Tietgens Ærgrelse Bindesbølls Rådhus I Thisted I Thisted Rådhus Bindesbølls Udgivet Af Realdania Byg

Home , Carl Frederik Tietgen, Christiansborg Palace, Ferdinand Meldahl, Frederiksgade, Larsens Plads, Nicolai Eigtved

Udgivet af Realdania Byg Tietgens Tietgens Ærgrelse Bindesbølls Rådhus i Thisted i Thisted Rådhus Bindesbølls Udgivet af Realdania Byg

Tietgens Ærgrelse Realdania Byg Bindesbølls Rådhus i Thisted Realdania Byg ISBN: ISBN: 978-87-92230-23-2 9 788792 230232 9 788792 230287 ISBN: 978-87-92230-28-7 de nybyggeri. for udvikling og bevaring. er forpligtet til at værne om. eksperimenteren tidsperioder og egne i Danmark Et håndgribeligt levn, som vores samt at investere i udviklingen af Læs mere på www.realdaniabyg.dk Selskabets formål er at opbygge og forfædre har givet videre, og som vi Realdania Byg er et ejendomsselskab Bygninger er en del af vores kulturarv. formidle en samling af gode eksempler på byggestil og arkitektur fra forskellige Realdania Byg er et helejet Realdaniaselskab.

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Tietgens Ærgrelse Tietgen’s Agony Tietgens Ærgelse indhold 2140830.qxp_bog 08/10/14 07.52 Side 2

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

Realdania Byg er et helejet Realdaniaselskab A Realdania company

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Tietgens Ærgrelse Tietgen’s Agony

Udgivet af Realdania Byg Published by Realdania Byg Tietgens Ærgelse indhold 2140830.qxp_bog 08/10/14 07.52 Side 4

Forord

”Det stod os hurtigt klart, at den nye bebyggelse ikke Eigtved. For at finansiere byggeriet af kirken op- burde være en fritstående ejendom, men snarere en del førte Tietgen etageejendommene rundt om kir- af det sammenhængende bygningsværk, som udgør ken. Det lykkedes dog ikke Tietgen at opkøbe Marmorkirkens sociale og visuelle kontekst; hvori den lille række 1700-tals huse mod Store Kon- Marmorkirken selv fremstår som et ikon med sine raf- gensgade, og han kunne til sin store fortvivlelse finerede og forfinede materialer, proportioner og cen- ikke afslutte anlægget, som det var tænkt. Det traliserede form”. ubebyggede hjørne og rækken af 1700-tals huse Tony Fretton er siden da med sædvanlig københavnerironi blevet kaldt for ”Tietgens Ærgrelse”. Og den nye Med denne vision overtog den engelske arkitekt ejendom har bibeholdt navnet ”Tietgens Ærgrel- Tony Fretton stafetten til at færdiggøre en plan se” som en naturlighed i forhold til den anekdote, og en historie om et byggeri og en randbebyggel- som den er en del af. se, der gik flere hundrede år forud. Det er meget at bede om at få en bygning, der på ”Tietgens Ærgrelse” er et moderne byggeri. Men én gang bringer Frederiksstaden til fuldendelse, det er et hus, der kun giver mening på den lille på én gang forener de forskellige arkitektoniske hjørnegrund i København, hvor det står. For det stilarter, der omgiver den. Tietgens Ærgrelse af- er skabt med dybe rødder i grunden, det er op- slutter nemlig ikke blot Tietgens anlæg omkring ført på og i områdets historie. En fortælling, hvis kirken, men også den monumentale akse gen- forrige kapitel blev skrevet af Finansmanden C.F. nem Frederiksstaden som Marmorkirken sam- Tietgen, der i slutningen af 1800-tallet færdig- men med Salys rytterstatue og Amalienborgs pa- gjorde opførelsen af Marmorkirken, som var ble- læer udgør. Alligevel er det lykkedes Tony Fret- vet påbegyndt i 1749 efter tegninger af Nicolai ton at give et kvalificeret og overraskende nok

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også ydmygt bud. Med en ejendom, der kender tælling således fortsætter. At man må væbne sig sin plads i bygningshierarkiet. Det nye hus er ikke med en særlig tålmodighed her – fordi det ikke samlingspunkt for områdets byggeri, det er kir- altid bliver, som man havde forestillet sig. Og at ken, men det medierer nænsomt to sider af Kø- det nogle gange er en fordel, fordi det giver for- benhavn; pompøst arkitektur og mere ydmyge skellige tider mulighed for også at sætte deres etageboliger. præg på byen.

Både i de store og de små linjer er der referencer Realdania Byg ønsker med denne udgivelse at til områdets øvrige ejendomme. Fra facadeud- give den interesserede læser mulighed for at formning til materialevalg. Fra anvendelsesfunk- komme tættere på det nye byggeri og dets hi- tion til de uformelle livsrum, der er skabt i huset storie. Bogens tre hovedafsnit kan læses selvstæn- – og hermed fuldendes visionen om at skabe en digt og søger fra hver deres vinkel at indkredse værdig afslutning på det historiske anlæg med en den nye ejendom. Professor Ole Lange tegner bygning, der samtidig også er opført i et nutidigt indledningsvist et portræt af Tietgen og den hi- formsprog og opført både med respekt for og til storiske kontekst, den engelske arkitekt Tony et moderne byliv. Fretton belyser i sit bidrag den skabermæssige sammenhæng, og endelig giver lektor Peter Thu- Der vil endnu gå nogle år, før huset står helt fær- le Kristensen i bogens tredje afsnit en analyse og digt. Planlagte altaner på bygningens 1. sal kan arkitekturhistorisk placering af det færdige hus. først monteres, når Metroselskabet er færdig med at anlægge en metrostation ud for ejendommen. Og måske vil der inden den tid været opstået nye ideer til området, der gør, at områdets egen for- Realdania Byg november 2010.

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Introduction

“Despite the significance of this task, we were clear flats surrounding the church built. However, that the new building should not be a freestanding Tietgen never managed to buy up a few eighteenth icon but part of the fabric of buildings forming the so- century houses facing Store Kongensgade. To his cial and visual context of the Marble Church, which great dismay, he was simply not able to complete is itself an icon through the refinement of its materials, building the layout as it had been envisioned. proportions and centralized form”. Ever since that time, the vacant corner and the Tony Fretton appurtenant row of eighteenth century houses has, with an irony that is Copenhagen’s stock in With this vision, the British architect Tony Fretton trade, come to be known as “Tietgens Ærgrelse” grabbed hold of the baton and set himself to the [The Thorn in Tietgen’s Side, as we are presently task of completing a plan and bringing the story calling the plot of land, saturated with a history of of a construction project and a housing develop- its own]. And the new building has retained the ment, which has been in the making for hun- name “Tietgens Ærgrelse” [Tietgen’s Agony, as dreds of years, to its consummation. the building itself is being called] as a natural “Tietgen’s Agony” is a modern building. How- choice with respect to the anecdote of which it ever, it is a building that fully makes sense only on forms part. the little corner site in downtown Copenhagen Asking to have a building that brings Frederiks - where it stands. For it has been created with deep staden to its completion and that, at one and the roots in the plot on which it has been built and same time, unifies the different architectural deep roots in the area’s special history: a tale styles that surround the immediate area is asking whose preceding chapter was written by the a lot. In fact, not only does Tietgen’s Agony finalize financier, C.F. Tietgen. At the closing of the nine- Tietgen’s layout around the church; it also com- teenth century, Tietgen brought the erection of pletes the monumental axis through Frederiks - the Marble Church to its completion; the con- staden that the Marble Church defines in ensem- struction of this church had originally com- ble with Jacques-Francois-Joseph Saly’s eques - menced in 1749, on the basis of drawings created trian statue and Amalienborg’s four mansions. by Nicolai Eigtved. In order to finance the con- Nonetheless, Tony Fretton has come up with a struction of the church, Tietgen had the block of qualified and surprisingly humble bid, with a

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building that “knows its place” in the architectur- will have emerged that will come to exert reper- al hierarchy. The new building is not the focal cussions on the ongoing development of the point for the area’s layout of various construc- area’s own special narrative. One would do well tions – the church has this role down pat! How- to fortify oneself with a special kind of patience ever, Tietgen’s Agony delicately mediates two as- here – because things do not always turn out as pects of Copenhagen: grandiose architecture and we expect them to. Sometimes this proves to be more down-to-earth residential flats. an advantage, because it grants to different pock- Both in the larger and the smaller lines of the ets of time the chance to place their own special new edifice, there are references to the rest of the mark on the city and its development. area’s properties: from the elaboration of its With this publication, Realdania Byg aims to facade to the choice of materials; from the applied provide the interested reader with the possibility functions to the informal living space that is of zooming in on the new building and its histo- going to be created inside the house – whereby ry. Each one of the book’s three main sections the vision of creating a dignified conclusion to can be read on its own; each one makes its own the historical layout is fulfilled with a building attempt, from its own special point of view, to that has actually been erected in a contemporary encircle the new house. By way of introduction, idiom and has simultaneously been designed and Professor Ole Lange sketches out a portrait of erected with respect for – and paid toward – a Carl Frederik Tietgen and the historical context modern life lived in the city. of The Thorn in Tietgen’s Side. In his con - There are still a few years to go before the tribution, the British architect, Tony Fretton, building will actually come to stand in fully com- throws light on circumstances and certain con- pleted form: a number of balconies planned for siderations related to the creation and design of the building’s first story will not be clipped on to the architectural work. Finally, in the book’s third the body of the building until The Copenhagen section, Associate Professor/Architect Peter Metro is finished with its con struction of an Thule Kristensen offers an analysis of Tietgen’s underground station that will eventually be situ- Agony and an architectural-historic placement of ated just outside the edifice. Perhaps, before that the finished building. time arrives, a whole new set of ideas for the area Realdania Byg, November 2010

