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ISBN: 978-87-92230-23-2

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Udgivet af Realdania Byg

Omslag Stift Thisted Rådhus 2140829.qxp_NØRRE VOSBORG OMSLAG 10/10/14 14.52 Side 1

Tietgens Ærgrelse

Realdania Byg


ISBN: 978-87-92230-28-7

9 788792 230287

Tietgens Ærgrelse

Omslag Tietgens Ærgrelse 2014 ny.qxp_OMSLAG STIFT 13/10/14 15.15 Side 1

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Tietgens ÆrgrelseTietgen’s Agony

Tietgens Ærgelse indhold 2140830.qxp_bog 08/10/14 07.52 Side 1

Tietgens Ærgrelse © Realdania Byg 2014, 1. oplag, 2. udgave

Tekst og redaktion: Realdania Byg, Ole Lange, Tony Fretton og Peter Thule Kristensen

Omslagsfotos: Fotograf Christian Richter

Layout: Realdania Byg og OAB-Tryk

ISBN 978-87-92230-28-7

Bogen er sat og trykt af: OAB-Tryk, Odense

Tietgen’s Agony© Realdania Byg 2014, 2nd edition

Edited by: Realdania Byg, Ole Lange, Tony Fretton and Peter Thule Kristensen

Translation into English by Dan A. Marmorstein

Cover photos: Photographer Christian Richter

Layout: Realdania Byg and OAB-Tryk

ISBN 978-87-92230-28-7

Printed in Denmark by: OAB-Tryk, Odense

STIFT

Realdania Byg er et helejet RealdaniaselskabA Realdania company


Tietgens ÆrgrelseTietgen’s Agony

Udgivet af Realdania Byg Published by Realdania Byg


4

”Det stod os hurtigt klart, at den nye bebyggelse ikkeburde være en fritstående ejendom, men snarere en delaf det sammenhængende bygningsværk, som udgørMarmorkirkens sociale og visuelle kontekst; hvoriMarmorkirken selv fremstår som et ikon med sine raf-finerede og forfinede materialer, proportioner og cen-traliserede form”.

Tony Fretton

Med denne vision overtog den engelske arkitektTony Fretton stafetten til at færdiggøre en planog en historie om et byggeri og en randbebyggel-se, der gik flere hundrede år forud.

”Tietgens Ærgrelse” er et moderne byggeri. Mendet er et hus, der kun giver mening på den lillehjørnegrund i København, hvor det står. For deter skabt med dybe rødder i grunden, det er op-ført på og i områdets historie. En fortælling, hvisforrige kapitel blev skrevet af Finansmanden C.F.Tietgen, der i slutningen af 1800-tallet færdig-gjorde opførelsen af Marmorkirken, som var ble-vet påbegyndt i 1749 efter tegninger af Nicolai

Eigtved. For at finansiere byggeriet af kirken op-førte Tietgen etageejendommene rundt om kir-ken. Det lykkedes dog ikke Tietgen at opkøbeden lille række 1700-tals huse mod Store Kon-gensgade, og han kunne til sin store fortvivlelseikke afslutte anlægget, som det var tænkt. Detubebyggede hjørne og rækken af 1700-tals huseer siden da med sædvanlig københavnerironi ble-vet kaldt for ”Tietgens Ærgrelse”. Og den nyeejendom har bibeholdt navnet ”Tietgens Ærgrel-se” som en naturlighed i forhold til den anekdote,som den er en del af.

Det er meget at bede om at få en bygning, der påén gang bringer Frederiksstaden til fuldendelse,på én gang forener de forskellige arkitektoniskestilarter, der omgiver den. Tietgens Ærgrelse af-slutter nemlig ikke blot Tietgens anlæg omkringkirken, men også den monumentale akse gen-nem Frederiksstaden som Marmorkirken sam-men med Salys rytterstatue og Amalienborgs pa-læer udgør. Alligevel er det lykkedes Tony Fret-ton at give et kvalificeret og overraskende nok

Forord


5

også ydmygt bud. Med en ejendom, der kendersin plads i bygningshierarkiet. Det nye hus er ikkesamlingspunkt for områdets byggeri, det er kir-ken, men det medierer nænsomt to sider af Kø-benhavn; pompøst arkitektur og mere ydmygeetageboliger.

Både i de store og de små linjer er der referencertil områdets øvrige ejendomme. Fra facadeud-formning til materialevalg. Fra anvendelsesfunk-tion til de uformelle livsrum, der er skabt i huset– og hermed fuldendes visionen om at skabe enværdig afslutning på det historiske anlæg med enbygning, der samtidig også er opført i et nutidigtformsprog og opført både med respekt for og tilet moderne byliv.

Der vil endnu gå nogle år, før huset står helt fær-digt. Planlagte altaner på bygningens 1. sal kanførst monteres, når Metroselskabet er færdig medat anlægge en metrostation ud for ejendommen.Og måske vil der inden den tid været opstået nyeideer til området, der gør, at områdets egen for-

tælling således fortsætter. At man må væbne sigmed en særlig tålmodighed her – fordi det ikkealtid bliver, som man havde forestillet sig. Og atdet nogle gange er en fordel, fordi det giver for-skellige tider mulighed for også at sætte derespræg på byen.

Realdania Byg ønsker med denne udgivelse atgive den interesserede læser mulighed for atkomme tættere på det nye byggeri og dets hi-storie. Bogens tre hovedafsnit kan læses selvstæn-digt og søger fra hver deres vinkel at indkredseden nye ejendom. Professor Ole Lange tegnerindledningsvist et portræt af Tietgen og den hi-storiske kontekst, den engelske arkitekt TonyFretton belyser i sit bidrag den skabermæssigesammenhæng, og endelig giver lektor Peter Thu-le Kristensen i bogens tredje afsnit en analyse ogarkitekturhistorisk placering af det færdige hus.

Realdania Byg november 2010.


“Despite the significance of this task, we were clearthat the new building should not be a freestandingicon but part of the fabric of buildings forming the so-cial and visual context of the Marble Church, whichis itself an icon through the refinement of its materials,proportions and centralized form”.

Tony Fretton

With this vision, the British architect Tony Frettongrabbed hold of the baton and set himself to thetask of completing a plan and bringing the storyof a construction project and a housing develop-ment, which has been in the making for hun-dreds of years, to its consummation.

“Tietgen’s Agony” is a modern building. How-ever, it is a building that fully makes sense only onthe little corner site in downtown Copenhagenwhere it stands. For it has been created with deeproots in the plot on which it has been built anddeep roots in the area’s special history: a talewhose preceding chapter was written by thefinancier, C.F. Tietgen. At the closing of the nine-teenth century, Tietgen brought the erection ofthe Marble Church to its completion; the con-struction of this church had originally com-menced in 1749, on the basis of drawings createdby Nicolai Eigtved. In order to finance the con-struction of the church, Tietgen had the block of

flats surrounding the church built. However,Tietgen never managed to buy up a few eighteenthcentury houses facing Store Kongensgade. To hisgreat dismay, he was simply not able to completebuilding the layout as it had been envisioned.Ever since that time, the vacant corner and theappurtenant row of eighteenth century houseshas, with an irony that is Copenhagen’s stock intrade, come to be known as “Tietgens Ærgrelse”[The Thorn in Tietgen’s Side, as we are presentlycalling the plot of land, saturated with a history ofits own]. And the new building has retained thename “Tietgens Ærgrelse” [Tietgen’s Agony, asthe building itself is being called] as a naturalchoice with respect to the anecdote of which itforms part.

Asking to have a building that brings Frederiks -staden to its completion and that, at one and thesame time, unifies the different architecturalstyles that surround the immediate area is askinga lot. In fact, not only does Tietgen’s Agony finalizeTietgen’s layout around the church; it also com-pletes the monumental axis through Frederiks -staden that the Marble Church defines in ensem-ble with Jacques-Francois-Joseph Saly’s eques -trian statue and Amalienborg’s four mansions.Nonetheless, Tony Fretton has come up with aqualified and surprisingly humble bid, with a

Introduction

6


building that “knows its place” in the architectur-al hierarchy. The new building is not the focalpoint for the area’s layout of various construc-tions – the church has this role down pat! How-ever, Tietgen’s Agony delicately mediates two as-pects of Copenhagen: grandiose architecture andmore down-to-earth residential flats.

Both in the larger and the smaller lines of thenew edifice, there are references to the rest of thearea’s properties: from the elaboration of itsfacade to the choice of materials; from the appliedfunctions to the informal living space that isgoing to be created inside the house – wherebythe vision of creating a dignified conclusion tothe historical layout is fulfilled with a buildingthat has actually been erected in a contemporaryidiom and has simultaneously been designed anderected with respect for – and paid toward – amodern life lived in the city.

There are still a few years to go before thebuilding will actually come to stand in fully com-pleted form: a number of balconies planned forthe building’s first story will not be clipped on tothe body of the building until The CopenhagenMetro is finished with its con struction of anunderground station that will eventually be situ-ated just outside the edifice. Perhaps, before thattime arrives, a whole new set of ideas for the area

will have emerged that will come to exert reper-cussions on the ongoing development of thearea’s own special narrative. One would do wellto fortify oneself with a special kind of patiencehere – because things do not always turn out aswe expect them to. Sometimes this proves to bean advantage, because it grants to different pock-ets of time the chance to place their own specialmark on the city and its development.

With this publication, Realdania Byg aims toprovide the interested reader with the possibilityof zooming in on the new building and its histo-ry. Each one of the book’s three main sectionscan be read on its own; each one makes its ownattempt, from its own special point of view, toencircle the new house. By way of introduction,Professor Ole Lange sketches out a portrait ofCarl Frederik Tietgen and the historical contextof The Thorn in Tietgen’s Side. In his con -tribution, the British architect, Tony Fretton,throws light on circumstances and certain con-siderations related to the creation and design ofthe architectural work. Finally, in the book’s thirdsection, Associate Professor/Architect PeterThule Kristensen offers an analysis of Tietgen’sAgony and an architectural-historic placement ofthe finished building.

Realdania Byg, November 2010

7


8


Af/By professoremeritus, dr. phil.Ole Lange

Frederik Sødring, Udsigtover Marmorpladsen medruinerne af den uafsluttedeFrederikskirke, 1835, olie pålærred. Statens Museum forKunst.

Prospect of the MarbleSquare with the ruins ofthe uncompleted Frederik’sChurch. Frederik Sødring,1835, oil on canvas.The National Galleryof Denmark.

En dag i efteråret 1865 sagde daværende lands-tingsmand, senere indenrigsminister og kon-seilspræsident (statsminister) J.B.S. Estrup: ”Detville være noget for Dem, Tietgen, at arbejde forFuldførelsen af Marmorkirken”.

C.F. Tietgen havde indledt sin karriere sommoderne bankmand som 28-årig i 1857 med di-rektørposten i den nystiftede Privatbanken. Menhan havde endnu ikke opnået den stjernestatussom iværksætter, stifter og bestyrelsesformand ide mange forskellige aktieselskaber, han efter enhalv snes år (eller mere) senere stiftede og kunnesmykke sig med. Det var dog et tegn på Estrupsskarpe blik for talentet i den unge Tietgen. Hanvar kun 36 år og havde efter eget udsagn indtil daikke skænket Marmorkirke-ruinen en tanke.

Marmorkirken havde henligget som en ruin imere end et århundrede på en af Københavnsdyreste byggegrunde i Frederiksstaden tæt påAmalienborg, siden den indkaldte franske arki-tekt N.-H. Jardin havde fortsat det påbegyndteambitiøse byggeri efter den danske hofarkitektNiciolai Eigtved, der døde 1754. Den tyske liv-læge for Christian 7. og landets egentlige herskerJ.F. Struensee havde i 1771 standset samme byg-geri. Det var – som sædvanligt – hensynet til sta-tens nødlidende finanser, der gjorde udslaget.Ambitionerne i forhold til den enevældige kon-gemagts og landets økonomiske formåen var alt

One day in the autumn of 1865, a member of theupper house of the Danish parliament, later Den-mark’s Interior Minister and eventually PrimeMinister – J.B.S. Estrup, asked: “Wouldn’t that besomething for you to work on, Tietgen – bringingthe construction of the Marble Church to itscompletion?”

Carl Frederik Tietgen had started off his careeras a modern banker in the year 1857. At 28, he wasappointed manager of the newly established bankPrivatbanken. Tietgen had not yet attained the star-dom as an entrepreneur, founder and chairman ofthe many different companies that he would even-tually come to establish a dozen years (or more)later: a celebrity-status he could proudly flauntwhen the time was ripe for doing so. Spotting thepotential in the young Tietgen, however, was an in-dication of Estrup’s keen eye for talent: C.F. Tiet-gen was but 36 years old when Estrup put forth thequestion. And as we can read from Tietgen’s ownaccount, he hadn’t previously given any thoughtwhatsoever to the ruins of the Marble Church.

The Marble Church had been left as a ruin formore than a century, on one of Copenhagen’smost expensive building sites in the Frederiks -staden district, situated very close to the royalpalace of Amalienborg, ever since the French ar-chitect N.-H. Jardin had been summoned to con-tinue the work on the ambitious construction

9

Marmorkirken og Tietgens Ærgrelse- Om Tietgen, hans ”grundtvigske katedral”

og nogle huskøb, der mislykkedes

The Marble Church andThe Thorn in Tietgen’s Side- On Tietgen, his ”Grundtvigian Cathedral” and

some abortive attempts at purchasing properties


10


Frederiksstaden regnes for denfornemste bydel i København,da man her finder det kongeligeresidensslot, Amalienborg, om-givet af elegante rokokopalæer.Frederiksstaden blev anlagt imidten af 1700-tallet som enfejring af det oldenborgske kongehus’ 300 års jubilæum oger stramt opbygget over to vinkelrette gader, Amalie gadeog Frederiksgade, med Amalienborg Slot i centrum ogFrederikskirken som det domi-nerende bygningsanlæg i tvær -aksen. Det Kongelige Bibliotek.

Frederiksstaden is considered tobe the most dignified quarter ofCopenhagen, home of the royalpalace of Amalienborg and thesurrounding elegant rococomansions and townhouses. The quarter was planned in themiddle of the 18th century tocelebrate the tricentennial of theRoyal House of Oldenburg andwas conceived with greatprecision around the twoperpendicularly running streets,Amaliegade and Frederiksgade,with Amalienborg Palace inthe centre and Frederik'sChurch as the focal point of the transverse axis. The Royal Library.

for store. Det stort tænkte mindesmærke for300-året for den oldenborgske slægts tronbesti-gelse 1449 kostede for meget. Og det blev opgi-vet af den reformvenlige, ikke-kongelige tysker.Så lå resten af byggeriet tilbage – ruinen – mel-lem 10 og 15 meter i højden var det nået på dethøjeste sted efter 21 års byggeri.

Kongeaksen Det var en englænder, kaptajn Lumley, der vak-te Tietgens interesse. Han var udsendt til Dan-mark af en række engelske kapitalinteresser forat få udbetalt et depositum på £ 25.000 for enjernbanekoncession, men fik rettet Tietgens op-mærksomhed mod arkitekturen i ”den BuesSkønhedsformer, der var opført i Facaden imodBredgade, at jeg fik Interesse for Sagen”, beretterTietgen om ruinen i sine erindringer. Det varden eneste, der var fuldført.

Allerede fra 1820erne havde mere eller min-dre fantasifulde planer rumsteret om udnyttelseaf grunden og ruinen, fra anlæg af et gasværk, tilet springvand mod at beholde marmoret til etplanlagt stort vandbassin i Søndermarken, ellerbrug af dele af marmoret til fodstykket på rytter-statuen af Frederik VII, udført ved Herman Bis-sen (fuldført af hans søn Vilhelm 1873). Den ståri dag på Christiansborg Slotsplads. Grundlovens

project originally begun by the Danish court’s pre-ferred architect, Nicolai Eigtved, who died in 1754.The royal physician for King Christian VII and thenation’s “de facto” regent, the German-born J.F.Struensee, had put the brakes on the same buildingproject in 1771. It was – as usual – considerations re-lated to the nation’s destitute economic situationthat were the decisive factor. The ambitions of theproject were simply all too great when weighedagainst the economic capabilities of the autocraticroyal power and of the nation. The costs of build-ing this expansively conceived monument, prima-rily intended to commemorate the 300th anniver-sary of the House of Oldenburg’s accession to theThrone in 1449, were running too high. And so theplan was jettisoned by the non-royal German re-formist, with the result that the remnants of the un-finished building project – “the ruin” – was simplyleft standing as it was: it had attained between 10and 15 meters in height at its tallest points, aftersome 21 years of construction activity.

The Royal Axis It was an Englishman, Commander Lumley, whoawakened Tietgen’s interest. Lumley had been dis-patched by a number of English capital-investmentconcerns to Denmark in order to receive a de-posit of £25,000 for a railway concession but,

11


formelle giver ville da kunne hilse på sin oldefarFrederik V ligeledes til hest på Amalienborg-pladsen, som Tietgen vittigt bemærkede. Ende-lig var der blandt de mange projekter et, der gikud på at fuldføre ruinen som kirke. Det vartænkt med Bindesbøll som arkitekt, men ogsåandre, f. eks. Harsdorff, G.F. Hetsch, VilhelmKlein og Ludvig Fenger, havde bidraget medforslag, der ikke blev realiseret.

I 1867 var Tietgen flyttet fra Nørregade tilKronprinsessegade 30 – den nationalliberalegade – som den blev kaldt i samtiden – og herfragik han næsten dagligt forbi Marmor-kirkeruinenpå sin spadseretur til Privatbankens kontor i Børs-bygningen. På denne tur blev han mindet om den”nationale Skjændsel her i Hovedstaden, at denhenstod i denne Skikkelse og dette i dybeste For-stand, fordi det var en Kirke, det drejede sig om”.

Marmorkirken var tænkt af hofbygmesterNicolai Eigtved som afslutningen på den enetvær akse i Frederiksstaden i den stort anlagteplan for rokoko-bydelen med de fire Amalien-borg-palæer og de øvrige fine palæer i Bredga-de, Amaliegade og Frederiksgade til havneløbet.Denne ”Kongeakse” blev på midten af slotsplad-sen med Salys rytterstatue af Frederik V krydsetaf længdeaksen fra Sankt Annæ Plads gennemAmaliegade til Esplanaden og i dag Gefion-springvandet.

while in Denmark, he managed to direct Tiet-gen’s attention toward the architecture: it was ac-tually “the curve’s exquisite forms, which had al-ready been built into the facade on Bredgade thatinspired me to take any interest in the matter”, asTietgen recounts about the ruin in his memoirs.The Bredgade facade was the only one of thechurch’s facades that was completed at the time.

Already from the 1820s and on, a number ofmore or less far-fetched plans related to makingthe most of the building site had been circulating,ranging from establishing a layout for a gasworksto the installation of a fountain to keeping andeventually re-utilizing the marble for a plannedlarge ornamental lake in the Søndermarken or us-ing fragments of the marble for the pedestal of theequestrian statue of King Frederik VII, sculpted byHerman Bissen (and eventually completed by hisson, Villiam, in 1873), to be located on the site. AsTietgen remarked in jest, the Danish Constitu-tion’s formal benefactor would then be able tosalute his great-grandfather, King Frederik V, whomakes an appearance at Amalienborg Square,similarly mounted on horseback. (As things cameto pass, the Bissens’ statue of King Frederik VIInow stands on Christiansborg Palace Square.) Fi-nally, there was one project that actually suggest-ed completing the ruin as a church, with Bindes-bøll as the designated architect. Others, however,

12


Marmorkirken som tænkt af N.-H. Jardin. Opstalt afhovedfacade, 4. projekt, 26.juni 1756. Fra ”Buch der Pro-bezeichnungen”, Det KongeligeBibliotek – kat. Nr. 60. Denlille opstalt angiver (skyggen),hvor meget der var opført inden nybygningen.

The Marble Church asconceived by N.-H. Jardin.Principal facade, 4th project,dated June 26, 1756. From“Buch der Probezeichnungen”,cat. no. 60, The RoyalLibrary. The shaded section inthe small elevation indicateshow much of Eigtved’sprevious project had alreadybeen built before constructionwas resumed later on.

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Eigtved døde allerede i 1754, og hans arbejdemed kirken blev overdraget til den indkaldtefranske arkitekt N.-H. Jardin, der gennem sine16 år i Danmark ikke fik ressourcer til at afsluttedet pompøse kirkebyggeri. Derefter lå denufuldendte kirke som en ruin og et monumentover kongemagtens og rigets fejlslagne ambitio-ner. Indtil Tietgen som nævnt kom til på opfor-dring af J.B.S. Estrup.

Tietgen skal efter egen erindring have bedtførst Estrup og senere andre ansvarlige ministreom ”ikke at disponere over Ruinen, før jeg hav-de faaet Lejlighed til at ytre mig om, hvorvidtjeg ville kunde paatage mig Fuldførelsen”. Sam-me anmodning skulle Tietgen efter eget udsagnhave rettet til efterfølgende ministre som C.A.Fonnesbech og A.F. Krieger.

Spørgsmålet er så, om det var Estrup, der hen-ledte Tietgens opmærksomhed på Kirkeruinen.

I Tietgens arkiv ligger der tegninger af kirkenudført af arkitekten C.F. Zwingmann dateret1867. De er tegnet med henblik på en færdiggø-relse af kirken med udnyttelse af det allerede ud-førte arbejde og en skitsering af fremgangsmå-den. I den korte beskrivelse hedder det bl.a.:

”Ved Udarbeidelsen af dette Project til Fuld-endelsen af Frederikskirken i Kjøbenhavn erForfatteren gaaet ud fra at benytte saamegetsom muligt af det allerede Opførte, da dette,

including Harsdorff, G.F. Hetsch, Vilhelm Kleinand Ludvig Fenger, had contributed proposalsthat were never realized.

In 1867, Tietgen had moved from Nørregade toKronprinsessegade 30 – the street of the NationalLiberal Party, as it was popularly called at the time– and from there, his stroll to the Privatbanken of-fices in the Stock Exchange Building carried himpast the Marble Church almost every day. On thisroute, Tietgen was constantly being reminded ofthe “national disgrace, right here in the capital thatit had been left in this condition and this in thedeepest sense because it was a church”.

The Marble Church had originally been con-ceived by Royal Building Master Nicolai Eigtvedas the termination of one of the transverse axesdefining the expansively designed Rococo quar-ter of Frederiksstaden, with its four Amalienborgpalaces and other palatial mansions on Bredgade,Amaliegade and Frederiksgade, extending all theway to the harbour’s entrance. This “Royal Axis”was bisected, right in the centre of Amalienborg’sopen square with Jacques Francois Joseph Saly’sequestrian statue of King Frederik V, with the dis-trict’s longitudinal axis running from Sankt AnnæPlads along the full length of Amaliegade to Es-planaden and later to the Gefion Fountain.

Eigtved died in 1754 and his work on creatingthe church was placed in the hands of the French

Marmorkirkens ruin, set franordøst, ældre foto,

Rigsarkivet.

The ruin of the MarbleChurch, as seen from thenorthwest. Older photo,

The Danish State Archives.

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architect, N.-H. Jardin, who, in the course of his16 years spent in Denmark, was never entrustedwith sufficient resources to finish the grandiosechurch building. Thus the unfinished church laythere like a ruin and simultaneously a monumentto the royal power’s and the kingdom’s misdi-rected ambitions … until Tietgen, as has beenmentioned, arrived on the scene – in response toJ.B.S. Estrup’s request.

According to his own memoirs, Tietgenclaims that he first asked Estrup and, later on,other responsible ministers “not to make any de-cisions about the ruin before I had the chance tovoice my own opinion about the extent to whichI would be able to take on the responsibility ofcarrying the project to its completion”. Tietgen,according to his own account, eventually put thissame request before succeeding finance ministerslike C.A. Fonnesbech and A.F. Krieger.

There is, then, a question about whether it re-ally was Estrup who initially drew Tietgen’s at-tention to the church ruins.

