Uniformity & Aesthetics in the Copenhagen Metro Stations: Investigating the Changing Role of Art in

Fig. 1 — Dyb Station. Concourse Level.

Image: KHRAS Architects. (2002)

Uniformity & Aesthetics in the Copenhagen Metro Stations: Investigating the Changing Role of Art in the Production of Transit Spaces

Christopher Brett Tuyay Royal Danish Academy School of Architecture, Design and Conservation Spatial Design — 3rd Semester Natalie Koerner s220141@edu.kglakademi.dk 01.11.23 Characters: 37,881

TABLE OF CONTENTS

Introduction Background & Motivation

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Theory & Method

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Analysis

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Conceiving A Uniform Identity

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Subverting the Conquered Square

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Emergence in the Concourse

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Shifts in the Station Room

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Discussion

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Conclusion

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Bibliography

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INTRODUCTION

Around the mid 19th century, after the Industrial Revolution, London suffered the worst traffic conditions and pollution that exposed commuters to unhealthy conditions. In the then largest city in the world, “suburban railways already existed to take people to and from the city center; what was needed was a transport system within the city that avoided thoroughfares...” In 1863, London’s Metropolitan Line became the world’s first underground railway, which ran 6km from Paddington to Farringdon in the heart of the business district. (Bennett 2004, p. 32) Eventually new lines were added to accommodate the increasing passenger numbers coming in from the suburbs, and thus, the efficient yet safe transportation of passengers became a continued priority.

During this, art and sculpture were introduced to “make the daily subterranean journey a delight.” (Bennett 2004, p.32) Overtime, there have been various approaches to incorporating art in transit stations from site-specific works to uniform styles.

With the rise of Modernism in 1930s, “rapid advance construction technology and the introduction of new building materials - steel, reinforced concrete, and glass - together with lightweight tensile frame construction, began liberating architecture from the many restrictions imposed by load-bearing brickwork and masonry construction” and introducing “lightness and transparency of structure.” (Bennett 2004, p.75) However, with the Modern Movement came a functionalist perspective which saw that art in these transit stations could “add to customer’s enjoyment to travel and can, with thoughtful provision, ease the frustration of delayed journeys.” However, “art adds nothing to the functional aspects of station architecture, but it can enhance the quality of the station environment and the image of the railway company or titillate the curiosity of travelers.” Moreover, “public art should not be confused with decoration... Decorative embellishment that cannot be justified functionally or architecturally should be avoided.”

(Edwards 1997, p.111) This narrow outlook has affected how architects have incorporated art - even with contemporary transit stations built today. This theoretical paper takes a relatively more recent case of the Copenhagen Metro system and investigates the changing role of art in the production of space in the transit stations.

Background & Motivation In 1992, the Danish Parliament passed the Ørestad Act - which specified that a light railway should be constructed in Copenhagen. After “following extensive analysis of traffic, environmental, aesthetic, and financial factors, in 1994 the decision was made to concentrate on a Metro solution which placed emphasis on passenger’s preference for “high speed travel, short waiting periods and operational reliability and on safety and quality.” (Hesselbæk 2002, p. 8) Built by Ørestad Development Corporation, Copenhagen opened its first underground rapid transit system in 2002 with the completion of the initial segment of the M1/M2 in 2007 with 22 stations. (Hesselbæk 2002 p. 4) In 2019, the M3 circle line called Cityringen opened with 17 stations - each with different architectural

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details, colors and materials that “reflect their surroundings.” And in 2020, beginning in Nordhavn, the M4 line was built with new extensions to Sydhavn in 2024.

(The Architecture at Cityringen and Nordhavn, Copenhagen Metro 2023) Since its inception, Copenhagen has been recognized as a well-functioning system for its efficiency, safety, and general ease of travel. Its initial restrained use of art was a conscious decision in creating an easy-to-recognize, standardized identity. However, passengers’ struggles in differentiating stations has led to incorporating local identities through aesthetic and artistic interventions.

Like many other cities, the Modernist perspective of a restrained functionality of art in Metro stations has influenced the design of the Copenhagen Metro systems.

However, this study seeks to explore in what ways the role of art has changed in respect to not only its physical presence in Metro stations but also its influence on the design process and local identities. The intent is not to provide a solution for how art should be incorporated into Copenhagen Metro stations, but rather to expand the potential for art influence on architecture and design process. Including art earlier in future conversations around mobility design will provide richer discussions around how these spaces can affect identity and place-making on the local and global levels.