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Marmorkirken The Marble Church and og Tietgens Ærgrelse The Thorn in Tietgen’s Side - Om Tietgen, hans ”grundtvigske katedral” - On Tietgen, his ”Grundtvigian Cathedral” and og nogle huskøb, der mislykkedes some abortive attempts at purchasing properties

En dag i efteråret 1865 sagde daværende lands- One day in the autumn of 1865, a member of the Af/By professor tingsmand, senere indenrigsminister og kon- upper house of the Danish parliament, later Den- emeritus, dr. phil. seilspræsident (statsminister) J.B.S. Estrup: ”Det mark’s Interior Minister and eventually Prime Ole Lange ville være noget for Dem, Tietgen, at arbejde for Minister – J.B.S. Estrup, asked: “Wouldn’t that be Fuldførelsen af Marmorkirken”. something for you to work on, Tietgen – bringing C.F. Tietgen havde indledt sin karriere som the construction of the Marble Church to its moderne bankmand som 28-årig i 1857 med di- completion?” rektørposten i den nystiftede Privatbanken. Men Carl Frederik Tietgen had started off his career han havde endnu ikke opnået den stjernestatus as a modern banker in the year 1857. At 28, he was som iværksætter, stifter og bestyrelsesformand i appointed manager of the newly established bank de mange forskellige aktieselskaber, han efter en Privatbanken. Tietgen had not yet attained the star- halv snes år (eller mere) senere stiftede og kunne dom as an entrepreneur, founder and chairman of smykke sig med. Det var dog et tegn på Estrups the many different companies that he would even- skarpe blik for talentet i den unge Tietgen. Han tually come to establish a dozen years (or more) var kun 36 år og havde efter eget udsagn indtil da later: a celebrity-status he could proudly flaunt ikke skænket Marmorkirke-ruinen en tanke. when the time was ripe for doing so. Spotting the Marmorkirken havde henligget som en ruin i potential in the young Tietgen, however, was an in- mere end et århundrede på en af Københavns dication of Estrup’s keen eye for talent: C.F. Tiet- Frederik Sødring, Udsigt dyreste byggegrunde i Frederiksstaden tæt på gen was but 36 years old when Estrup put forth the over Marmorpladsen med Amalienborg, siden den indkaldte franske arki- question. And as we can read from Tietgen’s own ruinerne af den uafsluttede Frederikskirke, 1835, olie på tekt N.-H. Jardin havde fortsat det påbegyndte account, he hadn’t previously given any thought lærred. Statens Museum for ambitiøse byggeri efter den danske hofarkitekt whatsoever to the ruins of the Marble Church. Kunst. Niciolai Eigtved, der døde 1754. Den tyske liv- The Marble Church had been left as a ruin for læge for Christian 7. og landets egentlige hersker more than a century, on one of Copenhagen’s Prospect of the Marble J.F. Struensee havde i 1771 standset samme byg- most expensive building sites in the Frederiks - Square with the ruins of geri. Det var – som sædvanligt – hensynet til sta- staden district, situated very close to the royal the uncompleted Frederik’s Church. Frederik Sødring, tens nødlidende finanser, der gjorde udslaget. palace of Amalienborg, ever since the French ar- 1835, oil on canvas. Ambitionerne i forhold til den enevældige kon- chitect N.-H. Jardin had been summoned to con- The National Gallery gemagts og landets økonomiske formåen var alt tinue the work on the ambitious construction of Denmark.

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for store. Det stort tænkte mindesmærke for project originally begun by the Danish court’s pre- Frederiksstaden regnes for den 300-året for den oldenborgske slægts tronbesti- ferred architect, Nicolai Eigtved, who died in 1754. fornemste bydel i København, gelse 1449 kostede for meget. Og det blev opgi- The royal physician for King Christian VII and the da man her finder det kongelige residensslot, Amalienborg, om- vet af den reformvenlige, ikke-kongelige tysker. nation’s “de facto” regent, the German-born J.F. givet af elegante rokokopalæer. Så lå resten af byggeriet tilbage – ruinen – mel- Struensee, had put the brakes on the same building Frederiksstaden blev anlagt i lem 10 og 15 meter i højden var det nået på det project in 1771. It was – as usual – considerations re- midten af 1700-tallet som en højeste sted efter 21 års byggeri. lated to the nation’s destitute economic situation fejring af det oldenborgske that were the decisive factor. The ambitions of the kongehus’ 300 års jubilæum og er stramt opbygget over to project were simply all too great when weighed vinkelrette gader, Amaliegade Kongeaksen against the economic capabilities of the autocratic og Frederiksgade, med Det var en englænder, kaptajn Lumley, der vak- royal power and of the nation. The costs of build- Amalienborg Slot i centrum og te Tietgens interesse. Han var udsendt til Dan- ing this expansively conceived monument, prima- Frederikskirken som det domi- mark af en række engelske kapitalinteresser for rily intended to commemorate the 300th anniver- nerende bygningsanlæg i tvær - aksen. Det Kongelige Bibliotek. at få udbetalt et depositum på £ 25.000 for en sary of the House of Oldenburg’s accession to the jernbanekoncession, men fik rettet Tietgens op- Throne in 1449, were running too high. And so the Frederiksstaden is considered to mærksomhed mod arkitekturen i ”den Bues plan was jettisoned by the non-royal German re- be the most dignified quarter of Skønhedsformer, der var opført i Facaden imod formist, with the result that the remnants of the un- Copenhagen, home of the royal palace of Amalienborg and the Bredgade, at jeg fik Interesse for Sagen”, beretter finished building project – “the ruin” – was simply surrounding elegant rococo Tietgen om ruinen i sine erindringer. Det var left standing as it was: it had attained between 10 mansions and townhouses. den eneste, der var fuldført. and 15 meters in height at its tallest points, after The quarter was planned in the middle of the 18th century to Allerede fra 1820erne havde mere eller min- some 21 years of construction activity. celebrate the tricentennial of the dre fantasifulde planer rumsteret om udnyttelse Royal House of Oldenburg and af grunden og ruinen, fra anlæg af et gasværk, til was conceived with great et springvand mod at beholde marmoret til et The Royal Axis precision around the two perpendicularly running streets, planlagt stort vandbassin i Søndermarken, eller It was an Englishman, Commander Lumley, who Amaliegade and Frederiksgade, brug af dele af marmoret til fodstykket på rytter- awakened Tietgen’s interest. Lumley had been dis- with Amalienborg Palace in statuen af Frederik VII, udført ved Herman Bis- patched by a number of English capital-investment the centre and Frederik's Church as the focal point of sen (fuldført af hans søn Vilhelm 1873). Den står concerns to Denmark in order to receive a de- the transverse axis. i dag på Christiansborg Slotsplads. Grundlovens posit of £25,000 for a railway concession but, The Royal Library.

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formelle giver ville da kunne hilse på sin oldefar while in Denmark, he managed to direct Tiet- Frederik V ligeledes til hest på Amalienborg- gen’s attention toward the architecture: it was ac- pladsen, som Tietgen vittigt bemærkede. Ende- tually “the curve’s exquisite forms, which had al- lig var der blandt de mange projekter et, der gik ready been built into the facade on Bredgade that ud på at fuldføre ruinen som kirke. Det var inspired me to take any interest in the matter”, as tænkt med Bindesbøll som arkitekt, men også Tietgen recounts about the ruin in his memoirs. andre, f. eks. Harsdorff, G.F. Hetsch, Vilhelm The Bredgade facade was the only one of the Klein og Ludvig Fenger, havde bidraget med church’s facades that was completed at the time. forslag, der ikke blev realiseret. Already from the 1820s and on, a number of I 1867 var Tietgen flyttet fra Nørregade til more or less far-fetched plans related to making Kronprinsessegade 30 – den nationalliberale the most of the building site had been circulating, gade – som den blev kaldt i samtiden – og herfra ranging from establishing a layout for a gasworks gik han næsten dagligt forbi Marmor-kirkeruinen to the installation of a fountain to keeping and på sin spadseretur til Privatbankens kontor i Børs- eventually re-utilizing the marble for a planned bygningen. På denne tur blev han mindet om den large ornamental lake in the Søndermarken or us- ”nationale Skjændsel her i Hovedstaden, at den ing fragments of the marble for the pedestal of the henstod i denne Skikkelse og dette i dybeste For- equestrian statue of King Frederik VII, sculpted by stand, fordi det var en Kirke, det drejede sig om”. Herman Bissen (and eventually completed by his Marmorkirken var tænkt af hofbygmester son, Villiam, in 1873), to be located on the site. As Nicolai Eigtved som afslutningen på den ene Tietgen remarked in jest, the Danish Constitu- tvær akse i Frederiksstaden i den stort anlagte tion’s formal benefactor would then be able to plan for rokoko-bydelen med de fire Amalien- salute his great-grandfather, King Frederik V, who borg-palæer og de øvrige fine palæer i Bredga- makes an appearance at Amalienborg Square, de, Amaliegade og Frederiksgade til havneløbet. similarly mounted on horseback. (As things came Denne ”Kongeakse” blev på midten af slotsplad- to pass, the Bissens’ statue of King Frederik VII sen med Salys rytterstatue af Frederik V krydset now stands on Christiansborg Palace Square.) Fi- af længdeaksen fra Sankt Annæ Plads gennem nally, there was one project that actually suggest- Amaliegade til Esplanaden og i dag Gefion- ed completing the ruin as a church, with Bindes- springvandet. bøll as the designated architect. Others, however,

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

The Marble Church as conceived by N.-H. Jardin. Principal facade, 4th project, dated June 26, 1756. From “Buch der Probezeichnungen”, cat. no. 60, The Royal Library. The shaded section in the small elevation indicates how much of Eigtved’s previous project had already been built before construction was resumed later on.

