Education Chair no. 2 by Daniel Svarre 2018


The annual Autumn fair in Copenhagen for contemporary art opened on Friday 31 August and then continues through the 1 and 2 September. CHART celebrates “Copenhagen’s tradition of art, design and architecture, and its values of liveability and inclusion.”

The main venue - with 32 galleries from the Nordic region participating to show paintings, drawings, sculpture and photography - is in the rooms on the first floor at Kunsthal Charlottenborg … the home of The Royal Danish Academy of Art on Kongens Nytorv .

Over the weekend there are also many events including CHART FILMS, CHART TALKS and CHART PERFORMANCES and CHART MUSIC.

Kunsthal Charlottenborg






This is the sixth ‘edition’ of CHART but, for the first time, there is also a CHART Design Fair at the gallery of Den Frie on Oslo Plads in Østerport where twelve galleries from Denmark, Finland, Norway and Sweden are showing furniture and contemporary glass and ceramics.

In the basement gallery at Den Frie is an installation by benandsebastian entitled Department of Voids … a space in two halves divided by a glass wall with the two parts mirrored … one with empty museum storage cases and the answering part beyond the glass with the objects reimagined and in glass.

Den Frie


Abstracta by Kasper Akhøj from Galleri Feldt


Galleri Feldt were at CHART DESIGN at Den Frie gallery in Copenhagen with a fascinating show of the display system designed by Poul Cadovius in 1960. 

It was a modular system with metal tubing connected by knuckled joints to form cubes of different sizes to create a flexible display system for exhibitions. The joints were the key to the system - each with up to six prongs in eight different shapes. Cadovius even used scaled up frames to construct geodesic-style domes that were used at the Copenhagen Furniture Fair in 1961. 

A module of the system is in the collection of the Museum of Modern Art - donated by the business man Charles Mauro after he negotiated with Cadovius to manufacture and sell the tubing and the links or joins in the USA. 

In 2006, when travelling through the countries of the former Yugoslavia, the Danish artist Kasper Akhøj was intrigued by what seemed to be an almost ubiquitous display system surviving in shops and department stores but also used on the street for market stalls. 

Then, and on subsequent trips over the following twelve years, he pieced together the story of how the Danish system was produced first in China and sold to the Yugoslavian state and then was manufactured in various forms in Yugoslavia … the spread of the system reflecting the complex political situation and an uneasy relationship with the concept and then the reality of consumerism in a communist political system. Akhøj  acquired pieces and their packaging and part of the collection was on show at Den Frie.

Galleri Feldt have produced a pamphlet - a folded poster - with text by Ronah Sadan setting out the story. To quote the conclusion ……

… the history embedded in the structures Akhøj produces, imbues them with ontological instability and, by extension, turns them into symbols for the vulnerability of artistic agency: as Abstracta’s fate ultimately eluded Cadovius’ control, the fate of Akhøj’s work - and of works of art in general - is ultimately not in its originator’s hands.” 

Copenhagen Contemporary

Copenhagen Contemporary is an independent institution for modern art.

From June 2016 they ran a pilot project in the warehouses on Papirøen - Paper Island - in the centre of the harbour just south of the opera house - where CC took over four of the halls and were there until the end of 2017 when the buildings were returned to the developers for demolition and for work to start on new apartment buildings on the site.

Now, with funding from the city and from private organisations, Copenhagen Contemporary have reopened in a larger space - some 7,000 m2 - in what was the welding hall of the shipyard of Burmeister & Wain.

The ship yards were closed back in the 1990s and for the last two decades the area has been taken over by small workshops and boat repair yards. A yacht repair company, the restaurant Amass and La Banchina - a popular cafe and bar - established new businesses out here and this summer they have been joined by the new food market - many of the stalls also relocating from Papirøen - and there will be more artists' studios and craft workshops opening as more of the buildings are adapted.

Copenhagen Contemporary has a lease here for 10 years and they have ambitious plans to establish a new space for the display of modern art in the city and particularly for large-scale installation and performance art. 

The city is gaining a major new venue on the lines of the galleries in Gateshead and the Turbine Hall at the Tate in London or the galleries at MoMA in New York and the programme here should compliment exhibitions of modern art at the established galleries in Copenhagen with Den Frie, GLStrand, the space of the Kunsthal in the former church of Sankt Nicolaj and the galleries of the Royal Academy at Charlottenborg - all in the centre of the city or close to the centre - and the gallery down the coast at Arken and, of course, Louisiana - north of the city with its amazing location on the shore of the Sound.

