Dansende Par / Dancing Couple on Lizzies Plads

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After a fair few years I'm still exploring the city and still finding streets and squares I have not seen before. If I'm heading back from anywhere - and I'm not in a hurry - I usually aim in the general direction and just see what I come across or where a road takes me and I always have a camera with me.

This afternoon I was in Sunby - heading roughly in the direction of the metro station at Amager - and ended up at the junction of Lyongade, Wittenberggade and Frankrigsgade. About 300 metres east of the shopping centre, the roads meet at anything but right angles. at a triangular area - a public space. It’s known locally as Lizzies Plads in recognition of the work of Lizzie Liptak - a local chair of a residents association for Røde Møllegård - a large housing complex immediately south of the square.

There, in the middle, is a couple dancing and they are accompanied by a woman playing a fiddle and a man on an accordion.

It's a work by the Danish artist, sculptor, musician and farmer Knud Ross Sørensen (1945-2018).

The dancing figures were installed here in 2008 and in 2014, following a deal brokered by Lizzie Liptak, a figure of a seated accordion player by Sørensen was traded in as part exchange and funds for another figure were razed through various bodies so there are now two musicians to accompany the dancers.

Apparently the area was overgrown and had been used before as a bit of a rubbish tip but this is the city where problem areas are given new libraries to help turn them around and sculpture and lighting to show locals that actually people do and should care about their streets and public spaces. Landscape design was by Birgitte Fink.

The figures in concrete are bold and naive and jolly and dance their dance at pavement level and they made me smile and I guess that's the point.

Slægt Løfter Slægt by Svend Wiig Hansen

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Slægt Løfter Slægt - a monumental bronze figure group by the Danish sculptor and painter Svend Wiig Hansen (1922-1997) has returned to a key position at the west end of Gammel Strand.

This long triangular space was redesigned and has been resurfaced since the new metro station at the east end of the space opened a year ago.

The site is in front of GL Strand - the art gallery of the Art Society / Kunstforeningen - and close to Kultur Ministeriet / Ministry of Culture Denmark at Nybrogade 2

Gammel Strand

Kultur Ministeriet
GL Strand

 

Blegdamsvej - new public space - new sculptures

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Museums and art galleries in Copenhagen have had to close through this stage of the Coronavirus pandemic but it is still possible to see good art with a huge number of sculptures on streets and in squares and parks around the city.

Blegdamsvej is a main road that runs parallel to the lakes on the outer side. Here there are major hospitals and medical research institutes and two of the most recent buildings - the Panum Institute in the Mærsk Tower designed by CF Møller and the new north wing of the Rigshopitalet by the Danish architects 3XN - now have newly-installed statues on public areas of paving at the front. These are major works but could hardly be more different.

If you are a visitor, and do not know the city well, than it might be easiest to start from Trianglen metro station and from there it is 500 metres to the work by Kirsten Ortwed and then from there a further 550 metres to the Panum Institute, on the far side of the main road with Fredens Park, for the installation by Alicia Kwade.

Or, cross over the lakes, over Fredensbro, at the centre of Sørtedams Sø, and, at Blegdamsvej, the work by Alicia Kwade is to the west and the work by Kirsten Ortwed is to the east.

PARS PRO TOTO
Alicja Kwade

Panum Faculty ofHealth and Medical Sciences,
Mærsk Tårnet / Maersk Tower,
Blegdamsvej 3b, 2200 København

Alicia Kwade is a Polish artist who is now based in Copenhagen.
Her work was shown at Charlottenborg in 2018 under the title Out of Ousia
and Pars Pro Toto was shown at Louisiana
There is an interview with the artist on the Louisiana Chanel

The new forecourt is itself interesting as the surface is not level but has a great hollow with the grid of the paving creating an interesting visual effect - like the drawings you sometime see of a head or a body as a wire-frame profile - and here the artist uses that hollow to imply that the huge marble sphere has rolled here across the square only to be stopped by the posts there to stop cars driving in.

REFLEXTION
Kirsten Ortwed

Rigshospitalet,
Nordfløjen / North Wing
Blegdamsvej 80, 2100 København

Kirsten Ortwed is a Danish artist who is now based in Cologne.
Another of her works for a public space can be seen at Havnegade in Copenhagen - near the Nyhavn end of the kissing bridge.