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Marmorkirkens ruin, set fra Eigtved døde allerede i 1754, og hans arbejde including Harsdorff, G.F. Hetsch, Vilhelm Klein nordøst, ældre foto, med kirken blev overdraget til den indkaldte and Ludvig Fenger, had contributed proposals Rigsarkivet. franske arkitekt N.-H. Jardin, der gennem sine that were never realized. 16 år i Danmark ikke fik ressourcer til at afslutte In 1867, Tietgen had moved from Nørregade to The ruin of the Marble Church, as seen from the det pompøse kirkebyggeri. Derefter lå den Kronprinsessegade 30 – the street of the National northwest. Older photo, ufuldendte kirke som en ruin og et monument Liberal Party, as it was popularly called at the time The Danish State Archives. over kongemagtens og rigets fejlslagne ambitio- – and from there, his stroll to the Privatbanken of- ner. Indtil Tietgen som nævnt kom til på opfor- fices in the Stock Exchange Building carried him dring af J.B.S. Estrup. past the Marble Church almost every day. On this Tietgen skal efter egen erindring have bedt route, Tietgen was constantly being reminded of først Estrup og senere andre ansvarlige ministre the “national disgrace, right here in the capital that om ”ikke at disponere over Ruinen, før jeg hav- it had been left in this condition and this in the de faaet Lejlighed til at ytre mig om, hvorvidt deepest sense because it was a church”. jeg ville kunde paatage mig Fuldførelsen”. Sam- The Marble Church had originally been con- me anmodning skulle Tietgen efter eget udsagn ceived by Royal Building Master Nicolai Eigtved have rettet til efterfølgende ministre som C.A. as the termination of one of the transverse axes Fonnesbech og A.F. Krieger. defining the expansively designed Rococo quar- Spørgsmålet er så, om det var Estrup, der hen- ter of Frederiksstaden, with its four Amalienborg ledte Tietgens opmærksomhed på Kirkeruinen. palaces and other palatial mansions on Bredgade, I Tietgens arkiv ligger der tegninger af kirken Amaliegade and Frederiksgade, extending all the udført af arkitekten C.F. Zwingmann dateret way to the harbour’s entrance. This “Royal Axis” 1867. De er tegnet med henblik på en færdiggø- was bisected, right in the centre of Amalienborg’s relse af kirken med udnyttelse af det allerede ud- open square with Jacques Francois Joseph Saly’s førte arbejde og en skitsering af fremgangsmå- equestrian statue of King Frederik V, with the dis- den. I den korte beskrivelse hedder det bl.a.: trict’s longitudinal axis running from Sankt Annæ ”Ved Udarbeidelsen af dette Project til Fuld- Plads along the full length of Amaliegade to Es- endelsen af Frederikskirken i Kjøbenhavn er planaden and later to the Gefion Fountain. Forfatteren gaaet ud fra at benytte saameget Eigtved died in 1754 and his work on creating som muligt af det allerede Opførte, da dette, the church was placed in the hands of the French

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architect, N.-H. Jardin, who, in the course of his 16 years spent in Denmark, was never entrusted with sufficient resources to finish the grandiose church building. Thus the unfinished church lay there like a ruin and simultaneously a monument to the royal power’s and the kingdom’s misdi- rected ambitions … until Tietgen, as has been mentioned, arrived on the scene – in response to J.B.S. Estrup’s request. According to his own memoirs, Tietgen claims 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 to voice my own opinion about the extent to which I would be able to take on the responsibility of carrying the project to its completion”. Tietgen, according to his own account, eventually put this same request before succeeding finance ministers like C.A. Fonnesbech and A.F. Krieger. There is, then, a question about whether it really was Estrup who initially drew Tietgen’s attention to the church ruins. In Tietgen’s archive, there are drawings for the church by the architect, C.F. Zwingmann, dated 1867. They show a project that makes the most of what had already been built. In the accompany- ing brief description we can read, among other things: “In preparing this project for the completion of Frederick’s church in Copenhagen, the

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isærdeleshed alt det, der hører til den nederste author has been basing his efforts on re-using, as Plan over kirkepladsen og de Etage, paa faa Undtagelser nær, er af en saa solid much as it is possible to do so, whatever has omgivende grunde. Øverst til Beskaffenhed, at det Manglende med største already been erected, since this, and particularly venstre ses de seks grunde, der ikke kom med, fordi Sikkerhed kan opføres derpaa. all of that which belongs to the lowest floor, with ejerne skruede priserne for Som Følge heraf er hele den nederste Etage af few exceptions, is of such a robust nature that højt op. C.F. Tietgens arkiv, Ruinen, med undtagelse af nogle Forandringer whatever is missing can be constructed upon this Materiale vedr. Marmorkir- ved Portalerne, bibeholdt, de ufuldendte Dele basis with the greatest degree of assurance. ken, Rigsarkivet. heraf fuldføres af det fra Ruinens øverste Etage As a consequence of this, the entire bottom nedtagne Materiale, og ovenpaa denne saaledes floor of the ruin, with the exception of some Plan of the church square and the surrounding lots. vundne solide Grund opføres Resten af et billig - changes involving the portals, will be retained, In the top left corner, the six ere Materiale end Marmor, men saaledes, at det while the unfinished parts of this level will be lots that were not included Hele faaer et eensartet Udseende. carried to completion making use of material because the owners kept on Kirken vil kunne fuldføres for ca. 160,000 Rdl. dismantled from the ruin’s uppermost storey. On raising the price. og den vil kunne rumme over 2.000 Personer, top of the solid ground regained as a result of all The C.F. Tietgen Archives, hvoraf over 1,600 Siddepladser. this, the rest of the church will be constructed in files concerning the Marble Church. Situationsplanen antyder Pladsens Afbenyt- a material less costly than marble, but accom- The Danish State Archives. telse omkring Kirken”. plished in such a way that the whole will take on Efter dateringen 1867 giver Tietgens arkiv in- a visually consistent appearance. gen spor af nogen udvikling omkring kirkerui- It ought to be possible to complete the build- nen. Det kan skyldes, dels at han endnu ikke ing of the church for the sum of approximately havde de nødvendige midler til at gå i gang med 160,000 Rix-dollars and the church will be able to så stort et projekt, dels at Zwingmann var hans accommodate more than 2,000 people, including kone Lauras særlige ven. Hans vurdering af ud- provisions for more than 1,600 seats. The site gifterne forekommer rigeligt lave. plan offers indications pertinent to the use of the square surrounding the Church”. Above and beyond the dating of this docu- ”Tietgens Ærgrelse” ment to 1867, Tietgen’s archive offers no further I slutningen af maj 1874 gav finansminister Kriger clue to any development of the church ruins. This ved en middag i sin villa i Rosenvænget på Østerbro may 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 also because Zwingmann was his wife, Laura’s, special friend. Zwingmann’s assessment of the costs appears to be rather low.

The Thorn in Tietgen’s Side In late May of 1874, at a dinner given in his villa on Rosenvænget in the Østerbro quarter, Finance Minister A.F. Krieger informed Tietgen that he intended to resign from governmental service quite soon. By May 30, Tietgen had made up his mind to submit his purchase proposal to the government. He and Krieger convened inside The Red Building, the Ministry of Finance, and quick- ly came to an agreement. Tietgen bought the ruin and the adjoining building grounds – with the exception of the southwestern segment of the plot, containing a row of houses facing Store Kongens- gade. These six small houses (Land Registry title numbers 251-256) would eventually come, over the course of the many ensuing years, to cause a great deal of chagrin, first of all, to Tietgen and later on, to the church itself. These houses were the last that were outstanding from the purchase of the continuous sequence of buildings surrounding the Marble Church – or Frederick’s Church, as it was properly called. Without the

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Tietgen besked om, at han agtede at udtræde af inclusion of these properties, the purchase could ”I Bredgade. – Der gaaer regeringen om kort tid. Den 30. maj havde Tiet- not be said to be complete. Tietgen jo sin Ruin i Møde!”. gen besluttet sig og sendte sit købstilbud til staten. For this very reason, the owners raised the sell- Karikaturtegning i ”Punch” fra 1876 som kommentar til Han og Krieger mødtes i Den røde Bygning i Fi- ing price in a marked way, with the cost being Tietgens køb af Marmorkir- nansministeriet og blev hurtigt enige. Tietgen raised so drastically that the now distressed Tiet- kens ruin. Tegningen ironise- købte ruinen og de tilhørende byggegrunde – gen simply could not, from the mid-1870s and rer over Tietgen og hans dag- med undtagelse af den sydvestlige del af husræk- then on – and/or simply would not – pay the lige spadseretur fra hjemmet ken ud mod Store Kongensgade. Disse seks små- premium price. Nonetheless, preparations for i Kronprinsessegade 30 til huse (matrikelnumrene 251-56) skulle gennem construction were set in motion without any de- hans kontor på Børsen. de næste mange år komme til at volde først Tiet- cision being made on this matter. It was on this “On Bredgade. - Look, there gen, senere kirken, mange ærgrelser. Bygningerne basis that the popular name, “Tietgens Ærgrelse” goes Tietgen to his ruin!” var de sidste, der manglede for at husrækken om- [The Thorn in Tietgen’s Side], was subsequently Satirical cartoon-sketch in kring Marmorkirken – eller Frederikskirken som at tached to these few houses. “Punch” from 1876, den rettelig hed – kunne være komplet. The contract was signed on July 2, 1874 – that commenting on Tietgen's Derfor satte ejerne prisen voldsomt op, så is to say, just twelve days before the Cabinet of acquisition of the Marble Church ruin and playing voldsomt, at den nu kriseramte Tietgen fra Fonnesbech acceded to power. The purchase ironically on Tietgen's midt en af 1870erne og senere ikke kunne – eller price was 400,000 Danish kroner. Tietgen com- daily stroll from his home ville – betale overprisen. Forberedelserne til byg- mitted himself to spending at least 200,000 kro- on Kronprinsessegade 30 to geriet gik i gang, uden at det kom til en afgørel- ner on the construction project within the first his office in the Old Stock se. Deraf kom senere det folkelige navn på huse- five years after the acquisition. Exchange building. ne ”Tietgens Ærgrelse”. The deal wound up giving rise to a whole host Kontrakten blev underskrevet den 2. juli 1874 of problems for Tietgen. He was not able to live – dvs. 12 dage før den nye regering Fonnesbech up to his part of the bargain to spend 200,000 kro- trådte til. Købesummen var 400.000 kr. Tietgen ner within the first five years. And different forces forpligtede sig til at bruge mindst 200.000 kr. på within the otherwise not particularly unified op- byggeriet inden for de første fem år efter overta- position Venstre Party, nonetheless stood togeth- gelsen. er and agreed to bring impeachment charges Aftalen voldte Tietgen besvær. Han kunne against A.F. Krieger, as the responsible minister, ikke opfylde kravet om at bruge 200.000 kr. inden and also against Council Presidents L. Holstein-