Representation of Space — Conceived Space Conceptual Professionals & Technocrats Signs & Jargon

Production of Space

Spaces of Representation — Lived Space Everyday Experiences Inhabitants & Users Symbols

Spatial Practice — Perceived Space

Fig. 2 — Interpretative Diagram of Henri Lefebvre’s spaces of production. Design by: Christopher Tuyay (2023)

Imageability Society’s Lived Reality Routes & Networks

Theory & Method As a theoretical basis, the study will draw upon Henri Lefebvre’s “Production of Space” as a lens to spatially analyze the changing role of public art in the Copenhagen Metro system. Through this “conceptual triad” consisting of the Representation of Space, Spaces of Representation and Spatial Practice, one can analyze how the making of spaces are conceived, lived and perceived - respectively. (Lefebvre 1991, p.38) I’m also referencing urban theorist Andy Merrifeld’s critique of Lefevbre to help support my interpretation of Lefebvre’s fluid theoretical framework of interrelated modes of producing space. (See Figure 2) Through this lens, one can see how art can influence physical space but also can have a role in the conceptual development and changing perception of the Copenhagen Metro identity.

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In the analysis, the first section identifies the main spatial principles that have established the unified aesthetic decisions of the first M1/M2 stations. The subsequent sections then explore how art has influenced changes to these spatial situations. This investigative study moves between historical writings and anthropological interviews and observations. Inclusion of examples of Western Metro systems offers comparative context to other approaches towards incorporating art into Metro experiences. Each section reflects on art’s influence on identity through Lefebre’s critical spaces.

The analysis includes different interpretations of what art can be. Examples of sculptures and mural paintings represent the more traditional definition of art; however, lighting displays and material claddings exemplify a more designed function but still show artful phenomenological qualities. Moreover, in certain applications, the graphic arts represented by advertising and wayfinding also have artistic value in their connection to memory and emotions. This open interpretation exemplifies the nuanced role that art plays in the hierarchy of aesthetics in transit station design.

This method of establishing an aesthetic baseline and investigating variations over time is meant to argue that art not only has the potential to affect the intended physical experience but also the perceived identities of these transit spaces.

ANALYSIS

Conceiving A Uniform Identity When designing the M1/M2 stations, the architects standardized a set of spatial principals that aesthetically unified the Copenhagen Metro system, however left little room for the presence of art. In the book The Architecture: The Deep Stations in Daylight, a publication from The Ørestad Development Corporation and KHRAS, lead architects, Nille Juul-Sørensen and Lotte Raabo Larsen, break down their approach to designing the first M1/M2 stations and describe how they “looked to build stations that were “uncluttered and easy to survey, in order to promote a feeling of safety and security.”

From an airy openness with “glimpses of the sky and city through the skylights,” they go on to emphasize this as a “safe space to find yourself in” where “orientation and navigation are easy, and sources of light and air are clearly identifiable.” And thus, they hoped to create a “single spacious hall with only one platform that is the sole departure point for all destinations.” (Sørrensen & Larsen 2002, p.12) It is clear through their stated intent that they focused more on functionalist qualities like a safe environment and easy self-awareness of surroundings, but lacked an explicit perspective on the role of art.

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Fig. 3 — Dyb Station. Movement through the station space. Image: KHRAS Architects. (2002)

Shown through their material choices of glass, concrete and metal (See Fig. 1 & 3), the architects strived for a “timeless” look for stations that all look the same under a unified identity. In a personal interview with Sørrensen, when asked about this “timeless” quality, he responded saying the material choice came down to price and that this use of “gray, quiet materials with daylight on the platform” was “quite revolutionary at the time.” In respect to incorporating art, he goes on to say that “it never was about the art but part of a machine.” (N. Sørrensen, personal communication, Oct. 6, 2023).

This approach to abstaining from art prioritizes neutrality rather than provoking any emotions other than ease and security. In addition, “advertising or even commercial uses within the stations were avoided entirely.” (Rudolfph-Cleff & Kehmati 2023, p.86) This uniform materiality and avoidance of external visual communication led to standardized spaces that do “not focus on the individuality or recognizability of stations in the urban context, but rather interprets the station as part of the rail network and the transportation system, making it recognizable as a coherent infrastructure system.”

(Rudolfph-Cleff & Kehmati 2023, p.87) The lack of art created this identity of consistency over uniqueness in each station.