Here the new building has been set back from the road but that area has been paved and kept open to the public with no barrier or fence so the life-size figure stands in our space and not on a plinth and the public has gained space to move up to the building and to even cut the corner to enter Fælledparken beyond. Too often, new buildings that break an existing street line undermines or destroys the visual continuity of the street and the sense of urban containment and enclosure but here the new space and the sculpture together enhance and add to interest and the value of the streetscape.

 

Monumenter in København / Monuments in Copenhagen

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Monuments in Copenhagen.jpeg
 

The Kommune - the city council in Copenhagen - has an excellent online site with a catalogue of statues and decorative sculpture on the streets and in the squares and parks of the city.

There is a search option to enter the name of the artist or the subject of the sculpture but the easiest way to enter the data base is through the clear map that is dynamic so you can zoom and drag, if you are searching later, and can remember the area but not the street name.

The map is tiled and, again, this is dynamic so numbers on the map in orange circles refer to the number of statues in that area and these split up and redistribute to the right location as you zoom in and if you click on a number that is greater than one - so for instance the corner of the city hall towards the Vartov has six - so then they open out and each one has a slide that pops up so you can then go to the right one for information and images for the right statue.

The site is in Danish or in English and there are some good comments rather than simply basic facts so, The Lur Blowers by Siegfried Wagner and Anton Rosen, close to the city hall, was designed with a single figure for the top of the column until someone pointed out that Lurs are played in pairs …. now come on who didn't know that … so two lur players now stand on the top of the column. It means that it's a bit crowded up there and local wits began to describe them as the two bags of flour.

 
 

restored sculpture

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The grand entrance to the Royal Danish Theatre on Kongens Nytorv in Copenhagen is flanked by statues of seated figures from the history of Danish drama and literature.

To the right, is the Norwegian author, philosopher and playwright Ludwig Holberg (1684-1754) by the Danish sculptor Theobald Stein (1829-1901) - a professor at the Royal Danish Academy, nearby on this square. The bronze statue is dated 1875.

On the left of the entrance is the Danish poet and playwright Adam Oehlenschläger (1779-1850) by the sculptor H W Bissen (1798-1868) and that work is dated 1861.

Over the summer both were boxed in behind large wooden cases as the two bronze figures were restored and they have recently been revealed free of verdigris and with all the details now clear.

I have walked past these figures thousands of times but not looked or, at least, not looked properly at them. Struck by the transformation it was clear that both show remarkable details of not only the clothing worn but also the chairs and their construction. Holberg is sitting on an ornate arm chair with carved cabriole legs and with the upholstery fixed with round-headed nails and Oehlenschläger is sitting on what is called a Klismos Chair with a pronounced outward curve or splay to the legs. That chair has loose cushions for the seat and back that are obviously leather but I was curious about the classical style roundels on the seat rails that suggest an interesting carpenters join where the rail is housed into a marked shoulder on the leg.

But what really astounded me, looking up underneath the seats, was that both sculptors had shown the linen webbing that would have supported the seat cushion. They even sag under the weight of the sitter. That’s super realism above and beyond and I must now check this out on other statues. I’m an art historian but not one who has ever written much about sculpture, apart from an odd essay or two at university, so if you see someone around the city peering up at the underside of statues it’s not someone with a disturbing fetish but simply me looking to see if the sculptor has recorded any interesting construction details in historic furniture. Honest.

 

Ludwig Holberg (1684-1754) by the Danish sculptor Theobald Stein (1829-1901)

 

Adam Oehlenschläger (1779-1850) by the sculptor H W Bissen (1798-1868)

 
 

additional notes

The Royal Danish Theatre was founded in November 1747 by royal decree and the foundation stones laid in July 1748 with the first performance given in December the same year. Who says that major building projects always come in late?

That building was designed by Nicolai Eigtved and is shown on historic engravings and drawings but was remodelled several times before the present theatre on the same site was designed by Vilhelm Dahlerup and Ove Petersen among others on a committee set up to oversee rebuilding in the 1870s.

Klismos-type chairs are depicted in art around the city …. this is a decorative panel in Thorvaldsens Museum from the middle of the 19th century.

Christian IV

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location map from the notice of consent granted by the city of Copenhagen

A new statue of the Danish king Christian IV has been unveiled by Queen Margrethe.

It stands at the corner of the forecourt and the ramp up to the main entrance of Børsen - the Royal Exchange - a building that was commissioned by Christian IV.

The statue of the king is in bronze and by the Faroese sculptor Hans Pauli Olsen. It is close in the pose and for the costume to a portrait of the king painted by Abraham Wuchters in 1638 or 1639 where Christian is wearing high riding boots that are loosely fitted with the tops folded down, has his left hand resting on his hip with the right hand outstretched and has a neat beard, heavy head of hair and the famous long, thin, plaited pigtail.