In Tietgen’s archive, there are drawings for thechurch by the architect, C.F. Zwingmann, dated1867. They show a project that makes the most ofwhat had already been built. In the accompany-ing brief description we can read, among otherthings: “In preparing this project for the comple-tion of Frederick’s church in Copenhagen, the

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Plan over kirkepladsen og deomgivende grunde. Øverst tilvenstre ses de seks grunde,der ikke kom med, fordi ejerne skruede priserne forhøjt op. C.F. Tietgens arkiv,Materiale vedr. Marmorkir-ken, Rigsarkivet.

Plan of the church squareand the surrounding lots. In the top left corner, the sixlots that were not includedbecause the owners kept onraising the price. The C.F. Tietgen Archives,files concerning the MarbleChurch. The Danish State Archives.

isærdeleshed alt det, der hører til den nedersteEtage, paa faa Undtagelser nær, er af en saa solidBeskaffenhed, at det Manglende med størsteSikkerhed kan opføres derpaa.

Som Følge heraf er hele den nederste Etage afRuinen, med undtagelse af nogle Forandringerved Portalerne, bibeholdt, de ufuldendte Deleheraf fuldføres af det fra Ruinens øverste Etagenedtagne Materiale, og ovenpaa denne saaledesvundne solide Grund opføres Resten af et billig -ere Materiale end Marmor, men saaledes, at detHele faaer et eensartet Udseende.

Kirken vil kunne fuldføres for ca. 160,000 Rdl.og den vil kunne rumme over 2.000 Personer,hvoraf over 1,600 Siddepladser.

Situationsplanen antyder Pladsens Afbenyt-telse omkring Kirken”.

Efter dateringen 1867 giver Tietgens arkiv in-gen spor af nogen udvikling omkring kirkerui-nen. Det kan skyldes, dels at han endnu ikkehavde de nødvendige midler til at gå i gang medså stort et projekt, dels at Zwingmann var hanskone Lauras særlige ven. Hans vurdering af ud-gifterne forekommer rigeligt lave.

”Tietgens Ærgrelse”I slutningen af maj 1874 gav finansminister Krigerved en middag i sin villa i Rosenvænget på Østerbro

author has been basing his efforts on re-using, asmuch as it is possible to do so, whatever hasalready been erected, since this, and particularlyall of that which belongs to the lowest floor, withfew exceptions, is of such a robust nature thatwhatever is missing can be constructed upon thisbasis with the greatest degree of assurance.

As a consequence of this, the entire bottomfloor of the ruin, with the exception of somechanges involving the portals, will be retained,while the unfinished parts of this level will becarried to completion making use of materialdismantled from the ruin’s uppermost storey. Ontop of the solid ground regained as a result of allthis, the rest of the church will be constructed ina material less costly than marble, but accom-plished in such a way that the whole will take ona visually consistent appearance.

It ought to be possible to complete the build-ing of the church for the sum of approximately160,000 Rix-dollars and the church will be able toaccommodate more than 2,000 people, includingprovisions for more than 1,600 seats. The siteplan offers indications pertinent to the use of thesquare surrounding the Church”.

Above and beyond the dating of this docu-ment to 1867, Tietgen’s archive offers no furtherclue to any development of the church ruins. Thismay be due in part to the fact that he still did not

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have the necessary means at his disposal for em-barking on such a large project and partly alsobecause Zwingmann was his wife, Laura’s, spe-cial friend. Zwingmann’s assessment of the costsappears to be rather low.

The Thorn in Tietgen’s SideIn late May of 1874, at a dinner given in his villaon Rosenvænget in the Østerbro quarter, FinanceMinister A.F. Krieger informed Tietgen that heintended to resign from governmental servicequite soon. By May 30, Tietgen had made up hismind to submit his purchase proposal to the gov-ernment. He and Krieger convened inside TheRed Building, the Ministry of Finance, and quick-ly came to an agreement. Tietgen bought the ruinand the adjoining building grounds – with the ex-ception of the southwestern segment of the plot,containing a row of houses facing Store Kongens-gade. These six small houses (Land Registry titlenumbers 251-256) would eventually come, overthe course of the many ensuing years, to cause agreat deal of chagrin, first of all, to Tietgen andlater on, to the church itself. These houses werethe last that were outstanding from the purchaseof the continuous sequence of buildings sur-rounding the Marble Church – or Frederick’sChurch, as it was properly called. Without the

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”I Bredgade. – Der gaaer Tietgen jo sin Ruin i Møde!”.Karikaturtegning i ”Punch”fra 1876 som kommentar tilTietgens køb af Marmorkir-kens ruin. Tegningen ironise-rer over Tietgen og hans dag-lige spadseretur fra hjemmeti Kronprinsessegade 30 tilhans kontor på Børsen.

“On Bredgade. - Look, theregoes Tietgen to his ruin!” Satirical cartoon-sketch in“Punch” from 1876,commenting on Tietgen's acquisition of the MarbleChurch ruin and playingironically on Tietgen's daily stroll from his home on Kronprinsessegade 30 tohis office in the Old StockExchange building.

Tietgen besked om, at han agtede at udtræde afregeringen om kort tid. Den 30. maj havde Tiet-gen besluttet sig og sendte sit købstilbud til staten.Han og Krieger mødtes i Den røde Bygning i Fi-nansministeriet og blev hurtigt enige. Tietgenkøbte ruinen og de tilhørende byggegrunde –med undtagelse af den sydvestlige del af husræk-ken ud mod Store Kongensgade. Disse seks små-huse (matrikelnumrene 251-56) skulle gennemde næste mange år komme til at volde først Tiet-gen, senere kirken, mange ærgrelser. Bygningernevar de sidste, der manglede for at husrækken om-kring Marmorkirken – eller Frederikskirken somden rettelig hed – kunne være komplet.

Derfor satte ejerne prisen voldsomt op, såvoldsomt, at den nu kriseramte Tietgen framidt en af 1870erne og senere ikke kunne – ellerville – betale overprisen. Forberedelserne til byg-geriet gik i gang, uden at det kom til en afgørel-se. Deraf kom senere det folkelige navn på huse-ne ”Tietgens Ærgrelse”.

Kontrakten blev underskrevet den 2. juli 1874– dvs. 12 dage før den nye regering Fonnesbechtrådte til. Købesummen var 400.000 kr. Tietgenforpligtede sig til at bruge mindst 200.000 kr. påbyggeriet inden for de første fem år efter overta-gelsen.

Aftalen voldte Tietgen besvær. Han kunneikke opfylde kravet om at bruge 200.000 kr. inden

inclusion of these properties, the purchase couldnot be said to be complete.

For this very reason, the owners raised the sell-ing price in a marked way, with the cost beingraised so drastically that the now distressed Tiet-gen simply could not, from the mid-1870s andthen on – and/or simply would not – pay thepremium price. Nonetheless, preparations forconstruction were set in motion without any de-cision being made on this matter. It was on thisbasis that the popular name, “Tietgens Ærgrelse”[The Thorn in Tietgen’s Side], was subsequentlyat tached to these few houses.

The contract was signed on July 2, 1874 – thatis to say, just twelve days before the Cabinet ofFonnesbech acceded to power. The purchaseprice was 400,000 Danish kroner. Tietgen com-mitted himself to spending at least 200,000 kro-ner on the construction project within the firstfive years after the acquisition.

The deal wound up giving rise to a whole hostof problems for Tietgen. He was not able to liveup to his part of the bargain to spend 200,000 kro-ner within the first five years. And different forceswithin the otherwise not particularly unified op-position Venstre Party, nonetheless stood togeth-er and agreed to bring impeachment chargesagainst A.F. Krieger, as the responsible minister,and also against Council Presidents L. Holstein-

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for de første fem år. Og det ellers ikke særligtforenede Venstre enedes dog om at anlægge enrigsretssag mod A.F. Krieger som den ansvarligeminister og konseilspræsidenterne C.A. Fonne-bech og Holstein-Holsteinborg. Anklagen gikpå, at de tre tidligere ministre med salget af kir-keruinen dels havde overtrådt deres kompeten-cer ved ikke at få det godkendt i Rigsdagen, delshavde de solgt ruinen og grundene for billigt.Prisen burde have været 700.000 kr., hævdedeoppositionspartiet Venstre i sagen, hvor en ungViggo Hørup for første gang gjorde sig fordelag-tigt bemærket. Han var af Folketinget udpegetsom anklager i sagen.

Den endte dog med en frifindelse af de treforhenværende ministre i 1877, væsentligst pågrund af Rigsrettens sammensætning af konser-vative landstingsmænd og de fire ”forstandigeSkønsmænd”, der skulle foretage den økonomi-ske vurdering af ruinen og de tilhørendegrunde.1

Men Tietgen mødte også andre hindringerfor sit ambitiøse kirkebyggeri. Der lå på kirke-pladsens sydvestlige hjørne ud mod Store Kong -ensgade otte små huse, matrikelnumrene 251-258, svarende til husnumrene 74-88. Som nævnthavde Tietgen tilsyneladende ikke kunnet købedisse ejendomme af alle ejerne. Kun de to yderstemod kirkepladsen, nr. 86 og 88, var han i stand til

Holsteinborg and C.A. Fonnesbech. The petitionfiled against the two former ministers and the pre-siding head of state charged that, with the sale ofthe church ruins, they had, in the first place, over-stepped their respective spheres of competence,especially by virtue of having neglected to havethe agreement approved in the national legisla-ture and second, they had sold the ruin and thegrounds at too cheap a price. The price shouldhave been 700,000 DKK, claimed the oppositionin raising the issue, where, incidentally, a youngViggo Hørup called some measure of favourableattention to himself for the very first time. TheFolketing, the lower house of the parliament, hadappointed him prosecuting attorney in the case.

The verdict in the case was handed down in1877: the three former ministers were acquittedof the charges that had been brought againstthem, mainly due to the court’s composition ofConservative Party Landsting members and thefour “knowledgeable appraisers” who were en-trusted with carrying out an economic appraisalof the ruin and the adjacent plots.1

However, Tietgen ran up against other obsta-cles in moving ahead with his ambitious churchconstruction. At the church square’s southwest-ern corner, facing Store Kongensgade, there wereeight small houses, Land Register title numbers251 to 258, corresponding to the house numbers

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at købe af ejerne Schougaard og Lublien for hen-holdsvis 40.000 kr. og 24.000 kr. Derfor måttehan gå andre veje. Han undersøgte, hvad der vartinglyst af servitutter og deklarationer på grunde-ne og husene.

På matrikel 251 var der i 1830erne tinglyst endeklaration, der umuliggjorde hævd på vinduereller luge på bagsiden af huset ud mod kirke-pladsen. Det samme var tilfældet med matrikel-nummer 252, der havde fået tinglyst lignendeservitutter på tre senere fag dobbeltvinduer modkirkepladsen på første og anden etage, og somejeren var forpligtet at tilmure på forlangende afejeren af kirkepladsen. Desuden skulle ejerenlukke en tidligere benyttet udgang mod kirke-pladsen og tilbagegive det lille areal, som denindtog. Denne deklaration (servitut) ses dogikke at være modtaget af Indenrigsministeriet.

På matrikelnummer 255 (Store Kongensgade82) havde tømrermester Ingmann i oktober1839 udstedt en deklaration, som blev tinglyst14. januar 1840. Heri forpligtede han og fremti-dige ejere sig til på forlangende at tilmure de vin-duer og huller, der fandtes på ejendommens sideud mod kirkepladsen.

På matrikelnummer 256 (Store Kongensgade84) var der ikke tinglyst nogen servitutter. Hvisder fandtes ”Servitutindretninger”, kunne detvære et spørgsmål, om ejeren havde vundet

74-88. As mentioned, Tietgen had not been ableto purchase these properties from all the owners.He was only able to buy the two houses closestto the church square, numbers 86 and 88, fromowners Schougaard and Lublien, for prices of,respectively, 40,000 and 24,000 kroner. For thisreason, Tietgen had to devise another strategy.He conducted an investigation about what provi-sions were judicially registered regarding ease-ments and declarations related to these groundsand buildings.

Back in the 1830s, a declaration had beenrecorded in connection with Land Registry titlenumber 251 that made it impossible to claimrights to windows or hatches on the back of thehouse facing the church square. The same appliedto Land Registry title number 252, on which sim-ilar easements were registered in connection withthree subsequently installed windows facing thechurch square on the second and third stories andwhich the owner would be required to close upwith bricks upon being requested to do so by theowner of the church square. Furthermore, theowner was supposed to close up a previously usedegress leading out toward the church square andto return the modest area of ground that thisoccupied. This declaration (easement), however,does not appear to have ever been received bythe Ministry of the Interior.

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hævd på dem. Det samme gjaldt matrikelnum-mer 252, som ikke var registreret i Indenrigsmi-nisteriet. Tietgen forlangte derefter samtlige ser-vitutter overholdt og vinduer, døre og luger udmod kirkepladsen muret til. Ejendommene medmatrikelnumrene 257 og 258 var købt af ejerenaf kirkepladsen, etatsråd Tietgen, hed det i skri-velsen fra S. Lütken den 22. august 1875.2

Det lykkedes ikke Tietgen at få købt de sidstehuse i Store Kongensgade, trods hans håndhæ-velse af servitutterne. ”Tietgens Ærgrelse” blevliggende de næste 130 år.

Meldahl tager overFørst efter Rigsrettens dom i juni 1877 kom derfor alvor gang i kirkebyggeriet. Men i mellem-tiden var følgerne af den internationale krisekommet til landet og havde ramt både Privat-banken og Tietgen hårdt. Det sås både af udvik-lingen i kursen på aktierne i Privatbanken, derfaldt fra kurs 131 i januar 1874 til 64 i januar1878, væsentligst på grund af den såkaldte SvendPetersen-affære, der ramte Tietgen og bankenhårdt. Tietgen opgav sine årlige indtægter til ca.400.000 kr. i årene 1872-76 mod kun 80.000 kr. i1870ernes sidste år. Men opgivelserne på de år-lige offentligt tilgængelige skattelister var ikkealtid pålidelige. Ligningsprocenten lå på kun tre

In connection with Land Registry title number255 (Store Kongensgade 82), the master carpenterIngmann had, in October 1839, issued a declara-tion, which was registered on January 14, 1840.Ingmann committed himself and future owners towall up any windows and holes that might befound on the property’s side facing the churchsquare, in response to being asked to do so.

In connection with Land Registry title number256 (Store Kongensgade 84), there were evidentlyno easements registered. If there were any “Ease-ment Devices” to be found, the owner might havegained prescriptive rights to them. The samething applied to Land Register title number 252,which was not registered at all by the Ministry ofthe Interior. Tietgen then proceeded to demandthat all easements be complied with. He insistedthat all the windows, doors and hatches facing thechurch square be closed up with bricks.

The two properties with the Land Registertitle numbers 257 and 258 were eventually pur-chased by the owner of the church square, titularCouncil of State Tietgen, as is stated in the officialletter from S. Lütken dated August 22, 1875.2

But Tietgen never did successfully manage tobuy up the last of the buildings on Store Kong -ensgade, notwithstanding his enforcement ofthe easements. In fact, “Tietgens Ærgrelse”remained lying about for the next 130 years.

P.S. Krøyers portræt af Ferdinand Meldahl

malet i 1882.Det Nationalhistoriske

Museum, Frederiksborg Slot.

Portrait of Ferdinand Meldahl by

P.S. Krøyer, 1882.The Museum of

National History at Frederiksborg Castle.

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procent, så der var – i modsætning til i dag –prestige at hente ved at opgive for store ind-tægter. Han måtte for at redde sit økonomiske livog sin stilling i Privatbanken personligt stille garantier for op mod de 2½ million kr., somSvend Petersen-affæren mentes i alt at have kostet Privatbanken. Hvor stort et beløb, hanstillede som garanti, vides ikke. Tabene blev grad-vis afskrevet på regnskaberne de følgende år.

Med de senere frasalg af de omliggende byg-gegrunde gav det et overskud på 400.000 mereend de 200.000 kr., han oprindelig havde betaltfor kirkeruinen og grundene. Han gjorde medandre ord en god forretning. Men han fik ikkemulighed for at købe de sidste huse på den syd-vestlige del af Store Kongensgade – ”TietgensÆrgrelse”. De tilsvarende huse og grunde på dennordvestlige del af Store Kongensgade (det dre-jede sig om 7-8 stykker) havde han købt for bare84.000 kr., men det var åbenbart før handelenmed staten og Krieger. Nu var priserne på huse-ne på den sydvestlige del sat betydeligt højere.

Senere udtrykte Meldahl sit syn på grundenemed bygningerne ”Tietgens Ærgrelse”: ”Manhar oftere fremsat den smukke Tanke at indretteen Præstebolig og et Forsamlingshus for Menig-heden på dette sydvestre Hjørne af Kirkeplad-sen, hvad Pladsen ypperlig egner sig til, og haa-belig vilde de Mænd, som havde Glæde af og

Meldahl takes charge It wasn’t until after the court’s verdict in June1877 that construction on the church really com-menced once again. In the meantime, the conse-quences of the international crisis had spread toDenmark and had exerted a hard impact on Pri-vatbanken Bank and on Tietgen personally. Thisshowed both in the progress of the price of Pri-vatbanken Bank shares, which fell from 131, inJanuary 1874, to 64, in January 1878, primarily asa consequence of the so-called “Svend Petersenaffair” which had a profoundly detrimental effecton Tietgen and on the bank. Tietgen declared hisyearly income as being approximately 400,000kroner in the years 1872-76, as compared withonly 80,000 kroner in the closing years of the1870s. However, income tax returns as they ap-peared on the publicly accessible annual registerof taxpayers were not always reliable. The stand -ard tax rate at the time was but three percent,with the upshot that – unlike today – there was acertain prestige to be gained by declaring an in-come that might actually be higher than whatwas earned. In order to save his own economiclife and to hold on to his position at PrivatbankenBank, Tietgen was forced to put up guarantees,personally, for as much as the 2½ million kronerthe “Svend Petersen affair” was estimated to havecost Privatbanken Bank. How great a sum Tietgen

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ville gjøre sig en Ære af at afslutte TietgensVærk, mindes dette”.

Oprindelig var det Tietgens hensigt at få arki-tekt C.F. Zwingmann til at stå for færdiggørelsenaf Marmorkirken. Han havde mødt ham hosden svenske baron Stjernblad på Marsvinsholmi Skåne, hvor Zwingmann havde opført en kirkei det nye materiale beton. Det havde en slåendelighed med det marmor, kirken var påbegyndtmed af Eigtved.

Tietgen overlod det derefter til Zwingmann,der var elev af Bindesbøll, at udarbejde udkast tilfuldførelse af kirken. Men Zwingmann blev sygog kunne ikke anvendes til opgaven. Tietgendroppede ham, selv om hans kone søgte at hol-de fast i ham. Men han brugte ham i stedet til enanden opgave, nemlig opførelsen af hovedbyg-ningen til sit landsted Strødam ved Hillerød.

Derefter blev Ferdinand Meldahl, der hidtilhavde holdt sig skeptisk tilbage, i stedet hyretsom ”ene styrende Architekt ... og raadgivendeHjælper og Overleder ved Salget – Udparcelle-ringen af de omliggende Arealer”. Han påtog sigjobbet uden honorar – alene mod at få dækketsine udgifter. Det ville være ham ”en Æressag atovertage et saadant Hverv”.

I foråret 1879 blev den nu 50-årige Tietgen al-vorligt syg. F. Meldahl skrev 17. maj til ham:”Gud være lovet, at Faren er overstaaet. Vi maa

actually put up as a guarantee is not known. Thelosses were gradually written off on the accountsheet over the ensuing years.

With the subsequent selling off of the sur-rounding building grounds, there was a surplus of400,000 over and above the 400,000/200,000kroner Tietgen had originally paid for the churchruins and the grounds. In other words, the bankerhad made a good deal. Even so, he was simplyunable to buy up the last houses in the southwesternsection of the area, facing Store Kongensgade –“Tietgens Ærgrelse”. He had managed to pur-chase the corresponding buildings and plots facingStore Kongensgade in the northwestern corner ofthe area (involving around 7 or 8 properties) foronly 84,000 kroner, but all this was apparentlyaccomplished before the aforementioned dealingswith the government and Krieger. By now, theprices of the houses on the southwestern part ofthe area were set consid erably higher.

Sometime later on, Ferdinand Meldahl ex-pressed his view on the grounds containing the“Tietgens Ærgrelse” buildings: “On several occa-sions, people have put forward the elegant idea ofsetting up a vicarage and a meeting house for thecongregation on this southwestern corner of thechurch square, which would suit the wholesquare extremely well. Hopefully, the men whowill eventually have partaken in the pleasure of

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beholde Dem en god Tid endnu, for at De kanføre de Sager til en god Afslutning, som nu eregaaende ved Deres Snille og Udholdenhed.Rakket og Pakket maa ikke have den Glæde atsee Dem falde fra netop nu”. 3

Svend Petersen-affæren og børsopposition Tietgen faldt ikke fra, selv om hans sygdomutvivlsomt stod i forbindelse med den voldsom-me kritik, han havde været udsat for i dele afdagspressen og på generalforsamlingerne i Pri-vatbanken gennem de sidste par år. Han måttekæmpe hårdt for sine virksomheder under denøkonomiske krise. Men han havde ingen gyldigdokumentation for, at han inden for de senestefem år havde brugt de nødvendige 200.000 kr.på kirkebyggeriet, som han var forpligtet til eftersalgskontraktens bestemmelser.

Der var ifølge Meldahls datter Helga Ste-manns angivelse tale om at fratage Tietgen byg-geriet, fordi han ikke i december 1879 havdebrugt tilstrækkeligt med midler på byggeriet.Der forelå endda et anonymt brev til Finansmi-nisteriet, der påpegede denne mangel. Men mi-nisteriet og konseilspræsident Estrup foretrak atignorere brevet og krævede ingen nærmere do-kumentation af, at beløbet virkelig var anvendt,

doing this – and would take upon themselves thehonour of completing Tietgen’s work – will beremembered for this”.

Originally, it was Tietgen’s intention to entrustarchitect C.F. Zwingmann with the completion ofthe Marble Church. Tietgen had met Zwingmannat the home of the Swedish Baron Stjernblad atMarsvinsholm in Scania, where Zwingmann hadbuilt a church in the new material, concrete. It borea striking resemblance to the marble with whichEigtved had begun building the church.

After this meeting, Tietgen handed over the taskof working up a sketch proposal of completing thechurch to Zwingmann, who had been a pupil ofBindesbøll. But Zwingmann became ill and couldnot be counted on to fulfil the task. Tietgendropped Zwingmann, even though his wife, Laura,tried hard to keep her friend, the architect, involvedin the project. Instead, Tietgen eventually em-ployed Zwingmann’s services in connection withanother assignment: the erection of the main build-ing for his country house, Strødam, near Hillerød.

Subsequently, Ferdinand Meldahl, who hadhitherto refrained sceptically from getting in-volved in any way with the project, was hired in-stead as “sole guiding architect ... and advisoryhelper and manager of the sale/parcelling out ofthe surrounding areas”. Meldahl took on the jobwith out pay, asking only to be reimbursed for any

25


outlay of expenses. For him, evidently, “takingover such a task” would be “a matter of personalhonour”.

In the spring of 1879, Tietgen, who had turned50, fell seriously ill. On May 17, Meldahl wrote toTietgen: ”God be praised that the danger hassubsided. We must keep you around for sometime yet, so that you can guide matters to a fineconclusion, matters that are now moving forwardsheerly on account of your ingenuity and perse-verance. The rabble must not have the pleasureof seeing you stumble and fall right now”. (3)

The Svend Petersen affair and opposition at the Stock ExchangeTietgen did not make it to death’s door but therecan be no doubt that his bout with serious illnesshad much to do with the fierce criticism to whichhe had been exposed on the part of some writersin the daily press and at the annual general assem-blies in Privatbanken Bank over the course of themost recent years. He had to fight hard to protecthis companies during the economic crisis. But hedid not possess any valid documentation that hehad, in the course of the last five years, actuallyspent the required 200,000 kroner on the construc-tion of the church that he had agreed to spend, ac-cording to the provisions of the sales contract.

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P.S. Krøyers billede af C.F. Tietgen malet i 1894.Det Nationalhistoriske Museum, Frederiksborg Slot.