Work on the building for the gallery on Refshaleøen has kept many of the features from its industrial use with huge sliding doors, high exposed roof structures and high-set windows that flood the space with light and give views out to nearby workshops.

In the next phase of development, space on the upper level will be opened for CC Studio for their proposed education programme.


previous posts on danish design review

Copenhagen Contemporary

Copenhagen Contemporary
Refshalevej 173a
1432 København K


CC online / graphics

Copenhagen Contemporary has an online site with exemplary graphics with a minimalist layout that uses open space in the best possible way.

The CC logo is dynamic so responds to the screen size and to scrolling.

Typography and the deep orange colour are taken through publications and signage at the gallery.

Copenhagen Contemporary online


One Two Three Swing! by SUPERFLEX



The first major installation for the opening show in the large main gallery space of Copenhagen Contemporary is by SUPERFLEX - the Copenhagen collective established in 1993 by Jakob Fenger, Bjørnstjerne Reuter Christiansen and Rasmus Nielsen.

This work was created in 2017 and was shown first in the Turbine Hall at Tate Modern in London. The swings are each for three people and the metal tubular framework runs through the whole space at different angles and is even taken through to the outside to mark out and create spaces and routes through the hall. The repeated but separate movement of each swing is an expression of a common human experience from childhood but also shows the potential energy from the collective action of three people working together.

In the second hall the carpet there - reflected in a great silver pendulum - is woven with stripes in the colours of a Euro note.

at Copenhagen Contemporary, Refshalevej 173A until 30 December 2018

One Two Three Swing! /  SUPERFLEX at Tate Modern 

One Two Three Swing! / Copenhagen Contemporary


upcoming work on the forecourt and entrance to Designmuseum Danmark

Work will start in May on some major changes at the design museum with plans for the alterations by COBE … the Copenhagen architecture and planning studio. 

The museum is in an important 18th-century building that was a hospital. A cobbled forecourt with iron gates and imposing stone gate piers along the street is flanked by detached pavilions that were part of the original construction - the pavilion to the right being the hospital pharmacy - but these are not currently used by the design museum for the public.

The main building faces you as you enter the courtyard and the entrance is in the centre of the front, emphasised by a pediment. Through the door there is an outer hall flanked by staircases and with access to cloakrooms on either side and then there is an inner hall, directly opposite the entrance, with the ticket desk and information, in a relatively small square space overlooking a large internal green courtyard beyond. The museum shop is at the left-hand angle of the building currently in three rooms but also with storage space. 

The ticket desk and the museum shop will be moved into the forecourt level of that right-hand pavilion so visitors will have to do a hard turn to the right as they come in through the gateway from the street into the forecourt … not difficult but then not obvious … and then, after passing through the shop and a new cafe, they will have to leave the pavilion and cut back to the centre of the main front, crossing the back of the forecourt, to enter the museum by the present door. 

One obvious advantage will be that people will be able to visit the shop without having to buy a ticket and it will free up important space in the building for exhibitions and the display of more objects from the permanent collection.

This being Copenhagen, better provision has to be made for bikes for the number of visitors who arrive on two wheels so there will be a new set of bike racks between the pharmacy pavilion and the main front of the building, tucked away behind the new cafe ... most visitors seem to leave their bikes in the forecourt. 

photograph and drawing from COBE


Certainly, the forecourt comes alive during major events at the museum - like the night of culture in October when there were braziers and displays out here - so, in effect, to move the museum out to welcome the visitor in, COBE have proposed that there will be several purpose-built display cabinets outside and the cobbles of the forecourt will be relaid - presumably to smooth out the fairly uneven surface there now - and there will be tables and chairs here for the new cafe. 

The stone steps up to the main entrance will be removed and replaced with a long ramp for access … to replace a ‘temporary’  metal ramp there now that sits over the stone steps.

I admire the work by COBE enormously but here do have some reservations. The building has a symmetry that is a strong part of its character and a certain severity, because it was a hospital, that again is important as a deliberate and original contrast with the exuberance and decoration of many of the 18th-century palaces and grand houses in the adjoining streets.