In looking further into the spatial organization of the M1/M2 stations, one can continue to see these design principles of safety and efficiency applied to certain recurring spatial elements. The site plan, longitudinal section and cross section of Kogens Nytorv (See Fig. 4) reveal spatial sequences designed for movement conducive to a natural yet controlled flow with a subtle yet intentional use of art in the lighting.

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Fig. 4 — Sections of Dyb Station.

Image:KHRAS Architects. (2002)

To begin the transit journey, passengers move from the city through the Square which with its “surroundings transfer seamlessly” from the materials “adapted to the outdoor city environment to the distinctive world of the underground station.” (Sørrensen & Larsen 2002, p.20) This emphasis on a “distinctive” environment shows that architects intended to design a particular aesthetic identity. Along with the main red Metro signage, glass pyramids serve as functional landmarks to brand station entrances but also bring light down to the stations. (see Longitudinal Section on Fig. 4) The architects describe these as “apertures, with their various functions, [that] represent sculptural symbols in the square, each with their own form of intake of light, air and passengers.”

(Sørrensen and Larsen 2002, p.19) Although described as “sculptural symbols,” the pyramids of were still not considered as art by the architects. Upon entering the station, the first flight of stairs will then take the passenger to the Main Concourse.

Next in the spatial sequence, the main concourse not only offers ticket purchasing and wayfinding information, but also introduces a careful use of daylight with a subtle artful touch. With the skylights, the aim of the daylight concept for the deep underground stations is “to create a pleasant daylight atmosphere which produces the dynamic behavior of daylight.” (Sørrensen & Larsen 2002, p.34) In order to have that connection to the world above, the architects wanted to avoid a “monotonous, exclusively diffuse lighting mood” and connect to the “dynamics of cooler light in the morning and warmer in the evening.” (Sørrensen & Larsen 2002, p.41) To enhance efficiency of the available sunlight surfaces, the side wall surfaces, and entire ceiling surfaces are clad with high-purity aluminum material. In addition, zones that are not day lit are supplemented with wallwashers. (Sørrensen & Larsen 2002, p.41) In this naturally lit space, the architects also incorporated special prisms in the skylights to

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project rainbow spectrums on the walls and floor. (See Fig. 5 & 6) The intent is that the “fixed installation of prisms means that the movement of the sun can be transferred to the area.” (Sørrensen & Larsen 2002, p.41) The way the architects describe the intent of the prism design shows that it is not really about creating a particular identity or having a strong emotional connection, rather more of a passive relation to life above in the city. Albeit a subtle gesture, one could still interpret the projected rainbow Fig. 5 — Prismatic Skylight.

(Left) Image:KHRAS Architects. (2002) Fig. 6 — Light beam from the Prisms. (Right) Image:KHRAS Architects. (2002)

spectrum as an artistic light installation. Overall, the architects paid close attention to the phenomelogical value of these lighting elements but still did not consider them as true art pieces. Continuing on, the repetitive rhythm of the overhead beams punctuated by the custom clocks guide passengers forward to descend the escalators and into the station room towards the single platform for boarding trains.

From the top level entrance and down to the platform level, passengers pass in a single flow various spaces in the station that are “united both visually and aurally with no separating doors.” (Sørrensen & Larsen 2002, p.20) One is gently guided to the platform with very little obstructing your way towards boarding the trains. In the cross-section diagram (See Fig. 4) you can see that passengers descend the double escalators through a central hall where the service corridors on the left and right sides are hidden from view of the passengers. On the platform, there is limited presence of advertising and an absence of art. The only seating are rest bars which are “an expression of the short wait passengers has at the station - they are travelers on a dynamic journey.” (Sørrensen & Larsen 2002, p.51) One does not loiter for longer on the platform, but a brief moment for waiting and becoming in “harmony with the trains.”

(Sørrensen and Larsen 2002, p.20) As one boards an M1 or M2 train, passengers continue with their journey with ease - not distracted by art or really remembering from which station they just departed.

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From this section’s spatial analysis, one can see how architects initially gave a minimal role of influence to art. In ‘representations of space,’ architects utilize conceptual methods constructed through “objectified plans and paradigms” that seek to instill a particular “ideology.” (Merrifield 2006, p109) In this process, the absence of art played an influential role in contributing to the architects’ intended “timeless” aesthetic. The architects held a particular functionalist ideology that they felt art would disrupt this uniform aesthetic. Overall, as a spatial principle, art had little physical presence in the early M1/M2 stations, however over time, one can witness art interventions emerge that question the aesthetic uniformity in these specific spatial situations – starting with where the Metro meets the city: The Square.