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for de første fem år. Og det ellers ikke særligt Holsteinborg and C.A. Fonnesbech. The petition forenede Venstre enedes dog om at anlægge en filed against the two former ministers and the pre- rigsretssag mod A.F. Krieger som den ansvarlige siding head of state charged that, with the sale of minister og konseilspræsidenterne C.A. Fonne- the church ruins, they had, in the first place, over- bech og Holstein-Holsteinborg. Anklagen gik stepped their respective spheres of competence, på, at de tre tidligere ministre med salget af kir- especially by virtue of having neglected to have keruinen dels havde overtrådt deres kompeten- the agreement approved in the national legisla- cer ved ikke at få det godkendt i Rigsdagen, dels ture and second, they had sold the ruin and the havde de solgt ruinen og grundene for billigt. grounds at too cheap a price. The price should Prisen burde have været 700.000 kr., hævdede have been 700,000 DKK, claimed the opposition oppositionspartiet Venstre i sagen, hvor en ung in raising the issue, where, incidentally, a young Viggo Hørup for første gang gjorde sig fordelag- Viggo Hørup called some measure of favourable tigt bemærket. Han var af Folketinget udpeget attention to himself for the very first time. The som anklager i sagen. Folketing, the lower house of the parliament, had Den endte dog med en frifindelse af de tre appointed him prosecuting attorney in the case. forhenværende ministre i 1877, væsentligst på The verdict in the case was handed down in grund af Rigsrettens sammensætning af konser- 1877: the three former ministers were acquitted vative landstingsmænd og de fire ”forstandige of the charges that had been brought against Skønsmænd”, der skulle foretage den økonomi- them, mainly due to the court’s composition of ske vurdering af ruinen og de tilhørende Conservative Party Landsting members and the grunde.1 four “knowledgeable appraisers” who were en- Men Tietgen mødte også andre hindringer trusted with carrying out an economic appraisal for sit ambitiøse kirkebyggeri. Der lå på kirke- of the ruin and the adjacent plots.1 pladsens sydvestlige hjørne ud mod Store Kong- However, Tietgen ran up against other obsta- ensgade otte små huse, matrikelnumrene 251- cles in moving ahead with his ambitious church 258, svarende til husnumrene 74-88. Som nævnt construction. At the church square’s southwest- havde Tietgen tilsyneladende ikke kunnet købe ern corner, facing Store Kongensgade, there were disse ejendomme af alle ejerne. Kun de to yderste eight small houses, Land Register title numbers mod kirkepladsen, nr. 86 og 88, var han i stand til 251 to 258, corresponding to the house numbers

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at købe af ejerne Schougaard og Lublien for hen- 74-88. As mentioned, Tietgen had not been able holdsvis 40.000 kr. og 24.000 kr. Derfor måtte to purchase these properties from all the owners. han gå andre veje. Han undersøgte, hvad der var He was only able to buy the two houses closest tinglyst af servitutter og deklarationer på grunde- to the church square, numbers 86 and 88, from ne og husene. owners Schougaard and Lublien, for prices of, På matrikel 251 var der i 1830erne tinglyst en respectively, 40,000 and 24,000 kroner. For this deklaration, der umuliggjorde hævd på vinduer reason, Tietgen had to devise another strategy. eller luge på bagsiden af huset ud mod kirke- He conducted an investigation about what provi- pladsen. Det samme var tilfældet med matrikel- sions were judicially registered regarding ease- nummer 252, der havde fået tinglyst lignende ments and declarations related to these grounds servitutter på tre senere fag dobbeltvinduer mod and buildings. kirkepladsen på første og anden etage, og som Back in the 1830s, a declaration had been ejeren var forpligtet at tilmure på forlangende af recorded in connection with Land Registry title ejeren af kirkepladsen. Desuden skulle ejeren number 251 that made it impossible to claim lukke en tidligere benyttet udgang mod kirke- rights to windows or hatches on the back of the pladsen og tilbagegive det lille areal, som den house facing the church square. The same applied indtog. Denne deklaration (servitut) ses dog to Land Registry title number 252, on which sim- ikke at være modtaget af Indenrigsministeriet. ilar easements were registered in connection with På matrikelnummer 255 (Store Kongensgade three subsequently installed windows facing the 82) havde tømrermester Ingmann i oktober church square on the second and third stories and 1839 udstedt en deklaration, som blev tinglyst which the owner would be required to close up 14. januar 1840. Heri forpligtede han og fremti- with bricks upon being requested to do so by the dige ejere sig til på forlangende at tilmure de vin- owner of the church square. Furthermore, the duer og huller, der fandtes på ejendommens side owner was supposed to close up a previously used ud mod kirkepladsen. egress leading out toward the church square and På matrikelnummer 256 (Store Kongensgade to return the modest area of ground that this 84) var der ikke tinglyst nogen servitutter. Hvis occupied. This declaration (easement), however, der fandtes ”Servitutindretninger”, kunne det does not appear to have ever been received by være et spørgsmål, om ejeren havde vundet the Ministry of the Interior.

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hævd på dem. Det samme gjaldt matrikelnum- In connection with Land Registry title number mer 252, som ikke var registreret i Indenrigsmi- 255 (Store Kongensgade 82), the master carpenter nisteriet. Tietgen forlangte derefter samtlige ser- Ingmann had, in October 1839, issued a declara- vitutter overholdt og vinduer, døre og luger ud tion, which was registered on January 14, 1840. mod kirkepladsen muret til. Ejendommene med Ingmann committed himself and future owners to matrikelnumrene 257 og 258 var købt af ejeren wall up any windows and holes that might be af kirkepladsen, etatsråd Tietgen, hed det i skri- found on the property’s side facing the church velsen fra S. Lütken den 22. august 1875.2 square, in response to being asked to do so. Det lykkedes ikke Tietgen at få købt de sidste In connection with Land Registry title number huse i Store Kongensgade, trods hans håndhæ- 256 (Store Kongensgade 84), there were evidently velse af servitutterne. ”Tietgens Ærgrelse” blev no easements registered. If there were any “Ease- liggende de næste 130 år. ment Devices” to be found, the owner might have gained prescriptive rights to them. The same thing applied to Land Register title number 252, P.S. Krøyers portræt af Meldahl tager over which was not registered at all by the Ministry of Ferdinand Meldahl Først efter Rigsrettens dom i juni 1877 kom der the Interior. Tietgen then proceeded to demand malet i 1882. Det Nationalhistoriske for alvor gang i kirkebyggeriet. Men i mellem- that all easements be complied with. He insisted Museum, tiden var følgerne af den internationale krise that all the windows, doors and hatches facing the Frederiksborg Slot. kommet til landet og havde ramt både Privat- church square be closed up with bricks. banken og Tietgen hårdt. Det sås både af udvik- The two properties with the Land Register Portrait of Ferdinand lingen i kursen på aktierne i Privatbanken, der title numbers 257 and 258 were eventually pur- Meldahl by faldt fra kurs 131 i januar 1874 til 64 i januar chased by the owner of the church square, titular P.S. Krøyer, 1882. The Museum of 1878, væsentligst på grund af den såkaldte Svend Council of State Tietgen, as is stated in the official National History at Petersen-affære, der ramte Tietgen og banken letter from S. Lütken dated August 22, 1875.2 Frederiksborg Castle. hårdt. Tietgen opgav sine årlige indtægter til ca. But Tietgen never did successfully manage to 400.000 kr. i årene 1872-76 mod kun 80.000 kr. i buy up the last of the buildings on Store Kong - 1870ernes sidste år. Men opgivelserne på de år- ensgade, notwithstanding his enforcement of lige offentligt tilgængelige skattelister var ikke the easements. In fact, “Tietgens Ærgrelse” altid pålidelige. Ligningsprocenten lå på kun tre remained lying about for the next 130 years.