Portrait of C.F. Tietgen byP.S. Krøyer, 1894.The Museum of NationalHistory at FrederiksborgCastle.

efter at Krieger og Meldahl havde været i aktionfor Tietgen.

Man kan så rent hypotetisk spørge: Hvadskulle Estrup have gjort, hvis han havde krævetdokumentation og fundet ud af, at Tietgen ikkehavde levet op til kontrakten? Så det undlodhan klogeligt, selv om han ikke kunne være uvi-dende om, at Tietgen havde åbenlyse økonomi-ske vanskeligheder. Det fremgik tydeligt afdagspressen og af referaterne fra Privatbankensgeneralforsamlinger fra 1876-79, der var ret sådramatiske.

1880-81 var Tietgen endelig kommet nogen-lunde over den kedelige Svend Petersen-affæreog de samtidige problemer med Tuborg, der si-den stiftelsen i 1873 havde givet konstante un-derskud. Hovedaktionæren Philip Heymannovertog den daglige ledelse og formandsposten,da Tietgen trak sig, og med ham forsvandt ogsåden administrerende direktør Leopold Damm,som Tietgen havde ansat. Heymann skabte der-efter overskud de følgende år og bidrog i øvrigtøkonomisk og diskret til kirkens opførelse.

Tietgen genvandt sine økonomiske kræfter,øgede sine indtægter og kunne med stiftelsen afKøbenhavns Telefon-Aktieselskab og De danskeSpritfabrikker i 1881 med sin diskrete deltagelse iBørsoppositionen 1882 og grundlæggelsen afFakse Kalkbrud i 1883 genoptage sin økonomiske

According to Meldahl’s daughter, Helga Stemann,there was allegedly some discussion about takingthe building away from Tietgen because it wasdeemed, in December 1879, that Tietgen had notspent enough money on the project. There waseven an anonymous letter that had been sent tothe Ministry of Finance, which pointed out thisshortcoming. However, Finance Minister andCouncil President Estrup preferred to ignore theletter and asked for no further documentationthat the sum in question had actually been usedafter both Krieger and Meldahl had moved intoaction on Tietgen’s behalf.

One can then ask, in a purely hypotheticalway: What would Estrup have done if he hadasked for documentation and found it to be thecase that Tietgen had not lived up to his contrac-tual agreement? It appears, thus, that the CouncilPresident wisely avoided doing this, even thoughhe could not possibly be unaware that Tietgenwas obviously facing financial difficulties: thiswas plainly evident in what could be read in thenewspapers and in the minutes of the Privat-banken Bank’s annual general meetings from1876-79, which were quite dramatic.

By 1880-81, Tietgen had finally got over theunpleasant “Svend Petersen affair” and the simulta-neous problems at the Tuborg brewery which, sincethe time of its founding in 1873, had constantly

27


Gründervirksomhed. Den bragte atter hans årli-ge indtægter op på de 400.000 kr. i 1882-83 – ef-ter hans egne opgivelser. I de samme år skiftedede hjemlige og internationale økonomiske kon-junkturer fra depression til en mindre, foreløbighøjkonjunktur, så indtægterne fra Store Nordi-ske igen blev betydelige. Den største byggeakti-vitet på Marmorkirken kulminerede netop i åre-ne 1882-85.

Hørups hyldestI året 1882 havde Tietgen 25 års jubilæum somdirektør i Privatbanken. Forlydenderne om hansøkonomiske vanskeligheder var blevet til hånd-faste rygter. Derfor foranstaltede grosserer Ru-dolf Puggaard en indsamling i oktober-novem-ber blandt Tietgens venner og forretningsforbin-delser, som gav 200.000 kr. Ved samme lejlighedhavde medarbejderne i de 14 forskellige tietgen-ske virksomheder, hvor han var formand, ind-samlet en sum til dels en buste af ham, dels tildet kors, der skulle rejses på toppen af Marmor-kirkens kuppel. Størrelsen af det indsamlede be-løb kendes ikke. Men den folkelige hyldest, hanved sit jubilæum blev genstand for, kom som enoverraskelse. Marmorkirkens færdiggørelse varved at blive en folkesag. Berlingske Tidende ogisær Dagbladet bragte store hyldestartikler.

produced a deficit. Tuborg’s principal sharehold-er, Philip Heymann, took over the daily man-agement of the concern; he also assumed thepost of chairman of the board of directorsupon Tietgen’s resignation. At the same time,the managing director, Leopold Damm, whomTietgen had recruited, also left the ranks of thecompany. After this re-structuring, Heymannmanaged to generate a surplus profit in the fol-lowing years. As a matter of fact, Heymann con-tributed, albeit discreetly, to the erection of thechurch building.

Tietgen regained his economic powers, in-creased his income and could – with the foundingof Københavns Telefon-Aktieselskab [Copen-hagen’s Telephone Corporation] and De danskeSpritfabrikker [The Danish Spirits Factories] in1881, with his covert participation in the stock-exchange opposition in 1882 and with the estab-lishment of Fakse Kalkbrud [Faxe LimestoneQuarry] in 1883 – resume his role as entrepreneur.All of this served to propel his annual incomeback up to the 400,000-kroner level in 1882-83 –according to his own income tax returns. In thesame years, domestic and international economicmarket conditions underwent a change fromdepression to a modest interim boom, with theconsequence that the proceeds from Det StoreNordiske Telegraf-Selskab [The Great Northern

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Og Venstres hovedorgan i København, Morgen-bladet, bragte Viggo Hørups store artikel ”Hr.Tietgen”, hvori der var adskillige roser, menogså enkelte torne. Et fremragende portræt ibåde sort og hvidt – især ved sin sproglige ele-gance:

”I Kundskaber og Forstand har Hr. Tietgenmange Ligemænd og ikke faa Overmænd, skøntnæppe i den danske Handelsverden. Men hvadhan har forud for de andre, det er moralsk Mod– en sjælden Egenskab her til Lands, og blandtde Blinde er jo allerede den enøjede jo Konge –et moralsk Mod, for hvilket Intet, ikke blot intetPengebeløb ligger for højt: Mod til at tage An-svaret, Mod til at vove først andres, saa ogsaa siteget, Mod til at gaa frem og Mod til at fjerne,hvad der stiller sig i Vejen. De andre have ogsaanoget af alt dette, men i det mindre, i det smaa”.

Og Hørup fortsatte med et forbehold over forTietgens religiøst funderede begrundelse:

”Og naar en Mand, som han, med Rette kanhenvise til hvad han i saa stor Udstrækning hargjort for Land og Folk, saa har han ogsaa hervedpaa den rette Maade arbejdet til ”Guds Ære”,uden at han behøver direkte at opkaste sig tilGuds Æres Vagt, eller at pukke paa det tilkom-mende Kors paa den tilkommende Marmorkir-ke. ”Guds Velsignelse” hviler over enhver Gjer-ning, der begyndes og udføres med det Maal at

Telegraph Corporation] once again became con-siderable. As a matter of fact, construction activityon the Marble Church attained its most dramaticpoint of culmination precisely in the years 1882-85.

Hørup’s tribute In the year 1882, Tietgen celebrated a silver ju-bilee, marking the 25th anniversary of his serviceas the administrative manager of PrivatbankenBank. By this time, all the hearsay gossip abouthis financial difficulties had become heavy-handedrumour. For this reason, the wholesale merchant,Rudolf Puggaard, set up a fund-raising collectionin October-November from Tietgen’s friends andbusiness associates, who contributed a total ofsome 200,000 kroner. On the same occasion, em-ployees working at the fourteen different Tietgencompanies where he was chairman of the boardof directors had raised a sum of money that wasused in part to make a bust of Tietgen and partlyfor the cross that was eventually supposed tocrown the Marble Church’s dome. The sum totalof the latter amount collected is un known. Butthe popular ovation of which Tietgen, in connec-tion with his silver jubilee, became the object ofpraise did come as a surprise. The MarbleChurch's completion was fast becoming a matterof national importance. The Berlingske Tidende

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gavne sine Medmennesker og bringe Udviklin-gen et Fjed videre”.

En god måned senere lød det lidt belærendei Jyllandsposten fredag den 22. december 1882om Marmorkirkens kuppel:

”Vi anerkender selvfølgelig den smukke Tanke,der har bragt Hr. Tietgen til at paatage sig Mar-morkirkens Fuldførelse men Moralen af denne isin Form kejtede Appel til Offentligheden betræf-fende et Kobbertag er dog den, at man skal ladevære med at bygge pragtfulde Domkirker, naarman ikke raader over de til deres nogenlunde or-dentlige udstyrelse nødvendige Midler”.

Skribenten pegede præcist på faren ved Tiet-gens projekt. Han måtte appellere til offentlig-heden for at kunne opfylde sine forpligtelser.4

Uenighed om kobbertagetDer gik dog yderligere 12 år efter jubilæums-årets forventelige hyldest til Tietgen, før Mar-morkirken blev endeligt færdig. For Tietgensøkonomiske vanskeligheder var ikke slut. Deropstod f. eks. også hen mod arbejdets afslutninguoverenstemmelser mellem Tietgens kirkeligerådgivere om den ydre og indre udsmykning afkirken, om døbefonden og dens placering etc.Hvilke kirkefædre og apostle skulle afbildessom statuer, og hvor skulle de placeres? Hvilke

daily newspaper, and especially the Dagbladet,printed extensive articles of homage.

And the Venstre Party’s main voice in Copen-hagen, Morgenbladet, printed Viggo Hørup’s won-derful article, “Mr. Tietgen”, in which there were agreat many tributes but also a few thorns. It is an ex-cellent portrait, rendered in both black and whiteespecially on account of its linguistic elegance:

“In terms of his proficiency and intellect, Mr.Tietgen has many equals and even quite a fewpeers, though hardly in the world of Danish com-merce. What he possesses, to wit, that is simplymiles ahead of the others, this is moral courage –a rare attribute in this country and among theblind, of course, the one-eyed man is certainly al-ready a king – a moral courage for which noth-ing, and not only no sum of money, is too daunt-ing: the courage to take responsibility, thecourage to venture, first of all, others’ and thenalso his own; the courage to move forward and thecourage to remove whatever might be standing inthe way. The others also have something of all this,but on the smaller scale, in modest measure”.

And Hørup continued with this proviso, basedon his religiously-based reasoning: “And when aman, like him, can justly refer to what he has ac-complished, to such a great extent, for the Landand People, then he has hereby also, and in theright way, been working for “God’s glory”, without

Marmorkirken ca. 1873 før kobberdækningen medstilladser omkring kuplen.Det Kongelige Bibliotek.

The Marble Church, before the copper

roofing was finished. Older photo, circa 1873.

The Royal Library.

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billedhuggere skulle udføre statuerne? Og kuplen,der med mål ”indvendig paa omtrent 96 i Diame-ter, altsaa kun lidt mindre end St. Paulskirken iLondon og er saaledes den sjette største Sten-hvælving i Europa efter Pantheon, San Maria delFiore, Peterskirken, Sophiekirken og St. Paul”.

Debatten gik lystigt blandt de bibelkyndigeteologer og kirkeligt interesserede. Der var ri-geligt for de lærde at argumentere for og imod– eller at skændes om. Netop tagbelægningenaf kuplen var et spørgsmål, der optog bygher-ren. Tietgen selv skrev senere herom:

”Paa Grund af de faa Midler turde jeg ikkefra først af foreslaae at tække Kuplen med Kob-ber, jeg havde isinde at udføre Tækningen meden blanding af Skifer og Bly, saaledes som jeghavde seet det i Udlandet. Men da Tanken omet Kobbertag blev fremsat og varmt anbefalet afProfessor, senere Etatsraad, Lorenz Frølich,der opfordrede Danmarks Kvinder til at offrederes gamle Kobbertøi dertil, gik jeg med Glæ-de ind paa at modtage den Støtte, jeg her kun-de faae til en monumental Gjennemførelse afKuppelen. Det var rørende at see, hvorledesman fra alle Sider kom med gamle Kobberkar,Mønter og efter Opfordring af min Svoger,Kaptajn Grüner, med Bidrag i rede Penge”.

Opråbet stod i Dagbladet den 20. december1882 og var underskrevet af 14 fremtrædende

needing to cast himself in vigil before God’s Gloryor to insist that the prospective cross be mountedatop the prospective Marble Church. “God’sblessing” looms over every deed that is com-menced and carried forth with the goal of bene-fiting his fellow men and bringing the course ofdevelopment one step further”.

A little more than a month later, on Friday, De-cember 22, 1882, this rather didactic article on theMarble Church rang forth in the Jyllandsposten:”We acknowledge, of course, the beautifulthought that has inspired Mr. Tietgen to take onthe completion of the Marble Church. But themoral of what, in its form, constitutes an awk-ward appeal to the public concerning a copperroof is, however, that one ought to refrain frombuilding magnificent cathedrals when one doesnot have the necessary means for realizing theirappropriate fitting and detailing”.

The writer was pointing quite precisely at theperils of Tietgen’s project. Tietgen was forced tomake his appeal to the public in order to fulfil hisobligations.4

Differences of opinion concerning the copper roof As things came to pass, though, another dozenyears would elapse after the silver jubilee year’s

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kunstnere med bl.a. Otto Bache, Vilhelm Bissen,Carl Bloch, Vilh. Dahlerup, Julius Exner og na-turligvis Frølich.

En kobberplade kostede 10 kr., men der komikke mange rede penge ind på den konto. Tiet-gen havde stillet som betingelse, at han ville se,hvor meget kobber og hvor mange rede penge,der kom ind, før han accepterede at realisere be-lægningen af kuplen med kobber. Der indkomikke så meget som håbet, men dog tilstrækkeligttil at kuplen fik sit kobbertag. Det medførte ”enikke ringe Meerudgift”. Tietgen betalte efter egetudsagn 60.000 kr. ekstra for taget.5

”At blive gift i Marmorkirken ...”Efter 1883-84 dalede Tietgens indtægter igen til100.000 kr. om året og faldt yderligere til 80.000kr. i resten af 1880erne. Det forklarer, at indviel-sen af kirken ikke kunne nås til 100 årsdagen forGrundtvigs fødsel i 1883, men en indsamlingsikrede korsets afsløring på toppen af kuplen.Hvad enten der nu er grund til at fæste lid tilhans egne opgivelser til ligningsmyndighederneeller ikke, så forklarer det udmærket, at bygge-tempoet gik ned i slutningen af 1880erne.

Marmorkirken blev en vittighed i folkemun-de og i pressen. Således sagde en københavnsktalemåde ”at blive gift i Marmorkirken”, dvs. at

expected homage to Tietgen before the MarbleChurch was finally brought to completion. As faras Tietgen’s economic difficulties were con-cerned, his troubles were not over. For example,as the work drew toward its final phases, someconsiderable discord actually arose among Tiet-gen’s ecclesiastical advisors concerning the exte-rior and interior decoration of the church andabout matters like the baptismal font and itsplacement. Which of the Fathers of the Churchand which of the Apostles would be depicted inthe form of statues – and where would they bepositioned? What sculptors would be asked tocreate the statues? And the dome which, with itsdimensions of, “roughly 96 alen (i.e. 192 ft) in di-ameter, as measured on the inside – and accord-ingly only a little bit smaller than St. Paul’s Cathe-dral in London – is thus the sixth largest vaultedroof of stone in Europe, after the Pantheon, SantaMaria del Fiore, the Papal Basilica of Saint Peter,Hagia Sophia and St. Paul’s Cathedral”.

The debate circulated enthusiastically amongthe theologians, so well versed in the Scriptures,and other ecclesiastically interested parties.There was certainly a lot over which the eruditemen of learning could argue for and against – orsimply argue about. In point of fact, though, itwas the roof-covering of the dome which was anissue that absorbed the attentions of the building

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man blev pebersvend eller gammeljomfru, un-derforstået aldrig gift. Eller man sagde om etuønsket giftermål, at det skulle finde sted i Mar-morkirken.

Efter Meldahls opgørelse havde Tietgen pr. 2.juli 1885 investeret ca. 875.000 kr. i kirkebygge-riet. Heri indgik de 200.000 kr., som vennerne iTietgen-kredsen på initiativ af Rudolf Puggaardhavde samlet ind i anledning af hans 25 års ju-bilæum som direktør i Privatbanken. Desudenvar der en gave på mellem 107.000 og 165.000kr., som Nationalbankdirektør M. Levy og tomedlemmer af Privatbankens Bankraad (dvs.bestyrelsen ved grossererne E. le Maire og Ge-org Petersen) havde taget initiativ til. Bidrag-yderne var anonyme. Derfor er der usikkerhedom de nøjagtige tal. Ikke alle betalte de lovedebeløb.

Efter 1885 var hovedparten af byggeriet fær-digt. Der manglede kun tagbelægningen af kup-len og den indre og ydre udsmykning af kirken.Tietgens nedgang i indtægter kan sammen medhans kamp på andre områder som toldsagen,slaget om frihavnen, ølringen og svinekrigenmellem byfolk og andelsfolk og andre tidskræ-vende konflikter forklare forsinkelsen. Men her-udover tog det også næsten ni år før de lærde –specialisterne – kunne blive enige om udsmyk-ningen.6

owner. Later on, Tietgen himself wrote aboutthis: “On account of the modest means at my dis-posal, I did not dare at first to suggest roofing theDome with Copper. What I actually had in mindwas to cover the roof with an admixture of shaleand lead, in much the manner as I had seen thisdone abroad. But when the idea of a copper roofwas put forth and enthusiastically recommendedby Professor, later titular Councillor of State,Lorenz Frølich, who encouraged Denmark’swomen to sacrifice their old copper implementsfor these purposes, I gladly assented to receivewhatever support I could obtain for forgingahead with a monumental erection of the dome.It was touching to see how people from every-where showed up with old copper vessels, oldcoins and, in response to the earnest call soundedby my brother-in-law, Commander Grüner, withcontributions in cash”.

Grüner’s “call to arms” appeared in Dagbladeton December 20, 1882 and was signed by 14prominent artists, including Otto Bache, VilhelmBissen, Carl Bloch, Vilh. Dahlerup, Julius Exnerand, of course, Frølich. One copper roofing platecost 10 kroner but, as things would have it, not allthat much cash was put into the account. Tietgenhad stipulated it beforehand as a condition thathe wanted first to see how much copper and howmuch cash would be deposited into the account

Amatørfoto af kareten medde kongelige, der ankommertil Marmorkirkens indvielse19. august 1894. C.F. Tiet-gens arkiv, Materiale vedr.Marmorkirken, Rigsarkivet.

Amateur photo of the royalcoach, with members of theroyal family, arriving at theinauguration of the Marble

Church on August 19, 1894.The C.F. Tietgen Archives,

files concerning the Marble Church,

The Danish State Archives.

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RegningenDa Marmorkirken endelig stod færdig, var års-tallet 1894. Nu viste en økonomisk opgørelseover Tietgens samlede udgifter til færdiggørel-sen af det, der var tænkt som hans grundtvigskekatedral i hovedstaden, at der var brugt mangepenge på afslutningen af byggeriet. Slutover-sigten viste udgifter på 1.467.996,71 kr.

Herfra skal trækkes indtægterne fra salget afbyggegrundene omkring kirken til Det kjøben-havnske Byggeselskab, der gav ca. 685.000 kr.(inklusive udgifterne til nedrivning). Desudenskal der tillægges de kontante tilskud, som blevydet Tietgen fra hans venner i anledning af hans25 års jubilæum i Privatbanken i 1882. Dertilkom de i hvert fald 107.000 kr. (muligvis mere),der blev givet ved den anonyme indsamling i1883. Det giver i alt ca. 992.000 kr.

Det efterlader en samlet udgift til Tietgen påhøjest ca. 475.000 kr. Og så har vi set bort fra detiører, som blev givet af de menige ansatte i de14 Tietgen-virksomheder og de yderligere ano-nyme private bidrag, der blev ydet i diskretion.De nøjagtige beløb er ukendte.

Tietgen kom således til at betale cirka entredjedel af den samlede byggesum af egen lom-me. Det var en betydelig økonomisk gestus, hanviste, da han den 19. august 1894 kunne overle-vere kirken til staten. Han opfattede det som

before agree ing to move ahead with the coveringof the dome in copper. As things came to pass,less was deposited than hoped for, but enough forthe cupola to be crowned with its copper roof.This entailed the outlay of “no unsubstantial ad-ditional cost”. By his own admission, Tietgen paid60,000 kroner extra for the roof.5

“Getting married in the Marble Church ...” After 1883-84, Tietgen’s income fell again to100,000 kroner a year and continued to decline to80,000 kroner annually for the rest of the 1880s.This explains that the dedication of the churchwas not ready in time for the 100th anniversaryof N.F.S. Grundtvig’s birth, in 1883, although acollection of funds served to ensure the cross’sunveiling at the top of the dome. Whether his in-come tax returns are to be believed or not, thisfact does serve to explain the loss of momentumin the building project at the close of the 1880s.

In the talk of the town and in the press, theMarble Church became something of an objectof ridicule. One adage circulating in Copenhagencontained the punch-line, “getting married in theMarble Church”, i.e. the person in questionwould become a bachelor or a spinster, that is tosay, would never get married. Or people might

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Relieffet af Tietgen og Laura. Indsat på indersidenaf dobbeltmuren i Marmorkirken.

The bas-relief of Tietgen andhis wife Laura, mounted onthe inside of the double wallin the Marble Church.

slutstenen på sin og hustruen Lauras jordiskegerning. Vorherre brugt som motivering – menogså som maskering – for egen forfængelighed.Og meget menneskeligt. Han og hustruen Lauravar barnløse.7

Frederiksstaden kompletKarakteristisk for byggeriet i Frederiksstaden erdet, at den oprindelige af Nicolai Eigtved udfor-mede plan for denne nye del af København førstblev fuldført mere end 260 år efter, at den varundfanget. Længdeaksen var givet og for længstfærdigbygget. Først Mærsk McKinney Møllersanlæg af Amaliehaven på den gamle grund med

say about an unsuitable match that the weddingshould take place in the Marble Church.

According to Meldahl’s accounts as of July 2,1885, C.F. Tietgen had invested approximately875,000 kroner in the church’s construction. Thisincluded the sum of 200,000 kroner that thefriends in Tietgen’s circle, upon the initiative ofRudolf Puggaard, had gathered in on the occa-sion of his 25th anniversary as administrativemanager of Privatbanken Bank. Moreover, therewas also a gift of somewhere between 107,000and 165,000 kroner, for which the Director of theNational Bank, M. Levy, and two members ofPrivatbanken Bank’s Bank Council (that is to say,the board of directors, represented by wholesalemerchants E. le Maire, and Georg Petersen) hadtaken the initiative. In the latter collection, thedonors remained anonymous; for this reason,there is some uncertainty about the exact figures.Not everybody actually paid the pledged amounts.

After 1885, the greater part of the constructionwas completed. Only the roofing and the interiorand exterior decoration of the church were stillmissing. Tietgen’s involvement in various com-mercial conflicts at the time as well as his decliningincome serves to explain the delay. But it shouldalso be noted that it took almost nine years for theerudite scholars – the specialists – to arrive at anagreement about the church’s decoration. 6

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Det har karakteriseret byggeriet i Frederiksstaden,

at Nicolai Eigtveds oprinde-lige plan for området førstblev fuldført mere end 260år efter ideens undfangelse.Her ses den tomme gavl, deri mere end 100 år stod somMeldahls ”tvillingepalæ”.Ældre foto, Rigsarkivet.

What has been a predominating characteristicof building construction in

Frederiksstaden is that Nicolai Eigtved’s originalplan for the area was not

realised until more than 260years after the idea’s

conception. Here, we can seethe exposed gable end that

stood for more than acentury as Meldahl’s “twinmansion”. Older photo from The Danish State Archives.

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de grimme huse ved Larsens Plads, dernæst fort-sættelsen af tværaksen fra Marmorkirken gen-nem slotspladsen og Salys rytterstatue af Frede-rik V, der er omkranset af de fire Amalienborg-palæer, og så forsættelsen tværs over havneløbetmed afslutningen af tværaksen i Operaen.

Disse anlæg blev ikke betalt af Mærsk McKin-ney Møller personligt, men af de erhvervsdriven-de fonde, han stod i spidsen for som formand. Dehar været begunstiget af skattefrihed til 1984-85og siden af en lempelig beskatning.

