ECO
“The freedom of space Natural light is used throughout
provided by Tony’s design the museum and brings the
impressed us and eventually we art works’ colours out in a way
all agreed that by choosing the best suited to the human eye
layout he suggested, we knew
we’d have a building that would presently as green as we’d
not only look stunning, but like to be,” she says. “The
would also be functional as a museum is heated by oil, but
working museum.” we’re working on alternative
Fretton’s solutions include solutions. We’d very much
a walk through fl oor plan to like to decrease our energy
manage visitor fl ow, as well consumption, but there are
as the creation of four ‘art currently two main obstacles
pockets’ – 7sq m (75sq ft) to this. One is that the initial
spaces, each housing a solitary investment in energy saving
piece of art. “The pockets are measures is not cheap. All our
very little rooms in which you funding has been used in set-
can only have one person at ting up the museum so huge
a time alone with one piece investments are not possible
of art,” says Petersen. “We at the moment. The second
wanted to offer an intensive art
FRETTON SUGGESTED THAT RATHER
obstacle is one faced by all
experience. It really works too – arts institutions – we need to
people pass by and say ‘what’s
THAN SHUTTING THE VIEW OUT, IT
maintain heat and humidity at
going on in here?’, ‘Why is this levels that avoid damage to the
hanging here by itself?’ and
BECOME A DEFINING FEATURE. THE
art works. In a climate such as
they decide to have a look”. Denmark’s, where the tempera-
FRAMING OF THE VIEW HAS
ture changes wildly over the
LIGHTING year, this is increasingly hard.”
Construction work on site BECOME THE ICON OF FUGLSANG Petersen adds that the
began in August 2006 and the museum concentrates on
museum opened to the public in January for hanging art works,” Petersen explains. other, more affordable measures. “We use
2008. From the outset, emphasis was Secondly, you need natural light to render organic, local foods in our café, organic
placed on the building being sustainable works of art and bring their colours out in cleaning products in galleries and we use
while the brief also outlined the trust’s a way best suited to the human eye. You recycled paper in all administration. We’ve
somewhat unusual intention to use natu- also need natural light for the wellbeing of also introduced a best practice policy on
ral light throughout the galleries. Only a the guests. You need that kind of ‘niceness’ saving energy and turn off offi ce machines
single exhibition room in the entire gallery to make people feel OK being indoors. I and lighting in unused and empty spaces.
depends entirely on using artifi cial light. believe that if visitors are made to feel that
“First of all, we wanted roof-lit art gal- they’re entering a confi ned space where all FUTURE
leries in order to have the wall space free the light has been blocked out, then they It’s been a somewhat whirlwind start for
tend to stay for a shorter period and might the museum, which celebrates its two-year
miss out on the art experiences that take a birthday in January 2010. But what will the
LIGHTING
longer time to take in and refl ect on.” future hold? Petersen says that despite
All the lighting solutions were The design also takes into account attracting more than twice as many visitors
designed in partnership by Tony the adverse effects of direct sunlight on as expected in the fi rst year, the annual tar-
Fretton Architects and ALECTIA A/S. artworks. The intensity of the light is con- get will be kept at around 25,000. This will,
The equipment and components were trollable in order to protect the artefacts however, be increased if plans to expand
supplied by ERCO and Louis Poulsen. by using fl exible shutters and roof lights. Fuglsang’s artistic offerings are realised.
In the reception, cafe, lecture and Fretton adds: “It was a mutual decision Although there are no offi cial plans as yet,
learning centre, Fretton has used a to have a large amount of daylight in the Petersen sees scope for expanding the site.
combination of ERCO T16 linear fl uo- galleries. The amount of daylight can, how- “We have room for more, and I believe
rescent battens and Tolbod pendant ever, be incrementally reduced to complete so does the chamber orchestra,” she
fi ttings by Louis Poulsen. darkness by using the shutters and roof says. “There are many empty agricultural
In the exhibition galleries, the light- panels to create a range of different condi- buildings we’d like to add on and fi ll with
ing comprises of adjustable OPTEC tions in each gallery. It is very fl exible.” cultural activities. Increasing visitor num-
wall-washers and spots on ERCO 3 The use of natural light means that the bers is dependant on the ability to make
circuit track. There are linear fl uores- museum is able to make savings in its progress with the rest of the buildings here.
cent battens mounted in edges of electricity costs. Petersen, however, is Hopefully the art museum being built here
skylights to supplement daylight. constantly looking for more ways to reduce is the fi rst phase of a the creation of a large
the museum’s carbon footprint. “We aren’t cultural centre at Fuglsang.” ●
74 Read Attractions Management online
attractionsmanagement.com/digital AM 1 2010
©
cybertrek 2010
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