Kaare Klint, when he oversaw the conversion of the building, to make the hospital into a museum, carefully and deliberately respected that symmetry. It was almost an obsession … the pair of staircases in the front range and the pair of staircases on the opposite side of the building might be taken to be original but were designed by Klint. Also Klint was meticulous about his choice of colours and finish … everything in the building is of a high quality and everything is properly made but it is always restrained and always stays on the right side so can never be described as mechanical … Klint pursued quality and craftsmanship but not perfection for its own sake and that gives even the plasterwork - or the cobbles - a warmth and a texture that is nowhere mechanical or cold.

That is why, perhaps, the the cobbles or setts of the forecourt should not be too regular and do the placement of large outside display cases and new trees in the forecourt possibly distract from the design of the front?

the existing stone steps up to the entrance of the design museum and the even grander stone steps at Amalienborg to show how these worked in terms of architectural rules and conventions in the 18th century and the bull-nosed moulding and the decorative tooling on the stonework are essential and typical features of 18th-century work


on the opposite side of the museum, Klint created an entrance for deliveries into the main courtyard and this was treated like carriage arches in the city with steps omitted and the cobbles running right up to the door


Sunday of the recent Easter weekend. It shows just how busy the museum is and actually this is not a sign of an over-slow ticket system ... the museum was overwhelmed and for a short time had to slow down access to let new visitors in only as people left. While I was there no one in the queue complained and no one coming into the forecourt turned away on seeing the queue so that's quite some endorsement of the reputation, success and popularity of the museum 

Obviously the ramp up to the door is understandable but again there is a subtle point to be made about the original architecture. The carefully-designed and well-made stone steps up to the doorway have two functions … first to give that sense of entering - so a deliberate and important transition from outside to inside - but also the dark line of the stone has a visual role … perhaps rather subtle but it is a use of correct architectural grammar absolutely appropriate to this classical building … the horizontal line of the darker stone of the steps is almost like a punctuation mark or an underlining of the door. Take that away and it weakens the composition of the facade.

Look around the streets here and you can see how carefully architects and masons designed and made entrance steps. This does does not and cannot trump the right that visitors have for direct and easy access to the museum so one solution would be to pull the stonework of the steps forward, to create a level apron or landing in front of the door - there are good classical precedents for such a design - and then take the ramps in cobbles or stone down each side. That might even work better with the new approach line from the left-hand door of the pharmacy building where people will move from the ticket desk area to the museum itself.

Frihedsmuseet / Museum of Danish Resistance

Work on the new museum of Danish Resistance on Churchillparken seems to be moving forward fast with the excavation of the site visible through windows in the hoardings. The construction of a new museum followed an arson attack in April 2013 that destroyed the building although the collection and the archive was saved. 

Following a competition, the new museum has been designed by the architects Lundgaard & Tranberg whose scheme has an oval pill box like structure for the entrance at the level of the park but with the display galleries set underground … a compact and restrained design for a building that is in a sensitive location.

The timber buildings of the old museum certainly had a quirky charm but this solution allows for larger and more open areas for the displays and means up-to-date facilities and not just for visitors but of course also for the conservation of the collection.

Lundgaard & Tranberg


one of the tall ships in the battle - to the right is the silhouette of the Great Brewhouse built by Christian IV in the early 17th century to supply the ships being loaded with sails, ropes, gunpowder and armaments from the Arsenal buildings immediately to the north

a reconstruction of the harbour in the 17th century on a staircase in the City Hall. The large ship with three masts shown here is approximately in the area where the Black Diamond - the National Library - has been built and the column marks the point where ships turned to go through the narrow gap to enter the inner harbour - now the courtyard garden between the library and the parliament buildings with the Arsenal - now the Tøjhusmuseet - to the left, the castle, now the Parliament buildings, in the centre and beyond the merchant quays and moorings along what is now Gammel Strand


As I walked back over Knippelsbro this evening there were several very loud booms, a mass of smoke, the sound of drums beating the attack and I realised that there was a naval battle in the harbour beyond the bridge with the tall masts of sailing ships emerging from the gloom and all immediately in front of the Black Diamond … the Danish National Library. 

And no - I wasn’t heading back from a bar and no this sort of thing certainly doesn’t happen on a Saturday evening on Euston Road immediately in front of the British Library … which is a pity.

This was a re-enactment of a battle in 1717 commanded by the famous Danish naval hero Peter Tordenskiold … a nobleman from Trondheim and actually christened Peter Jansen Wessel but his exploits earned him the nickname Tordenskiold or Thunder Shield which somehow seems more appropriate.

After a dash back to the apartment to get a camera I took a few photographs. I always have a camera with me, or nearly always, but for once, on a gloomy evening - nipping out to buy tea bags - I hadn’t expected to come across a naval battle.