Med afslutningen af byggeriet ved Marmor-kirkens sydvestlige side, bekostet af RealdaniaByg A/S, er byggeriet i Frederiksstaden endeligfuldført. Og med en helt moderne arkitektur.Men næppe som Eigtved og Jardin havde tænktsig det. Heller ikke af Tietgen. Men nu er hansærgrelse endeligt fjernet.

Frederiksstaden er komplet. Nu som arkitek-turhistorisk udtryk for skiftende tiders økonomi-ske konjunkturer og kunstneriske moderetnin-ger. De har – på godt og ondt – indflydelse på ti-dens arkitektur.

Tallying up the bill When the Marble Church was finally finishedand ready, the calendar read “1894”. At thistime, a financial statement of Tietgen’s total ex-penses in connection with the completion ofwhat had been envisioned as his Grundtvigiancathedral in the capital city revealed that a greatdeal of money indeed had been spent on thecompletion of the construction project. The fi-nal statement enumerated expenses of 1,467,996kroner and 71 øre.

From this, however, the proceeds from thesale of the building plots around the church toDet Kjøbenhavnske Byggeselskab [The Copen-hagen Building Society], which amounted to ap-proximately 685,000 kroner (including the costsof demolition), must be deducted. Furthermore,the cash contribution from Tietgen’s friends on theoccasion of his 25th anniversary in PrivatbankenBank in 1882, as well as the at least 107,000 kroner(possibly even more) from the anonymous collec-tion in 1883 should be factored in.

The net deduction amounts to approximately992,000 kroner, leaving, at most, around 475,000kroner that was shouldered personally by Tiet-gen. This does not even take into account all thedimes that were donated by many of the ordinaryemployees working in the fourteen Tietgen en-terprises or the additional anonymous private

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Kig fra Store Kongensgade.

The view from Store Kongensgade.

Plads. Then came the prolongation of the axis,running from the Marble Church throughAmalienborg Palace Square, right through Saly’sequestrian statue of King Frederik V, encircled bythe four Amalienborg mansion-palaces, and nowcontinuing across the harbour to finish at Operaen[The Opera House].

Mærsk McKinney Møller did not personallyfoot the bill for these projects; they were fi-nanced, rather, by the commercial foundationshe chaired. These foundations were tax exemptuntil 1984-85 and have since benefited fromlenient tax regulations.

With the completion of the building on theMarble Church’s southwestern side, financed byRealdania Byg, construction in the Frederiksstadendistrict has finally been carried to its completion …and with an entirely modern architecture. It ishardly as Eigtved or Jardin would have envisionedit. Nor as Tietgen would have. But now the thornin his side has been removed, at long last.

The Frederiksstaden district is complete. Nowas an architectural-historic manifestation of thechanging times’ economic slumps and boomsand ever shifting artistic styles and trends. Theseare exerting – for better or worse – their influenceon today’s architecture.

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contributions that were made in secrecy. Theseexact amounts, it stands to reason, are unknown.

Tietgen thus ended up paying roughly onethird of the total building costs out of his ownpocket. It was a magnanimous financial gesturethat he exhibited when, on August 19, 1894, hewas able to hand over the church and put it intothe possession of the nation. He considered thisto be the crowning achievement of his and hiswife Laura’s worldly deeds. Acknowledging OurLord as his motivation - but also as a masking -for his own vanity. And in the most decently human way. He and his wife Laura were childless.7

Frederiksstaden district, completed What is characteristic of the building construc-tion in the Frederiksstaden district is that theoriginal part of the plan devised by NicolaiEigtved for what was then a new part of Copen-hagen was first completed more than 260 yearsafter it was conceived. The longitudinal axis wasgiven and built up a long time ago. The transverseaxis, however, took longer to complete. First,there was Mærsk McKinney Møller’s layout ofAmaliehaven Park on the old plot formerly occu-pied by the unsightly warehouses at Larsens


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Originaltegning fra Tony Frettons tegnestue fra projektets begyndelse.Set fra Store Kongensgade. Den nye bygning tænkes fra begyn delsenaf projektet opført i et moderne formsprog, men tager udgangspunkt i

Mel dahls oprindelige arkitektur, der dominerer pladsen omkringMarmorkirken. Således respekteres fagind deling og højden på tagryg,

gesims og altaner i den øvrige bebyggelse. Også den nye bygningsplanløsning og anvendelse tænkes at skulle ligge tæt op ad et klassiskkøbenhavnerhus: med udlejning til erhverv i stue etagen og første sal,

mens de øvrige etager tænkes udlejet til beboelse.


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Original sketch from Tony Fretton’s architectural office, made atthe outset of the project. Seen from Store Kongensgade. The newbuilding, Tietgen’s Agony, has been conceived, from the outset of theproject, as being erected in a modern idiom, although it takes itsmark in Meldahl’s original architecture, which dominates thesquare surrounding the Marble Church. Consequently, the mannerof partitioning the windows and the elevations of the roof ridge, thecornice and the balconies found in the other buildings have all beenrespected. Moreover, the new building’s plan arrangement and usehave been conceived in a manner akin to what we find in theclassical “Copenhagen house”: space on the ground floor and thefirst floor being rented for commercial use, while the other floors arescheduled to be rented out as residences.


I 1894 færdiggjorde industri-, finans- og bygge-magnaten C.F. Tietgen Frederikskirken, ellerMarmorkirken som den kaldes, som havde hen-ligget som byggetomt siden 1770. Samtidig fikhan opført de beboelsesejendomme i Frederiks-gade, som omkranser kirken, og som var tegnet afarkitekten Ferdinand Meldahl.

Formålet med disse byggerier var fuldendelsenaf bydelen Frederiksstaden, som var blevet påbe-gyndt i 1749 af Frederik V med opførelsen af firerokokopalæer omkring den ottekantede Amali-enborg Slotsplads, efter tegninger af hofarkitek-ten Nicolai Eigtved. Mens Tietgen købte selvekirkeruinen for at gennemføre projektet, lykkedesdet ham ikke at anskaffe grundene og husene idet nordvestlige hjørne, og Meldahls plan forFrederiksgade forblev ufuldendt. Hjørnet stod til-bage med en ubebygget grund, et baghus i bin-dingsværk og en række små huse med facademod Store Kongensgade. Denne pudsighed op-nåede efterhånden sin egen legitimitet i Køben-havns historie og blev kendt som ”Tietgens Ær-grelse”. Da det med Realdania Bygs køb af denubebyggede grund og det ene af de små husemod Store Kongensgade blev muligt at bygge påen del af Tietgens Ærgrelse, var det ikke længereen mulighed, endsige noget ønske, at rive restenaf bygningerne ned og færdigbygge Meldahlsprojekt til Frederiksgade. Realdania Byg gav klart

In 1894 the industrialist, financier and developerC.F. Tietgen completed the Frederiks Kirke, orthe Marble Church, as it has become known, thathad been abandoned since 1770. At the sametime he realized Frederiksgade, a square of apart-ment buildings around the church, to the designof architect Ferdinand Meldahl.

These works were intended to bring to com-pletion Copenhagen’s Frederiksstaden district,which had been initiated in 1749 by King Fre -derick V with four palaces designed by CourtArchitect Nicolai Eigtved in the Rococo style,around an octagonal plaza. Despite Tietgenhaving bought the Church itself, he could notacquire the buildings and land in the north-westcorner, and Meldahl’s scheme for Frederiksgadewas left incomplete with an area of open land, asmall, half-timbered building and the rear of thebuildings along Store Kongensgade standing ina gap in the corner. This state of affairs acquiredits own legitimacy in Copenhagen’s history andbecame known as Tietgens Ærgrelse, or TheThorn in Tietgen’s Side. When Realdania Bygpurchased the open land and one of the build-ings facing Store Kongensgade and it becamepossible to develop part of Tietgens Ærgrelsethere was no longer the desire or possibility to take down these buildings and complete Frederiksgade according to Meldahl’s designs.

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En bygning ved Tietgens Ærgrelse

A Building at Tietgens Ærgrelse

Af/By Professor,arkitekt

Tony Fretton


Tietgens grund inden byggestart.

“Tietgens Ærgrelse” prior tobreaking ground on the newconstruction.

udtryk for, at man ønskede en anden slags byg-ning, en bygning, der skulle være nutidig i sit ud-tryk og som skulle fuldende pladsbebyggelsenved at løse konflikten mellem Meldahls etage-byggeri og de gamle huse på Tietgens Ærgrelse.

Vores tegnestue blev valgt til opgaven på bag-grund af projekter som the Red House og LissonGallery, moderne bygninger som skaber holisti-ske forbindelser med deres komplekse og histori-ske omgivelser. Vores projekt til Tietgens Ærgrel-se udsprang af de stil- og materialemæssige og so-ciale kendetegn i området, som vi kunne aflæse.

I den oprindelige del af Frederiksstaden udgørEigtveds fire palæer det bærende arkitektoniskeelement. Etagebyggeriet i Frederiksgade er blot et

Realdania Byg were clear in wanting to commis-sion a building of another kind, one that was inthe style of the present time that completed thesquare by resolving the difference between Meldahl’s apartments and the buildings that remained on Tietgens Ærgrelse.

Our office was selected for this task because of projects such as the Red House and Lisson Gallery,contemporary buildings that establish holistic connections with their complex and historical surroundings. The design we made for TietgensÆrg relse was derived from stylistic, material andsocial facts that we observed in the wider location. In the original part of Frederiksstaden, Eigtved’sfour palaces are the architectural statement. In

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Rendering af Toni Yli Suvanto. Den nye bygningtager afsæt i en abstrakt for-tolkning af de historicistisketræk, som områdets øvrigebygninger har.

Visualization by Toni YliSuvanto. The design of thenew building takes its markin an abstract interpretationof the historicist featuresfound on other buildings inthe vicinity.

bagtæppe for kirken. Om end slet ikke af sammekvalitet som Frederiksstadens oprindelige roko-koarkitektur besidder Meldahls etagebyggeri denunderliggende styrke fra historicismen, den stilartsom gav så mange europæiske byer deres formel-le sammenhæng i det 19. århundrede og gjordedem beboelige. Facaderne på hver side af pladsenfølger stilen og er bygget op med et højt sokkel-parti, et midterstykke og en gesims. På langs er deopdelt af pavilloner i midten og i enderne, ogoverfladen er moduleret af pilastre, balkoner, or-namentik og forskydninger i plan. Historicismenvar en meget føjelig stilart, der kunne håndtere deudfordringer, beliggenheden stillede. Dette ses påden måde, at indgangene i Frederiksgade er pla-ceret efter behov, og hjørnerne i pladsen er be-handlet forskelligt.

Med elementer fra denne stilart lykkedes detos at tegne en bygning, som på én gang fortsattepladsens klassiske form og tog udfordringen frade tiloversblevne, gamle huse op i den samledekomposition.

Facaden mod kirken på den nye bygning harsamme størrelse som etagebyggeriets endepavil-lon overfor, og ligesom pavillonen er den opdelti tre fag med pilastre. Tilsammen danner de tobygninger et symmetrisk par, som set fra StoreKongensgade indrammer kirken som forudsat i

Frederiksgade the apartments are just a setting forthe Church. Although by no means of the samequality as the original Rococo architecture ofFrederiks staden, Meldahl’s apartments possess theunderlying strength of beaux-arts classicism, thestyle that gave many 19th century European citiestheir formal coherence and habitability. Facadesalong each side of the square are arranged accord-ingly with a plinth, middle and cornice, theirlength divided by pavilions at the centre and endsand their surfaces modulated by pilasters, bal-conies, ornament and changes of plane. Beaux-artsclassicism was a very pliable style that could dealwith the contingencies of a location, as can be seenin the way that entrances in Frederiksgade areplaced where they are needed and the corners ofthe square are given different treatments.

Using elements of this style we were able todesign a building that both continued the classi-cal form of the square and brought the contin-gency of the older buildings remaining on thesite, into the overall composition.

The facade of the new building facing the Churchis the same size as the pavilion at the end of theapartment building opposite it, and like the pavil-ion it is divided into three bays by pilasters. To-gether, the two buildings form a symmetrical pairas envisaged in Meldahl’s scheme, framing the

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Meldahls plan. Da der er tale om en nutidig byg-ning, skal dens enkeltdele ud over at være deko-rative også have en funktion. Facadens pilastre eren del af den bærende konstruktion, og mellem-rummene i mellem dem er udnyttet til vinduer ogaltaner. Bygningen er en meget abstrakt udgave afpavillonen overfor: Den påpeger de grundlæg-gende kvaliteter ved historicismen, mens denssynlige konstruktion og enkle form relaterer sigkraftigt til de prismatiske former og let aflæseligeopbygning af de tiloversblevne huse på TietgensÆrgrelse.

Mod Store Kongensgade har facaden den an-den og måske mere vanskelige opgave at dannepar med pavillonen overfor og samtidig være endel af rækken af pudsede bygninger uden relief,der ligger til den anden side. Dette er løst ved attegne den som en udgave af de ældre bygninger isamme størrelse som pavillonen, med et mønsterbygget op af tre vinduer og en gesims og en tage-tage ligesom pavillonen. Denne og de øvrige fa-cader står i indfarvet puds – den traditionelle

view of the Church from Store Kongensgade. Asa building of the modern era its parts have to befunctional as well as decorative. The pilasters onits facade are the actual structure that holds thebuilding up, and the spaces between are filledwith windows and loggias. The building is a veryabstract version of the pavilion opposite thatpoints out the fundamental qualities of its beaux-arts style, while its visible construction and sim-ple shapes relate strongly to the exposed struc-ture and prismatic forms of the older buildings re-maining on Tietgens Ærgrelse.

On Store Kongensgade the facade has the dif-ferent, perhaps more difficult task of forming apair with the pavilion opposite and at the sametime being part of the range of earlier flat frontedstucco buildings that lie on its other side. This isachieved by designing it as a version of the earlierbuildings at the size of the pavilion, with a patternof three windows and a cornice and attic, as inthe pavilion. This and the other facades are fin-ished in unpainted stucco – the traditional stucco

Tv. facaden mod kirken. Th. facaden mod Store

Kongensgade. Modsatte side:Model af de to hjørnebygnin-

ger. Bygningen kan aflæses somen abstrakt udgave af Mel-

dahls hjørnepavillon overfor.Variationer i facadeudformnin-gen medierer de omkringliggen-

de bygningers forskellighed.

Left: the facade towards the church. Right: the

facade towards StoreKongensgade. Opposite page:

mock-up of the two cornerpavilions. The building can beread as an abstract rendition

of Meldahl’s pavilion, situatedon the opposite corner. Subtlevariations in the elevationmediate the surrounding

buildings’ differences.

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Mens vinduerne er en del affacadens kompositoriske system, spiller deres forskel -lige materialer og udformningop til de umiddelbare kvali-teter ved deres omgivelser. I kontor- og beboelsesetagerneer karmene i træ som i Meldahls etagebyggeri, meden midterpost, der støtter etnæsten usynligt glasværn,bag hvilket vinduerne åbnersom til en balkon. Renderingaf Toni Yli Suvanto.

While the windows are apart of the ordering system ofthe facade, their differentmaterials and theirelaboration are bound upwith the outright qualities oftheir respective locations. Inthe office space and on theresidential floors, they aretimber casements, as we alsofind in Meldahl’s block offlats, with a central verticalmullion that supports analmost invisible glassbalustrade, behind which thewindows open as they wouldopen to a balcony.Visualization by Toni Yli Suvanto.

københavnske overflade som Meldahl bruger i sitetagebyggeri og som, i malet udgave, også er an-vendt på bygningerne langs Store Kongensgade.Vi lagde mærke til, at de tidlige, klassicistiske byg-ninger i København somme tider er bygget i enblanding af natursten, puds, der skal ligne sten ogregulær puds. Det gav os en frihed til at bruge for-skellige materialer med ens udseende til bygning-ens facader. Der er anvendt sandstensfarvet puds udenpå højeffektiv isolering som afsluttendefacadebehandling på den nye bygning. Gesimsener en blanding af Obernkirchen-sandsten – densamme som er benyttet til istandsættelsen afAmalienborg-palæerne – og armeret beton, derligner natursten. Balkonerne vil blive udført i ar-meret beton, der vil ligne puds. Penthouse-lejlig-heden øverst er beklædt med belgisk mørk granit,som ser ud som skifertagene på etagebyggeriet.

Mens vinduerne er en del af facadens kompo-sitoriske system, spiller deres forskellige materia-ler og udformning op til de umiddelbare kvalite-ter ved deres omgivelser. I caféen i stueetagen ogi penthouse-lejligheden på 5. sal har de smallemetalrammer, som maksimerer kontakten medgaden eller himlen. I kontor- og beboelsesetager-ne er karmene i træ som i Meldahls etagebyggeri,med en midterpost, der støtter et næsten usynligtglasværn, bag hvilket vinduerne åbner som til enbalkon.

of Copenhagen that Meldahl used in his apart-ments and which, in painted form, covers thebuildings along Store Kongensgade. Noticingthat early classical buildings in Copenhagen aresometimes constructed of a mixture of real stone,stucco made to look like stone and wood paintedto look like stone or stucco, gave us the freedomto use different materials of similar appearance inthe facades of the building. Natural, stonecoloured stucco is used as the outer finish of thenew building, placed over a layer of high- performing thermal insulation. The cornice is ofa mixture of Obernkirchen stone - also used inthe restoration of the Frederiksstaden palaces -and GRC that looks like stone, and balconies willbe of GRC that looks like stucco. Above, thepenthouses are clad in Belgian blue stone thatlooks like the slate on the roofs of the apartments.

While the windows are part of the orderingsystem of the facade, their different materials andforms engage with the immediate qualities oftheir location. In the ground floor café and fifthfloor penthouse they have slim metal frames thatmaximise contact with the street or sky. In the of-fice and residential floors they are timber case-ments like those in the apartments, with a centralvertical mullion supporting an almost invisibleglass balustrade behind which the windows openas onto a balcony.

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Meldahls lejligheder benyttes efterhånden på enmeget utvungen facon, nogle til beboelse og an-dre til erhverv. Gårdene er blevet til indgange, ha-ver og cykelparkering. Ovenpå baghuset til detførste gamle hus på Tietgens Ærgrelse er indret-tet en uformel taghave, en tilpasning, der fortsæt-ter i altanerne på den nye bygning. Gennem sindisponering vil bygningen også spille en tilsva-rende rolle for pladsen. Fra Store Kongensgadegår man ind i en café i stueetagen med udsigtmod Marmorkirken. Et separat lejemål til liberalterhverv ligger på første sal. Herover kommer tobeboelseslejligheder per etage, den ene en klas-sisk københavnerlejlighed mod Marmorkirken,den anden en mindre lejlighed med åben planmod Store Kongensgade. Hele tagetagen udnyt-tes til en penthouse-lejlighed med vid udsigt overKøbenhavn.

Forskellige vinduesformater giver en særlig ka-rakter til hver af etagerne. Caféen er mere afskær-met mod den støjende gade og mere åben modFrederiksgade og Marmorkirken.

I kontorlejemålet er der en kraftfuld sammen-stilling af lodrette vinduer på gadesiden og næ-sten trykkede, vandrette vinduer på de andre si-der. Lejlighederne mod kirken har lodrette vin-duer til gulv og altaner, der udgår fra opholds-stuen som indrammer udsigten til Marmorkirkenog pavillonen overfor. Mod Store Kongensgade

Meldahl’s apartments have come to be occupiedin a very informal way, some as residences andothers used for work. Their forecourts have be-come entrances, gardens and bicycle parks. Onthe roof of the small house in Tietgens Ærgrelsean ad-hoc garden has been built that extendsfrom the back of a building in Store Kongens-gade, an adaptation that continues in loggias ofthe new building. Through the way that it is con-figured the new building will also play a similarrole in the square. A café on the ground floor isentered from Store Kongensgade and looks outonto the Marble Church. A discrete professionaloffice will occupy the first floor. Above there willbe dwellings, two per floor, one an apartment fac-ing the Marble Church the other a loft spacelooking out to Store Kongensgade. A penthousewith extensive views over Copenhagen will occu-py the whole of the attic.

Different window shapes give specific charac-ters to each of these floors. The café is more en-closed where it faces the busy street and open to-wards Frederiksgade and the Church. In the of-fice floor there is an energetic juxtaposition ofvertical windows on the street side and the com-pressed horizontal windows in the other eleva-tions. Apartments facing the church have verticalwindows extending to the floor and loggias thatextend from the living room, framing views of the

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I caféen i stueetagen og ipenthouse-lejligheden på 5. sal har vinduerne smallemetalrammer, som maksime-rer kontakten med gaden eller himlen. Rendering af Toni Yli Suvanto.

In the ground floor café andin the fifth-floor penthouse,the windows are fitted withslim metal frames that max-imise contact with the streetor the sky. Visualization byToni Yli Suvanto.

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er lejlighederne mere rå og atelier-agtige, medhjørnevinduer, der åbner ud mod gadelivet ne-denfor. Penthouse-lejligheden er i høj grad etprodukt af sin beliggenhed, en pavillon på tagetmed balkoner hele vejen rundt, hvis brystning eri samme højde som kirkens, så kuplen og statuer-ne kommer overraskende tæt på.

Gennem udsynet vil bygningens indre haveen både fysisk og social sammenhæng medkvarteret. Man vil ikke alene kunne se den geo-metriske Marmorkirke, men også de andrebygninger, hvis organiske karakter skyldes gen-tagne ombygninger. Mens byer kan tilføresskønhed og orden gennem arkitekturen, får dederes karakter fra begivenhedernes påvirkningaf dem og fra effekten af mennesker, der leverderes liv i dem. Set fra den synsvinkel vil denudskydelse af byggeriets færdiggørelse, somskyldes anlæggelsen af metroen og stationen iFrederiksgade, være en del af denne proces.Når balkonerne og gesimsen bliver opsat påbygningen efter metroens færdiggørelse, og nårbygningens indgang fra Frederiksgade åbnes,vil konflikten om det uafsluttede hjørne væreløst i respekt for den formelle intention bagpladsen, og Frederiksstaden endelig fuldendt –ikke som oprindeligt forudsat, men som det,den er blevet ved begivenhedernes og menne-skenes påvirkning.

Marble Church and pavilion. Facing Store Kon-gensgade the apartments are more robust andloft-like, with corner windows overlooking thestreet scene below. The penthouse is very mucha product of its situation, a pavilion on the roofwith balconies all around it, its parapet at thesame level as that of the Church so that the cupo-la and statues are startlingly evident.

By their outlook the interiors of the buildingwill have social and physical continuity with theneighbourhood. Not only the geometric MarbleChurch will be seen but the other older buildings,whose organic qualities come from successivemodification. While cities can be given beautyand order by architecture, they are given charac-ter by the impact of events and the effect of people living their daily lives. From this perspec-tive the delay to the completion of the buildingcaused by the construction of the Metro line andstation in Frederiksgade is part of that process.When the balconies and cornices are installed onthe building after the works to the Metro arecomplete, and the building’s entrance is openedinto Frederiksgade, the unfinished corner will beresolved with the formal intention of the square,finally bringing Frederiksstaden to completion -not in terms of how it was intended but what,through the action of people and events, it hasbecome.

Når balkonerne og gesimsenbliver opsat på bygningen

efter metroens færdiggørelse,og når bygningens indgangfra Frederiksgade åbnes, vilkonflikten om det uafsluttedehjørne være løst i respekt forden formelle intention bag

pladsen, og Frederiksstadenendelig fuldendt – ikke somoprindeligt forudsat, mensom det, den er blevet vedbegivenhedernes og menne-

skenes påvirkning.

When the balconies and thecornice are clipped on to thebuilding after constructionon the Metro station hasbeen completed, and when

the building’s entrance fromFrederiksgade is opened, the

conflict around theunfinished corner will be

resolved with respect to theformal intention underlyingthe square, finally bringing

Frederiksstaden to itscompletion – not in terms of

how it was originallyintended but in terms of

what it has become, havingcome under the influence of

people and events.