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procent, så der var – i modsætning til i dag – Meldahl takes charge prestige at hente ved at opgive for store ind- It wasn’t until after the court’s verdict in June tægter. Han måtte for at redde sit økonomiske liv 1877 that construction on the church really com- og sin stilling i Privatbanken personligt stille menced once again. In the meantime, the conse- garantier for op mod de 2½ million kr., som quences of the international crisis had spread to Svend Petersen-affæren mentes i alt at have Denmark and had exerted a hard impact on Pri- kostet Privatbanken. Hvor stort et beløb, han vatbanken Bank and on Tietgen personally. This stillede som garanti, vides ikke. Tabene blev grad- showed both in the progress of the price of Pri- vis afskrevet på regnskaberne de følgende år. vatbanken Bank shares, which fell from 131, in Med de senere frasalg af de omliggende byg- January 1874, to 64, in January 1878, primarily as gegrunde gav det et overskud på 400.000 mere a consequence of the so-called “Svend Petersen end de 200.000 kr., han oprindelig havde betalt affair” which had a profoundly detrimental effect for kirkeruinen og grundene. Han gjorde med on Tietgen and on the bank. Tietgen declared his andre ord en god forretning. Men han fik ikke yearly income as being approximately 400,000 mulighed for at købe de sidste huse på den syd- kroner in the years 1872-76, as compared with vestlige del af Store Kongensgade – ”Tietgens only 80,000 kroner in the closing years of the Ærgrelse”. De tilsvarende huse og grunde på den 1870s. However, income tax returns as they ap- nordvestlige del af Store Kongensgade (det dre- peared on the publicly accessible annual register jede sig om 7-8 stykker) havde han købt for bare of taxpayers were not always reliable. The stand - 84.000 kr., men det var åbenbart før handelen ard tax rate at the time was but three percent, med staten og Krieger. Nu var priserne på huse- with the upshot that – unlike today – there was a ne på den sydvestlige del sat betydeligt højere. certain prestige to be gained by declaring an in- Senere udtrykte Meldahl sit syn på grundene come that might actually be higher than what med bygningerne ”Tietgens Ærgrelse”: ”Man was earned. In order to save his own economic har oftere fremsat den smukke Tanke at indrette life and to hold on to his position at Privatbanken en Præstebolig og et Forsamlingshus for Menig- Bank, Tietgen was forced to put up guarantees, heden på dette sydvestre Hjørne af Kirkeplad- personally, for as much as the 2½ million kroner sen, hvad Pladsen ypperlig egner sig til, og haa- the “Svend Petersen affair” was estimated to have belig vilde de Mænd, som havde Glæde af og cost Privatbanken Bank. How great a sum Tietgen

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ville gjøre sig en Ære af at afslutte Tietgens actually put up as a guarantee is not known. The Værk, mindes dette”. losses were gradually written off on the account Oprindelig var det Tietgens hensigt at få arki- sheet over the ensuing years. tekt C.F. Zwingmann til at stå for færdiggørelsen With the subsequent selling off of the sur- af Marmorkirken. Han havde mødt ham hos rounding building grounds, there was a surplus of den svenske baron Stjernblad på Marsvinsholm 400,000 over and above the 400,000/200,000 i Skåne, hvor Zwingmann havde opført en kirke kroner Tietgen had originally paid for the church i det nye materiale beton. Det havde en slående ruins and the grounds. In other words, the banker lighed med det marmor, kirken var påbegyndt had made a good deal. Even so, he was simply med af Eigtved. unable to buy up the last houses in the southwestern Tietgen overlod det derefter til Zwingmann, section of the area, facing Store Kongensgade – der var elev af Bindesbøll, at udarbejde udkast til “Tietgens Ærgrelse”. He had managed to pur- fuldførelse af kirken. Men Zwingmann blev syg chase the corresponding buildings and plots facing og kunne ikke anvendes til opgaven. Tietgen Store Kongensgade in the northwestern corner of droppede ham, selv om hans kone søgte at hol- the area (involving around 7 or 8 properties) for de fast i ham. Men han brugte ham i stedet til en only 84,000 kroner, but all this was apparently anden opgave, nemlig opførelsen af hovedbyg- accomplished before the aforementioned dealings ningen til sit landsted Strødam ved Hillerød. with the government and Krieger. By now, the Derefter blev Ferdinand Meldahl, der hidtil prices of the houses on the southwestern part of havde holdt sig skeptisk tilbage, i stedet hyret the area were set consid erably higher. som ”ene styrende Architekt ... og raadgivende Sometime later on, Ferdinand Meldahl ex- Hjælper og Overleder ved Salget – Udparcelle- pressed his view on the grounds containing the ringen af de omliggende Arealer”. Han påtog sig “Tietgens Ærgrelse” buildings: “On several occa- jobbet uden honorar – alene mod at få dækket sions, people have put forward the elegant idea of sine udgifter. Det ville være ham ”en Æressag at setting up a vicarage and a meeting house for the overtage et saadant Hverv”. congregation on this southwestern corner of the I foråret 1879 blev den nu 50-årige Tietgen al- church square, which would suit the whole vorligt syg. F. Meldahl skrev 17. maj til ham: square extremely well. Hopefully, the men who ”Gud være lovet, at Faren er overstaaet. Vi maa will eventually have partaken in the pleasure of

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beholde Dem en god Tid endnu, for at De kan doing this – and would take upon themselves the føre de Sager til en god Afslutning, som nu ere honour of completing Tietgen’s work – will be gaaende ved Deres Snille og Udholdenhed. remembered for this”. Rakket og Pakket maa ikke have den Glæde at Originally, it was Tietgen’s intention to entrust see Dem falde fra netop nu”. 3 architect C.F. Zwingmann with the completion of the Marble Church. Tietgen had met Zwingmann at the home of the Swedish Baron Stjernblad at Svend Petersen-affæren Marsvinsholm in Scania, where Zwingmann had og børsopposition built a church in the new material, concrete. It bore Tietgen faldt ikke fra, selv om hans sygdom a striking resemblance to the marble with which utvivlsomt stod i forbindelse med den voldsom- Eigtved had begun building the church. me kritik, han havde været udsat for i dele af After this meeting, Tietgen handed over the task dagspressen og på generalforsamlingerne i Pri- of working up a sketch proposal of completing the vatbanken gennem de sidste par år. Han måtte church to Zwingmann, who had been a pupil of kæmpe hårdt for sine virksomheder under den Bindesbøll. But Zwingmann became ill and could økonomiske krise. Men han havde ingen gyldig not be counted on to fulfil the task. Tietgen dokumentation for, at han inden for de seneste dropped Zwingmann, even though his wife, Laura, fem år havde brugt de nødvendige 200.000 kr. tried hard to keep her friend, the architect, involved på kirkebyggeriet, som han var forpligtet til efter in the project. Instead, Tietgen eventually em- salgskontraktens bestemmelser. ployed Zwingmann’s services in connection with Der var ifølge Meldahls datter Helga Ste- another assignment: the erection of the main build- manns angivelse tale om at fratage Tietgen byg- ing for his country house, Strødam, near Hillerød. geriet, fordi han ikke i december 1879 havde Subsequently, Ferdinand Meldahl, who had brugt tilstrækkeligt med midler på byggeriet. hitherto refrained sceptically from getting in- Der forelå endda et anonymt brev til Finansmi- volved in any way with the project, was hired in- nisteriet, der påpegede denne mangel. Men mi- stead as “sole guiding architect ... and advisory nisteriet og konseilspræsident Estrup foretrak at helper and manager of the sale/parcelling out of ignorere brevet og krævede ingen nærmere do- the surrounding areas”. Meldahl took on the job kumentation af, at beløbet virkelig var anvendt, with out pay, asking only to be reimbursed for any

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outlay of expenses. For him, evidently, “taking over such a task” would be “a matter of personal honour”. In the spring of 1879, Tietgen, who had turned 50, fell seriously ill. On May 17, Meldahl wrote to Tietgen: ”God be praised that the danger has subsided. We must keep you around for some time yet, so that you can guide matters to a fine conclusion, matters that are now moving forward sheerly on account of your ingenuity and perse- verance. The rabble must not have the pleasure of seeing you stumble and fall right now”. (3)

The Svend Petersen affair and opposition at the Stock Exchange Tietgen did not make it to death’s door but there can be no doubt that his bout with serious illness had much to do with the fierce criticism to which he had been exposed on the part of some writers in the daily press and at the annual general assem- blies in Privatbanken Bank over the course of the most recent years. He had to fight hard to protect his companies during the economic crisis. But he did not possess any valid documentation that he had, in the course of the last five years, actually spent the required 200,000 kroner on the construction of the church that he had agreed to spend, according to the provisions of the sales contract.

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efter at Krieger og Meldahl havde været i aktion According to Meldahl’s daughter, Helga Stemann, P.S. Krøyers billede af for Tietgen. there was allegedly some discussion about taking C.F. Tietgen malet i 1894. Man kan så rent hypotetisk spørge: Hvad the building away from Tietgen because it was Det Nationalhistoriske Museum, skulle Estrup have gjort, hvis han havde krævet deemed, in December 1879, that Tietgen had not Frederiksborg Slot. dokumentation og fundet ud af, at Tietgen ikke spent enough money on the project. There was havde levet op til kontrakten? Så det undlod even an anonymous letter that had been sent to Portrait of C.F. Tietgen by han klogeligt, selv om han ikke kunne være uvi- the Ministry of Finance, which pointed out this P.S. Krøyer, 1894. dende om, at Tietgen havde åbenlyse økonomi- shortcoming. However, Finance Minister and The Museum of National ske vanskeligheder. Det fremgik tydeligt af Council President Estrup preferred to ignore the History at Frederiksborg Castle. dagspressen og af referaterne fra Privatbankens letter and asked for no further documentation generalforsamlinger fra 1876-79, der var ret så that the sum in question had actually been used dramatiske. after both Krieger and Meldahl had moved into 1880-81 var Tietgen endelig kommet nogen- action on Tietgen’s behalf. lunde over den kedelige Svend Petersen-affære One can then ask, in a purely hypothetical og de samtidige problemer med Tuborg, der si- way: What would Estrup have done if he had den stiftelsen i 1873 havde givet konstante un- asked for documentation and found it to be the derskud. Hovedaktionæren Philip Heymann case that Tietgen had not lived up to his contrac- overtog den daglige ledelse og formandsposten, tual agreement? It appears, thus, that the Council da Tietgen trak sig, og med ham forsvandt også President wisely avoided doing this, even though den administrerende direktør Leopold Damm, he could not possibly be unaware that Tietgen som Tietgen havde ansat. Heymann skabte der- was obviously facing financial difficulties: this efter overskud de følgende år og bidrog i øvrigt was plainly evident in what could be read in the økonomisk og diskret til kirkens opførelse. newspapers and in the minutes of the Privat- Tietgen genvandt sine økonomiske kræfter, banken Bank’s annual general meetings from øgede sine indtægter og kunne med stiftelsen af 1876-79, which were quite dramatic. Københavns Telefon-Aktieselskab og De danske By 1880-81, Tietgen had finally got over the Spritfabrikker i 1881 med sin diskrete deltagelse i unpleasant “Svend Petersen affair” and the simulta- Børsoppositionen 1882 og grundlæggelsen af neous problems at the Tuborg brewery which, since Fakse Kalkbrud i 1883 genoptage sin økonomiske the time of its founding in 1873, had constantly