Fig. 7 — The Metro at Kongens Nytorv. Visualization from 2001.

Image: KHRAS Architects. (2002)

Subverting the Conquered Square One can compare the uniform transformation of the Squares of Copenhagen to the Art Nouveau gateway of the early Paris Metro stations. Although the iconic entrances, designed by Hector Guimard, have a more ornamental approach, both Metro systems created a universal aesthetic through a “corporate style.” (Collis 2003, p. 15) Art has found ways to subvert the homogeneity of these transitional public spaces where architects hoped that the Metro would “manifest its existence without drowning out its urban connection. (Sørrensen & Larsen 2002, p.190)

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At Christianshavn Torv, near the entrance to the M1/M2 Station, stands The Greenlandic Monument created by Danish sculptor Svend Rathsack. Erected in 1938, the monument pays tribute to Greenland and features three granite statues depicting a typical fishing scene of Greenlandic women flaying seals and catching fish while a male trapper stands on his kayak. (Copenhagen Commune 2023) In 2002, when the Christianshavn Metro station was constructed, local communities made sure the glass pyramids were not installed because the Greenlandic monuments would have removed. Years later in 2014, Greenlandic marble blocks, excavated from the former Grønlandske Handelsplads, were saved from being crushed, processed into benches and also placed in Christianshavns Torv. Engraved words on the block tell the blocks’ Outside M1/M2 Entrance at Christianshavns Torv.

Fig. 8 — Marble Block Benches from Maamorilik.

(Left) Fig. 9 — The Greenland Monument (Right) Images: Christopher Tuyay (2023)

story as a “cultural-historical link between Christianshavn and Greenland.” And to some, these artworks “evoke political issues of the cultural erasure, decolonization, and land exploitation of the Greenlandic community.” (Elliot 2020) Diving deeper into these issues is beyond the scope of this paper; however, this case shows that the preservation of these artworks reflects an importance of cultural identity within these lived spaces connected to the Metro system.

Also often politicized, some types of graffiti art is welcomed by the Copenhagen Metro, such as on the temporary construction site hoardings for building the new lines around the city. With the project Cool Construction or, in Danish, ’Byens Hegn’ (The City’s Hoardings), which was launched in 2012, Metroselskabet invited many different artists to contribute works of art for the green Metro hoardings. (Olsen 2019, p. 12) Art examples in the document include painted murals, lighting installations, mixed media displays and designed seating areas. In their research, 68% of neighbors think that the decoration of hoardings suits their neighborhoods well and 59% feel that the decorations help create

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Fig. 10 — Cool Construction.

Mural on Metro Hoarding. Image from Copenhagen Metro. 2015)

security. According to Henrik Plougmann Olsen, CEO of Metroselskabet, the project is meant to make use of these urban spaces for city individuals and “aims to be a model example of how construction sites in inner cities should not put the surrounding urban environment on hold, but instead generate new activities and new spaces in the urban setting. At the same time, Cool Construction is an invitation to everyone with an idea and the ability to improve the temporary urban spaces created by the Metro construction.”

(Olsen 2019, p. 5) This example shows how art can connect with local communities; however, it still is a temporary project that will eventually be replaced with the uniform spaces of the Squares of the Metro stations.

On the newer M4 line, examples of art are also used as a form of added safety, but also connect to the local context. Installed in 2023 at street level on the north end of Orientkaj Station, a permanent artistic lighting display designed by Light Bureau in collaboration with By & Havn and Copenhagen Municipality intends to make the Square attractive and safe to walk around. (See Fig. 11) By & Havn describes the design elements as “four lamp posts, each decorated with transparent fans with different patterns and colors to create an atmospheric and calm lighting. Each lamppost is based on the story of Trælastholmen and thereby symbolizes the history and character of the place with a special focus on the port and industrial history.” (Now the artistic lighting..., By & Havn 2023) Also at Orientkaj station, a billboard display curated by Råderum marks the starting point of a project R(O)UTE by artist Arendse Krabbe, which is a series of

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Orientkaj Station on M4 Line. Fig. 11 — Lighting Installation by Light Bureau (Left). Fig. 12 — R(O)UTE Billboard by artist Arendse Krabbe. (Right)Images: Christopher Tuyay (2023)