Since the time of Tordenskiold the harbour has been narrowed as quays have been built out from the Christiansborg side and from the Christianshavn side and the massive building of the 17th-century Royal Arsenal is now a museum. The tightly enclosed area, the square basin, alongside the Arsenal and below the castle - where the battle ships of the navy of Christian IV pulled in to load with gunpowder and beer - is now filled in and is now the gardens between the parliament buildings and the National Library and the area where the first major shipyards were, where the fighting ships were built - close to the naval church of Holmen - is the site of the National Bank designed by Arne Jacobsen.

If you think that a naval battle has little to do with design then you would be wrong. The architecture of Christian IV - including the Arsenal and the great brewhouse from the early 17th century - were some of the first major industrial buildings on a truly modern scale and the great fighting ships and the merchant fleet of Denmark through the 17th and 18th century were some of the best and some of the most powerful in the western world, depending on up to date design, advances in technology and the most amazing skill from carpenters, metal workers, sail makers, rope makers and so on. There are records of Christian IV taking his latest war ship to England to show his brother-in-law King James and his nephew Prince Frederick just what Danish ship builders could do and show them how much faster and how much better the up-to-date technology of Denmark was than anything being built in London. Not exactly a trade delegation to promote Danish design but along the same lines.

And Tordenskiold? He died in 1720 just a few weeks after his 30th birthday, in a duel where the evidence suggests he was betrayed and set up to loose.


taken from the web site of BLOX from their post about the event


Kultur Natten ... reporting back


Actually it’s difficult to report back on Kultur Natten - or at least on the night overall because, even with careful planning, and even trying to pick a sensible route, it is impossible to see everything you want. This year there were around 250 different venues around the city and in many of the main buildings and the galleries and museums and theatres there were full programmes of different events all through the evening.

And then part of the real pleasure of these events is that you get caught up in watching a demonstration you hadn’t even planned to see or you ask a question and you find yourself pulled in by someones enthusiasm and expertise. So this is a bit of an impression … my impression … of some of the places I managed to get to see … and some of the queues I saw in passing.

For many people in the city Kultur Natten is their chance to see inside some of most important buildings in in the city that they walk past most days, but where normally access for the general public is restricted …. simply because from Monday to Friday these are busy working places … but from 6pm until midnight on Kultur Natten, not only is there open house but in most of the buildings people are there to explain what they do and why and in some you get to explore what goes on beyond the public areas. 

So this year I took this opportunity to look around the Eastern Courthouse - built in the 18th century as an opera house in what was then the new town around the Amalienborg Palace - and then went to the City Court House - in what was, through the 19th century, the city hall until the present City Hall was completed in the early 20th century - and then on to the present and famous city hall itself where I joined thousands of people exploring the council chamber, function rooms, amazing staircases and the archives.

Of course there were long queues of people keen to get a first look at sections of the new metro before it opens and as always the government buildings of Christiansborg and the State Apartments and the kitchens and royal stables on the island were incredibly popular.

This was the first time since it was almost-completely rebuilt that I have been into the DI building - the headquarters of Danish Industry close to the City Hall - apart that is from seeing exhibitions in the entrance.

A new exhibition of photographs City Struck opened at the Danish Architecture Centre and this will be the last major exhibition here in the present building before they move to BLOX - a new building close to the National Library. 

There were light shows on many of the buildings and food stalls and beer tents and coffee places everywhere ... the smell of roasting marshmallows in the courtyard of the Design Museum was amazing. And there were jazz bands and performances and I heard several times in the distance military bands and I know there were choirs singing in several of the churches and in the Thorvaldsen Museum.

And everywhere there were special displays and demonstrations so, at the Design Museum, people watched to see how a craftsman from Carl Hansen makes the seat of a wishbone chair in paper cord. At Realdania there were demonstrations of carpentry and people could try their hand at brick laying or blacksmithing and Heidi Zilmer was there to talk about the amazing wallpaper she recreated for the house of Poul Henningsen in Gentofte that was recently restored by Realdania and, of course, there were staff there to talk about the important historic buildings Realdania own, preserve and, where possible, open to the public.

It’s important to describe the good humoured sort of carnival-like atmosphere around the city as people line up to get into the places they really want to see - the line of people outside the gallery at G L Strand was amazing - and although most events are open until late - many until midnight - it really is an evening for children and families ….. I’m sure there are regulars who get there as the doors open to get to the huge collection of Lego brought out at the Danish Architecture Centre ….. and kids get a chance to watch special events in the theatres or the Opera House and they can explore the stage or see the scenery up close.