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På hjørnet af Store Kongensgade og den del afFrederiksgade, der fører ind til bagsiden af Mar-morkirken, ligger Tietgens Ærgrelse. Huset erudformet som en moderne pendant til en over-for beliggende hjørnepavillon, der udgør en delaf den historicistiske randbebyggelse omkringkirken. Hermed indskriver projektet sig i enlang historie, der tager sin begyndelse med ud-bygningen af Store Kongensgadekvarteret imidten af 1600-tallet, men som herefter især erknyttet sammen med 1700-talsbydelen Frede-riksstaden, hvis centrale monument, Marmor-kirken og den omgivende randbebyggelse imid-lertid først bliver fuldendt i slutningen af det 19.århundrede. Fuldendt – på nær det omtalte syd-vestlige hjørne, hvor fire 1700-tals huse blev lig-gende, fordi de var for dyre at erhverve for mar-morkirkens sidste bygherre C. F. Tietgen; herafnavnet Tietgens Ærgrelse. Det nye hus på hjør-net er således udtryk for en 260 år gammel am-bition om at afslutte rokokobydelen Frederiks-staden med et værdigt kirkemonument og endertil passende indramning. En ambition, som ihistoriens løb blandt andet involverede arkitek-ter som Frederiksstadens ophavsmand NicolaiEigtved, nyklassicisten Nicolas-Henri Jardin, hi-storicisten Ferdinand Meldahl og nu endeligmed Tietgens Ærgrelse den engelske arkitektTony Fretton.

On the corner of Store Kongensgade and the partof Frederiksgade that leads in around the back ofthe Marble Church lies Tietgen’s Agony. Thebuilding has been designed as a modern counter-part to a corner pavilion situated directly acrossthe street, a building that forms part of the hous-ing development in Beaux-Arts style surroundingthe church. With this, the project is inscribed in alengthy history that begins with the establish-ment of the Store Kongensgade quarter in themiddle of the 17th century but subsequently re-volves around the 18th century urban develop-ment known as Frederiksstaden, whose centralmonument, the Marble Church, with its encir-cling housing development, however, was notcompleted until the closing of the 19th century.Completed – apart from the aforementionedsouthwestern corner of the grounds, where four18th century houses were still standing, becausethey were too expensive for the Marble Church’slast patron, the financier C.F. Tietgen, to acquire.Hence the name, Tietgen’s Agony. The newbuilding on the corner thus fulfils a 260-year oldambition to bring the Rococo urban quarter,Frederiksstaden, to its completion – with a digni-fied church monument and a suitable framearound it: an ambition that, in the course of his-tory, involved several architects like Frederiks -staden’s original creator, Nicolai Eigtved; the

Kig til Store Kongensgadekvarteret fra

Marmorkirkens kuppel vedbyggeriets begyndelse

januar 2010.

View towards the StoreKongensgade quarter fromthe Marble Church dome

at the time that constructionon the new building

commenced. January 2010.

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Mellem fuldendelse og fragment- Arkitekturen i Tietgens Ærgrelse

Between Completionand Fragment - The architecture in Tietgen’s Agony

Af/By lektor, dr. phil og ph.d.,

arkitekt maa Peter Thule Kristensen


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neo-classicist, Nicolas-Henri Jardin; the Beaux-Arts protagonist, Ferdinand Meldahl; and now, atlast, with Tietgen’s Agony, the British architect,Tony Fretton.

With this preliminary history in mind, an ob-vious question emerges: how does a modern ar-chitect address an ambition related to completinga historic layout with origins in the Baroque eraand which consequently reflects a different mind-set than that of our own time? – A mindset stem-ming from a hierarchical societal order that con-cretely translates into monumental buildings am-ply studded with ornamentation rooted in antiq-uity? The question becomes further relevantwhen we take into consideration that the artisticavant-garde in the 20th century, and even sincethe Romantic era, has made a virtue out of bring-ing forth works that are unfinished, fragmentaryand abstract.

As the present article will show, Tony Frettoncircumvents the historical context in a mannerthat generates a multiplicity of meanings. At firstglance, Fretton’s intervention has to do withcompleting the existing layout in a relativelystraightforward and inconspicuous way. Uponcloser examination, though, you come to discov-er that the simplicity cloaks a complex designwhere it is especially the building’s interior thatsets up a surprising dialogue with the surrounding

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Portræt af Tony Fretton. Portrait of Tony Fretton.

Fra Tony Frettons tegnestue.From Tony Fretton’s studio.

Med denne forhistorie er et nærliggende spørgs-mål, hvordan en moderne arkitekt forholder sigtil en ambition om at fuldende et historisk an-læg, der har aner tilbage i barokken og dermedogså afspejler et andet tankesæt end vor tids. Ettankesæt, som bunder i en hierarkisk samfunds-orden, og som konkret udmønter sig i monu-mentalbygninger, spækket med ornamentikmed rødder i den antikke bygningskunst.Spørgsmålet bliver ydermere relevant, hvis manmedtænker, at den kunstneriske avantgarde idet 20. århundrede, ja siden romantikken, hargjort en dyd ud af at skabe værker, som er ufuld-endte, fragmentariske og abstrakte.

Som artiklen vil vise, omgås Tony Fretton denhistoriske kontekst på en flertydig måde. Ved før-ste øjekast handler Frettons indgreb om at fuld-ende det eksisterende anlæg på forholdsvis enkelog upåfaldende vis. Ved en nærmere betragtningopdager man imidlertid, at enkelheden dækkerover en kompleks formgivning, hvor ikke mindsthusets interiører går i en overraskende dialogmed den omgivende by, og hvor det historiskestof pludselig opleves nærværende og nutidigt.

ArkitektenProjektet er tegnet af den engelske arkitekt TonyFretton, der driver sin tegnestue fra London og

city and where the historic fabric unexpectedlybecomes present and contemporary.

The architect The project is designed by the British architect,Tony Fretton, who, aside from running his studioin London, is also professor of Architecture andInteriors at Delft University of Technology in theNetherlands. In Denmark, Fretton has designedthe Fuglsang Art Museum on Lolland in 2008,which, like Tietgen’s Agony, was built with localassistance from the Danish studio, BBP Architects.

The choice of Fretton as architect, however,was not motivated by his knowledge of Denmarkbut rather by his ability to work within complexhistorical, cultural and urban contexts. He evi-dently manages both to bring an existing contextinto play and to create an up-to-date artisticstatement with a certain autonomy in a way sel-dom seen among architects who otherwise prac-tise in preservation-worthy environments. Fur-thermore, Fretton has gained experience, espe-cially on the basis of his activity in London, withcreating spatially composite architecture on rela-tively small sites. For example, Fretton took ad-vantage of a narrow and irregular backyard inChelsea to create a house, recently designed forthe artist Anish Kapoor, with a surprisingly large

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Fotografi af Tony Frettons’Kapoor House’, interiør,London 2008.

Interior from Tony Fretton’s“Kapoor House”, London.Completed in 2008.

derudover er professor på arkitektuddannelsenpå Delfts Tekniske Universitet i Holland. I endansk sammenhæng er Fretton især kendt somarkitekten bag Fuglsang Kunstmuseum fra 2008,der ligesom Tietgens Ærgrelse er blevet til medlokal bistand fra den danske tegnestue BBP arki-tekter.

Valget af Fretton som arkitekt skyldes dogikke hans lokalkendskab, men snarere hans evnetil at arbejde med komplekse historiske, kulturel-le og bymæssige sammenhænge. Han formår til-syneladende både at bringe en eksisterende kon-tekst i spil og at skabe tidssvarende kunstneriskudsagn med en vis autonomi på en måde, somman sjældent møder blandt arkitekter, der ellersslår deres folder i bevaringsværdige omgivelser.Derudover har Fretton især fra sit virke i Londonerfaring med at skabe rumligt sammensat arki-tektur på forholdsvis lidt plads, eksempelvis fornylig i kunstneren Anish Kapoors hus i London,hvor Fretton udnyttede en smal og irregulærbaggård til at tegne et hus med overraskendemange rumlige kvaliteter. En sådan evne er net-op relevant i forhold til Tietgens Ærgrelse, derligger på en lille og vanskelig byggegrund midt iden historiske by og har et komprimeret pro-gram med forskelligartede funktioner. Endeligbehersker Fretton den eksklusive genre, tidligtdemonstreret i byvillaen The Red House fra

array of spatial qualities. This talent is particularlyrelevant in relation to Tietgen’s Agony, which issituated on a small and intractable building site inthe midst of the historic city and has a compactprogramme with diverse functions. Finally, Fret-ton masters the exclusive genre, as demonstratedearly on in the urban villa, The Red House, from2000, which has ceiling heights exceeding fivemeters and a high but not overdone degree of de-tail: another useful skill deployed in Tietgen’sAgony, where the prominent location and highconstruction costs set the stage for exclusivity.

In a larger perspective, Tony Fretton is espe-cially known as a pioneer of a British current thatbroke, at the end of the 1990s, with the otherwisedominant British high-tech tendency, by takingthe existing physical, cultural, and social contextmore into account. In this way, Fretton’s architec-ture, as opposed to the more technology-fixatedhigh-tech architecture, contains elements linkedto the design of former times and to accidentallyoccurring conditions in the surroundings. How-ever, what we have here is not a case of a post-modern “quotation-architecture” that regards thereintroduction of historical styles as an ideologicalproject but rather a kind of architecture that stemsfrom a fascination with the “as found” around anarchitectural project. In this sense, Tony Fret-ton’s architecture also differentiates itself from

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the nostalgic “Prince Charles” architecture – acontemporary British current which, spearheadedby the Crown Prince, aspires to recreate a Geor-gian architecture, regardless of context. About hisown approach, Fretton has this to say: “When de-signing I draw on things that already exist, that Ihave observed and experienced, in which I sensesocial, political and artistic qualities that will berecognised by other people”.1

The quarter With Fretton’s contextual approach in mind,then, it seems relevant to begin an analysis of theproject by taking a look at the context – or ratherthe contexts – for Tietgen’s Agony. This means,quite simply, the physical and non-physical rela-tions to which the project addresses itselfthrough its architecture.

If we consider, first of all, the urban contextaround Tietgen’s Agony two distinct situationscome into view. Tietgen’s Agony, as mentioned inthe introduction, is placed in the Store Kongens-gade quarter but belongs at the same time toFrederiks staden’s narrative, where the area encir-cling the Marble Church constitutes a kind of annexto the west of Bredgade. These two quarters areactually rather different. The parcelling out of theStore Kongensgade quarter’s lots dates back to

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Fotografi af Tony Frettons’Red House’, interiør, London 2008.

Interior from Tony Fretton’s“Red House”, London. Completed in 2008.

2000, der har rumhøjder på over fem meter ogen høj, men ikke overgjort detaljeringsgrad. Igenen kunnen, som også kan bruges i Tietgens Ær-grelse, hvor den prominente placering og de højebyggeomkostninger lægger op til eksklusivitet.

I et større perspektiv er Tony Fretton isærkendt som pionér inden for en engelsk strøm-ning, der i slutningen af 1990’erne brød med denellers dominerende engelske high-tech tendensved i højere grad at inddrage den forefundnekontekst, både som et konkret fysisk, et kultureltog et mere socialt fænomen. På denne måde kanFrettons arkitektur i modsætning til den mereteknologifikserede high-tech-arkitektur rummeelementer, som er knyttet til tidligere tiders ud-tryk eller til tilfældigt opståede forhold i omgi-velserne. Der er dog ikke tale om en postmoder-ne ”citat-arkitektur”, der ser det som et ideolo-gisk projekt at genintroducere historiske stilar-ter, men snarere om en arkitektur, der udsprin-ger af en fascination af ”de forhåndenværendesøm” omkring et arkitekturprojekt. Hermed ad-skiller Frettons arkitektur sig også fra den no-stalgiske ”Prince Charles”-arkitektur – en nuti-dig engelsk strømning, der, anført af kronprin-sen, forsøger at genskabe en klassicistisk arkitek-tur uanset kontekstens beskaffenhed. Selv sigerFretton om sin tilgang: ”Når jeg formgiver, træk-ker jeg på ting, som allerede eksisterer, som jeg

the middle of the 17th century. The original plotsin this quarter, a few of which actually border onTietgen’s Agony, are smaller than those typicallyfound in Frederiksstaden. The Store Kongensgadequarter was not placed under the same stringentprotocol as was Frederiksstaden. Moreover, theStore Kongensgade quarter was constructed overa longer span of time. For example, all the cor-nices and roof heights in Frederiksstaden werealigned with each other from the very outset,while Store Kongensgade is characterized insteadby houses that have varying window- and roof-heights, clearly divulging that they were con-structed at different points in time.

The three – originally four – houses on StoreKongensgade, which – taken together – haveborne the nickname “The Thorn in Tietgen’sSide” since the 1890s and which today are con-tiguous to the new building, are typical examplesof this richness of variation. Two of the frontbuildings, which pre-date 1730, and the thirdfront building, which dates from 1748, were allheightened with additional floors during the lat-ter part of the 18th century. Today, the complexhas a picturesque look, thanks to the narrow fa-cades, the divergences in the roofs’ heights, thediversity of the attics and the tortuous innercourtyards, which function primarily as narrowlight shafts. The fourth of the houses, which was

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har observeret og erfaret. Ting, hvori jeg for-nemmer sociale, politiske og kunstneriske kvali-teter, som vil kunne blive erkendt af andre folk”.1

KvarteretMed Frettons kontekstuelle tilgang er det rele-vant at indlede en analyse af projektet med atkaste et blik på konteksten eller rettere kontek-sterne for Tietgens Ærgrelse. Hermed forståsganske enkelt de fysiske og ikke-fysiske sam-menhænge, som projektet forholder sig til gen-nem sin arkitektur.

Betragter man først den bymæssige kontekstomkring Tietgens Ærgrelse, falder to forskelligesituationer i øjnene. Tietgens Ærgrelse er, somnævnt i indledningen, placeret i Store Kongens-gadekvarteret, men hører samtidig også med tilFrederiksstadens fortælling, hvor området

positioned at the north end of the row and wasbuilt in 1786, had – over an extended period oftime – fallen so deeply into disrepair that the Her-itage Agency of Denmark repealed its status as alisted building. The previous owner had thehouse demolished and Realdania Byg acquiredthe two vacant lots.

In comparison to these houses, the housingdevelopment on Frederiksgade that encircles theMarble Church possesses a wholly differentcharacter. It is larger in scale, both in terms offloor heights and in terms of the building develop-ment’s aggregate volume and it is rather morepretentious in its facade expression. The housingdevelopment was designed by the period’s mostinfluential architect, Ferdinand Meldahl, whoalso, a decade later, completed the MarbleChurch itself. It was finished and ready for occu-pancy in 1884. The continuous structure nestles

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Den tomme byggerund erblevet brugt til forskellige

ting i tidens løb. Her til salgaf gravsten. Tv: Juni 1902,

Fritz Benzen. Th: September1912, Rådhusforvalteren.

Københavns Museum.

In the course of time, the vacant corner plot that

eventually became a buildingsite has been used for manypurposes. Here, for sellinggravestones and funerary

monuments. Left: June 1902,

Fritz Benzen. Right: September 1912, the Town Hall Bailiff.

Museum of Copenhagen.


omkring Marmorkirken udgør et slags anneksvest for Bredgade. De to kvarterer er i virkelig-heden ret forskellige. Store Kongensgadekvarte-rets udstykninger går tilbage til midten af 1600-tallet, hvilket bevirker, at de oprindelige grund-stykker, hvoraf et par grænser op til TietgensÆrgrelse, er mindre end Frederiksstadens. StoreKongensgadekvarteret havde heller ikke sammestramme regelsæt som Frederiksstaden og er til-lige blevet bebygget over et længere tidsspænd.For eksempel skulle alle gesimser og taghøjder iFrederiksstaden fra starten flugte med hinanden,mens Store Kongensgade i stedet er præget afhuse, der har varierende vindues- og taghøjderog afspejler at være bygget på forskellige tids-punkter.

De tre – oprindeligt fire – huse i Store Kon-gensgade, der sammen siden 1890’erne bar øge-navnet Tietgens Ærgrelse og i dag støder op til

up snugly around the church, thus enhancingthe church building’s monumentality. Typical ofMeldahl’s architecture, the complex has beendesigned in a historical idiom that is supposed toappeal to the viewer’s cultural refinement andarouse associations to famous historical monu-ments in and around Europe. In this case, how-ever, the inspiration came more from Frederiks -staden’s Rococo architecture, which was morethan 130 years old by then, and, particularlyfrom the twin mansions, Dehn’s Palace andBernstorff ’s Palace, which, when viewed fromthe Marble Church, flank the entrance toAmalienborg Palace Square. For example, Mel-dahl appropriated these two mansions’ divisioninto pavilions that are crowned by mansard roofsand he also re-used specific ornaments from themansions. At the same time, Meldahl could notresist applying decorative dormer windows in a

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Den tomme hjørnegrund harhaft en omskiftelig tilværelsei tidens løb. Her som tank-station. Tv. 1916, Elfelt.Th. 1925, Elfelt. Københavns Museum.

The vacant corner plot hashad a chequered career inthe course of time. Here, itcan be seen in its incarnationas a filling station. Left: 1916, Elfelt Right: 1925, Elfelt.Museum of Copenhagen.


De to tvillingepalæer Dehns og Bernstorffs palæerflankerer, set fra Marmor-

kirken som her, indkørslen tilAmalienborg Slotsplads.

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The two “twin mansions”,Dehn’s and Bernstorff ’sPalaces, as seen here fromthe vantage point of theMarble Church, flank thevehicular approach toAmalienborg Castle Square.

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det nye hus, er typiske eksempler på den omtal-te variationsrigdom. To af forhusene, der stam-mer tilbage fra tiden før 1730, og det tredje for-hus, der er fra 1748, er alle blevet forhøjet medekstra etager i løbet af 1700-tallet. Kompleksetvirker i dag malerisk på grund af de smalle faca-der, uoverensstemmelserne i taghøjden, de for-skelligartede kviste og de snirklede baggårde,der mest af alt fungerer som smalle lysskakte.Det fjerde hus, der lå yderst i rækken og var fra1786, var over en længere årrække forfaldet såmeget, at Kulturstyrelsen ophævede fredningen.Den tidligere ejer nedrev huset og RealdaniaByg erhvervede de to tomme grunde.

I forhold til de omtalte huse i Store Kongens-gade har den øvrige randbebyggelse omkringMarmorkirken en anderledes karakter. Den erstørre i sin skala, både med hensyn til etagehøj-der og bebyggelsens samlede omfang, og mereprætentiøs i sit facadeudtryk. Randbebyggelsenstod færdig i 1884 og var tegnet af periodensmest indflydelsesrige arkitekt Ferdinand Mel-dahl, der også et årti senere fuldendte selve Mar-morkirken. Den smyger sig forholdsvis tæt om-kring kirken, hvilket er med til at fremhæve kir-kebygningens monumentalitet. Typisk for Mel-dahls arkitektur er komplekset udformet i histo-riske formsprog, der skulle appellere til betragte-rens kulturelle dannelse og skabe associationer til

French Renaissance style. Nor was he shy abouttaking recourse in the day’s new productionmethods, as evidenced in the form of pre- fabricated concrete balconies. Above and be-yond this, the housing development surroundingthe Marble Church – in contrast to these man-sions – was not built for a single family but em-braces a conventional – albeit luxurious – blockof flats in five floors. As has been said, the build-ing development was never finished due to theaforementioned 18th century houses. Thesemade their mark with large fireproof gables thatfaced a small square, which until recently houseda hot dog stand. Some found this blemishcharming while others made attempts to con-summate the ensemble. In 1987, for example, thearchitect firm of Kjær and Richter designed aproposal for a narrow building to be positionedin front of the fireproof gables – like Fretton’shouse, a modern counterpart to Meldahl’s build-ing complex.

The building development’s raison d’être, theMarble Church – or Frederik’s Church, was con-ceived from the outset as the culmination ofFrederiksstaden, which had been established in1749 and which, in its own day, bore comparisonwith the very finest examples of EuropeanBaroque and Rococo layouts. As an urban plan,Frederiksstaden stood as an exponent of an era

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Randbebyggelsen stod færdigi 1884 og var konciperet af

periodens mest indflydelses rigearkitekt Ferdinand

Meldahl, der også et årti senere fuldendte selve

Marmorkirken. I praksis blevrandbebyggelsen dog tegnet afandre arkitekter, ikke mindsthans tidligere medarbejderFrederik Blichfeldt. Den smyger sig forholdsvis tæt omkring kirken, hvilket

er med til at fremhæve kirke-bygningens monumentalitet.

The housing development wasdrafted by the period’s most

influential architect,Ferdinand Meldahl, who

also, a decade later, completedThe Marble Church itself.

However, the housingdevelopment was actually

designed by other architects,not least his former employeeFrederik Blichfeldt. It was

finished and ready foroccupancy in 1884. The

continuous structure nestles upsnugly around the church,thus enhancing the churchbuilding’s monumentality


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kendte historiske bygningsværker i det store Eu-ropa. I dette tilfælde er bebyggelsen dog især in-spireret af Frederiksstadens godt 130 år ældre ro-kokoarkitektur, ikke mindst de to tvillingepalæerDehns og Bernstorffs palæer, der set fra Mar-morkirken flankerer indkørslen til AmalienborgSlotsplads. Eksempelvis overtog Meldahl de topalæers opdeling i pavilloner, der er afsluttet afmansardtage, ligesom han også genbrugte kon-krete ornamenter fra palæerne. Meldahl kunnesamtidig ikke dy sig for også at bruge dekorativekviste i en fransk renæssancestil og var hellerikke bange for at ty til tidens nye produktions-metoder, der f.eks. viser sig i form af fabriksfrem-stillede betonbalkoner. Derudover er randbebyg-gelsen omkring Marmorkirken i modsætning tilpalæerne ikke bygget til en enkelt familie, mendækker over et konventionelt – om end herska-beligt – lejlighedsbyggeri i fem etager. Som om-talt, blev bebyggelsen dog ikke komplet på grundaf de omtalte 1700-talshuse, der ud til Frederiks-gade markerede sig med store brandgavle foranen lille plads, hvor der indtil for nylig stod en pøl-sevogn. Mange fandt denne skønhedsfejl char-merende, mens andre forsøgte at fuldende en-semblet, f.eks. arkitektfirmaet Kjær og Richter,der i 1987 tegnede et forslag til en smal bygningforan brandgavlene – ligesom Frettons hus enmoderne pendant til Meldahls bebyggelse.

when entire cities and landscapes were stagedwith theatrical axes and grand squares, all for theglory of God or the King. It lies in fine accordancewith this line of thinking that Frederiksstaden’s twomain axes would meet precisely at an equestrianstatue of the absolute monarch, King Frederik V: astatue that is surrounded on four sides by noble-men’s palatial mansionspalaces and town housesand which has right in front of it, as its point devue (as it was called in the ideal nation, France),the Marble Church. In this way, the Danish sub-jects were constantly being reminded that theroyal power was centrally placed in society andwas also “by the Grace of God”.

The church was not completed in either KingFrederik V’s or his successor’s lifetime but re-mained instead as a ruin-like torso for almost 150years, because of a lack of funds. This was partlydue to costly marble having been chosen as thebuilding material. Curiously enough, it was herethat the Golden Age artists including the sculp-tor Bertel Thorvaldsen, just returned fromRome, liked to host picnics and be reminded ofthe Roman ruins. At the same time, however,there was no shortage of proposals for makinguse of the ruin: there was, for example, even asuggestion to build a museum for the very sameThorvaldsen, who was otherwise busy justify-ing the ruin’s existence2 and another proposal

Bebyggelsen blev aldrig kom-plet, og indtil for nylig stodder i stedet en pølsevogn på

den tomme grund.

The construction project was never brought to its

completion and, until quiterecently, a hot dog standstood on the otherwise

vacant lot.

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Bebyggelsens egentlige raison d’être, Marmor-kirken eller Frederikskirken, var fra startentænkt som kulminationen på Frederiksstaden,der blev grundlagt i 1749 og i sin samtid ikkestod tilbage for de fineste europæiske barok- ogrokokoanlæg. Frederiksstaden var som byplaneksponent for en tid, hvor hele byer og landska-ber blev iscenesat med teatralske akser og plads-anlæg, alt sammen til Guds eller Kongens ære.Det er i fin overensstemmelse med en sådan tan-kegang, at Frederiksstadens to vigtigste aksernetop mødes i en rytterstatue af den enevældigemonark Frederik V, der på fire sider er omgivetaf adelspalæer, og som foran sig – eller ”point devue”, som man sagde i idealnationen Frankrig –havde Marmorkirken. På denne måde blev un-dersåtterne erindret om, at kongemagten varcentralt placeret i samfundet og samtidig var ”afGuds nåde”.