“works that catch the eye and amplify the voice of nature in an area that is currently characterized by construction sites and large trucks on the roads.” (Art as Wayfinding, Råderum, 2023) The freestanding display made of a metal framing and supported with six concrete blocks features an enlarged image of moss and lichen – representing the disrupted local ecology. (See Fig. 12) The intent seems not to be temporary based on the heavy industrial materials used for the display. In a personal conversation with Charlotte Bagger Brandt, founder of Råderum, when asked about the placement of this piece, she mentions how “the flow of people in these transit places make it great place for distribution of knowledge, however, the same factor is of course also making it difficult for people to see what is actually going on in these places.” (Charlotte Bagger Brandt, personal communication, 2023) In this case, this art piece promoting awareness of surroundings calls for people to stop and look at their manufactured surroundings and effected the local ecology. Whether connected with industrial pasts or its effect on natural surroundings, art placed in these transit stations offers a wider perspective on the surrounding contexts and can add an extra level of safety.

At these thresholds between the city and Metro stations, art has been able to find temporary places that have brought in external influences on the perceived Metro identities. However, still as a whole, most of the Squares retain the unified identity devoid of art that the architects designed in the “conceived space.” It is in the ‘lived space’ where organizations have integrated these art interventions outside the Ørestad Development Corporation and questioned the singular identity imposed by the Metro.

These art projects critiquing of the established cultural and industrial norms question the role of art in Metro stations and contribute to a changing identity of the Metro in the ‘perceived space.’

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Fig. 13 — Concourse at Norreport Station. Image: Christopher Tuyay (2023)

Emergence in the Concourse As one descends the flight of stairs into the main Concourse, a consistent and quiet atmosphere welcomes you to the familiar Metro station with ticketing and clear wayfinding. (See Fig. 13) The momentum from the flow of passengers in a single direction makes it easy for one to know where to go without being overwhelmed. Within this space where passengers both enter and exit stations, the graphic arts emerge in the Metro Concourses and start to influence passengers’ experiences in site-specific ways.

As a historical comparison, one can consider the early use of graphic posters in the London Underground at the start of the 1900s. Frank Pick, the Chief Executive of the whole of London Transport, recognized the potential of posters but saw that the designs they were using “failed to convey a strong sense of brand identity.” And so, he commissioned artists with a certain quality that not only “encouraged greater use of the transport services” but also “to enrich the quality of urban life in London.” He saw the need for “a cohesive identity for London’s transport posters, but also variety within that identity.” (The birth of London’s transport posters, LTM 2023) For the Copenhagen Metro, information posters and media displays take a more standardized approach to convey its Metro identity - without the help of commissioning artists. However, there are specific areas in which variation occurs especially in relation to commercial influences at the Concourse level.

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Fig. 14 — Bike Storage at Christianshavn Station. Image: Christopher Tuyay (2023)

Fig. 15 — Bike Storage at Kogens Nytrov Station. Image: Christopher Tuyay (2023)

Fig. 16 — Advertising Hallway at Norreport Station. Image: Christopher Tuyay (2023)

In the M1/M2 stations, bike storage areas take on different identities that range from single color decals on the floor or rooms decorated by commissioned artists. Most bike storage areas have single color walls or decals on the floor like at Christianshavn Station (see Fig. 14). At Kongens Nytorv station, artist Pernelle Maegaard illustrates moving concentric circular rings connected by red and yellow lines - also a reference to the red and yellow lines of M1/M2. (see Fig. 15) In the bicycle cellar at Forum station, the walls are “filled with panoramic photos of the beautiful Wadden Sea, which the artist Anne Prytz Schaldemose is behind.” (Art in the Subway, Copenhagen Metro, 2023) At Norreport station, the entrance from Torvehallerne, runs through the bike storage area, so the floors to wall coverings have been taken over to advertise visiting the adjacent food fall. (see Fig. 16) Not part of the original designs, these branded rooms are subtly hidden behind doors so as not to distract with the visual flow of the passenger journey.

However, there are other examples that show that graphic arts and advertising have expanded their footprint into more visible areas of the Concourse level.

Like Torvehallerne, other adjacent commercial spaces influenced how graphic arts have branded spaces in other Metro stations. At the M3 station at Kogens Nytrov, a direct entrance to the department store Magasin invites passengers to shop. Between the ticketing and wayfinding signage, a florist pop-up and advertisement posters with large brand logos mark this threshold between the Metro station and Magasin. Similarly, at the Fredericksburg station, a more understated entrance to Frederiksberg Centret branded with a simple logo overhead and posters guide passengers to the shopping mall. Like in the Square, spatial adjacencies to the external commercial city life have allowed for the graphics arts to emerge on the Concourse level.

