto.kortforsyningen.dk

https://skraafoto.kortforsyningen.dk

https://skraafoto.kortforsyningen.dk

https://skraafoto.kortforsyningen.dk

https://kbhbilleder.dk/kbh-arkiv/93983

https://kbhbilleder.dk/kbh-arkiv/93969

282

Books

https://issuu.com/taarbaeknyt/docs/strandvejen_-_f__r_og_nu_taarb__k Stephensen, L.S., Lund, H., Lund, A., Dirckinck-Holmfeld, K. and Christiansen, J.H., 2001. Danmarks havekunst. Arkitektens forlag.

Keswick, M., Jencks, C. and Hardie, A., 2003. The Chinese garden: History, art and architecture. Harvard University Press.

Jakobsen, L.S., 2018. Principper for organisering af undren: Indsamlingshistoriske perspektiver på John Olsens Undrekammer. In Aftryk Af Liv (pp. 96-135). Ribe Kunstmuseum.

Porsmose, E., 2008. John Olsen-kunsten at se: en biografi;[i forbindelse med udstillingen: Kunsten at se, Johannes Larsen Museet, 24. maj-17. august 2008; Holsterbro Kunstmuseum, 13. september-16. november 2008; Sophienholm, Kgs. Lyngby, 7. marts-3. maj 2009]. Johannes Larsen Museet.

Wachtmeister, M (2012) ” Imagine Art : in nature at Wanås” Balkong Förlag Enevig, A., 2018. Prinser og vagabonder. Lindhardt og Ringhof.

Eriksen, J.M., 1996. Lossepladser og opfyldning i København: historisk redegørelse for Københavns opfyldninger og lossepladser fra omkringårhundredeskiftet til 1995. Miljøkontrollen, Københavns Kommune.

283

Websites

http://lonehoyerhansen.dk/site_specific_yellow_brick_road_02.html https://en.kunstogbyrum.com/gadekunst https://friendswithyou.com/portfolio/the-wish-come-true-festival-by-fwy/ photokilde https://www.thecoasterkings.com/raphaels-northern-california-adventure/ http://www.interthemepark.com/design.html https://www.bl.uk/learning/timeline/item107648.html https://kk.sites.itera.dk/apps/kk_monumenter/index_ny.asp?mode=newmap https://www.rikkejensen.dk/om-mig/, [29-07-2020] https://www.facebook.com/groups/1127048874097367/?multi_permalinks=1972209839581262&notif_ id=1596092240952276&notif_t=feedback_reaction_generic https://www.facebook.com/groups/OldCopenhagen/

284

Articles

Stougaard, J (2019) ”Nordvest-rapper: »Gentrificeringen er en dræber«”, ugeavisen.dk, Available at https:// ugeavisen.dk/noerrebro/artikel/nordvest-rapper-gentrificeringen-er-en-dr%C3%A6ber[29-07-2020] https://www.crozetgazette.com/2018/05/06/blue-trees-environmental-art-comes-to-brownsville-western/ Ehrmann, S (2018)” Green gentrification and how to avoid it ”, Foreground, Available at https://www.foreground.com.au/parks-places/green-gentrification/ [29-07-2020] Bonde, L (2017) ”Manden, maleren og muserne”, kunsten.nu, Available at https://kunsten.nu/journal/manden-maleren-muserne/ [29-07-2020] Venitis, B (2016) ” THE FEELING OF BEING MOVED BY A WORK OF ART”, VENITISM, Available at https://venitism.wordpress.com/2016/02/19/the-feeling-of-being-moved-by-a-work-of-art/[29-07-2020] Dalgaard, D (2014) ” Kan landskabskunsten lokke os mere ud?”, dr.dk, Available at https://www.dr.dk/nyheder/viden/naturvidenskab/kan-landskabskunsten-lokke-os-mere-ud [29-07-2020] Azzarello, N (2015) ”interview with artist olafur eliasson«”, designboom.com, Available at https://www. designboom.com/art/olafur-eliasson-interview-artist-designboom-02-16-2015/[29-07-2020] Schweppenhäuser, J 2013, Mur & rum: om graffitiens forhold til stedet. i Dansk Graffiti 1984-2013. KUNSTEN Museum of Modern Art, s. 20-28 Mason, R (2015) ”Learning to See psychylustro”, THE PEW CENTER FOR ARTS & HERITAGE, Available at https://www.pewcenterarts.org/post/learning-see-psychylustro [29-07-2020] Musca, T (2017) ”How Developers Turned Graffiti Into a Trojan Horse For Gentrification”, ArchDaily, Available at https://www.archdaily.com/871531/5-pointz-how-developers-turned-graffiti-into-a-trojan-horse-for-gentrification [29-07-2020] Kristensen, K (2017) ”Kunst eller spild af penge? Fem meter højt knojern til 600.000 kroner pryder nu dansk by”, JYLLANDS-POSTEN, Available at https://jyllands-posten.dk/kultur/billedkunst/ECE9286376/kunsteller-spild-af-penge-fem-meter-hoejt-knojern-til-600000-kroner-pryder-nu-dansk-by/ [29-07-2020] Bonde, L (Date?) ” Portræt - Torben Ebbesen”, kunstonline.dk, Available at http://www.kunstonline.dk/profil/ torben_ebbesen.php Haarby, P (date?)”Portræt - John Olsen”, kunstonline.dk, Available at http://www.kunstonline.dk/profil/ john_olsen.php [29-07-2020] Budman, A (2014) ” Behind the Scenes: Magic in the Mundane”, Behind the Scenes: Magic in the Mundane”, blogs.adobe.com, Available https://blogs.adobe.com/chasingstories/2014/06/03/behind-the-scenes-magicin-the-mundane/ [29-07-2020] STRØJER TEGL A/S (2018)”ET BINDELED MELLEM STEDER”, Bricklab, Available at http://www. bricklab.dk/per-kirkebys-murstensskulpturer/ [29-07-2020 Martinique, E (2016) ”What is the Effect of Street Art on Real Estate Prices?”, widewalls, Available at https://www.widewalls.ch/magazine/street-art-real-estate[29-07-2020]

