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There is an old garden in Odense that has been hidden behind concrete buildings for many years. One day, the garden’s inner energy was given the opportunity to flow freely, so it breathed life, extending into near buildings and adapting itself to the historical quarter around. The garden raised to reach the green roofs of the future city, creating extraordinary spaces below. In fairytales, the real important virtues of the characters are in their interior, not in their physical appearance. So are the spaces hidden in the yard, invisible to the exterior due to the mirror dress that covers them and reflects the graden again and again enlarging it towards the horizon. Although the yard’s exterior appearance is unnoticeable, a great energy and fantasy within ends up enlightening the exterior. These hidden spaces beneath the garden are on the edge of the real world, so when every visitor passes through the threshold he moves into a fantasy world which he discovers in a personal and unique manner, depending on the age, the height, the position or the speed of each. “I would spread my branches far around, and look out from my crown into the wide world.” from ‘The Fir Three’
“He had eyes for all times and all people; eyes that could discover in the depths of the earth hidden treasures, and look into the hearts of men, as through a pane of glass; he could read more than is often seen on the cheek that blushes or grows pale, in the eye that droops or smiles.“ from ‘The Philosopher’s Stone’
“from the house down to the water side grew great burdock leaves, so high, that under the tallest of them a little child could stand upright” from ‘The Ugly Duckling’
The rising of the garden creates a magical fissure that leads to a fairytale underworld; one may learn and at the same time he might experience spatial, visual and olfactory contrasts. From there on, the visitor immerses himself in Hans Christian Andersen universe, visiting his birthplace or the memorial hall, reading his works or recreating them in the workshops and the scenario. Not even realizing it, the visitor has been ascending with and beneath the garden, finally finding himself at the top of the aerial world from where he can contemplate now the city rooftops. Once by the roof, the green deck now accompanies the visitor’s way down to the green heart of the garden. The incapacity of perceiving these spaces to the exterior incites the visitor to share orally his experience with people that have never been there, promoting, as in Hans Christian Andersen’s fairytales, the m-oral transmission among people.
“There was a looking-glass against the wall, into which a person might be in danger of stepping, for it was as large as a door. “ from ‘Under the Willow-Tree’
urban strategy The adopted strategy for designing the New House of Fairytales empowers through a one simple sign, a unique synergy among the old buildings of the historic Odense quarter, the new urban plan and the Lodze garden. The garden, besides its considerable expansion until the existing contiguous constructions, which joins the both sides of the plot and integrates the light rail tracks; it is perimeter framed and raises gradually through the House of Fairytales rooftop. Thus, the garden communicates the green rooftops of the new urban plan dwellings and offers a new vision of the city through an elevated viewpoint. In this last signal, the garden adapts the level and morphology of the next particular gabled rooftops dwellings. The new House of Fairytales respects the most important garden trees of Lodze, making them to be part of the project and creating a sustainable and respectful building with the surrounding. The areas of the current museum with historical and architectonic value not only conserve their original state but they also work as a link nexus of the new House of Fairytales spaces. Rather than creating a new intervention that joins the existing spaces, two new worlds are created; one is underground and the second one aerial; which are joined by Hans Christian Andersen universe (Memorial Hall, Nyhayn Room, Birthplace, and others expositive spaces). In addition, the project consolidates the perimeter frame and unifies the east backyards dwellings through an acupuncture urban strategy creating a front side in the façade according to the new use and flood of the space. In the area where the people flow is higher, the project is liberated in the ground floor generating covered spaces that invite to pedestrians to descend into a fairytale universe. This multifunctional covered space is converted in a meeting and aggrupation point for Odense citizens as well for the museum visitors, promoting a relation and communication between people of different generations and nationalities through an artistic creation as a mediator element.
views from the top
Hans Christian Andersen world as a link
storyteller
books market
performance
theater
cinema
Fairytale concepts
insignificant exterior
generational understanding
screenprinted fairytales
tree house
magic waterfall
kids world
The building is shown in a different manner according to the observer’s height. Through an innovated lenticular system, children watch tale silkscreen drawings in the façade; meanwhile the adults watch
the same tale in a written way. As in the fairytales in which the exterior appearance is not the real important fact, the building disappears in the exterior, extending the garden until the horizon
through a multiple reflection game.Hans Christian Andersen fairytales flow to the building exterior through a silk-screen printing façade in order to enjoy his tales without the necessity to en-
ter to the House of Fairytales. The project evokes different extraordinary spaces as well as in fairytales. There are net elements in the trees that cross the project, so these tree houses let the visitors to
be suspended in the void. Before entering the museum, visitors find a waterfall that overflows from the garden. Once inside the museum, they experiment the extraordinary sensation of being inside this waterfall.
In the interior of the museum, there are many different magical spaces in which only children could access because the height of these spaces do not allow entering an adult; however, they could look these spaces from above.