The statue is set on a high stone plinth from where Christian looks across the front of the palace of Christiansborg.

That plinth represents major buildings commissioned in the city by Christian IV with The Round Tower and the distinctive twisted spire of the Exchange and the spire of the tower of Christian's palace of Rosenborg but curiously the stone tower flanked by the spires in bronze are all upside-down … said by the sculptor to be the city that Christian built reflected in water.

The tower is set on a shallow mound in the cobbles that is slightly rustic and also slightly odd as if the whole thing is erupting from the ground.

The cost of the statue has been controversial as has the rather traditional style of the work. A new statue to Christian was first suggested in 2009 but in 2014 the design was rejected by Rådet for Visuel Kunst i Københavns Kommune - the Council of Visual Arts in the City of Copenhagen - on the grounds that "the sculpture does not reflect a contemporary art expression, and therefore lacks sufficient justification and relevance in the present."

The city finally gave consent for the statue by Olsen in January 2018.

background:

Christian was born in 1577 and he was only 11 when his father died. Initially the country was  governed by a regency council but Christian was deemed to have come of age when he was 19 and ruled Denmark from 1596 until his death in 1648.

Through his major building works Christian, more than any monarch, influenced both the plan and the appearance of the city. He remodelled the castle and made Copenhagen the centre of his administration and he commissioned major buildings that are still prominent features of the city including the Brewhouse and Arsenal to the south of the castle; Holmens Kirke - the church of the Royal Navy on the other side of the canal from Børsen - consecrated in 1619; Rosenborg - a private royal residence away from the castle - that was set in formal renaissance gardens on the edge of the city and completed around 1624; Børsen - The Royal Exchange - begun in 1624 and completed in 1640 and The Round Tower and its observatory and Trinitatis Church begun in 1637.

In 1626, Christian initiated work on the north defences of the city that was to become the Kastellet - completed after his death - and he began major engineering works to claim land from the sea - just off the shore and wharves of the old city - and where first Christianshavn was laid out, a planned new town, with defences around the south side and a new south gate to the city and then those defences were extended out to the north to enclose a vast area of sheltered and protected moorings for the naval fleet … an area of water that was subsequently filled with a number of large islands and canals that became the naval warehouses and dockyards of Holmen.

 

Kunst i Byudvikling / Art in Urban Development

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Kunst Realdania cover.jpeg

Realdania have just published a report on sculpture and art in public space that is aimed at municipalities, development companies and other professionals to inspire them "to consider art as a value-creating asset in their own projects."

“Culture and temporary activities are often included in urban development to open up new urban areas and give them identity, involve local citizens, or attract investors and outsiders.”

Christine Buhl Andersen, director of the Glyptotek in Copenhagen, has written an introduction or overview and she emphasises the importance of art in public space …  "art is increasingly used strategically to make urban areas, urban spaces and buildings vibrant and attractive."

The report points out that art in public spaces has a clear role in helping to create a good urban environment but requires a partnership between politicians, architects, planners, developers, builders and artists.

Works of art can be used to decorate or to improve urban spaces and buildings but can do so much more … "art can give the individual building identity, create experiences and contribute to the well-being of the building's users."

established art in public space

 

sculpture of the Glyptotek in Copenhagen

 
 

Sculpture can be part of an outdoor exhibition space … the Glyptotek itself is a good and long-established example with sculpture on and around the building providing open access to art, with decorative portrait busts in niches across the entrance front, decorative panels and the heads of exotic animals, on the building itself; figures, many of workers, on the lawns on either side of the building, and across the back of the art gallery, on the opposite side to the entrance, there is a quiet, pleasant public garden that is also an outdoor gallery for a broad selection of statues.

Much of the sculpture in Copenhagen commemorates major figures - either from the city or national figures including, of course, monarchs, statesmen and major academics, scientists and literary figures.

These are busts or full length figures but there are also more complex representations of the lives of people … an interesting sculpture by Elisabeth Toubro has been added to the line of more traditional busts on plinths across the front of the old university buildings on Frue Plads that commemorates the life and work of the mathematician and seismologist Inge Lehmann.