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Fig. 17 — Nordhavn Station on M4 Line. Image: Christopher Tuyay (2023)

As for the M4 line, most stations currently share stations with existing lines so most remain standardized, however Nordhavn station brings an artful lenticular effect through the Concourse level. (See Fig. 17) As one enters, passengers notice the grayish blue wall that has a triangular texture that comes to a point. However, as one leaves the station through the concourse, the walls are red which in the transit color system means that one can transfer to a DSB train. If you look back, you can see the walls change as you walk. This playful yet purposeful use of the technique shows how designs of newer stations are starting to give more evident identity to individual Metro experiences.

These cases in the Concourse may not be the most “artful” in the traditional sense of the word, but they all show how in Lefebvre’s “lived space” - where it is more about feelings than logic - variations in the standardized aesthetic attempt to give passengers a better sense of place. Sculptural works have contextualized the local political and cultural surroundings; while graphic art’s incorporation of external visual culture destabilizes the spatial principles of uniformity but also enables financially sustained operations through the capitalist means.

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Fig. 18 — Concept for the Metro’s Deep Stations. Model.

Image: KHRAS Architects.

(2002)

Shifts in the Station Room While traveling, from the Concourse, down the escalators onto the platform, one can notice more variations in the stations’ identities. Although in a still more restrained approach, the Copenhagen Metro incorporated art into the design process and attempted to create individual identities into the station halls of the second generation of the M3/M4 lines. This shift towards stations with varied identities can be compared to the Stockholm Metro stations. In 1955, Stockholm Swedish Council met with a motion submitted for debate read “Although it may not be possible to turn each underground station into a fairytale castle, artists, sculptors, potters and craftsmen should, in association with architects and engineers, nevertheless be given the opportunity to create beautiful rooms and stimulating stations environments.” (Bennett 2004, p. 78) With 90 of the 100 stations “bound with arrays of stunning, outlandish, even overwhelming artwork,” the Stockholm Metro system welcomes art that distracts and plays an active role in the experience of stations. (Bennett 2004, p. 80) Not to the same extent at Stockholm in art’s physical presence, the M3/M4 stations attempt to bring more artful concepts into the design of the station halls.

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Fig. 19 — Station Room Claddings on M3 Line.

Nuuks Plads (top left); Nørrebros Runddel (top right); Paul Henningsens Plads (bottom left); Trianglen (Bottom Right) Image: Christopher Tuyay (2023)

For the M3 stations in the Cityringen, the stations are laid out the same as M1/M2 lines, however in response wanting “more of the same kind,” new colors and materials seek to give each station a local identity. “Wall covering materials and platform coverings are new and different. New colors and materials give Cityringen’s stations a local identity, from the colorful Vesterbro to the historic character of Indre By.” (The Architecture at Cityringen and Nordhavn, Copenhagen Metro 2023) The intent is that “the passengers must be able to keep track of where they are on their journey, and they must be able to recognize their local neighborhood.” (The Architecture at Cityringen and Nordhavn, Copenhagen Metro 2023) In my field studies, I stood in the same spot on the train and took a picture of the colors and textures of the different wall claddings of the entire M3 circle line. (see Fig. 19) With a few colorful exceptions, most stations had neutrual tones.

I would argue that an everyday passenger not related to design or architecture would

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have a challenging time distinguishing between the materials differences. (see Fig. 19) Moreover, do these really represent the community identity? Most of these cladding colors and materials would not be described as art but a design choice.

As an exception, Kogens Nytorv station has the only commissioned art in the M3 Cityringen. Installed in 2017 with the financial support of the Niels Wessel Bagges Art Fund, the permanent installation entitled “Coloured Mirror Balloons” by Danish artist Jeppe Hein features fiber glass reinforced plastic balloons with chrome lacquer “installed on the ceiling, to hang, like random, coloured, sparkling dots that lighten up each journey down and through the station - to evoke an impulse in people to look around, to connect, to be conscious of their surroundings.” (Hein 2023) With the height of the ceilings, it’s quite difficult to see one’s reflection in these 40-50cm balloons and make that visual connection with others. However, what is more interesting to think about is what these balloons represent. Is this installation placed at this specific station because it is more central and adjacent to a major commercial entity? With a greater flow of local Fig. 20 — Kogens Nytrov Station. Coloured Mirror Balloons by Jeppe Hein. Image: Christopher Tuyay (2023)

and international passengers, the commission of this piece of art could be made as an example to the general public - most likely international tourists - a shifting importance of Danish art in Metro spaces.