This is all driven, in part, by the idea that Copenhagen belongs to its citizens and, when possible, they should have access to its buildings and organisation, but really it’s about pride and enthusiasm … the enthusiasm of the people who work for the city and its galleries and its administration and its companies and the enthusiasm of the citizens for what goes on in their city.



Kulturtårnet on the bridge - Knippelsbro

Light show in the courtyard of the Design Museum on the gable of the pavilion of the old pharmacy

The new exhibition at the Danish Architecture Centre and children looking at a display outside the entrance

Heidi Zilmer at Realdania talking about the wallpaper that she recreated for the house of Poul Henningsen in Gntofte

Loius Poulsen where there was open house in the show rooms on Gammel Starnd

The Department of Industry

The inner atrium of the City Hall with people looking at the building and meeting staff and looking at stalls about the work of the council and the city

Kultur Natten 2017


Tomorrow evening - the 13th October - it is Kultur Natten in Copenhagen.

Galleries, museums, government departments, theatres and organisations all over the city will be open - most through to midnight - with special events, demonstrations and teams of people on hand to explain what they do and why they do it.

You need a pass that costs just DKK 95 and that not only gets you in but includes train, metro and bus travel within the central area if you need transport.

Go to the program and plan your route around what you want to see … the one thing that is certain about the evening is that it is impossible to see everything


the DASA award

Designmuseum Danmark has received the prestigious DASA award of the European Museum Academy.

The conclusion of the award jury was that: 

"Design Museum Denmark is a vibrant, forward-looking museum that aims to place design at the center of the life lived. The museum with its new strategy evolved from being a traditional museum to one that is relevant to the 21st century, and today attracts visitors of all ages and from all walks of life. With emphasis on excellence and lifelong learning as the museum a worthy winner of this year's DASA Award. " 

This is well-deserved recognition of a very active education programme and events that attract a broad range of visitors and for an exhibition programme that presents design over a broad period and over a wide range of topics. Recently, there have been major exhibitions on the work of Kaare Klint and of the work of Hans Wegner - major figures in the history of modern Danish design - but then the current exhibition, on the interaction of the art and design of Japan with Danish taste and design, places Danish design firmly in a broader international context. 

Recent exhibitions - including the work of the Danish Cabinetmakers’ Association in Unfolds and the current exhibition Side by Side Out Side, the Cabinetmakers’ Autumn exhibition - have encouraged visitors to explore and understand the works directly by touching and handling the exhibits and the important new display of chairs from the collection and the exhibition of design from 2000 to 2015 have experimented successfully with new styles of presentation including more use of videos and, for instance, interviews with designers.

Dansk Nu - that exhibition of recent design - also marks a deliberate and successful attempt to stake a claim to representing current design so the museum is seen as proactive and relevant rather than simply passive as a record of what has been accepted as the best of the past. 

Events spill out into the courtyard garden and onto the entrance court with fairs and demonstrations so, with the very popular cafe and the shop that always seems busy, perhaps the best single word to describe the museum is that word vibrant used by the jury.


photograph by Novica Krstikj


Unfolds - the exhibition of the work of the Cabinetmakers' Association



the new permanent exhibition of chair design


side by side inside ... a chair made for the Wegner exhibition

side by side by side by side outside in the museum garden

Side by Side Outside - the current exhibition


Chart on day three



Today was the third and last day of Chart - the annual Copenhagen art fair at Charlottenborg.

The range of works on show here is amazing including many well-known and well-established artists. I guess because of its architectural form I liked the balcony - Mind Over Matter III by Elmgreen and Dragset from the Nicolai Wallner Gallery - and I was intrigued by what I take to be a bread fruit bursting through the woven seat of a chair and by the layered cardboard forming incredibly complicated and organic shapes by Martin Erik Andersen.




The fair is popular and always well attended so, even if you are not a buyer, it is a pretty amazing place for people watching.

I couldn’t quite decide how this interview in the courtyard was working - the face of the interviewer appeared on the screen but I could not get close enough to see if the questions were pre recorded or how or if the replies were being recorded …. or rather I didn’t want to get any closer in case I became the next interviewee. I wasn't that curious.


a museum on the move



Københavns Museum - the museum of the city - is between homes as building work moves forward on what will be their new home close to City Hall at Stormgade 18 but for the harbour festival they have had a temporary display in the harbour park at Islands Brygge.