The proposal design for the new House of Fairytales resolves all the necessities of the future building through one only architectonical signal. The intention of raising the garden until the neighboring roofs in a rampant course provokes the building to elevate enough for allowing a pass-through under itself, inviting the visitor to enter. From the covered zone, it is possible to descend to the underground plaza through an opened air stands, which promotes the relation between the House of Fairytales visitors and Odense’s citizens. This public space becomes a cross path between the pedestrians that descend from the street and the people who arrive from the underground parking, crossing the stands under them. This space becomes a neuralgic point of the project; there is the entrance and the exit of the museum, the shop (which is related to both, the underground parking and the plaza), the vertical core that communicates all the project levels, an information point that could work independently from the House of Fairytales, and the magic waterfall that comes from the garden level. When the visitor enters into the House of Fairytales, he finds the reception and the cloackroom areas, then he could access to an exposition zone on the underside of the waterfall, which is also seen from the interior. A rampant space of two-way generates an exposition area, which height goes diminishing as the time its distance is covered. In this way, only children could fully enjoy this space; however, adults could look at this space from the ramp on high. This ramp allows visitors to ascend to Hans Christian Andersen’s universe, in which there are the Memorial Hall, the Birthplace, the Nyhayn Room, and other expositors spaces. Thus, the preexistence is now a physical and symbolic union nexus between the underworld and the aerial world. Behind these spaces, the visitor continues his route to another exposition room that gives way to an ascending staircase accompanied in parallel by a big library that contains the entire Danish author written material. In this stairway gallery it is possible to do different activities as lectures of the library tales, workshops, cafeteria, among others. Closely linked to this space, there is a new Tinderbox, transformed now in a multifunctional space that could contain all kind of activities thanks to its compartmentalization adaptability, being able to vary its shape from a big bright and clear 470sqm space into nine independent rooms, which areas could reach from 15sqm to 56sqm. They also could be joined according to the activity’s requirements. From this space, there is a direct vision to the plaza’s entrance, as well as the Memorial Hall dome. In this point, the visitor could finally ascend to the viewpoint roof, from which it is possible to enjoy the city’s views above the neighboring dwellings roofs. This garden-roof accompanies the visitor on his way downwards to Lodze garden’s core, where different spaces go alternating: terrace – cafe, a small outdoor staircase, rest areas, playground zones, recreation areas, among others. At the end of the descent, the visitor faces the cafe that communicates in a transversal manner the Lodze garden with Bangs Boder. After experiencing the way downwards to the cafe, the visitor goes back to the entry point: the underground plaza, where he could finish the visit in the shop and going to the street or the underground parking.
sustainability
implantation
climate research
PRECIPITATION (mm)
°C
100,0
30,0
320 316 312
90,0
324
328
332
336
340
20,0
10,0
24
23:00 28
32
22:00 36
21:00
40
20:00
48
19:00
52 56
18:00 60
5%
17:00
64
4%
292 288
68 72
3%
76
280
2%
80
276
1%
84
272
50,0
20
44
300
60,0
12 16
6%
284
15,0
8
7%
296
70,0
4
8%
304
80,0
0
9%
308
25,0
352 356 344 348 10%
88
0%
268
92
264
40,0
260
236
‐5,0 JAN
FEB
MAR
APR
PRECIPITATION (mm)
MAY
JUN
JUL
DAYTIME TEMP
AUG
MEAN TEMP
SEP
OCT
NOV
0 ‐ 2,3
16:00 15:00 14:00 13:00 12:00 11:00 10:00 9:00 8:00 7:00 6:00 5:00 4:00 3:00
128
228 224 220
DEC
100
124
232
0,0
2,4 ‐ 5,5
120
240
10,0
96
116
244
0,0
5,6 ‐ 7,5
112
248
20,0
7,6 ‐ 12
108
252
30,0
>12
104
256
5,0
SPEED m/s
2,5-3,0 EXCESSIVE HEAT 2,0-2,5 1,5-2,0 1,0-1,5 HEAT 0,5-1,0 0,0-0,5 CONFORT -0,5-0,0 -1,0--0,5 -1,5--1,0 COLD -2,0--1,5 -2,5--2,0 EXCESSIVE COLD -3,0--2,5
216
212
208
204
200
NIGHTTIME TEMP
temperature/precipitation
196 192 188 184
180
168 164 176 172
160
156
152
148
144
132 136 140
2:00 1:00 JAN
wind
FEB
MAR
APR
MAY
JUN
JUL
AUG
SEP
OCT
NOV
0:00 DEC
confort diagram
the proposas respects the existing trees and creates an urban forest
relative humidity (%)
global horiz. radiation (Wh/sq.m)
solar analysis
sky cover (%)
the building grows looking for the solar radiation
Passive and active strategies
skylight bio function
solar acces 58º 21 jun 35º 21 mar/sep
11º 21 dec
annual shading
north
south
winter: glass stays closed accumulating heat
solar height 21 march
20:30 h 21 jun
15:30 h 21 dec
21 june
sun path
Double glass skin: In winter, it acts as a greenhouse, heating the inside air and recirculating it into the room. At night, it’s protected with insulating preventing losses. In summer, it works as a ventilated skin, being the inner glass a witchable mirror that can be switched between reflective and transparent states to control solar gains. At night, it drives air inside for free cooling the space. Skylights: In winter they stay closed accumulating heat and distribute it. In summer, they stay opened generating natural cross ventilation.
04:00 h 21 jun
09:00 h 21 dec
the proposal continues the green roofs to reach the garden
21 september
passive and active strategies winter day strategy: solar gain nigth strategy: heat conservation
21 december
summer: glass stays opened generating natural cross ventilation
summer night strategy: free cooling
day strategy: solar reflection
Thermal mass: Part of the museum is buried to get ground inertia benefits, lowering interior and exterior temperature differences. Also thermal mass materials are used in the whole building. They accumulate heat from sun in winter, and purge solar gains on summer by night ventilation, giving heat or cold back to the interior space when sun goes down on winter or in the morning summer. Green roof: increases insulation and thermal inertia returning to the environment the occupied space. Active design strategies: semitransparent photovoltaic and thermal panels installation and radiant heating and cooling through the structure (Thermally Activated Building System) due to a geothermal exchanger.