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Gründervirksomhed. Den bragte atter hans årli- produced a deficit. Tuborg’s principal sharehold- ge indtægter op på de 400.000 kr. i 1882-83 – ef- er, Philip Heymann, took over the daily man- ter hans egne opgivelser. I de samme år skiftede agement of the concern; he also assumed the de hjemlige og internationale økonomiske kon- post of chairman of the board of directors junkturer fra depression til en mindre, foreløbig upon Tietgen’s resignation. At the same time, højkonjunktur, så indtægterne fra Store Nordi- the managing director, Leopold Damm, whom ske igen blev betydelige. Den største byggeakti- Tietgen had recruited, also left the ranks of the vitet på Marmorkirken kulminerede netop i åre- company. After this re-structuring, Heymann ne 1882-85. managed to generate a surplus profit in the fol- lowing years. As a matter of fact, Heymann contributed, albeit discreetly, to the erection of the Hørups hyldest church building. I året 1882 havde Tietgen 25 års jubilæum som Tietgen regained his economic powers, in- direktør i Privatbanken. Forlydenderne om hans creased his income and could – with the founding økonomiske vanskeligheder var blevet til hånd- of Københavns Telefon-Aktieselskab [Copen- faste rygter. Derfor foranstaltede grosserer Ru- hagen’s Telephone Corporation] and De danske dolf Puggaard en indsamling i oktober-novem- Spritfabrikker [The Danish Spirits Factories] in ber blandt Tietgens venner og forretningsforbin- 1881, with his covert participation in the stock- delser, som gav 200.000 kr. Ved samme lejlighed exchange opposition in 1882 and with the estab- havde medarbejderne i de 14 forskellige tietgen- lishment of Fakse Kalkbrud [Faxe Limestone ske virksomheder, hvor han var formand, ind- Quarry] in 1883 – resume his role as entrepreneur. samlet en sum til dels en buste af ham, dels til All of this served to propel his annual income det kors, der skulle rejses på toppen af Marmor- back up to the 400,000-kroner level in 1882-83 – kirkens kuppel. Størrelsen af det indsamlede be- according to his own income tax returns. In the løb kendes ikke. Men den folkelige hyldest, han same years, domestic and international economic ved sit jubilæum blev genstand for, kom som en market conditions underwent a change from overraskelse. Marmorkirkens færdiggørelse var depression to a modest interim boom, with the ved at blive en folkesag. Berlingske Tidende og consequence that the proceeds from Det Store især Dagbladet bragte store hyldestartikler. Nordiske Telegraf-Selskab [The Great Northern

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Og Venstres hovedorgan i København, Morgen- Telegraph Corporation] once again became con- bladet, bragte Viggo Hørups store artikel ”Hr. siderable. As a matter of fact, construction activity Tietgen”, hvori der var adskillige roser, men on the Marble Church attained its most dramatic også enkelte torne. Et fremragende portræt i point of culmination precisely in the years 1882-85. både sort og hvidt – især ved sin sproglige elegance: ”I Kundskaber og Forstand har Hr. Tietgen Hørup’s tribute mange Ligemænd og ikke faa Overmænd, skønt In the year 1882, Tietgen celebrated a silver ju- næppe i den danske Handelsverden. Men hvad bilee, marking the 25th anniversary of his service han har forud for de andre, det er moralsk Mod as the administrative manager of Privatbanken – en sjælden Egenskab her til Lands, og blandt Bank. By this time, all the hearsay gossip about de Blinde er jo allerede den enøjede jo Konge – his financial difficulties had become heavy-handed et moralsk Mod, for hvilket Intet, ikke blot intet rumour. For this reason, the wholesale merchant, Pengebeløb ligger for højt: Mod til at tage An- Rudolf Puggaard, set up a fund-raising collection svaret, Mod til at vove først andres, saa ogsaa sit in October-November from Tietgen’s friends and eget, Mod til at gaa frem og Mod til at fjerne, business associates, who contributed a total of hvad der stiller sig i Vejen. De andre have ogsaa some 200,000 kroner. On the same occasion, em- noget af alt dette, men i det mindre, i det smaa”. ployees working at the fourteen different Tietgen Og Hørup fortsatte med et forbehold over for companies where he was chairman of the board Tietgens religiøst funderede begrundelse: of directors had raised a sum of money that was ”Og naar en Mand, som han, med Rette kan used in part to make a bust of Tietgen and partly henvise til hvad han i saa stor Udstrækning har for the cross that was eventually supposed to gjort for Land og Folk, saa har han ogsaa herved crown the Marble Church’s dome. The sum total paa den rette Maade arbejdet til ”Guds Ære”, of the latter amount collected is unknown. But uden at han behøver direkte at opkaste sig til the popular ovation of which Tietgen, in connec- Guds Æres Vagt, eller at pukke paa det tilkom- tion with his silver jubilee, became the object of mende Kors paa den tilkommende Marmorkir- praise did come as a surprise. The Marble ke. ”Guds Velsignelse” hviler over enhver Gjer- Church's completion was fast becoming a matter ning, der begyndes og udføres med det Maal at of national importance. The Berlingske Tidende

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Marmorkirken ca. 1873 gavne sine Medmennesker og bringe Udviklin- daily newspaper, and especially the Dagbladet, før kobberdækningen med gen et Fjed videre”. printed extensive articles of homage. stilladser omkring kuplen. En god måned senere lød det lidt belærende And the Venstre Party’s main voice in Copen- Det Kongelige Bibliotek. i Jyllandsposten fredag den 22. december 1882 hagen, Morgenbladet, printed Viggo Hørup’s won- The Marble Church, om Marmorkirkens kuppel: derful article, “Mr. Tietgen”, in which there were a before the copper ”Vi anerkender selvfølgelig den smukke Tanke, great many tributes but also a few thorns. It is an ex- roofing was finished. der har bragt Hr. Tietgen til at paatage sig Mar- cellent portrait, rendered in both black and white Older photo, circa 1873. morkirkens Fuldførelse men Moralen af denne i especially on account of its linguistic elegance: The Royal Library. sin Form kejtede Appel til Offentligheden betræf- “In terms of his proficiency and intellect, Mr. fende et Kobbertag er dog den, at man skal lade Tietgen has many equals and even quite a few være med at bygge pragtfulde Domkirker, naar peers, though hardly in the world of Danish com- man ikke raader over de til deres nogenlunde or- merce. What he possesses, to wit, that is simply dentlige udstyrelse nødvendige Midler”. miles ahead of the others, this is moral courage – Skribenten pegede præcist på faren ved Tiet- a rare attribute in this country and among the gens projekt. Han måtte appellere til offentlig- blind, of course, the one-eyed man is certainly al- heden for at kunne opfylde sine forpligtelser.4 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, the Uenighed om kobbertaget courage to venture, first of all, others’ and then Der gik dog yderligere 12 år efter jubilæums- also his own; the courage to move forward and the årets forventelige hyldest til Tietgen, før Mar- courage to remove whatever might be standing in morkirken blev endeligt færdig. For Tietgens the way. The others also have something of all this, økonomiske vanskeligheder var ikke slut. Der but on the smaller scale, in modest measure”. opstod f. eks. også hen mod arbejdets afslutning And Hørup continued with this proviso, based uoverenstemmelser mellem Tietgens kirkelige on his religiously-based reasoning: “And when a rådgivere om den ydre og indre udsmykning af man, like him, can justly refer to what he has ac- kirken, om døbefonden og dens placering etc. complished, to such a great extent, for the Land Hvilke kirkefædre og apostle skulle afbildes and People, then he has hereby also, and in the som statuer, og hvor skulle de placeres? Hvilke right way, been working for “God’s glory”, without