Staff and archaeologists were there with historic maps and with archaeological finds to talk to people about the history of the harbour and about the amazing finds from their work at the major engineering excavations for the new metro. They have uncovered major sections of the defences at the old gates of the city and on the site of the historic wharfs along Gammel Strand … and this is not just about the extensive banks and ditches that protected the city but about the day-to-day life of the citizens with incredibly well-preserved finds that include shoes, a woolly hat, pottery vessels and glass ware and even a needle for mending fishing nets.

information about the new museum

Papirøen - Paper Island



Papirøen or Paper Island is at the centre of the harbour in Copenhagen, opposite the National Theatre, immediately south of the Opera House and north of Christianshavn. The settlement of Christianshavn, with its houses and warehouses and canals, dates from the early part of the seventeenth century when land was first claimed from the sea between the old city and the low-lying island of Amager. Then, for nearly a century, the area of water to the north of Christianshavn provided sheltered moorings for naval ships but a map of 1710 shows a new arc of distinct and recently-constructed defences curving out and round towards the Kastellet - towards what is now Refshaleøen.  

In stages, over the following centuries, new islands were created within the defences, divided by canals or open areas of moorings, with extensive boat yards and stores that were primarily for the navy but then, through the late 19th and the 20th century, increasingly for commercial trade. The distinct rectangular island now known as Paper Island, but officially Christiansholm, and the island immediately to its south, Arsenalholm are shown on a map of 1749 much as now but then linked by a central bridge rather than the current bridge at the west end of the canal between the two islands.

By the 1990s both the navy and commercial shipping were moving out of the central harbour and there is a fascinating account by Klaus Kastbjerg - about how he acquired the island - that was published in the catalogue for Our Urban Living Room … an exhibition at the Danish Architecture Centre last year about the work of the architectural firm COBE.

COBE have drawn up the master plan for the redevelopment of this prominent site at the centre of the harbour and construction work will start at the end of the year. 

Although not everything in the scheme has been finalised, drawings have been published over the last year or so that show a mixed development around a large courtyard or public garden with taller blocks of apartments but on the ground level there will be large halls that replicate, to some extent, the spaces of the warehouses that have become such a popular venue for Copenhagen Street Food and for Experimentarium - before they moved to new buildings in Hellerup - and now the gallery space of Copenhagen Contemporary. The public walkway around the island on the quay will be retained but with stepping down and timber terraces for getting to the water to swim or to get to moorings.

The style of the new buildings has been inspired by the materials and the pitched roofs of historic warehouses and workshops along the harbour. Three of the apartment buildings rise up to 12 or so storeys and even the lower buildings will be much more prominent than the relatively low warehouses here now but sloping back of the upper floors of the buildings - to give a tapered silhouette - will reduce their impact when seen from below and should, if the colours and textures of the facing materials are not to stark, add some focus and vertical interest to the skyline of the waterfront rather than dominating it.

Copenhagen Contemporary



This independent art institute was established in 2015 and from June 2016 has occupied space in redundant warehouses on Papirøen - Paper Island - where paper for printing newspapers was stored. This will provide a venue for exhibiting art and installations and performance and light shows until the end of 2017 when work starts on new buildings here.

The gallery has a wine bar and a store and with evening opening and with the attraction of the food halls in the same warehouses this has become a very popular destination for tourists and for local people particularly since the completion last summer of the new bridge over the harbour.

There is a full programme of exhibitions and events through to the end of the year.

Artbar as a venue for meeting will continue through Cph Art Week from 26th August through to 2nd September.

Copenhagen Contemporary


The impressive post building at Øster Allé - on the corner of Fælledparken and close to the football stadium - was designed by Thorvald Jørgensen and was completed in 1922. 

It has been converted into a museum of post and telecommunications. 

There is still a proper post office counter just inside the main entrance although most of the ground floor is now a spacious and pleasant cafe - Enigma Kantina - with long tables where you are encouraged to talk to other people. They also sell gifts and smaller design items as well as souvenirs related to postal services and there is a sunny courtyard to the side - presumably the yard where postal vans loaded and unloaded.

The square in front of the building has been almost completely taken over by construction works for one of the new Metro Stations so it will be interesting to watch how this area changes and develops over the next few years once the extension to the metro is finished and the station opens in 2018.

Enigma, Øster Allé 1