Author: Alex S. 

Analytical Frames

Power and priority of space in and around the site

Why this building? Analyze the conditions behind the creation of the museum within it’s larger environment close to a large urban area, and if/why it is one microcosm example of Danish modernism and its specific fondness for natural, unpretentious elements in contrast to “urban” modernism. Collected review of museum elements (site, structures, landscape, housed art) and their implicit or explicit allusion to agency of spatial use, and how/why that agency was wanted in the promotion of modern art.

The below example is the Kastellet, a 17th century fortress in Copenhagen, that is still guarded today but is also open as a public park space for community use. The site was used by the occupying Germans during WWII and the reuse of the site as a public park alludes to the power of the community within authoritarian structures – as it is also still used by the Danish Defense Intelligence Service, among other military-adjacent organizations.

Kastellet,, Copenhagen, 1664

Intention of modernism’s application to design

Examine modernist language in descriptions and/or statements of intent about the museum and note possible examples and success of said intent within the built structure, and why said intent was sought. Was modernism the best design movement to translate modern art, as would be assumed? Functionalism is a main factor of the modernist movement and simple, rectangular forms often appear to be the most functional approach to a building.

Museum founder Knud W. Jensen found the simple forms of the museum to be accessible to visitors, unlike a large, crowded cathedral. He wanted the museum to be approachable and public, instead of a “social vacuum” as described in his interview with Lise Skjøth in 1989. Modern museum design follows similar simple forms, white walls, and lack of additional ornament. An interesting example is the Rietveld Schroder house, which is now a museum but of course began as a private residence. Does the dual modernist identity enhance this museum experience?

Rietveld Schröder House, Gerrit Thomas Rietveld, 1924

Variation of spatial experiences inside and directly around museum

How does interior architecture create natural flows and ebbs of visitors through space? Look for instances of interior architecture influencing or intending to influence the flow of visitors in a specific way and describe and analyze those potentials.

The SMAK art museum in Ghent, Belgium, is due to undergo an upcoming refurbishment by David Kohn Architects, based in London. The design incorporates many varieties of structures and walkable offerings that intrigue visitors and offer playful forms using existing historic buildings. The designers and museum intent for this refresh to reconnect the museum with the community. Although not yet built, I can envision the thematic setting becoming a public space for a larger variety of activities aside from art viewing.

Render of SMAK museum redesign, David Kohn Architects, 2024

Critical evaluation of design choices

Based on David Leatherbarrow, Summary of Crafting Architecture Criticism. Critical evaluation of museum’s surrounding context and original site structure. Review of the social context and the visitor experience and how those perceptions influenced design choices and the level of success of those choices.

Louisiana’s design intentionally leads through the original villa located near the entrance of the site, and then through and towards the modern architecture and natural spaces. Viewed from above, the path is not perfectly straight, but plays with the descending and site-crossing topography as is moves through modernity to the final structures, the kitchen and cafeteria.

(Louisiana Museum site plan of taken from Progressive Architecture. Reinhold, 1945-1995, https://usmodernist.org/PA/PA-1960-12.pdf. Highlighted is the original villa that predates the museum.)

Impacts of economic power on design and intent

Based on David Harvey, he Right to the City: From Capital Surplus to Accumulation by Dispossession. Impacts of economic power on the museum by founder Knud W. Jensen and intent to promote modern art. For example, the significance of the museum founder’s family business fortune on the development and promotion of modern art through the museum itself and its publishing arm, the Louisiana Levy (Louisiana Revue).

The below image shows the new location of The Pérez Art Museum (formerly the Miami Art Museum) in Miami, Florida, following a $40 donation from billionaire Jorge M. Pérez. Large monetary and collection donations to museums have a historic legacy of changing the name of museum’, or adding a new named wing, and there are connotations to that which imply control over the museum itself. Even in cases where there is no request by a large donor or oversight, the ability to influence the promotion of art in such a profound way is a direct result of economic power.

Pérez Art Museum Miami, Herzog and de Meuron, 2013

Warmth and domesticity relationship with modernity

Based on Hilde Heynen, Leaving Traces’: Anonymity in the Modernist House. Uses of domestic design in sync with modern architecture or in contrast against it. For example, interiors designed to be living-room-like, intended to replicate the feeling of a home. The below images show the gathering spaces within the museum where visitors could linger (and considering the 50s and 60s, smoke). Does this increase the accessibility of modern art and work to promote the museum’s perceived intent?