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billedhuggere skulle udføre statuerne? Og kuplen, needing to cast himself in vigil before God’s Glory der med mål ”indvendig paa omtrent 96 i Diame- or to insist that the prospective cross be mounted ter, altsaa kun lidt mindre end St. Paulskirken i atop the prospective Marble Church. “God’s London og er saaledes den sjette største Sten- blessing” looms over every deed that is com- hvælving i Europa efter Pantheon, San Maria del menced and carried forth with the goal of bene- Fiore, Peterskirken, Sophiekirken og St. Paul”. fiting his fellow men and bringing the course of Debatten gik lystigt blandt de bibelkyndige development one step further”. teologer og kirkeligt interesserede. Der var ri- A little more than a month later, on Friday, De- geligt for de lærde at argumentere for og imod cember 22, 1882, this rather didactic article on the – eller at skændes om. Netop tagbelægningen Marble Church rang forth in the Jyllandsposten: af kuplen var et spørgsmål, der optog bygher- ”We acknowledge, of course, the beautiful ren. Tietgen selv skrev senere herom: thought that has inspired Mr. Tietgen to take on ”Paa Grund af de faa Midler turde jeg ikke the completion of the Marble Church. But the fra først af foreslaae at tække Kuplen med Kob- moral of what, in its form, constitutes an awk- ber, jeg havde isinde at udføre Tækningen med ward appeal to the public concerning a copper en blanding af Skifer og Bly, saaledes som jeg roof is, however, that one ought to refrain from havde seet det i Udlandet. Men da Tanken om building magnificent cathedrals when one does et Kobbertag blev fremsat og varmt anbefalet af not have the necessary means for realizing their Professor, senere Etatsraad, Lorenz Frølich, appropriate fitting and detailing”. der opfordrede Danmarks Kvinder til at offre The writer was pointing quite precisely at the deres gamle Kobbertøi dertil, gik jeg med Glæ- perils of Tietgen’s project. Tietgen was forced to de ind paa at modtage den Støtte, jeg her kun- make his appeal to the public in order to fulfil his de faae til en monumental Gjennemførelse af obligations.4 Kuppelen. Det var rørende at see, hvorledes man fra alle Sider kom med gamle Kobberkar, Differences of opinion Mønter og efter Opfordring af min Svoger, Kaptajn Grüner, med Bidrag i rede Penge”. concerning the copper roof Opråbet stod i Dagbladet den 20. december As things came to pass, though, another dozen 1882 og var underskrevet af 14 fremtrædende years would elapse after the silver jubilee year’s

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kunstnere med bl.a. Otto Bache, Vilhelm Bissen, expected homage to Tietgen before the Marble Carl Bloch, Vilh. Dahlerup, Julius Exner og na- Church was finally brought to completion. As far turligvis Frølich. as Tietgen’s economic difficulties were con- En kobberplade kostede 10 kr., men der kom cerned, his troubles were not over. For example, ikke mange rede penge ind på den konto. Tiet- as the work drew toward its final phases, some gen havde stillet som betingelse, at han ville se, considerable discord actually arose among Tiet- hvor meget kobber og hvor mange rede penge, gen’s ecclesiastical advisors concerning the exte- der kom ind, før han accepterede at realisere be- rior and interior decoration of the church and lægningen af kuplen med kobber. Der indkom about matters like the baptismal font and its ikke så meget som håbet, men dog tilstrækkeligt placement. Which of the Fathers of the Church til at kuplen fik sit kobbertag. Det medførte ”en and which of the Apostles would be depicted in ikke ringe Meerudgift”. Tietgen betalte efter eget the form of statues – and where would they be udsagn 60.000 kr. ekstra for taget.5 positioned? What sculptors would be asked to create the statues? And the dome which, with its dimensions of, “roughly 96 alen (i.e. 192 ft) in di- ”At blive gift i Marmorkirken ...” ameter, as measured on the inside – and accord- Efter 1883-84 dalede Tietgens indtægter igen til ingly only a little bit smaller than St. Paul’s Cathe- 100.000 kr. om året og faldt yderligere til 80.000 dral in London – is thus the sixth largest vaulted kr. i resten af 1880erne. Det forklarer, at indviel- roof of stone in Europe, after the Pantheon, Santa sen af kirken ikke kunne nås til 100 årsdagen for Maria del Fiore, the Papal Basilica of Saint Peter, Grundtvigs fødsel i 1883, men en indsamling Hagia Sophia and St. Paul’s Cathedral”. sikrede korsets afsløring på toppen af kuplen. The debate circulated enthusiastically among Hvad enten der nu er grund til at fæste lid til the theologians, so well versed in the Scriptures, hans egne opgivelser til ligningsmyndighederne and other ecclesiastically interested parties. eller ikke, så forklarer det udmærket, at bygge- There was certainly a lot over which the erudite tempoet gik ned i slutningen af 1880erne. men of learning could argue for and against – or Marmorkirken blev en vittighed i folkemun- simply argue about. In point of fact, though, it de og i pressen. Således sagde en københavnsk was the roof-covering of the dome which was an talemåde ”at blive gift i Marmorkirken”, dvs. at issue that absorbed the attentions of the building

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Amatørfoto af kareten med man blev pebersvend eller gammeljomfru, un- owner. Later on, Tietgen himself wrote about de kongelige, der ankommer derforstået aldrig gift. Eller man sagde om et this: “On account of the modest means at my dis- til Marmorkirkens indvielse uønsket giftermål, at det skulle finde sted i Mar- posal, I did not dare at first to suggest roofing the 19. august 1894. C.F. Tiet- morkirken. Dome with Copper. What I actually had in mind gens arkiv, Materiale vedr. Marmorkirken, Rigsarkivet. Efter Meldahls opgørelse havde Tietgen pr. 2. was to cover the roof with an admixture of shale juli 1885 investeret ca. 875.000 kr. i kirkebygge- and lead, in much the manner as I had seen this Amateur photo of the royal riet. Heri indgik de 200.000 kr., som vennerne i done abroad. But when the idea of a copper roof coach, with members of the Tietgen-kredsen på initiativ af Rudolf Puggaard was put forth and enthusiastically recommended royal family, arriving at the havde samlet ind i anledning af hans 25 års ju- by Professor, later titular Councillor of State, inauguration of the Marble bilæum som direktør i Privatbanken. Desuden Lorenz Frølich, who encouraged Denmark’s Church on August 19, 1894. The C.F. Tietgen Archives, var der en gave på mellem 107.000 og 165.000 women to sacrifice their old copper implements files concerning the kr., som Nationalbankdirektør M. Levy og to for these purposes, I gladly assented to receive Marble Church, medlemmer af Privatbankens Bankraad (dvs. whatever support I could obtain for forging The Danish State Archives. bestyrelsen ved grossererne E. le Maire og Ge- ahead with a monumental erection of the dome. org Petersen) havde taget initiativ til. Bidrag- It was touching to see how people from every- yderne var anonyme. Derfor er der usikkerhed where showed up with old copper vessels, old om de nøjagtige tal. Ikke alle betalte de lovede coins and, in response to the earnest call sounded beløb. by my brother-in-law, Commander Grüner, with Efter 1885 var hovedparten af byggeriet fær- contributions in cash”. digt. Der manglede kun tagbelægningen af kup- Grüner’s “call to arms” appeared in Dagbladet len og den indre og ydre udsmykning af kirken. on December 20, 1882 and was signed by 14 Tietgens nedgang i indtægter kan sammen med prominent artists, including Otto Bache, Vilhelm hans kamp på andre områder som toldsagen, Bissen, Carl Bloch, Vilh. Dahlerup, Julius Exner slaget om frihavnen, ølringen og svinekrigen and, of course, Frølich. One copper roofing plate mellem byfolk og andelsfolk og andre tidskræ- cost 10 kroner but, as things would have it, not all vende konflikter forklare forsinkelsen. Men her- that much cash was put into the account. Tietgen udover tog det også næsten ni år før de lærde – had stipulated it beforehand as a condition that specialisterne – kunne blive enige om udsmyk- he wanted first to see how much copper and how ningen.6 much cash would be deposited into the account

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Regningen before agreeing to move ahead with the covering Da Marmorkirken endelig stod færdig, var års- of the dome in copper. As things came to pass, tallet 1894. Nu viste en økonomisk opgørelse less was deposited than hoped for, but enough for over Tietgens samlede udgifter til færdiggørel- the cupola to be crowned with its copper roof. sen af det, der var tænkt som hans grundtvigske This entailed the outlay of “no unsubstantial ad- katedral i hovedstaden, at der var brugt mange ditional cost”. By his own admission, Tietgen paid penge på afslutningen af byggeriet. Slutover- 60,000 kroner extra for the roof.5 sigten viste udgifter på 1.467.996,71 kr. Herfra skal trækkes indtægterne fra salget af “Getting married in byggegrundene omkring kirken til Det kjøben- havnske Byggeselskab, der gav ca. 685.000 kr. the Marble Church ...” (inklusive udgifterne til nedrivning). Desuden After 1883-84, Tietgen’s income fell again to skal der tillægges de kontante tilskud, som blev 100,000 kroner a year and continued to decline to ydet Tietgen fra hans venner i anledning af hans 80,000 kroner annually for the rest of the 1880s. 25 års jubilæum i Privatbanken i 1882. Dertil This explains that the dedication of the church kom de i hvert fald 107.000 kr. (muligvis mere), was not ready in time for the 100th anniversary der blev givet ved den anonyme indsamling i of N.F.S. Grundtvig’s birth, in 1883, although a 1883. Det giver i alt ca. 992.000 kr. collection of funds served to ensure the cross’s Det efterlader en samlet udgift til Tietgen på unveiling at the top of the dome. Whether his in- højest ca. 475.000 kr. Og så har vi set bort fra de come tax returns are to be believed or not, this tiører, som blev givet af de menige ansatte i de fact does serve to explain the loss of momentum 14 Tietgen-virksomheder og de yderligere ano- in the building project at the close of the 1880s. nyme private bidrag, der blev ydet i diskretion. In the talk of the town and in the press, the De nøjagtige beløb er ukendte. Marble Church became something of an object Tietgen kom således til at betale cirka en of ridicule. One adage circulating in Copenhagen tredjedel af den samlede byggesum af egen lom- contained the punch-line, “getting married in the me. Det var en betydelig økonomisk gestus, han Marble Church”, i.e. the person in question viste, da han den 19. august 1894 kunne overle- would become a bachelor or a spinster, that is to vere kirken til staten. Han opfattede det som say, would never get married. Or people might