 

commemorating and remembering through public art …
a statue of Hans Christian Andersen by Augustus Saabye in the King’s Garden: Gottlieb Bindesbøll by Kai Nielsen in the courtyard of Designmuseum Danmark: Steen Eiler Rasmussen by Knud Neilemose at the Royal Academy buildings on Holmen:
a traditional bust of the physicist Niels Bohr at the front of the university buildings on Frue Plads and the less-traditional monument close by to Inge Lehmann by Elisabeth Toubro

traditional art in public spaces

 

Litauens Plads - art, sculpture or street furniture?

 
L1260629.JPG

to mark the site of the important engineering works of Bumeister Wain there is a timeline set in the grass behind the sculpture

Now, many sculptures are designed to be sat on or climbed over and many have an important role in public spaces by encouraging people to sit in or use the space. Are the lines of low cylinders along the edge of the square at Litauens Plads street furniture? The red bird nesting boxes in the trees above suggest a complicated, diverse and subtle use of art works here.

Some artists can be reticent if they feel that their art is there simply to make the area more attractive or, worse, if it is there to increase the value of a development and politically it can be difficult if local people cannot relate to works; find them irrelevant or see the obvious cost as a waste of funds that might better be spent on supporting social projects.

The report looks at several major projects that have included public art in public spaces from the design stage with the examples of new sculpture incorporated into the new developments of Køge Kyst, south of Copenhagen, and Kanalbyen in Fredericia where there has been collaboration to integrate art from the start. 

An ambitious new scheme for public art is evolving at Arken, the major art gallery to the south of Copenhagen. There has been extensive re-landscaping immediately around the art gallery but, because many visitors and tourists come out from Copenhagen by train, Arkenwalk will link the railway station at Ishøj to the art gallery down on the beach - a walk of 2.2 kilometres - with the final design selected after a completion that was entered by 27 teams of artists and architects. The new "art axis" will be marked by very distinct red lamp posts.

new street art

 

The Wave - an interactive light installation by Frederik Svanholm, Mikkel Meyer and Jonas Fehr

the bike and foot bridge by Olafur Eliasson - public art or engineered city planning?

hoardings around the engineering works for the new metro station at Trianglen painted by Benjamin Noir

 

Superkilen in Nørrebro in Copenhagen

Public art is not restricted to sculpture - or at least not what would traditionally be seen as sculpture. Superkilen in Nørrebro has lines of stools and tables marked out with board games and the Circle Bridge by Olafur Eliasson, opposite the national library, with its lighting, blurs the boundary between engineering and public art. Paintings on the high fencing around the sites of the engineering works during the construction of a new Metro line has provided an opportunity for a major project in public art.

Many of these more recent projects, including newer forms of public art in light or with projected video art or sound, are about social engagement but public art can have an important role in attracting people through an area to make it feel used and safe rather than empty and abandoned or underused and under appreciated.

The report identifies a general change in the response to art in the streetscape. It suggests that there is a growing reaction against public art that is temporary or experience orientated or projects that are designed to attract tourists and a move towards "liveability", so art enhancing everyday life for local users of the space … a move towards appreciating art that brings joy, beauty, curiosity, a specific sense of a specific place so context and consideration - in the sense of thoughtfulness - back to enhance how we see and use and occupy public space.

It also includes more mundane but important and practical summaries about realising projects; about determining frameworks and about practical matters of planning for operation and maintenance and even a reminder about seeking information about rules covering Tax and VAT.

Above all the illustrations show just how diverse and just how imaginative public art in public space can be. 

Kunst i Byudvikling
Arkenwalk
Realdania

private art in public space?
a rack for bikes outside the bike shop on Strandgade in Copenhagen
pedals of the stand from a failed experiment to ride side saddle?

 
 

Places in Copenhagen

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A short break in the 3daysofdesign posts: sculptures in a new series of life-sized works by the Icelandic sculptor Steinunn Thórarinsdóttir - under a general title Places - have just been set up around Copenhagen.

This is a joint venture between the city, North Atlantic House, the Icelandic Embassy in Copenhagen and Galleri Christoffer Egelund in Bredgade in Copenhagen. Copenhagen Airport has also collaborated and in fact the first of the series that many visitors to the city will see is opposite the taxi bay at the airport. 

Steinunn’s work is represented in Denmark by Galleri Christoffer Egelund - there is an exhibition of smaller works currently in the gallery and it’s possible to pick up a small map showing the locations of all the works.