On the new M4 extension to Sydhavn, the Copenhagen Metro and Statens Kunstfond selected five renowned artists to create works for the stations. To mark a new perspective on art, the Copenhagen Metro mentions how “art moves down into the station room itself and becomes an integral part of the architecture” and that “it is the first time that art will be incorporated into the building from the very beginning.”

(Metro to Sydhavn, Copenhagen Metro, 2023) This marks a potential shift towards incorporating art earlier in the design process. By looking at each of the artists’ renderings, one can see how they plan to use art to intervene in the station rooms and introduce new emotions to the passenger experience. (See Fig. 21)

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Fig. 21 — Artists Renderings for new M4 Metro Stations.

Superflex (top left); Henrik Plenge Jakobsen (top right); Christian SchmidtRasmussen (bottom).

Images: Copenhagen Metro Website (2023)

All the artists vary in their approach to creating familiar and unfamiliar atmospheres in the station halls. At Havneholmen station, the Danish group Superflex has designed art works where “time and space are turned upside down, where the usual elements of the metro such as information screens and travel card stand can suddenly also be seen on the walls and in the ceiling. At the same time, the clocks at the station will run completely unpredictably to emphasize that the art at the station is deviant in both time and space.” (Havneholmen in 2024, Copenhagen Metro 2023) Playing with the existing standardized aesthetic, the concept by Superflex shows that art does not need to have its own visual language but can show an alternative approach to the design of a space.

In contrast, artist Henrik Plenge Jakobsen has taken a more decorative approach “with the work Stella Nova, which brings the sky down into the Ny Ellebjerg station. The station walls will be covered in shades of blue - from light sky blue at the top to deep and mysterious midnight blue at the bottom.” In addition, “a geocentric astronomical clock is also installed, which shows a precise picture of several of the celestial bodies’

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current position above Ny Ellebjerg.” (New Ellebjerg in 2024, Copenhagen Metro 2023) Similar to how the M3 stations change their cladding for each station, Jakobsen takes it a bit further the deep blue panels of seven shades and adds this other worldly clock that subverts the standard Metro clocks. Also working with the station wall cladding, artist Christian Schmidt-Rasmussen’s concept will paint two murals on the ceramic panels at Mozarts Plads station “where the present and the future are connected in a series of abstract figures, painted in strong colors on a deep black background.” (Mozarts Plads in 2024, Copenhagen Metro 2023) Although a dynamic composition with more personality than the M3 stations, this approach seems the most traditional application of artists adding a layer of art into the existing architectural surfaces. Through comparing these artistic approaches, one can see that art can feel integrated with the architecture but also dramatically changes the aesthetic and mood.

Fig. 22 — Artist Renderings for new M4 Metro Stations.

Pernille With Madsen (left); René Schmidt (right). Images: Copenhagen Metro Website (2023)

Some of the artists utilize the spatial flow of descending the escalators to emphasize how art influences the transition from city to train. (See Fig. 22) In Enghave Brygge station, artist Pernille With Madsen has created work around the station which starts on Concourse level all the way down the Platforms. She has created various “light works, abstract reliefs and concrete decorations, which connect high technology, archeology and geology.” (Enghave Brygge in 2024, Copenhagen Metro 2023) These works take the form of clay wall panels with integrated LED lighting that work with the existing wall modules - another example of integrating with the existing architectural design. On a larger scale, artist René Schmidt has created for Sluseholmen station “a huge steel sculpture will hang above the escalators. The sculpture’s multi-faceted surface will help spread the light in the station. At the bottom of the station, there will be a concrete relief with geological structures embedded in the concrete beam above the platform.”

(Sluseholmen in 2024, Copenhagen Metro 2023) Another way of bringing light down to the Platform, this piece has a more dramatic effect than the subtle pyramid and prisms of M1/M2 stations. Both artists show that art in metro stations is always experienced in motion and can evoke of sense of scale in a transit space.

