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Fuglsang Kunstmuseum
Fuglsang Kunstmuseum
71, Nystedvej, Toreby L, Toreby, Denmark
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Other Projects by Tony Fretton Architects
Fuglsang Kunstmuseum
71, Nystedvej, Toreby L, Toreby, Denmark
YEAR
2009
SIZE
100,000 sqft - 300,000 sqft
Fuglsang Kunstmuseum is a purpose built regional art museum
designed by Tony Fretton Architects to house the Storstrøm Art Museum’s
permanent collection of Danish fine art dating from the period 1780-1980. The
2,500 sqm building also houses new galleries for temporary exhibitions, a shop,
a café, a learning centre, administration spaces and storage for the museum’s large collection of painting and
sculpture.
Unlike the
location of an urban museum that is reached through the room-like spaces of a
city, to go to Fuglsang entails a long journey through open countryside, where
the landscape and sea take on immense significance, finally arriving on a long
straight road through a loose assembly of buildings to a courtyard at the heart
of the Estate.
The new museum is
a low-rise building, which sits discreetly within a loose assembly of rural
buildings. Like the red barn and the forge in the surrounding
countryside, the Museum extends into the fields while
having a strange axial but offset relation to the most significant of the
buildings, the Manor House and its formal surroundings. Connection between the
two buildings is further established by the profile of the museum with its
arrangement of three diagonal roof lights, which relate to the three gables in
the façade of the Manor House.
Like the buildings
around the courtyard, and many classic works of Danish modernism, the facades
of the Museum are constructed from brick. As in the barn on the west side of
the court, they are painted white and the roof lights are in a grey brick to
match the colour of the roofs of the buildings around it.
A canopy of
painted metal in the form of an open sided cube, low and wide, provides shelter
from the rain, and is matched by a glass wind lobby of equal scale and transparency
in the entrance foyer within the building.
One end of the foyer is arranged as a café, the other as a
bookshop and reception area, both of which look out through extensive windows to the
courtyard on one side and the other into a public art studio and beautiful
existing garden behind it. A glass door in the reception area shows the way to
the library and offices on the first floor, and other doors indicate the
lecture hall, toilets and place to hang your coat.
The foyer is a public
place in which everything is where it can be found and enjoyed in the company
of friends and strangers within the landscape and spaces of Fuglsang. From
within it there is a line of sight to the long central gallery of the Museum.
The galleries are
very different in scale and character from the public space of the foyer and
are places into which groups of visitors can spread out and immerse themselves
in the collection. At the end of
the central gallery is a fully glazed room offering views of the sea and
landscape, which is intended as a place to rest and reflect.
designed by Tony Fretton Architects to house the Storstrøm Art Museum’s
permanent collection of Danish fine art dating from the period 1780-1980. The
2,500 sqm building also houses new galleries for temporary exhibitions, a shop,
a café, a learning centre, administration spaces and storage for the museum’s large collection of painting and
sculpture.
Unlike the
location of an urban museum that is reached through the room-like spaces of a
city, to go to Fuglsang entails a long journey through open countryside, where
the landscape and sea take on immense significance, finally arriving on a long
straight road through a loose assembly of buildings to a courtyard at the heart
of the Estate.
The new museum is
a low-rise building, which sits discreetly within a loose assembly of rural
buildings. Like the red barn and the forge in the surrounding
countryside, the Museum extends into the fields while
having a strange axial but offset relation to the most significant of the
buildings, the Manor House and its formal surroundings. Connection between the
two buildings is further established by the profile of the museum with its
arrangement of three diagonal roof lights, which relate to the three gables in
the façade of the Manor House.
Like the buildings
around the courtyard, and many classic works of Danish modernism, the facades
of the Museum are constructed from brick. As in the barn on the west side of
the court, they are painted white and the roof lights are in a grey brick to
match the colour of the roofs of the buildings around it.
A canopy of
painted metal in the form of an open sided cube, low and wide, provides shelter
from the rain, and is matched by a glass wind lobby of equal scale and transparency
in the entrance foyer within the building.
One end of the foyer is arranged as a café, the other as a
bookshop and reception area, both of which look out through extensive windows to the
courtyard on one side and the other into a public art studio and beautiful
existing garden behind it. A glass door in the reception area shows the way to
the library and offices on the first floor, and other doors indicate the
lecture hall, toilets and place to hang your coat.
The foyer is a public
place in which everything is where it can be found and enjoyed in the company
of friends and strangers within the landscape and spaces of Fuglsang. From
within it there is a line of sight to the long central gallery of the Museum.
The galleries are
very different in scale and character from the public space of the foyer and
are places into which groups of visitors can spread out and immerse themselves
in the collection. At the end of
the central gallery is a fully glazed room offering views of the sea and
landscape, which is intended as a place to rest and reflect.
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