 
 
 

From my apartment I look down on Esplanaden and straight at the figure with arms spread slightly and head craning up and forward as if taking in the warmth of the sun. Shortly after the sculpture was installed, I thought it was funny to see a tourist striking the same pose to have his photo taken by a friend. That was the first time and I gave a wry smile ... now, it’s getting a little boring that every time I look down there are people standing like this. Maybe I'm just getting grumpy in my old age. Maybe it should be reassuring that a simple, child-like sense of humour is curiously universal but I just wish some of them would walk further up Grønningen and try a short period of quiet meditation in imitation of the pieces there. Perhaps I should just be grateful that I can’t see the figure on the bench … surely that must be destined to be the most photographed sculpture in group poses in the city after the Little Mermaid.

 
 
 

sculpture on the bridge

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Or strictly the sculptures at each end of Dronning Louises Bro.

The bridge, with its three central arches and ornate street lamps was completed in 1887 to designs by Vilhelm Dahlerup and replaced an earlier bridge that crossed the lakes between Sortedams Sø and Peblinge Sø.

On either side of the approach from the city side there are bronze sculptures - that on the south side dating from 1897 is the figure of the Nile cast from a marble sculpture from the 1st century that was discovered in 1513 and is now in the Vatican.

On the north side is the figure of Tiber reclining with the figures of Romulus and Remus with the wolf. This is a copy of a group in the Louvre and was set up here in July 1901. Given the style of the apartment buildings that face you as you cross the bridge, heading for the city centre, then a representation of the River Seine might have been more appropriate. 

 
 

On the Nørrebrogade side of the bridge are seated figures from 1942 by the sculptor Johannes Hansen (1903-1993).

This really is what is called a conversation piece although the conversation does look rather serious.

 

Langelinie monument

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A sculpture on the Langelinie promenade commemorates such an amazing story that it deserves a separate post.

The monument to Ludvig Mylius-Erichsen, First Lieutenant Niels Peter Høeg Hagen and Jørgen Brønlund is just off the main path, on the north side of the marina and down on the edge of the water.

 

The three men were part of an expedition that set out in 1906, led by Mylius-Erchisen, to explore and map the west coast of Greenland.

In the Spring of 1907, they left the rest of the group on a trip by dog sled to start the survey but did not return. In March the following year, the body of Brønlund was found with his journal recording the deaths of his two companions but the bodies of the other two men have never been recovered.

In 1911 a competition was held for an appropriate monument and a design by Kaare Klint and Kai Nielsen was selected by the judges.

A massive granite boulder chosen for the monument had been discovered submerged in the Flinterenden Channel - in the sound off the island of Saltholm - and Kai Nielsen actually donned a diving suit and inspected it on the sea bed before the 40-ton rock was raised by a large crane and transported to its final location where the figures and the commemorative text on the landward side were then carved in situ.

 

the text is taken from Brønlund’s journal:

MINDESTEN/FOR MYLIUS ERICHSEN/BRØNLUND OG HØEG HAGEN/DER SATTE LIVET TIL PAA DAN-/MARK-EXPEDITIONEN I AARET 1907/AF JØRGEN BRØNLUNDSDAGBOG:/OMKOM 79 FIORDEN EFTER FORSØG/HJEMREJSE OVER INDLANDSISEN I/NOVEMBER MAANED JEG KOMMER/HERTIL l AFTAGENDE MAANESKIN OG/KUNDE IKKE VIDERE AF FORFROSNINGER I FØDDERNE OG AF MØRKET/ANDRES LIG FINDES MIDT I FJORDEN/FORAN BRÆ (OMTRENT 2½ MIL)/HAGEN DØDE 15 NOVEMBER/OG MYLIUS OMTRENT 10 DAGE EFTER

Memorial to Mylius Erichsen/ Brønlund and Høeg Hagen who lost their lives on the Denmark expedition in the year 1907- From Jørgen Brønlund's diary. Passed 79 fjord after attempt- journey home across inland ice in November. I arrive here in waning moonlight and can go no futher for frostbite in my feet and for the darkness. Others' bodies are in the middle of the fjord in front of glacier (about 2 ½ miles)- Hagen died 15 November and Mylius about 10 days later.

 

In this photograph of men from the expedition, Mylius-Erichsen is standing in the centre and Brønlund on the left. When they died Ludvig Mylius-Erichsen was thirty-five years old and Niels Høeg Hagen and Jørgen Brønlund just thirty.

 

sculpture of the Langelinie

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The promenade north along the harbour from Nodre Toldbod follows the east side of the Kastellet fortification, skirts the edge of a marina and then follows the quay of the Langelinekajen to its north end. There are a number of sculptures along the walk starting perhaps with the most prominent, the Gefion Fountain by Anders Bundgaard, given to the city to mark the 50th anniversary of the Carlsberg Brewery in 1897.