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Because of the spatial pressure of entering the normally lower ceilings of the Concourses and descending into the open halls towards the platforms, much of the attention towards incorporating art is focused on the station rooms for more evident gestures for influencing the passenger experience. In this closer proximity to boarding the train, art can guide and leave an impression in this moment in the passenger’s journey after they know where they are going in the right direction but before they must focus on boarding the right train. Through the lens of Lefebvre’s production of spaces, the incorporation of artists earlier into the design stages starts to blur the lines where the logical space starts to get incorporated with the space of emotions, and therefore, art influences the perception of the spatial identity and place making.

DISCUSSION

Based on the analysis, one can see that in the ‘representation of space’ the initial design logic of the architects for the Copenhagen Metro supported this Modernist concept that stations should have a universal aesthetic and that art should have a limited presence.

However, as new lines begin to be constructed, the system becomes more complex; and consequently, in these ‘spaces of representation,’ passengers, communities and organizations around these stations look for more personal connections and societal identities. And through this, artistic interventions began to address these local needs in Lefebvre’s spatial practices - “to people’s perceptions of the world, of the world, particularly in its everyday ordinariness.” (Merrifield 2006, p. 110) Moreover, not only in the physical representation of art, but how and why certain artists are commissioned to present a particular identity. The choices of artists for the M4 stations seem to reflect an international Danish identity of a more diverse aesthetic but not in the choice of artists as individuals. Albeit there are a great many more non-Western examples beyond the scope of this paper, the comparisons with iconic metro systems like Paris, Stockholm and London were meant to add to this dialogue of how the Copenhagen Metro system wants to position itself in relation its international identity. Clearly, efficency and safety dominate this position; however, the choices in Danish artists for the newer M4 stations reflect a consideration in how Denmark wants to project a nationalist identity of sustainable design and flourishing creativty. In my conversation with Nille Sørrensen, we discussed the future of art in the Copenhagen system, and he mentioned that in current development for the M5 lines, there is again an absence of art in the design discussions. Was there a situation in the M4 design process where there was an issue with the incorporation of art? Was it an economic issue or were there political tensions between architects and artists? Nille and I went on to discuss that it could be less about art’s physical presence in these stations but bringing in not only art makers but art thinkers like philosophers, to challenge the approach in the conceived space. Although it may result in something more “controlled,” these artful practitioners can help push the spatial concepts forward without the often political and economic restrictions of physical works that often feel like an afterthought.

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CONCLUSION

As stations around the world become more regulated to be safer, more accessible, and efficient through standardized technologies like automated glass doors at platforms or escalators all the way to street level, architects and designers now question the role of art as either a decorative element for amusement or a spatial element with its own purpose for provoking emotions or creating certain societal identities. With its functionalist beginnings, the Copenhagen Metro system, as an unintended blank canvas, experienced a shift in art’s role through the gradual introduction of site-specific elements for wayfinding and localized identity. Still perpetuating the standardized elements that passengers can easily recognize, the question now for how the Copenhagen Metro system will continue to incorporate art to influence the design process. The answers may lie in the ways that the Copenhagen Metro system can harness art’s capacity to interconnect conceived and lived spaces and navigate the perception of these transitional spaces that is more than just places to mindlessly wait before moving to the next destination.

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BIBLIOGRAPHY

Figure References Fig. 1

Nille. Juul-Sørensen, and Lotte. Raabo Larsen. The architecture - the deep stations in daylight. Copenhagen: Ørestadsselskabet, 2002. Print., p. 23

Fig. 2

Diagram by Christopher Tuyay (2023)

Fig. 3

Nille. Juul-Sørensen, and Lotte. Raabo Larsen. The architecture - the deep stations in daylight. Copenhagen: Ørestadsselskabet, 2002. Print., p. 16

Fig. 4

ibid., p. 21

Fig. 5

ibid., p. 38

Fig. 6

ibid., p. 39

Fig. 7

ibid., p. 18

Fig. 8-9

Photos by Christopher Tuyay (2023)

Fig. 10

Olsen, Henrik Plougmann. Metrohegn is Byens Hegn. Copenhagen.

Metroselskabet I/S, 2019. First Edition., p. 34

Fig. 11-17

Photos by Christopher Tuyay (2023)

Fig. 18

Nille. Juul-Sørensen, and Lotte. Raabo Larsen. The architecture - the deep stations in daylight. Copenhagen: Ørestadsselskabet, 2002. Print., p. 15

Fig. 20

Photos by Christopher Tuyay (2023)

Fig. 21-22

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