På grund af manglende finanser, der blandtandet skyldtes valget af det kostbare byggemate-riale marmor, blev kirken imidlertid ikke fuld-endt i Frederik V’s eller efterfølgerens levetid,men lå i stedet i næsten 150 år som en ruinagtigtorso. På dette sted yndede guldalderkunstneresom Bertel Thorvaldsen, der var hjemvendt fraRom, at holde picnic og mindes de romerskeruiner. Samtidig skortede det dog ikke på for-slag til at udnytte ruinen, f.eks. til et museum til

involving using the marble from the ruin as apedestal for an equestrian statue of King FrederikVII. However, it wasn’t until the financier, C.F.Tietgen, arrived on the scene with his assistancethat the church was completed in a style thatowes a debt to both the neo-classicist church ruinand the Roman Baroque, as can be seen, for exam-ple, in the dome crowning the St. Peter’s Basilica.

As I will describe in the next section, TonyFretton addresses himself in a most thoughtfullyconsidered fashion to the quarter’s idiom. But atthe same time, he involves other aspects of thecontext than the merely formal ones. For exam-ple, he is interested in how the housing develop-ment encircling the Marble Church, notwith-standing its uniform and representative expres-sion, also has the capacity to accommodate infor-mal and unplanned social activities like smallerbusiness premises, such as a dental clinic, or bicy-cles parked in some of the small front gardens.The historicist mounting therefore possesses asurprisingly composite character in the presentday that evinces that the luxurious residencesdating from the 19th century are relatively flexi-ble in relation to new and heterogeneous patternsof use. This composite character manifests itselfas well in Tietgen’s Agony, which has a café onthe street level, office space on the first floor andflats in the rest of the building.

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Frederiksstaden: Det kendtekobberstik af Amalienborg

Slotsplads med Jardins Marmorkirke i baggrunden,tegnet af Le Clerc og stukket

af I. M. Preisler i 1766, Københavns Museum.

Frederiksstaden: I.MPreisler’s famous engraving,

dating from 1766, of theAmalienborg Square, after a

drawing by Le Clerc,showing Jardin’s Marble

Church in the background.Museum of Copenhagen.


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selvsamme Thorvaldsen, der ellers forsvarederuinens eksistensberettigelse,2 eller til en piede-stal for en rytterstatue af Frederik VII. Først medfinansmanden C.F. Tietgens hjælp blev kirkenfuldendt i en stil, der både står i gæld til den ny-klassicistiske kirkeruin og til romersk barok,f.eks. Peterskirkens kuppel.

Som jeg vil beskrive i de næste afsnit, forhol-der Fretton sig velovervejet til kvarterets form -sprog, men inddrager samtidig andre sider afkonteksten end de rent formmæssige. Eksem-pelvis er han optaget af, hvordan randbebyggel-sen omkring Marmorkirken på trods af sit ens-artede og repræsentative udtryk er i stand tilogså at rumme uformelle og uplanlagte socialeaktiviteter, f.eks. små erhvervslejemål som entandlægeklinik eller cykelparkering i nogle af desmå forhaver. Den historicistiske indfatninghar derfor i dag en overraskende sammensat-hed, der viser, at herskabslejligheder fra det 19.

The building and the quarter

Considered as volume, Fretton’s House is relatedespecially to Meldahl’s pavilion that stands at theopposite corner of Frederiksgade and Store Kon-gensgade. “Pavilion” is to be understood here as abuilding section that forms part of a larger build-ing structure but also distinguishes itself inde-pendently, for example, with its own roof silhou-ette and its own axes of symmetry. It is from Mel-dahl’s pavilion that the new building adopts itsdepth and width, its symmetrical siting vis-à-visthe church, and its elevations, both of the groundfloor plinth and the uppermost cornice just belowthe roof. However, in the facade that faces StoreKongensgade, Fretton’s house is narrower thanthe pavilion, since three of the townhouses thatoriginally contributed to the emergence of thename “The Thorn in Tietgen’s Side” are still pre-served today. The new building also takes over

Mod Store Kongensgade er Fret-tons hus smallere end pavillo-nen. Facadekompositionen me-

dierer i stedet mellem pavillonenog de tre oprindelige borgerhuse,der stadig er bevaret som en del

af “Tietgens Ærgrelse”.

On the left: The northern facadetowards Frederiksgade 1,

Meldahl’s corner pavilion. Onthe right: The western facadetowards Store Kongensgade.Facing Store Kongensgade,

Fretton’s house is narrower thanthe pavilion. With thismodification, the facade

composition successfully standsas an intermediary between thepavilion and the three original

townhouses, which are stillpreserved as constituent elementsof “The Thorn in Tietgen’s Side”.

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Nordfacade mod Frederiksgade 1 Vestfacade mod Store Kongensgade


Fra Store Kongensgade. Betragtet som volumen forholder Frettons hus sigisær til Meldahls pavillonpå hjørnet af Frederiksgadeog Store Kongensgade.

Considered as volume,Fretton’s House is relatedespecially to Meldahl’spavilion, which stands atthe opposite corner ofFrederiksgade and StoreKongensgade.

århundrede er forholdsvis fleksible i forhold tilnye og forskelligartede brugsmønstre. Dennesammensathed manifesterer sig også i TietgensÆrgrelse, der har café i stueetagen, kontor påførste sal og boliger i resten af huset.

Huset og kvarteretBetragtet som volumen forholder Frettons hussig især til Meldahls pavillon på hjørnet af Fre-deriksgade og Store Kongensgade. Med pavillonforstås i dette tilfælde et bygningsafsnit, der ind-går i en større bygningsstruktur, men som sam-tidig markerer sig selvstændigt for eksempelmed en egen tagsilhuet og egne symmetriakser.Fra Meldahls pavillon overtager det nye husdens dybde og bredde, den symmetriske place-ring i forhold til Marmorkirken og højdernebåde på sokkelpartiet i stueetagen og på denøverste gesims lige under taget. Kun mod Store

the Meldahl pavilion’s window partitions and thesymmetrical facade composition facing Frederiks -gade, where, in both Fretton’s building and Mel-dahl’s pavilion, the central part of the facadecomprising the three middle window-bays isslightly projected. Finally, Fretton is workingwith a recessed penthouse level corresponding toMeldahl’s mansard roof, whose dormer windowsare also drawn back with respect to the facadeline. Fretton’s work thus distinctly re-reads theexisting context, which promotes a symmetricaland homogeneous framing of the Marble Churchas seen from Store Kongensgade.

On the other hand, the back side of Tietgen’sAgony, which is contiguous to the aforemen-tioned townhouses on Store Kongensgade, is different in its framing and structure from the restof the building’s sides. Here, we find an asym-metric delimitation of the building and a morecomplex arrangement of openings that fits neatly

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Kongensgade er Frettons hus smallere end pa-villonen, idet tre af de borgerhuse, der oprinde-ligt var med til at lægge navn til ”Tietgens Ær-grelse”, er bevaret. Tilsvarende overtager dennye bygning Meldahl-pavillonens fagdelinger,det vil sige antallet af vinduer, og den symmetri-ske facadekomposition mod Frederiksgade,hvor både Frettons bygning og Meldahl-pavillo-nen har markeret de tre midterste vinduesfagmed et bygningsfremspring. Endelig arbejderFretton med en tilbagetrukket penthouseetage,hvor Meldahl har et mansardtag, der også træk-ker vinduerne lidt tilbage i forhold til facadeflug-ten. Der er således tale om en tydelig genlæs-ning af den eksisterende kontekst, der fremmeren symmetrisk og ensartet indramning af Mar-morkirken, set fra Store Kongensgade.

Til gengæld er Tietgens Ærgrelses bagside,der støder op til borgerhusene i Store Kongens-gade, anderledes i sin opbygning end resten af

in ensemble with the more picturesque townhousesand the adjoining world of irregularly shapedcourtyards and back buildings of varying heights.The building’s eastern facade, which faces theMarble Church and borders on the aforemen-tioned courtyards, is not entirely symmetrical either, inasmuch as the innermost row of bays inthe flats are not windows but rather openings tooutdoor loggias. The symmetry is thus contestedby degrees as the building draws nearer to thegroup of 18th century buildings that, incidentally,also boasts a roof garden on top of one of its backbuildings. Interestingly enough, the older 18thcentury context is conducive to an expressionthat, with its asymmetry and irregularity, mightactually appear more modern than the building’sother facade expressions, which are under the influence of Meldahl’s more recent but also moreformal architecture. Above and beyond this, theorthogonal network structure in Fretton’s facade

Østfacaden, der er vendtmod Marmorkirken, er kuntilsyneladende symmetrisk.Den inderste række fag ernemlig ikke vinduer, men

åbninger til udendørs loggiaer.

The eastern facade, whichfaces the Marble Church,

only appears to besymmetrical: the innermostrow of bays is not actually

composed of windows but rather of openings

to outdoor loggias.

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Sydfacaden er anderledes i sin opbygning end resten af husets sider.Her møder vi asymmetri og en merekompleks placering af åbninger, derpasser fint til de mere maleriske borgerhuse og den tilstødende verden af uregelmæssige baggårde og baghuse i forskellige højder.

On the left: The eastern facade facingtowards the Marble Church. On theright: The southern facade (the backside), facing the adjoining property,Store Kongensgade 82, is different inits framing and structure from the restof the building’s sides. Here, we findasymmetry -delimitation of thebuilding and a more complexarrangement of openings that jibes wellwith the more picturesque townhousesand the adjoining world of irregularlyshaped courtyards and back buildingsof varying heights.

husets sider. Her møder vi en asymmetrisk af-grænsning af bygningen og en mere kompleksplacering af åbninger, der passer fint til de meremaleriske borgerhuse og den tilstødende verdenaf uregelmæssige baggårde og baghuse i forskel-lige højder. Østfacaden, der er vendt mod Mar-morkirken og grænser op til de omtalte baggår-de, er heller ikke helt symmetrisk, idet den inderste række fag i lejlighederne ikke er vinduer,men åbninger til udendørs loggiaer. Hermed an-fægtes symmetrien, efterhånden som huset nær-mer sig 1700-talsbebyggelsen, som i øvrigt ogsårummer en enkelt tagterrasse på toppen af et afbaghusene. Interessant nok er den ældre 1700-tals-kontekst befordrende for et udtryk, der medsin asymmetri og uregelmæssighed kan virkemere moderne end husets øvrige facadeudtryk,der er påvirket af Meldahls nyere, men ogsåmere repræsentative arkitektur. Derudover har-monerer den retvinklede netstruktur i Frettons

is in keeping with the half-timbering of many ofthe 18th century houses. Another fine example ofadaptation to the 18th century architectural styleis the windows in the facade on Store Kongens-gade, which are narrower and therefore more inharmony with the tighter spacing of the windowsin the older townhouses.

When we turn our attention to the constituentparts of the building, they can similarly be char-acterized as carrying on a dialogue, especially inconversation with Meldahl’s architecture.Whereas Meldahl’s building, on the first story, isfitted with balconies, Fretton’s house has corre-sponding balconies in the same dimensions andwhile Meldahl works with pilasters, Fretton’s ver-tical pillars, situated between the window open-ings facing Meldahl’s building, have been pulleda touch forward with respect to the wall beneaththe windows. Though not conventional pilasterswith base and capital, as we see on Meldahl’s

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Østfacade mod Marmorkirken. Sydfacade mod Store Kongensgade 82.


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Nordfacaden. Den nye bygning søger i høj grad

både i komposition og stoflighed at spejle Meldahlspavillon. Og selvom udtryk-ket er moderne, og spejlingen

er abstrakt, skaber de sammen en symmetrisk og

ensartet indramning af Marmorkirken set fra Store Kongensgade.


The northern facade. Bothwhen it comes to itscomposition and in itsphysical make-up, the newbuilding is going to greatlengths to mirror Meldahl’spavilion. And even thoughthe building’s expression ismodern and the mirror-relation is abstract, whentaken together, the twobuildings form a symmetricaland homogeneous framing ofthe Marble Church, as seenfrom Store Kongensgade.

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facader med bindingsværket på mange af 1700-talshusene. Et andet eksempel på en tilpasningtil 1700-talsarkitekturen ses i facaden mod StoreKongensgade, hvor vinduerne er gjort smallereog dermed passer bedre til den tætte vindu-estakt i de gamle borgerhuse.

Betragter man de enkelte bygningsdele, er deligeledes kendetegnet ved en dialog ikke mindstmed Meldahls arkitektur. Hvor Meldahls byg-ning på første sal er forsynet med balkoner, harFrettons hus tilsvarende balkoner i samme di-mension, og mens Meldahl arbejder med pila-stre, det vil sige flade indfældede søjler, er Fret-tons lodrette piller mellem vinduesåbningerneud mod Meldahls bygninger trukket en anelsefrem i forhold til murstykkerne under vinduerne.Der er dog ikke tale om traditionelle pilastremed en base og en kapitæl (søjlehoved) som hosMeldahl, men snarere om abstrakte fremspring,

building, they are, rather, abstract projectionsthat nonetheless enter into dialogue with themany relief effects in Meldahl’s facades. Corre-spondingly, the facade on Store Kongensgade issmooth like the facades in the adjoining town-houses.

The affinity with Meldahl’s architecture in par-ticular also manifests itself quite distinctly when itcomes to the textural effects and surfaces. In Mel-dahl’s housing development, the facades are plas-tered in a sandstone-like colour, while buildingdetails like balconies are executed in concrete andthe roofs are covered with black slate. This hasinspired Fretton to choose, also, to plaster hisouter walls, which are moreover built of concreteelements, with a warm gray plastering. Similarly,the new penthouse is clad in dark Belgian blue-stone that harmonizes neatly with Meldahl’s slate-covered mansard roof. Meldahl’s predilection for

Slægtskabet med især Meldahls arkitektur sætter

sig både igennem med hensyn til de enkelte byg-

ningsdele og med hensyn tilstoflighed og overflader.

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The affinity with Meldahl’sarchitecture in particularalso manifests itself quitedistinctly when it comes toindividual building partsand when it comes to thetextural effects and surfaces.

der ikke desto mindre går i dialog med de man-ge reliefvirkninger i Meldahls facader. Dog er fa-caden mod Store Kongensgade glat ligesom fa-caderne i de tilstødende borgerhuse.

Slægtskabet med især Meldahls arkitektursætter sig også igennem med hensyn til stoflig-heder og overflader. I Meldahls randbebyggelseer facaderne pudset med en sandstenslignendekulør, mens bygningsdetaljer som balkoner erudført i beton, og tagene er beklædt med sortskifer. Dette har fået Fretton til at vælge også atpudse sine ydermure, der i øvrigt er opbygget afbetonelementer, med en varm grå puds. Ligele-des er penthouseetagen beklædt med en mørkbelgisk sandsten, der harmonerer fint med Mel-dahls skiferbelagte mansardtage. Meldahls for-kærlighed for at imitere natursten ved hjælp afkunstige materialer som cementpuds og beton,har også ansporet Fretton til at arbejde med

imitating natural stones with the aid of artificialmaterials like cement rendering and concrete hasalso spurred Fretton to work with prefabricatedfibre concrete elements for the sturdy cornice un-der the penthouse floor and for the large balconyon the first story. However, the balcony is sched-uled to be clipped on in 2018, after the comple-tion of a new Metro station that will be posi-tioned in the middle of Frederiksgade, right infront of the building. Genuine sandstone is usedonly in very few particularly exposed places, e.g.above the cornice.

In general, the detailing of the house can becharacterized especially by two factors: abstrac-tion and the use of small differences in nuances.As an example of the abstraction, the translationof Meldahl’s pilasters into slightly projectingwall-pillars has already been mentioned. In thesame vein, we can point out Fretton’s cornice,

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præfabrikerede fiberbetonelementer til den kraf-tige gesims under penthouseetagen og til denstore balkon på første sal, der imidlertid førstkan sættes op efter færdiggørelsen af en ny Me-trostation midt i Frederiksgade foran huset i2018. Kun enkelte særligt udsatte steder brugesegentlig sandsten, f.eks. over gesimsen.

Generelt synes husets detaljering især at værekendetegnet ved to forhold: Abstraktion og bru-gen af små nuanceforskelle. Som eksempel påabstraktionen har oversættelsen af Meldahls pi-lastre til murpiller med et let fremspring alleredeværet nævnt, og man kan i samme ombæringfremhæve Frettons gesims, der ikke har nogenhulkehl – det vil sig et konkavt profilstykke –som klassicistiske gesimser, eller den store bal-kon mod Frederiksgade, der har kantede balustremed riller i stedet for Meldahls rokokoinspirere-de balustrade med ovale udskæringer. Hermedfår Fretton indarbejdet en detaljering, der i relief-virkning modsvarer Meldahls, men som med sinabstraktionsgrad og kantethed tilhører moder-nismens formverden. Sammenligner man mate-rialerne i Frettons hus, er det slående, at de i de-res kulør og stoflighed ligger forholdsvis tæt påhinanden. Facadepudsen, sandstenen og fiberbe-tonen ligner hinanden og ligger i tone heller ikkelangt fra den mørke natursten på penthouse -facaden. Symptomatisk for Frettons arkitektur

which has no cavetto – which means to say, noconcave moulding profile-piece – as do classicalcornices, and also the large balcony looking outon Frederiksgade, which has edged balusterswith grooves instead of Meldahl’s rococo- inspired balustrade with oval carvings. With thistouch, Fretton has incorporated a detailing thatcorresponds to Meldahl’s but which, with its lev-el of abstraction and sharp-edgedness, belongs tomodernism’s iconography. When we comparethe various materials in Fretton’s building, it isstriking how similar they are in colour and tex-ture. The facade’s plastering, the sandstone andthe fibre concrete all resemble each other and are,in their tone, not remote from the dark naturalstone on the penthouse’s facade. In what is a typ-ical touch in Fretton’s architecture, the fibre con-crete panel has a combed finish in the embrasurewhile it is smooth, having a sawn finish, on thewindowsill; this ultimately sharpens the viewer’sgaze and appreciation for the importance of dif-ferences in the nuances: differences in nuancesthat are also crucial in Frederiksstaden’s refinedRococo universe.

In the final analysis, the abstract re-reading of the quarter and the effort to highlight the significance of nuance reveals a form-relatedpotential in the historic surroundings. If thecontrast to the existing conditions had become

Tietgens Ærgrelse, november 2010.

Tietgen’s Agony.November 2010.

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er fiberbetonpanelet rillet i vindueslysningen,men glat på sålbænkene, hvilket i sidste endeskærper betragterens blik for betydningen af nu-anceforskelle. Nuanceforskelle, som også er afgø-rende i Frederiksstadens forfinede rokokounivers.

I sidste ende får den abstrakte genlæsning afkvarteret og bestræbelsen på at vise nuancensbetydning betragterens øjne op for et formmæs-sigt potentiale i de historiske omgivelser. Hviskontrasten til det eksisterende var blevet større,således som det siden modernismen har væretgod latin, når danske arkitekter bygger nyt i for-bindelse med noget historisk, havde dette po-tentiale sandsynligvis forekommet mindre tyde-ligt. Med Frettons nuancerede kommentarer,der fletter flere kontekster sammen, opleves denhistoriske arkitektur pludselig aktuel. Hans kon-tekstuelle tilgang handler med andre ord ikkeom at rekonstruere en historisk kontekst, menom at udnytte de elementer og fænomener, somkonkret er til stede i kvarteret i dag. Hele histori-en om Marmorkirkens fortid som pittoresk ruiner således fravalgt i Frettons fortælling.

Husets rumTony Fretton er optaget af den sammensattebrug, der i dag præger Meldahl-bebyggelse påtrods af facadernes ensartede og repræsentative

more glaring, after the fashion that has come tobe universally accepted since modernism when-ever Danish architects build something new in conjunction with something historical, this potential would probably have emerged less distinctly. With Fretton’s nuanced commentaries,which braid several contexts together, the historical architecture is suddenly experienced asrelevant. Fretton’s contextual approach, in otherwords, does not revolve around reconstructing ahistorical context but rather around exploitingthe elements and phenomena that actually exist,specifically and concretely, in the quarter today.In Fretton’s narrative, the whole saga of the Marble Church’s past as a picturesque ruin hasthus been left out.

The building’s space Tony Fretton is interested in the composite usethat presently characterizes the Meldahl devel-opment notwithstanding its uniform and repre-sentative facade expression. It fits well with thisreading of the context that the building owner,Realdania Byg, in its project programme, also hadits sights set on functional diversity, perhaps hav-ing learnt from a good many recent Danish urbandevelopment projects, where the dense commin-gling of residential and commercial spaces and

Interiør, Tietgens Ærgrelse.Interior. Tietgen’s Agony.

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facadeudtryk. Det passede fint med denne læs-ning af konteksten, at også bygherren, RealdaniaByg, fra begyndelsen i sit program lagde op tilen funktionel diversitet. Måske belært af mangenyere danske byudviklingsprojekter, hvor dentætte blanding af beboelse, erhverv og butikker,som ellers har præget den traditionelle europæ-iske metropol, f.eks. København, er forsvundettil fordel for mere rene, monofunktionelle kvar-terer. Konsekvensen af dette er, at storbystem-ningen udebliver, og at selv nye bykvarterer tætpå Københavns gamle bykerne eller transforme-rede dele af den gamle by ofte virker som søvni-ge sovebyer uden nogen form for inspirerendediversitet. En diversitet, som netop præger StoreKongensgadekvarteret. Her rummer husenesstueetager typisk små butikker eller cafeer, mensde øvrige etager både kan have boliger eller småservicevirksomheder – alt sammen på forholds-vis lidt plads og klods op af en travl Store Kong -ensgade, fyldt med fodgængere, cykler, biler,busser – og om nogle år en Metrostation foranTietgens Ærgrelse. På denne gade opleves Kø-benhavn som en rigtig europæisk storby.

Det kan i den forbindelse forekomme selv-indlysende eller banalt, at også Tietgens Ær-grelse er organiseret med en café i stuetagen,en mindre virksomhed på første sal, to toværel-ses lejligheder på anden, tredje og fjerde sal og

shops, which has otherwise traditionally charac-terized the European metropolis, like Copen-hagen, has given way to more truly mono- functional urban quarters. The consequence ofthis is that the big city atmosphere fails to mate-rialize and that even newer urban quarters situat-ed close to the heart of Copenhagen’s historicalcentre and transformed parts of the old city oftenappear to be sleepy bedroom cities without anykind of inspiring diversity: a diversity that pre-cisely characterizes the Store Kongensgade quar-ter. Here, the building’s ground level floors typi-cally accommodate small shops or cafes while theupper floors generally contain flats or small ser-vice firms – and all of this on a relatively smallpatch of ground and wedged in on the busy av-enue of Store Kongensgade, crowded with pedes-trians, bicycles, cars, buses – and in a few yearstime, a Metro station right in front of Tietgen’sAgony. On this thoroughfare, Copenhagen can beexperienced as a genuine European metropolis.

In this connection, it might seem obvious orcommonplace that Tietgen’s Agony is also beingorganized with a café on the ground floor, a smallbusiness enterprise on the first floor, a pair oftwo-room flats on each of the second, third andfourth floors and finally, a somewhat more spa-cious penthouse flat at the top. Nevertheless, thismix is unique in relation to similar constructions


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endelig en lidt større penthouselejlighed på toppen. Ikke desto mindre er denne sammen-blanding unik i forhold til lignende nutidigt byg-geri, der typisk kun ville rumme kontorer, evt.med en enkelt café i bunden. Og sammensat -heden er sågar exceptionel, hvis man tager husetsbeskedne samlede areal på 1300 kvadratmeter ibetragtning. Kun få steder i verden vil et moder-ne hus midt i en storby have så mange funktio-ner på så lidt plads.