 

At the north-east corner of the Kastellet defences is the Monument to Mariners of 1928 by Svend Rathsack and Ivar Bentsen.

 

The Bather by Carl Aarsleff from 1909 is in the gardens on the south side of the marina.

The Polar Bear with Cubs by the Danish sculptor Holger Peder Wederkinch is just beyond the marina.

A bust of the polar explorer Ejnar Mikkelsen (1880-1971) on the inner side of the path. This dates from 1944 and is by the sculptor Adam Fischer.

 
 

The promenade walk continues north on top of the single-storey warehouses with rough-cut stone arches and decorative iron railing and is almost a sculpture in its own right.

Towards the centre of the pier, between the buildings is Dahlerups Pladsa, a public square with a large fountain ... The Genetically Modified Paradise by Bjørn Nørgaard.

 

There, just in the harbour basin on the west side of the pier, is The Genetically Modified Mermaid in bronze.

The actual Little Mermaid? Well surely no one wants yet another blog photo of that sculpture however famous and I understand that there are legal injunctions that prevent the publication of images of that piece of sculpture without permission.  

On the wharf on the west side of the buildings are some permanent exercise contraptions … presumably for office worker’s jogging round the harbour in their lunch break … and these are so well designed and are such a good addition to the street scape that they too should be considered to be public sculpture.

 

the sculpture of Blågårds Plads

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Walking over to the Bethlehem Church and to Strangas earlier in the week, I cut along Blågårdsgade - a street in Nørrebro that runs parallel to the lakes on the side away from the city and one block back from Peblinge Sø.

I have walked along the street several times and had noticed the square but it was always when it was busy with people so I had been people watching and looking at the shops and the busy stalls of the flea market. 

That day was quieter and it was possible to appreciate the size of the square and the layout with a broad area to walk around the outside, planted with mature trees, but with a large open area, sunk below the level of the pavement, at the centre. On one side the line of buildings is broken with a church set back and slightly raised above the level of the square with a double flight of steps up to the central door. 

At intervals around the retaining wall of the sunken area and at the corners are sculptures, 22 in all, that are carved in granite and depict working men and women with small children, toddlers but barely more than babies. 

The adult figures are incredible, life size, bent almost double, in effect sitting on the retaining wall and facing into the sunken part of the square, mostly occupied by their trades - one figure making a barrel, another with a carpenter's plane and another wearing a heavy apron and removing a nail from a horseshoe so clearly a blacksmith. Just one of the male figures is not working - he plays an accordion. Apart from one man, a butcher who wrestles with a ram he is slaughtering, each adult figure has a single child clinging to them or crawling over them and it is not clear if the adult workers are teaching the children or are being distracted and annoyed by them. Only in two figures - a woman showing a child a large fish she is holding and another woman clasping a child to her, breast feeding - is there any real sense of engagement between the adult and the child.

At the corners of the sunken area are steps down for access from the street level to the lower area and the corners are emphasised by large, rounded, boulder-shaped groups with more children but here playing alone and much more vigorously portrayed. There are similar large groups without adults at the centre of the church side as part of a broad double flight of steps. On one side, six children play with two rabbits and in the other group the toddlers hug or hold a group of small owls.

The figures are self-contained and dignified; inward looking, caught up with what they are doing and not looking out or forward or at each other. This is strong, intense public art and well worth seeking out. 

 
 
 
 

The Cityscape Atlas of Copenhagen published in 2003 describes the square as “the heart of this quarter and among the best designed urban spaces in Copenhagen.”

The open square and some of the buildings around the square date from the early 20th century, immediately before the First World War, when a city block of crowded commercial properties were demolished. The architect was Ivar Bentsen who went on, in 1921, to found The Danish Institute of Town Planning and that was also the year he designed the Bakkehusene row houses which were the first terraced houses for the working class to be built by the Copenhagen Public Housing Association. In 1923 he was appointed as a Professor at the School of Architecture.

The sculptures were by Kai Nielsen who was then only about 30 years old but, tragically, died just a few years later.

There are works by Nielsen in the collection of the Statens Museum for Kunst (the National Gallery in Copenhagen) including a sculpture of Leda with the Swan, a Seated Old Woman and this bronze portrait bust of the boxer Emil Andreasen that dates from 1922 and has a raw power comparable to that shown in the depiction of working men in the sculptures around the square.

the history of Blågårds Plads
Bakkehusene