285

Videos

Raske Penge: ”Bor Her” (Sep 19, 2011) YouTube video, added by Raske Plader[Online]. Available at https://www.youtube.com/watch?v=xJY9yn_hZcU [29-07-2020] Dronningens nytårstale 2017 (Dec 31, 2017) YouTube video, added by Det danske kongehus[Online]. Available at https://www.youtube.com/watch?v=fvBvqR4D_xI[29-07-2020] Rettigheder: DR © Budman, A (2014) ” Behind the Scenes: Magic in the Mundane”, Behind the Scenes: Magic in the Mundane”, blogs.adobe.com, Available https://blogs.adobe.com/chasingstories/2014/06/03/behind-the-scenes-magicin-the-mundane/ [29-07-2020] https://vimeo.com/282810862

286

Reports and Strategies

https://monoskop.org/images/d/d3/Kwon_Miwon_One_Place_after_Another_Site-Specific_Art_and_Locational_Identity.pdf Copenhagen Municipality (2017) ”Bydelsplan for Bispebjerg”, Bispebjerg Lokaludvalg, Available at https://www.kk.dk/sites/default/files/uploaded-files/bydelsplan_for_bispebjerg.pdf[29-07-2020] Heinesen, E (1999) ”Social arv og sociale forhold i boligkvarterer”, Socialforskningsinstituttet Dansk Bygningsarv (2015)”BYGNINGSKULTUR OG 1940’erne og 1950’ernes murede boligbebyggelser BEVARINGSVÆRDIER”, Dansk Bygningsarv, ISBN 9788799655175,Available at https://www.lbf.dk/media/1275449/Kortlaegningspublikation.pdf [29-07-2020] Bacharach, S Street Art and Consent, The British Journal of Aesthetics, Volume 55, Issue 4, October 2015, Pages 481–495, https://doi.org/10.1093/aesthj/ayv030 [29-07-2020] Slots og Kulturstyrelsen (2019) ”Kunst som løftestang - Inspiration til udvikling i udsatte by- og boligområder” p.24, Available at https://issuu.com/kunststyrelsen/docs/kunstsomloeftestang_statenskunstfond_2019 Videncenter for jorforurening (2012) ”Offentlige arkiver og andre kilder til kortlægning af lossepladser og forurenende virksomheder før 1950”, Teknik og Administration, Available at https://docplayer. dk/2699403-Offentlige-arkiver-og-andre-kilder-til-kortlaegning-af-lossepladser-og-forurenende-virksomheder-foer-1950.html[29-07-2020] Copenhagen Municipality (1996) ”Bydelsatlas Nørrebro-Bevaringværdier i byer og bygninger, Miljø- og Energiministeriet Skov- og Naturstyreisen Copenhagen Municipality (2013)” Konkretisering af skybrudsplan - Bispebjerg, Ryparken & Dyssegård” Byens Udvikling Copenhagen Municipality (1991) ”Bispebjerg Bydelsatlas - Bevaringsværdier i bydel og bygninger”, Miljøministeriet Planstyrelsen Copenhagen Municipality (2006) ”Fælledparken Udviklingsplan”, Teknik- og Miljøforvaltningen Vej & Park Copenhagen Municipality (2009) ”Lersøparken og Kolonihaveparken Udviklingsplan”, Teknik- og Miljøforvaltningen Center for Park og Natur Statens Kunstfond (2013) ”KUNSTSTRATEGI FOR NYT HOSPITAL OG NY PSYKIATRI BISPEBJERG”, Region Hovedstaden Blach, V (2015)”BØRNEFAMILIER I BISPEBJERG En kvalitativ undersøgelse af udfordringer for børnefamilier i et udsat byområde”.

Frederiksen, J (2016) ”Københavnske originaler i slutningen af1800-tallet”,

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