Betragter man grundplanerne for de forskelli-ge etager, falder trapperummet med elevatoren iøjnene som den centrale spillebrik i husets orga-nisation. Det er interessant nok ikke placeret udtil gaden, således som man umiddelbart ville for-vente det, men midt i huset ud til nabohusetsbaggård. Hermed skal man gå et stykke igen-nem stueetagen for at komme op i huset – lidtpå samme måde som i det 19. århundredes mereherskabelige københavnske lejlighedsbyggeri,hvor hovedtrappen ofte ligger ud til baggården.Konsekvensen af denne disposition i TietgensÆrgrelse er, at etageplanerne bliver delt i to ho-vedafsnit, som bliver forbundet af et forholdsvislangt og smalt rum ud mod den korte Frederiks-gade. De to hovedafsnit henvender sig samtidigtil to markant forskellige bymæssige situationer.Det vestre afsnit mod Store Kongensgade ven-der ud mod en travl gade, mens det østre afsnit

being built at this time, which would typicallycontain only offices, possibly with a café at streetlevel. And the composite character is even moreexceptional when we take the building’s modesttotal floorage (1300 square meters) into account.There are only a few places in the world where amodern building, planted smack dab in the cen-tre of a big city, would contain so many functionsin such a modicum of space.

When we consider the ground plans for the dif-ferent stories, the staircase – with the accompany-ing lift – catches our attention as the central gam-ing piece in the building’s organization. Interest-ingly enough, the staircase is not placed out to-ward the street, as one would immediately expectit to be, but rather in the middle of the buildingfacing out to the neighbouring house’s courtyard.The consequence of this, of course, is that youhave to walk a little way through the groundfloor before ascending the building – much likeit was when entering some of the 19th century’smore luxurious blocks of flats in Copenhagen,where the main staircase often faced the court-yard. The consequence of this disposition in-side Tietgen’s Agony is that the floor planshave become divided into two main sections,which are conjoined by a relatively long andnarrow space that faces the short segment ofFrederiksgade. The two main sections of the


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1. Café2. WC

1. Café2. WC

90

1

2

StueplanGround floor


1. Kontor2. Køkken3. WC4. Terrasse

1. Office2. Kitchen3. WC4. Terrace

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1

1

1

2

3

4

4

Første sal First floor


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1. Stue2. Køkken

3. Soveværelse4. Bad

5. Terrasse

1. Living/dining2. Kitchen3. Bedroom4. Bathroom

5. Terrace

1

1

2

2

3

3

4

4

5

5

Anden til fjerde sal Second to fourth floors


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1. Stue2. Køkken3. Soveværelse4. Bad5. Terrasse6. Værelse

1. Living/dining2. Kitchen3. Bedroom4. Bathroom5. Terrace6. Study

1

2

3

34

5

5

5

6

Penthouse Fifth floor


mod Marmorkirken er præget af at være megettæt på det store kirkemonument og af det fred-fyldte byrum mellem kirken og Meldahls rand-bebyggelse.

Går man rundt i huset, kan man blive over-rasket over, at det udadtil symmetriske byhusbyder på indre rumforløb med en vis komplek-sitet. I stuetagen, der er tænkt anvendt til encafé, udgør det meste af etagen uden om trap-perummet et sammenhængende og irregulærtrum, der har flere små knæk, og som derforvanskeligt kan overskues i sin helhed fra et be-stemt punkt i rummet. Man får lyst til at fort-sætte gennem rummet for at se, hvad der skju-ler sig bag det næste hjørne, samtidig med atopmærksomheden også fanges af de forskellig-artede tableauer, som de usædvanligt høje ogstore vindues- eller rettere døråbninger venderud til. Med en rumhøjde på over fire meter ogvinduer, der går fra gulv til loft, opleves lokalettillige som meget urbant. I København er derikke så mange rum af denne slags, derimod iboulevardbyer som Paris eller Wien, hvor høj-loftede caféinteriører indtager en central rolle ibylivet. De indvendige overflader og selve ind-retningen i de to erhvervslejemål, cafeen i stuenog kontoret på 1. sal bliver dog ikke udformetaf Tony Fretton selv, men af lejernes egne råd-givere.

floor plans simultaneously refer to two markedlydifferent urban situations. The western section,facing Store Kongensgade, turns out toward abusy avenue while the eastern section, facing theMarble Church, is distinctively stamped by itsclose proximity to the monumental church andthe peaceful cityscape between the church andMeldahl’s housing development.

Walking around inside the building, you maybe surprised that the outwardly symmetricaltownhouse offers an interior spatial sequence thatis punctuated with a certain intricate complexity.On the ground floor, which has been envisionedas housing a cafe, most of the level’s floor areaaround the staircase forms one continuous albeitirregular space that has several small set backsand therefore cannot easily be surveyed in its en-tirety from any one particular point inside thespace. You are seized by an urge to continuewalking through the room in order to see what itis that might be hiding around the next corner. Atthe same time, your attention is captured by thediversified tableaux that the extraordinarily highand large window- or, rather, door-openings arefacing. With a ceiling height of over four metresand windows that extend from floor to ceiling,this street-level room is perceived, moreover, asbeing manifestly urban. In Copenhagen, there arenot many spaces of this kind, in contrast to what

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Også på første sal, der er øremærket til kontor-erhverv, er det meste af etagen udformet som étstort rum med det samme forholdsvis irregulæreomrids som i stueetagen. Her er rumhøjdenimidlertid betydeligt lavere end i cafeen, ligesomvinduesåbningerne på de steder, der ikke giverudgang til balkoner, har brystninger. Det er etrum, der tydeligvis medtænker en møbleringmed skriveborde og siddende arbejdsstillinger,og som også kan indrettes på forskellig vis afkommende lejere. Hvis man sammenligner medandre kontorlandskaber, er det mest iøjnefal-dende element den lange smalle balkon, somspejler balkonen i Meldahls pavillon på den an-den side af Frederiksgade. Den åbner for uforud-sete arbejdssituationer på en måde, som mannormalt ikke forventer at møde i et nutidigt er-hvervsbyggeri. Måske er det herude på kanten afbyen, at de interessante samtaler kommer til atfinde sted.

De næste tre etager, der er udformet med densamme planløsning, har etagevis to lejlighedermed hver et soveværelse og en stue, hvori derogså er køkken i den ene lejlighed. Lejligheder-ne (på henholdsvis 102 og 116 kvadratmeter) erplaceret på hver side af trappen, således at denmindste er orienteret mod vest og Store Kong -ensgade, mens den anden vender ud til Mar-morkirken mod øst. De har samtidig begge mod

we might typically find in boulevard cities likeParis and Vienna, where high-ceilinged café inte-riors play a central role in the city’s life. The inte-rior surfaces and the interior design inside thetwo commercial leases, i.e. the café on the groundfloor room and the office on the first floor, willnot be designed by Tony Fretton himself butrather by the respective tenants’ own consultants.

Also on the first floor, which has been ear-marked as commercial office space, most of thefloor has been designed as one large space withthe same relatively irregular contour that we findon the ground floor. Here, however, the room’sheight is considerably lower than in the cafédownstairs. Similarly, those window openingsnot offering access to balconies have parapets.This is a space that clearly lends itself to beingfurnished with desks and sitting working posturesand which can also be fitted and adapted in dif-ferent ways by future tenants. If you compare thisspace with other office landscapes, the most con-spicuous element is the long and narrow balconythat mirrors the balcony on Meldahl’s pavilionon the opposite side of Frederiksgade. It opens upto unforeseen workplace situations in a way thatyou do not ordinarily expect to find in a contem-porary commercial building. Maybe it is out here,on the brink of the central city, that the really in-teresting conversations are going to transpire.


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The next three floors all have the same layout,with two one-bedroom flats per floor: one of theflats on each floor has a combined kitchen andliving room. The flats (covering, respectively, 102and 116 square metres) are placed on either sideof the staircase in such a way that the smaller ofthe layouts is oriented to the west and faces StoreKongensgade, while the other flat looks out onthe Marble Church, toward the east. At the sametime, all the flats have outdoor terraces, respec-tively facing the neighbouring building’s court-yard and the back house; these terraces arecarved out of the building’s volume like loggiasand therefore possess a more intimate characterthan the balconies that will be eventually clippedonto the office floor. In addition, the flats’ win-dows in themselves constitute balconies of a kind,since they extend almost from floor to ceiling andpossess the character of being elements withdouble French balcony doors, hatches for venti-lation and a discreet balustrade in glass. Even thebathrooms inside the larger of the two units havesuch a window element and are, to boot, placedin the facade’s prominent middle axis - a stylisticleap you would not encounter in either mod-ernist or historicist construction.

What makes these flats something extraordi-nary is especially the spatial finishing, including thedesign of the windows. In spite of their modest

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nabohusets baggård og baghus udendørs terras-ser, der er lagt ind som en slags loggiaer i selvebygningskroppen og dermed har en mere intimkarakter end balkonerne i kontoretagen. Derud-over er lejlighedernes vinduer i sig selv en slagsbalkoner, idet de næsten går fra gulv til loft oghar karakter af at være elementer med dobbeltefranske altandøre, lem til udluftning og en di-skret balustrade i glas. Selv badeværelset i denene lejlighed har et sådant vindueselement og eroven i købet placeret i facadens prominentemidterakse – et stilbrud, som man hverken villemøde i modernistisk eller historicistisk byggeri.

Især den rumlige bearbejdning, herunder ud-formningen af vinduerne, gør disse lejligheder tilnoget særligt. På trods af deres beskedne størrel-se har lejlighederne nemlig en rumlig komplek-sitet, der tilskynder den besøgende til at bevægesig gennem lejlighederne. I lejlighederne modStore Kongensgade kan man eksempelvis fraindgangen ikke overskue stuens omrids, menmå gå en lille rundtur før man ender foran enstor fransk altan ud til Frederiksgade. I lejlighe-den mod Marmorkirken bliver opmærksomhe-den i stuen både ledt hen mod de store franskealtandøre og mod terrassen, der i sig selv er etlille veldefineret rum med store åbninger i mu-ren. Dertil kommer, at vinduerne er usædvanligtstore, hvilket kobler dem til en kropslig skala og

size, the flats possess a spatial complexity thatprompts the visitor to move through the flats andexplore the space. In the flats facing StoreKongens gade, as a matter of fact, it is not possibleto take in the living room’s outline all at once asyou enter the flat. No, you have to take a littlestroll before you eventually wind up standing infront of a large French balcony facing Frederiks-gade. In the flats facing the Marble Church, onthe other hand, your attention when entering theliving room is led directly toward the largeFrench balcony doors and also toward the ter-race, which in itself is a small well-defined spacewith large apertures in its wall. We must add herethat the windows are unusually high, thus con-joining them to a bodily scale and further elicitingthe effect that the city’s grandiose space is beingdrawn, in a strikingly palpable way, right into theflat’s intimate space. In this very way, the city’sspace becomes a direct extension of the flat’sspace, like a series of multifarious spatial situa-tions to which the flat alludes and communicates,as it were, via its own space: the narrow space ofthe courtyard; the space between the church andMeldahl’s housing development; the space be-tween Tietgen’s Agony and Meldahl’s pavilion;Store Kongensgade’s space and so on.

The same applies to the penthouse flat at thetop of the building; only here, the boundary

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ydermere bevirker, at byens storladne rum på enmarkant måde bliver trukket ind i lejlighedensintime rum. Byens rum virker på denne mådesom en direkte forlængelse af lejlighedens rum;som en serie af forskelligartede rumlige situatio-ner, som lejligheden så at sige henvender sig tilgennem sine rum: Baggårdens smalle rum, rum-met mellem kirken og Meldahls randbebyggel-se, rummet mellem Tietgens Ærgrelse og Mel-dahls pavillon, Store Kongensgades rum osv.

Også i penthouselejligheden øverst er detsamme på færde som i de andre lejligheder, blotføles grænsen mellem ude og inde endnu mereåben, idet lejligheden har åbne balkoner på firesider og udgangsmulighed via skydedøre fra næ-sten alle åbninger. Her er der sammenlignetmed de andre lejligheder flere bevægelsesmulig-heder, men også mere plads (nærmere bestemt165 kvadratmeter). Ovenlys i de to badeværelserminder samtidig beboeren om, at lejlighedenligger øverst oppe.

Efter en rundgang i hele huset står man tilba-ge med en erfaring af, at det tilsyneladende enk-le hus formidler en velkendt by i udsnit, somman måske tidligere ikke har været opmærksompå. Huset er som en udkigsmaskine, hvor et hie-rarkisk organiseret kvarter med aner tilbage tilbarokken fragmenteres. Henvendelsen til omver-denen er dog ikke ensidig, idet mange af husets

between outside and inside feels even more openbecause the flat has open balconies on four sidesand the possibility of egress through sliding doorsfrom virtually all of the openings. Up here, ascompared with the situation in the other flats,there are not only more possibilities for movingaround but there is also more room (165 squaremeters, to be precise). Skylights in the penthouse’stwo bathrooms serve to remind the tenant thatthe flat is, in fact, located at the very top of thebuilding.

After a tour inside the entire building, you real-ize that the apparently simple building is acting asan intermediary by presenting a well-known cityin sectioned samples you may not previouslyhave been aware of.

The building is something like a lookout ap-paratus, where a hierarchically organized quar-ter, with its origins reaching back to thebaroque, is being fragmented. However, the re-ferral that is being addressed to the surroundingworld is not a one-sided affair: many of thebuilding’s social activities will come to be ex-posed on the open terraces, balconies and log-gias or through the open doors in the café,which will also enjoy the right of disposal overa part of the pavement. In this way, the buildingwill be exhibiting its diversity and will be givingsomething back to the city.

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sociale aktiviteter bliver eksponeret på de åbneterrasser, balkoner og loggiaer eller gennem deåbne døre i cafeen, der også har råderet over endel af fortovet. Huset udstiller på denne måde sindiversitet og giver noget tilbage til byen.

Huset som arkitektonisk statement Arkitekter har som udgangspunkt altid for-holdt sig til steder, men først i England i slut-ningen af 1700-tallet begyndte arkitekter for al-vor at tilstræbe en arkitektur, der synes at ud-springe af den eksisterende kontekst. De var in-spireret af den pittoreske engelske have, derblev tilrettelagt til at se naturlig og selvgroet udsom i et klassisk landskabsmaleri, og hvor irre-gulære beplantninger og snoede stiforløb skulleægge den besøgendes nysgerrighed og tilskyn-de gæsten til at bevæge sig gennem haven.Med den pittoreske tradition begynder engel-ske arkitekter at tegne omgivelserne med påbygningstegningerne, mens deres franske kol-leger inden for det 19. århundredes Beaux Arts-tradition typisk isolerede facadetegningerne frakonteksten. Den pittoreske tilgang spiller fort-sat en stor rolle i engelsk arkitektur, blandt an-det ajourført og forbundet med modernismenaf de engelske arkitektkoryfæer Alison & Pe-ter Smithson, der i 1960’erne relancerede det

The building as architectural statementArchitects have by definition always addressedthemselves to specific places but it was only inEngland at the end of the 18th century that archi-tects really started to aspire toward a kind of ar-chitecture that appears to have sprung forth fromthe existing context. These architects were in-spired by the picturesque English garden, whichwas programmatically arranged to look naturaland self-grown, as it does in a classical landscapepainting, and where irregular plantings and wind-ing courses of footpath were supposed to stimu-late the visitor’s curiosity and urge the guest tomove onward through the garden. With the pic-turesque tradition, English architects begandrawing the surrounding environment right intotheir construction drawings, while their Frenchcounterparts, who were working in the 19th cen-tury’s Beaux Arts tradition, generally isolated thefacade drawings and kept them separate from thecontext. The picturesque approach still plays animportant role in English architecture, havingbeen updated and linked with modernism by,among others, the English architect luminaries,Alison and Peter Smithson, who re-introducedthe picturesque in the 1960s, taking their point ofdeparture in concepts like “as found” and “con-glomerate ordering”. In writings and interviews,

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Nogle af åbningerne i mureni Tietgens Ærgrelse viser sigat vende ind til udendørsloggiaer, mens for eksempelloftbelysningen og gardinernei andre åbninger afslører, omder er tale om en bolig elleret kontorlandskab.

Some of the openings in thewall in Tietgen’s Agonyreveal themselves as givingtoward the outdoor loggiaswhile, for example, theceiling lighting and thecurtains in other openingsdivulge whether we arestanding inside a residentialflat or in the midst of anoffice landscape.


pittoreske med udgangspunkt i begreber somdet forefundne eller konglomerat-orden.

Tony Fretton har flere steder vedkendt sig ar-ven fra The Smithsons og gør da også i TietgensÆrgrelse en dyd ud af at arbejde med de forskel-ligartede ting og fænomener, der allerede fore-findes i konteksten.3 Intentionen om at genskabehelheden omkring Marmorkirken ender derformed et hus, der også er et slags konglomerat, detvil sige en ansamling af uensartede dele – bådepå et socialt og formmæssigt plan. Tietgens Ær-grelse vil dog i sidste ende næppe gå under be-tegnelsen pittoresk. Hele ideen om at etablereen symmetri omkring Marmorkirken er grund-læggende antipittoresk, ligesom den stram me fa-cadekomposition, det høje abstraktionsniveau idetaljeringen og de små nuanceforskelle i husetsforskellige stofligheder ikke passer med et tradi-tionelt pittoresk ideal, der hylder irregularitet ogvariationsrigdom.

Der findes imidlertid også kontekstuellestrømninger i det 20. århundredes arkitekturhi-storie, som ikke nødvendigvis er knyttet direk-te til det pittoreske. Den kontekstuelle tilgangblev ellers grundlæggende anfægtet af det 20.århundredes mest succesfulde tendenser, funk-tionalisme og senere modernisme, der havdedet som ideologisk program at skabe en indu-strielt orienteret universalstil, og som ofte

Tony Fretton has acknowledged the legacy fromThe Smithsons. In Tietgen’s Agony, as a matterof fact, Fretton makes a virtue of working withthe heterogeneously diversified articles and phe-nomena that are “as found” already within the situational context.3 The long-standing intentionto re-create a totality around the Marble Churchis therefore being consummated with a buildingthat is actually some kind of conglomerate, that isto say an accumulation of heterogeneously dis-parate parts – both on the social and on the mor-phological levels. However, when all is said anddone, Tietgen’s Agony will hardly end up beingclassified as “picturesque”. The whole idea of es-tablishing a symmetry around the MarbleChurch is fundamentally anti-picturesque, just as the stringent facade composition, the high level of abstraction in the detailing and small differences of nuances in the building’s differenttextures do not jibe with a conventionally pictur-esque ideal, which pays homage to irregularityand richness in variation.

There are, however, also contextual currents inthe 20th century’s history of architecture that arenot necessarily linked directly to the picturesque.The contextual approach was otherwise funda-mentally contested by the 20th century’s mostsuccessful tendencies: functionalism; and later on,modernism, which had in view, as an ideological

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tænkte arkitekturen med udgangspunkt i en in-dre funktionalitet. Hermed trådte hensynet tilde omgivende gadeog pladsrum i baggrunden,og arkitekturen blev på én og samme tid uniformog autonom. En del arkitekter formåede ikke de-sto mindre at forene opmærksomheden over foren lokal kontekst og klassiske byrum med denmoderne trang til universalitet og autonomi. Denengelsk fødte arkitekturhistoriker Colin Rowe,der på et teoretisk plan var bannerfører for en

programme, the creation of an industrially orient-ed universal style and often envisioned architec-ture as taking its point of origin in an internalfunctionality. With this, considerations about thesurrounding cityscape receded into the back-ground and the architecture became, at one andthe same time, uniform and autonomous.Nonetheless, quite a few architects managed tounite awareness of local context and classiccityscapes with the modern desire for universality

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Tv: Svenn Eske Kristensens kontorbygning til forsikrings-selskabet Baltica er opført i1958 og er et eksempel på etværk skabt af en dansk kontekstbevidst modernist.

Th: Erik Korshagens og JuulMøllers Pressens Hus fra1974 er et eksempel på danskmodernisme påvirket af Miesvan der Rohes ‘InternationalStyle’.

On the left: Svenn EskeKristensen’s office buildingfor the Baltica InsuranceCompany was erected in1958 and is a primeexample of Danish “context-conscious” modernism.

On the right: ErikKorshagen’s and JuulMøller’s House of the Press,from 1974, is an example ofDanish modernism that wasstrongly influenced by Miesvan der Rohe’s“International Style”.


mere kontekstuel modernisme, har kaldt en så-dan hybridarkitektur for komposit og har i denforbindelse blandt andet fremhævet moderneskandinavisk arkitektur. Med sin blanding af etmoderne abstrakt formsprog, der slår fra sig iforhold til omgivelserne, og meget specifikkehenvisninger til den konkrete kontekst indskri-ver Tietgens Ærgrelse sig på en måde i dennetradition. Dog er der også forskelle mellem Tiet-gens Ærgrelse og eksempler fra det lidt bredefænomen, som man – i manglen på bedre ord –kan kalde den kontekstbevidste modernisme.

Et eksempel på en kontekstbevidst dansk mo-dernist er Svenn Eske Kristensen, der også byg-gede moderne huse i Frederiksstaden. Et af disseer forsikringsselskabet Balticas kontorbygningfra 1958, der ligger ved siden af Bernstorffs Palæ– på den anden side af Marmorkirken. Dennebygning er med sit fravær af præmoderne orna-mentik og synliggørelse af husets konstruktion ifacaden umiskendeligt moderne, men forholdersig samtidig med fin indlevelse til etageinddelin-ger, vinduestakter og detaljeringsgrad i den til-stødende rokokofacade. Et andet dansk eksem-pel er Erik Korshagens og Juul Møllers PressensHus fra 1974, som er påvirket af Mies van derRohes ’International Style’, men, fordi den liggermidt i København mellem gamle borgerhuse,ikke undlader at bruge en taggesims ligesom

and autonomy. The English-born architecturalhistorian, Colin Rowe, who, on a theoretical lev-el, was a standard-bearer for a more contextualmodernism, has called this kind of hybrid archi-tecture composite and has, in this connection, es-pecially drawn attention to modern Scandinavianarchitecture. With its combination of a modernabstract idiom that principally disengages itselffrom the surroundings and its very specific referen-ces to the context at hand, Tietgen’s Agony in away inscribes itself into this tradition. However,there are also differences between Tietgen’sAgony and examples of the somewhat widerphenomenon that can be called – for lack of anybetter terms – context-conscious modernism.

One example of a context-conscious Danishmodernist is Svenn Eske Kristensen, who alsobuilt modern buildings in Frederiksstaden. One ofthese is the Baltica Insurance Company’s officebuilding, dating from 1958, which is located rightnext to Bernstorff ’s Palace – on the other side ofthe Marble Church. This building, with its ab-sence of pre-modern ornamentation and its dis-closure of the building’s essential construction inthe facade, is unmistakably modern, but simulta-neously relates itself, and with striking empathy,to the elevations, the spacing of the windows andthe level of detailing in the neighbouring Rococofacade. Another fine Danish example is Erik

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Frettons ‘Red House’ og ‘Andreas Ensemble’.

Fretton’s “Red House” inLondon and the “AndreasEnsemble” in Amsterdam.


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nabohusene. Efter sigende skulle Fretton haveindført gesimsen i Tietgens Ærgrelse blandt an-det efter at have set denne bygning.

Tietgens Ærgrelse kan ligne sådanne eksem-pler, men adskiller sig samtidig fra dem på enrække punkter. Fretton er eksempelvis i højeregrad optaget af arkitekturens sociale dimension,herunder muligheden for at give rum til uforud-sete og uformelle sociale situationer. I TietgensÆrgrelse møder man således en langt størrebrugsmæssig diversitet end i et typisk modernis-tisk projekt – måske en af de væsentligste kvali-teter ved projektet. Derudover er projektet langtmere specifikt i sin dialog med konteksten endde omtalte eksempler, der stadigvæk har karak-ter af at være tilpassede prototyper. Typer, dermed få ændringer også ville kunne stå andre ste-der i byen, og som i sig selv er stabile komposi-tioner. Tietgens Ærgrelse har i stedet snarere ka-rakter af at være løst ad hoc, det vil sige uløseligtforbundet med konkrete og specifikke forhold ikonteksten, der kræver lokale svar på forskelligesteder. Huset vil ikke se sådan ud på andre steder,og det er på trods af sine symmetrier og regel-mæssige vinduessætning et hus med mange ”lap-peløsninger”, der vil få en modernistisk arkitekttil at rynke brynene. Tag eksempelvis de mangeforskelligartede terrasse- og balkonsituationer eller de store franske altandøre i badeværelserne.