Gathering areas within Louisiana Museum, 1960

Built space growth mimicry to nature

Based on Skjøth, Lise, 1989, Denmark’s Louisiana Museum—Age: Thirty; Status: Work‐in‐progress (Interview with Knud W. Jensen).  Analyze instances of natural mimicry and allusions in the building design and the relationship between existing and new buildings over time. Effect of spatial growth on the landscape and vibe of the museum experience over time.

The below diagram shows some of the evolutions to the site over time and how it works around the sites topography and grows with the population of the area.

(Diagram of museum site from Romagnoli, Emiliano, 2024, Jørgen Bo & Vilhelm Wohlert. Louisiana Museum, Hamlebæk, Danimarca. Shows the changing museum space and proposed changes over time.)

Agency of visitors in an institutional space

Based on Romagnoli, Emiliano, 2024, Jørgen Bo & Vilhelm Wohlert. Louisiana Museum, Hamlebæk, Danimarca. Museum’s intentional allowance of visitor choice in direction and action in response to museum structures and landscape. Normalization of art in daily life and review of examples of optional-use spaces for gathering.

The development of increased community space and unexpected variety and/or whimsy of said space can increase the individual agency of the inhabitants. The Rolex Center engages visitors with the unexpected and in turn reworks typical social conventions by intertwining commercial and public space with imagined waves and skylines.

Rolex Center, SANAA, 2010

Relationship between differing elements against one another

How is balance created or put-off by the relationship between all of the various museum elements – original site, park, museum structures, and displayed art? Examination of the blending of indoor and outdoor elements to bring art into the natural world, and vice versa.

A revitalization project, Enabling Village in Singapore centers its many reused and renovated buildings from the 1970s Bukit Merah Vocational Institute located on the site. The redesign intends to increase inclusivity with integrated art by autistic artists and wheelchair-friendly pathing, among other accommodations for people of many varying abilities. Combined with the heavy biophilic focus the effect is deeply calming, showing a beneficial relationship between these elements.

Enabling Village, WOHA, 2016

Revised Outline – proposed revisions are italicized 

1. Introduction

a. Brief description of the Louisiana Museum of Modern Art
b. Thesis question and statement: Louisiana Museum’s effective use natural materials and domesticity within a greater theme of modernism influences the experience of visitors towards modern art and reflects Denmark’s social structure in its unassuming structure intimately embedded into the landscape. How does the Louisiana Museum of Modern Art reflect and influence Denmark’s social society and general acceptance of modernism, particularly through its external and interior architecture and its integration with the natural environment?

2. Historical Context

a. The intent of the museum’s founder and context of obtaining the site in relationship with the promotion of modern art
b. Danish modernism overview:

i. The state of Danish modernism in the mid-20th century
ii. The state of Danish welfare in the mid-20th century

c. History of Danish landscape architecture and relevance to the Louisiana Museum
d. The location of the museum and site history, specifically the continued use of the original site’s Villa as the entry point to the museum
e. The architectural design of the museum and the incorporation of original structures and natural environment

3. Museum Design:

a. The Museum’s Relationship to the Landscape

i. The museum’s location and its connection to the natural environment
ii. The use of landscape architecture in conjunction with built structures
iii. The museum’s relationship with the social and cultural landscape

b. Museum’s Modernist Design and Inclusion of Domesticity

i. Elements of international modernism in the design and said modernism’s relationship with domesticity and social gathering
ii. Elements of Danish and Scandinavian design within the larger genre of modernism
iii. The use of materials, light, and spatial volumes to mimic domestic space in possible attempt to naturalize modern art within Danish life

4. The Louisiana Museum as a Reflection of Danish Society

a. How the museum’s sensory experience through Danish modernist design mirrors the natural and cultural landscape and connects with Danish public life and mutual welfare
b. How the museum captures the intent of the founder and architects and their goal to house and promote both Danish and international modern art
c. Contrast between newer buildings that primarily house international and “urban” modern art and the older buildings housing primarily Danish modern art

5. Conclusion

a. Review of key findings of the use of the museum’s space and form in relation to the natural landscape, historical site, modernism, and domesticity. 
b. How the key findings support our thesis statement
c. Possibilities for future research