Korshagen’s and Juul Møller’s House of the Press,from 1974, which was influenced by Mies van derRohe’s “International Style” but which, in refer-ence to its location in the middle of the historicalcentre of Copenhagen, surrounded by oldertownhouses, is equipped with a roof cornice inconformity with the neighbouring houses.Fretton is said to have introduced the cornicein Tietgen’s Agony especially after having seenthis building.

Tietgen’s Agony might resemble such exam-ples, but at the same time, it differs from them inseveral respects. Fretton, for example, is moreconcerned with architecture’s social dimension,including the possibility of providing room forunplanned and informal social situations. In Tiet-gen’s Agony, you accordingly run into a fargreater use-related diversity than what youwould otherwise find in a typical modernist pro-ject – and this is perhaps one of the most impor-tant qualities about the project. Above and be-yond this, the project is far more specific in its di-alogue with its context than are the previouslymentioned examples, which still have the charac-ter of being adapted prototypes: types that withfew changes would be able to stand elsewhere inthe city and which in themselves are stable com-positions. Instead, Tietgen’s Agony has, if any-thing, more precisely the character of being

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Frettons ’Erste Bank’s netfacade.

The grid facade in TonyFretton’s proposal for Erste Bank, Vienna


Tietgens Ærgrelse forholder sig ydermere til enanden kontekst end den lokale, nemlig til Frettonsøvrige produktion, hvori der findes en forkærlig-hed for bestemte motiver. Et eksempel på et så-dant motiv er terrassen omkring en tilbagetrukkenetage på toppen af huset, i dette tilfælde penthouse -lejligheden. Motivet findes også i projekter somRed House, Fuglsang Kunstmuseum, i projektet tilden britiske ambassade i Warszawa eller i nogle afhans boligbebyggelser i Amsterdam. Taghaven,der var på Le Corbusiers liste over ”musts” for enmoderne arkitektur, synes således at være et væ-sentligt element i Frettons arkitektur. Den indskri-ver projekterne i en modernistisk tradition, menbliver måske også brugt til at skabe en tvetydig si-tuation. Her får man følelsen af at møde en næstenskjult verden, der på en særlig måde både har ud-syn til og er isoleret fra omverdenen.

Et andet motiv er vinduet, der – som arkitek-turteoretikerne Martin Steinmann og MarkCousins også har været inde på4 – er noget heltcentralt hos Fretton. Vinduerne i Tietgens Ær-grelse er ikke bare åbninger i muren, men bliverartikuleret som vigtige overgange mellem for-skellige situationer; som steder, der giver mulig-hed for dialog mellem livet inde i husene og liveti byen. I princippet har vinduer altid en sådanfunktion, det er bare sjældent, at det bliver for-muleret så klart som her.

solved ad hoc, i.e. it is inextricably connectedwith concrete and specific relational conditionsin the context that require local responses at dif-ferent spots. This building would not appear as itdoes if it were placed anyplace else. Despite itssymmetries and regular window placement, it isa building with many “stopgap measures” thatwould certainly make a modernist architectwince. Consider, for example, the many diverseterrace- and balcony-situations or the largeFrench balcony doors in the bathrooms.

Tietgen’s Agony, furthermore, relates itself to adifferent context than the local, namely to therest of Fretton’s output, within which there is amarked predilection for certain motifs. One ex-ample of such a motif is the terrace organizedaround a recessed floor at the top of the building:in this case, the penthouse flat. This same motifcan also be found in projects like The Red House,Fuglsang Kunstmuseum, the project for The NewBritish Embassy in Warsaw and in some of hisresidential buildings in Amsterdam. The pres-ence of a rooftop garden (one of Le Corbusier’s“musts”) penthouse inscribes these projects with-in an urban and modernist tradition, but perhapsit is also being deployed for purposes of creatingan ambiguous situation: here you get the feelingof meeting an almost hidden world which, in apeculiar way, both embodies a survey view look-

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Tv: Diener & Diener, Om- og tilbygning tilSchweiz' ambassade i Berlin, 1995-2000.

Th: Hans Kollhoff, boligbebyggelse i Amsterdam,1989-94.

On the left: Diener & Diener:Conversion and annex forthe Swiss Embassy in Berlin.1995-2000.

On the right: Hans Kollhoff:Residential housing block inAmsterdam, 1989-94.

Med til vinduessituationen hører også muren,der hos Fretton anfægter meget af samtidsarki-tekturens bestræbelse på maksimal transparens.Muren er i såvel Tietgens Ærgrelse som i Fret-tons mere urbane projekter, f.eks. Andreas-be-byggelsen i Amsterdam eller Erste Bank i Wien,organiseret som en slags net, hvor åbningerne ihver enkelt facade for det meste er lige store ogplaceret med samme afstand. Den graduering afvinduerne mellem de forskellige etager, som

ing out over the surrounding world and is simul-taneously and strangely isolated from it.

Another motif is the window, which – as thearchitecture theorists Martin Steinmann andMark Cousins have also touched on4 – is some-thing entirely central in Fretton’s work. The win-dows in Tietgen’s Agony are not merely open-ings in the wall; they are articulated as crucialtransitions between different situations, as placesthat offer the possibility of carrying on a dialogue

111


between the life being lived inside the house andthe life that is unfolding in the city. In principle,windows always have such a function; it’s onlyseldom that this becomes formulated as clearly asit does here.

What is part and parcel of the window situa-tion is, of course, the wall, which, in Fretton’swork, contests much of contemporary architec-ture’s striving to attain maximum transparency.The wall, in Tietgen’s Agony as well as in Fret-ton’s more patently urban projects like the An-dreas Ensemble in Amsterdam or the Erste(Bank Group) Campus in Vienna, is organized asa kind of grid, where, for the most part, the open-ings in each individual facade are equally dimen-sioned and positioned with the same rhythm.The graduation of the windows between the var-ious floors, which Meldahl was trying to achieve,has accordingly vanished for the sake of a coolercompositional form. In much the same way as inthe work of his contemporary Swiss colleagues,like Diener & Diener, or in the work of Berlin-based architects like Max Dudler and Hans Koll-hoff, Fretton evidently prefers to work with theanonymity and the urge toward repetition thatcharacterized modernism or Schinkel’s classi-cism in the less picturesque phases. Fretton’s fa-cades, however, when compared to a moreanonymous modernism, have either a texturality

112


Meldahl tilstræber, er således forsvundet til fordel for en mere cool kompositionsform. Påsamme måde som hos jævnaldrene schweiziskekolleger som Diener & Diener eller hos berliner-arkitekter som Max Dudler og Hans Kollhoff arbejder Fretton således gerne med den anony-mitet og repetitionstrang, der kendetegnedemodernismen eller Schinkel-klassicismen i demindre pittoreske faser. Frettons murede facaderhar imidlertid, sammenlignet med den mereanonyme modernisme, enten en stoflighed ellerreliefvirkninger, der gør dem interessante ogmindre entydige tæt på. Nogle af åbningerne imuren i Tietgens Ærgrelse viser sig at vende indtil udendørs loggiaer, mens for eksempel loft-belysningen og gardinerne i andre åbninger afslører, om der er tale om en bolig eller et kontorlandskab.

I sidste ende er Tietgens Ærgrelse som megetaf Frettons produktion et projekt, der skal opleves i virkeligheden, indefra, tæt på og i sammenhæng med omgivelserne. Det er førstog fremmest i mødet med konteksten og bruge-ren, at huset efter noget tid kommer til sin fulderet.

or relief effects that render them interesting andmore ambiguous at close range. Some of theopenings in the wall in Tietgen’s Agony revealthemselves as giving toward the outdoor loggiaswhile, for example, the ceiling lighting and thecurtains in other openings divulge whether weare standing inside a residential flat or in themidst of an office landscape.

In the final analysis, Tietgen’s Agony is, like somuch of Fretton’s output, a project that must beexperienced in reality, from inside, up close andin connection with the surroundings. It is prima-rily in the meeting with the context and the userthat the building, after some time, will emerge inits entire potential.

113

Max Dudler, kontorhuse iMannheim, 1991.

Max Dudler: Office building inMannheim, 1991.


114


115

Byggeriet gennem 2010. Time-lapse of the construction project, as it evolved over the course of the year, 2010.


Marmorkirken og Tietgens Ærgrelse

1 Helga Stemann: F. Meldahl og hans Venner, bd. 4 1930, s. 160-62,165-68. C.F. Tietgen: Erindringer og Optegnelser. 1904 s.165-66.Ole Lange: Stormogulen. C.F. Tietgen – en finansmand, hans imperium og hans tid. 2006 s. 407 ff.

2 C.F. Tietgens arkiv. Materiale vedr. Frederikskirken (pakke 56-58).Tietgen har købt nr. 86 og 88 (matrikel nr. 257 og 258), Tietgenhar desuden tilsyneladende købt nr. 82 og 84 i Store Kongens -gade (matrikel nr. 255 og 256) for 34.000 og 36.000 kr., men dettekøb synes ikke at være endeligt gennemført. Lægget Marmorkir-ken. Beskrivelser, Overslag, Tegninger og Regninger. Forskelligt,udateret koncept til skrivelse, men fra 1877 til Finantsministeriet,lægget Marmorkirkepladsen 1874-75 m.m. Foreløbig slutseddelfor køb af matrikelnumrene 255 og 256 Husmægler Julius Jørgen-sen, Pistolstræde. Plan over Frederikskirken med navnene på ejer-ne og matrikelnumrene 251-258. Materiale vedr. Marmorkirken1873-1900. Korrespondance. Pakke 59, lægget Bygningerne om-kring Kirken, angaaende de Frederiks Kirkeplads paahvilende Ser-vitutter, dateret 22. april 1875, underskrevet kontorist S.S. Lütken.Store Kongensgade nr. 78, 80, 82 og 84 er beskrevet med deresbygningshistorie i Historiske huse i det gamle København. For-tegnelsen over bevaringsværdige, ældre bygninger i ”Bispestaden”og ”Ny-København”. Nationalmuseet 1972 s. 215.

3 Ole Lange: Stormogulen s. 412 ff. Om Svend Petersen-affæren seOle Lange: Finansmænd, stråmænd og mandariner. C.F. Tietgen,Privatbanken og Store Nordiske. Etablering 1868-76, s. 233-58.

4 E. Cohn: Privatbanken i Kjøbenhavn gennem Hundrede Aar1857-1957. Kbh. 1957. 1. Halvbind s. 284 Tietgens skattepligtigeindtægt 1862-63 til 1901-02. Helga Stemann: F. Meldahl, bd. 4 s.159-66, 176. Birgit Nüchel Thomsen: Tuborg 1873 – 13. maj –1973. Tuborg og bryggeriindustrien under skiftende markedsvilkår1873-1973. Kbh. 1973. Helga Stemann s. 176-80. Morgenbladet5/11 1882. Ole Lange: Stormogulen, s. 416 ff. Berlingske Tiden-de, Dagbladet og Morgenbladet 5/11 1882, Jyllandsposten 22/121882.

5 Helga Stemann s. 183-97 og noterne til side 183, 184, 1888, 1889,1893, 1894 og 1896. Dagbladet 20/12 1882. C.F. Tietgen: Erindringer s. 169.

6 E. Cohn: Privatbanken i Kjøbenhavn gennem 100 Aar, s. 284. Ole Lange: Stormogulen s. 214-15, 415.

7 Ole Lange: Stormogulen s. 495-96. Johs. Lehmann: C.F. Tietgen.Hans Liv og Virke. Kbh. 1929, s. 295-306 beskriver Marmorkir-ken, s. 307-40 hans sidste år Sygdom, Død og Eftermæle.

Mellem fuldendelse og fragment

1 Cit. fra Marc Cousins, ”Drawing upon: the work of Tony Fretton”, i: 2G, nr. 46, s. 7.

2 Jf. Tobias Faber, s. 140.

3 Jf. Architecture d’Aujourd’hui, nr. 344.

4 2 G, nr. 46.

116

Noter


Marmorkirken og Tietgens ÆrgrelseBerlingske Tidende 1882.

Jyllandsposten 1882.

Ole Lange: Finansmænd, stråmænd og mandariner. C.F. Tietgen,Privatbanken og Store Nordiske. Etablering. Kbh. 1978.

Ole Lange: Stormogulen. C.F. Tietgen – en finansmand, hans imperium og hans tid 1829-1901. Henning Larsen: De skalsige tak! Kulturhistorisk testamente om operaen. Kbh. 2009.

Johs. Lehmann: C.F. Tietgen. Liv og Eftermæle. Kbh. 1929.

Hans Helge Madsen: Meldahls rædselsprogram. F. Meldahl. Arkitekt og politiker 1827-1908. Kbh. 1983.

Knud Millech: Danske arkitekturstrømninger 1850-1950. En arkitekturhistorisk undersøgelse af Knud Millech under redaktion af Kay Fisker. Kbh.1951. Fotografisk genoptryk 1977.

F. Meldahl: Frederikskirken i Kjøbenhavn saaledes som den blevprojekteret i det XVIII Aarhundrede af Eigtved, Anthon, Jardinmed flere, samt deres Forhold til Danmarks og Europas Bygningskunst i det XVII og XVIII Aarhundrede. Kbh. 1896.

Morgenbladet 1882.

Helga Stemann: F. Meldahl og hans Venner. Kbh. 1926-32, bd. 1-6.

C.F. Tietgens arkiv: Materiale vedr. Frederikskirken (pakke nr. 56-58). Materiale vedr. Frederikskirken 1873-1900. Kor-respondance (nr. pakke 59).

C. F. Tietgen: Erindringer og Optegnelser. Kbh. 1904.

Peter Winge, “Husene omkring Marmorkirken. Et tilpasningsbyg-geri i Frederiksstadens hovedakse”, i: ARCHITECTURA, nr. 22(2000), s. 77-102.

Mellem fuldendelse og fragmentTobias Faber, Bind 6: Frederiksstaden og Nyhavn, i serien: Bo Bramsen (red.), København før og nu – og aldrig, København 1989.

Sys og Godfred Hartmann, Bind 5: Kgs. Nytorv, Rosenborg og Nyboder, i serien: Bo Bramsen (red.), København før og nu – og aldrig, København 1988.

Martin Spring, ”Tietgen’s Agony”, i: AJ Specification, 2010, nr. 3, s. 14-27.

Nationalmuseet, Historiske huse i det gamle København, København 1972.

Hans Helge Madsen, Meldahls rædselsprogram, København 1983.

Colin Rowe, Collage City, Cambridge Mass., 1978.

Tony Fretton om The Smithsons i: l’architecture d’aujourdhui 344/3003.

2 G, Revista internacional de Arquitectura, 2008 Nr.46, s. 4-143, (temanummer om Tony Fretton).

Mark Cousins, Kenneth Frampton & Tony Fretton, Architecture, Experience and Thoughts: projects by Tony Fretton, London 1978.

A plus T. Arquitectura plus tecnologia, 2001, nr. 18, s. 4-159, (temanummer om Tony Fretton).

Henning Thomsen, “Alt andet end almindelig”, interview med Tony Fretton i: Arkitekten, 2006, nr. 10, s. 38-41.

Architecture d’Aujourd’hui, 2003 (jan-feb), nr. 344, s. 30-115 (temanummer om Alison og Peter Smithson, herunder kommentaraf Tony Fretton).

117

Kilder og litteratur


118

The Marble Church and The Thorn in Tietgen’s Side1 Helga Stemann: F. Meldahl og hans Venner, vol. 4. 1930, pp. 160-

62, 165-68. C.F. Tietgen: Erindringer og Optegnelser. 1904, pp.165-66. Ole Lange: Stormogulen. C.F. Tietgen – en finansmand,hans imperium og hans tid 1829-1901. 2006, p. 407 ff.

2 C.F. Tietgen’s archive. Materiale vedr. Frederikskirken [Materialpertinent to Frederick’s church] (parcel 56-58). Tietgen has pur-chased nos. 86 and 88 (Land Register title numbers 257 and 258);moreover, Tietgen has evidently purchased nos. 82 and 84 onStore Kongensgade (Land Register title numbers 255 and 256) for,respectively, 34,000 and 36,000 Danish kroner, but it does not ap-pear that the process of effecting this purchase was carried all theway through to a final sale. Lægget Marmorkirken. Beskrivelser.Overslag, Tegninger og Regninger [Gathering the Marble Church.Descriptions. Price estimates. Drawings and Accounts]. Forskelligt,udateret koncept til skrivelse, men fra 1877 til Finantsministeriet[Miscellaneous, undated draft preparatory to the letter, but from1877 to the Ministry of Finance], lægget Marmorkirkepladsen1874-75 m.m [Gathering the Marble Church Plaza area 1874-75,etc.]. Foreløbig slutseddel for køb af [Provisional broker’s contract note for the purchase of ] Land Register title numbers 255and 256 / Realtor Julius Jørgensen, Pistolstræde. Plan over Fre -derikskirken med navnene på ejerne [Plan of Frederick’s churchwith the names of the owners] and Land Register title numbers251-258. Materiale vedr. Marmorkirken [Material pertinent to theMarble Church] 1873-1900. Correspondance. Parcel 59, læggetBygningerne omkring Kirken, angaaende de Frederiks Kirkepladspaahvilende Servitutter, dateret 22. april 1875 [Gathering thebuildings surrounding the church, as concerns The Frederick’sChurch plaza area’s chargeable easements, dated April 22, 1875],underskrevet kontorist S.S. Lütken [signed by Clerk S.S. Lütken].Store Kong ensgade nos. 78, 80, 82 and 84 are described with their

building history in Historiske huse i det gamle København. Fortegnelsen over bevaringsværdige, ældre bygninger i ”Bispe -staden” og ”Ny-København”. National Museum. 1972, p. 215.

3 Ole Lange: Stormogulen. p. 412 ff. For lengthier discussion on theSvend Petersen affair, see Ole Lange: Finansmænd, stråmænd ogmandariner. C.F. Tietgen, Privatbanken og Store Nordiske. Etablering 1868-76. pp. 233-58.

4 E. Cohn: Privatbanken i Kjø benhavn gennem Hundrede Aar 1857-1957. Copenhagen 1957. 1. Half-volume, p. 284: Tietgen’staxable income, 1862-63 to 1901-02. Helga Stemann: F. Meldahl,vol. 4, pp. 159-66, 176. Birgit Nüchel Thomsen: Tuborg 1873 –13. maj – 1973. Tuborg og bryggeriindustrien under skiftendemarkedsvilkår 1873-1973. Copenhagen 1973. Helga Stemann pp.176-80. Morgenbladet 5/11 1882. Ole Lange: Stormogulen, pp.416 ff. Berlingske Tidende, Dagbladet and Morgenbladet, Nov. 5,1882. Jyllandsposten, Dec. 22, 1882.

5 Helga Stemann, pp. 183-97 and the notes on pages 183, 184, 1888,1889, 1893, 1894 and 1896. Dagbladet, Dec. 20, 1882. C.F. Tietgen: Erindringer [Memoirs], p. 169.

6 E. Cohn: Privatbanken i Kjøbenhavn gennem 100 Aar, p. 284. Ole Lange: Stormogulen, pp. 214-15, 415.

7 Ole Lange: Stormogulen, pp. 495-96. Johs. Lehmann: C.F. Tietgen.Hans Liv og Virke. Copenhagen 1929, pp. 295-306 offers a description of the Marble Church, while the material on pp. 307-40 describes Tietgen’s final years of illness, his death andhis posthumous reputation.

Between Completion and Fragment 1 Quoted from Mark Cousins,

“Drawing upon: the work of Tony Fretton”, in: 2G, no. 46, p. 7. 2 Cf. Tobias Faber, p. 140.3 Cf. Architecture d’Aujourd’hui, no. 344. 4 2 G, no. 46.

Notes


119

The Marble Church and The Thorn in Tietgen’s SideBerlingske Tidende 1882.

Jyllandsposten 1882.

Ole Lange: Finansmænd, stråmænd og mandariner. C.F. Tietgen,Privatbanken og Store Nordiske. Etablering. Copenhagen 1978.

Ole Lange: Stormogulen. C.F. Tietgen – en finansmand, hans imperium og hans tid 1829-1901. Gyldendal, Copenhagen 2007.

Henning Larsen: De skal sige tak! Kulturhistorisk testamente om operaen. Copenhagen 2009.

Johs. Lehmann: C.F. Tietgen. Liv og Eftermæle. Copenhagen 1929.

Hans Helge Madsen: Meldahls rædselsprogram. F. Meldahl. Arkitekt og politiker 1827-1908. Copenhagen 1983.

Knud Millech: Danske arkitekturstrømninger 1850-1950. En arkitekturhistorisk undersøgelse af Knud Millech under redaktionaf Kay Fisker. Copenhagen 1951. (Photographic re-print, 1977.)

F. Meldahl: Frederikskirken i Kjøbenhavn saaledes som den blev projekteret i det XVIII Aarhundrede af Eigtved, Anthon, Jardin medflere, samt deres Forhold til Danmarks og Europas Bygningskunst idet XVII og XVIII Aarhundrede. Copenhagen 1896.

Morgenbladet 1882.

Helga Stemann: F. Meldahl og hans Venner. Copenhagen 1926-32, vols. 1-6.

C.F. Tietgen’s archive: Materiale vedr. Frederikskirken parcel no. 56-58). Materiale vedr. Frederikskirken 1873-1900. Correspondance (parcel no. 59).

C. F. Tietgen: Erindringer og Optegnelser. Copenhagen 1904.

Peter Winge, “Husene omkring Marmorkirken. Et tilpasningsbyggerii Frederiksstadens hovedakse”, in: ARCHITECTURA, no. 22 (2000),pp. 77-102.

Between Completion and Fragment Tobias Faber, Bind 6: Frederiksstaden og Nyhavn, in the series: Bo Bramsen (ed.), København før og nu – og aldrig, Copenhagen 1989.

Sys and Godfred Hartmann, Bind 5: Kgs. Nytorv, Rosenborg og Nyboder, in the series: Bo Bramsen (ed.), København før og nu – og aldrig, Copenhagen 1988.

Martin Spring, “Tietgen’s Agony”, in: AJ Specification, 2010, no. 3,pp. 14-27.

Nationalmuseet [The National Museum], Historiske huse i det gamle København, Copenhagen 1972.

Hans Helge Madsen, Meldahls rædselsprogram, Copenhagen 1983.

Colin Rowe, Collage City, Cambridge, Massachusetts, 1978.

Tony Fretton on The Smithsons in: Architecture d’Aujourd’hui, 2003 (January-February), no.344, pp. 30-115 (special issue devoted toAlison and Peter Smithson, including commentary contributed byTony Fretton).

2 G, Revista internacional de Arquitectura, 2008 No.46, pp. 4-143,(special issue devoted to Tony Fretton).

Mark Cousins, Kenneth Frampton & Tony Fretton, Architecture, Experience and Thoughts: projects by Tony Fretton, London 1978.

A plus T. Arquitectura plus tecnologia, 2001, no.18, pp. 4-159, (special issue devoted to Tony Fretton).

Henning Thomsen, “Alt andet end almindelig”, interview with TonyFretton in: Arkitekten, 2006, no. 10, pp. 38-41.

Sources and Literature


Fotografer / Photographers:

Christian Richter

David Grandorge

Donald Matheson

Hayes Davidson

Helene Binet

Kurt Rodahl Hoppe

Pouli Hoffgaard Møller

Arkiver /Archives:

Statens Museum for Kunst (The National Gallery of Denmark)

Det Kongelige Bibliotek (The Royal Libary)

Rigsarkivet (The Danish State Archives)

Københavns Museum (Museum of Copenhagen)

Det Nationalhistoriske Museum, Frederiksborg Slot(The Museum of National History at Frederiksborg Castle)

120

Fotos og illustrationerPhotos and illustrations


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