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say about an unsuitable match that the wedding Relieffet af Tietgen og should take place in the Marble Church. Laura. Indsat på indersiden According to Meldahl’s accounts as of July 2, af dobbeltmuren i Marmorkirken. 1885, C.F. Tietgen had invested approximately 875,000 kroner in the church’s construction. This The bas-relief of Tietgen and included the sum of 200,000 kroner that the his wife Laura, mounted on friends in Tietgen’s circle, upon the initiative of the inside of the double wall Rudolf Puggaard, had gathered in on the occa- in the Marble Church. sion of his 25th anniversary as administrative manager of Privatbanken Bank. Moreover, there was also a gift of somewhere between 107,000 and 165,000 kroner, for which the Director of the National Bank, M. Levy, and two members of Privatbanken Bank’s Bank Council (that is to say, slutstenen på sin og hustruen Lauras jordiske the board of directors, represented by wholesale gerning. Vorherre brugt som motivering – men merchants E. le Maire, and Georg Petersen) had også som maskering – for egen forfængelighed. taken the initiative. In the latter collection, the Og meget menneskeligt. Han og hustruen Laura donors remained anonymous; for this reason, var barnløse.7 there is some uncertainty about the exact figures. Not everybody actually paid the pledged amounts. After 1885, the greater part of the construction Frederiksstaden komplet was completed. Only the roofing and the interior Karakteristisk for byggeriet i Frederiksstaden er and exterior decoration of the church were still det, at den oprindelige af Nicolai Eigtved udfor- missing. Tietgen’s involvement in various com- mede plan for denne nye del af København først mercial conflicts at the time as well as his declining blev fuldført mere end 260 år efter, at den var income serves to explain the delay. But it should undfanget. Længdeaksen var givet og for længst also be noted that it took almost nine years for the færdigbygget. Først Mærsk McKinney Møllers erudite scholars – the specialists – to arrive at an anlæg af Amaliehaven på den gamle grund med agreement about the church’s decoration. 6

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Det har karakteriseret byggeriet i Frederiksstaden, at Nicolai Eigtveds oprindelige plan for området først blev fuldført mere end 260 år efter ideens undfangelse. Her ses den tomme gavl, der i mere end 100 år stod som Meldahls ”tvillingepalæ”. Ældre foto, Rigsarkivet.

What has been a predominating characteristic of building construction in Frederiksstaden is that Nicolai Eigtved’s original plan for the area was not realised until more than 260 years after the idea’s conception. Here, we can see the exposed gable end that stood for more than a century as Meldahl’s “twin mansion”. Older photo from The Danish State Archives.

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de grimme huse ved Larsens Plads, dernæst fort- Tallying up the bill sættelsen af tværaksen fra Marmorkirken gen- When the Marble Church was finally finished nem slotspladsen og Salys rytterstatue af Frede- and ready, the calendar read “1894”. At this rik V, der er omkranset af de fire Amalienborg- time, a financial statement of Tietgen’s total ex- palæer, og så forsættelsen tværs over havneløbet penses in connection with the completion of med afslutningen af tværaksen i Operaen. what had been envisioned as his Grundtvigian Disse anlæg blev ikke betalt af Mærsk McKin- cathedral in the capital city revealed that a great ney Møller personligt, men af de erhvervsdriven- deal of money indeed had been spent on the de fonde, han stod i spidsen for som formand. De completion of the construction project. The fi- har været begunstiget af skattefrihed til 1984-85 nal statement enumerated expenses of 1,467,996 og siden af en lempelig beskatning. kroner and 71 øre. Med afslutningen af byggeriet ved Marmor- From this, however, the proceeds from the kirkens sydvestlige side, bekostet af Realdania sale of the building plots around the church to Byg A/S, er byggeriet i Frederiksstaden endelig Det Kjøbenhavnske Byggeselskab [The Copen- fuldført. Og med en helt moderne arkitektur. hagen Building Society], which amounted to ap- Men næppe som Eigtved og Jardin havde tænkt proximately 685,000 kroner (including the costs sig det. Heller ikke af Tietgen. Men nu er hans of demolition), must be deducted. Furthermore, ærgrelse endeligt fjernet. the cash contribution from Tietgen’s friends on the Frederiksstaden er komplet. Nu som arkitek- occasion of his 25th anniversary in Privatbanken turhistorisk udtryk for skiftende tiders økonomi- Bank in 1882, as well as the at least 107,000 kroner ske konjunkturer og kunstneriske moderetnin- (possibly even more) from the anonymous collec- ger. De har – på godt og ondt – indflydelse på ti- tion in 1883 should be factored in. dens arkitektur. The net deduction amounts to approximately 992,000 kroner, leaving, at most, around 475,000 kroner that was shouldered personally by Tiet- gen. This does not even take into account all the dimes that were donated by many of the ordinary employees working in the fourteen Tietgen en- terprises or the additional anonymous private

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contributions that were made in secrecy. These Plads. Then came the prolongation of the axis, Kig fra Store Kongensgade. exact amounts, it stands to reason, are unknown. running from the Marble Church through Tietgen thus ended up paying roughly Amalienborg Palace Square, right through Saly’s The view from Store Kongensgade. onethird of the total building costs out of his own equestrian statue of King Frederik V, encircled by pocket. It was a magnanimous financial gesture the four Amalienborg mansion-palaces, and now that he exhibited when, on August 19, 1894, he continuing across the harbour to finish at Operaen was able to hand over the church and put it into [The Opera House]. the possession of the nation. He considered this Mærsk McKinney Møller did not personally to be the crowning achievement of his and his foot the bill for these projects; they were fi- wife Laura’s worldly deeds. Acknowledging Our nanced, rather, by the commercial foundations Lord as his motivation - but also as a masking - he chaired. These foundations were tax exempt for his own vanity. And in the most decently human until 1984-85 and have since benefited from way. He and his wife Laura were childless.7 lenient tax regulations. With the completion of the building on the Marble Church’s southwestern side, financed by Frederiksstaden district, completed Realdania Byg, construction in the Frederiksstaden What is characteristic of the building construc- district has finally been carried to its completion … tion in the Frederiksstaden district is that the and with an entirely modern architecture. It is original part of the plan devised by Nicolai hardly as Eigtved or Jardin would have envisioned Eigtved for what was then a new part of Copen- it. Nor as Tietgen would have. But now the thorn hagen was first completed more than 260 years in his side has been removed, at long last. after it was conceived. The longitudinal axis was The Frederiksstaden district is complete. Now given and built up a long time ago. The transverse as an architectural-historic manifestation of the axis, however, took longer to complete. First, changing times’ economic slumps and booms there was Mærsk McKinney Møller’s layout of and ever shifting artistic styles and trends. These Amaliehaven Park on the old plot formerly occu- are exerting – for better or worse – their influence pied by the unsightly warehouses at Larsens on today’s architecture.

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Originaltegning fra Tony Frettons tegnestue fra projektets begyndelse. Set fra Store Kongensgade. Den nye bygning tænkes fra begyn delsen af projektet opført i et moderne formsprog, men tager udgangspunkt i Mel dahls oprindelige arkitektur, der dominerer pladsen omkring Marmorkirken. Således respekteres fagind deling og højden på tagryg, gesims og altaner i den øvrige bebyggelse. Også den nye bygnings planløsning og anvendelse tænkes at skulle ligge tæt op ad et klassisk københavnerhus: 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 at the outset of the project. Seen from Store Kongensgade. The new building, Tietgen’s Agony, has been conceived, from the outset of the project, as being erected in a modern idiom, although it takes its mark in Meldahl’s original architecture, which dominates the square surrounding the Marble Church. Consequently, the manner of partitioning the windows and the elevations of the roof ridge, the cornice and the balconies found in the other buildings have all been respected. Moreover, the new building’s plan arrangement and use have been conceived in a manner akin to what we find in the classical “Copenhagen house”: space on the ground floor and the first floor being rented for commercial use, while the other floors are scheduled to be rented out as residences.

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En bygning ved A Building at Tietgens Ærgrelse Tietgens Ærgrelse

Af/By Professor, I 1894 færdiggjorde industri-, finans- og bygge- In 1894 the industrialist, financier and developer arkitekt magnaten C.F. Tietgen Frederikskirken, eller C.F. Tietgen completed the Frederiks Kirke, or Tony Fretton Marmorkirken som den kaldes, som havde hen- the Marble Church, as it has become known, that ligget som byggetomt siden 1770. Samtidig fik had been abandoned since 1770. At the same han opført de beboelsesejendomme i Frederiks- time he realized Frederiksgade, a square of apart- gade, som omkranser kirken, og som var tegnet af ment buildings around the church, to the design arkitekten Ferdinand Meldahl. of architect Ferdinand Meldahl. Formålet med disse byggerier var fuldendelsen These works were intended to bring to com- af bydelen Frederiksstaden, som var blevet påbe- pletion Copenhagen’s Frederiksstaden district, gyndt i 1749 af Frederik V med opførelsen af fire which had been initiated in 1749 by King Fre - rokokopalæer omkring den ottekantede Amali- derick V with four palaces designed by Court enborg Slotsplads, efter tegninger af hofarkitek- Architect Nicolai Eigtved in the Rococo style, ten Nicolai Eigtved. Mens Tietgen købte selve around an octagonal plaza. Despite Tietgen kirkeruinen for at gennemføre projektet, lykkedes having bought the Church itself, he could not det ham ikke at anskaffe grundene og husene i acquire the buildings and land in the north-west det nordvestlige hjørne, og Meldahls plan for corner, and Meldahl’s scheme for Frederiksgade Frederiksgade forblev ufuldendt. Hjørnet stod til- was left incomplete with an area of open land, a bage med en ubebygget grund, et baghus i bin- small, half-timbered building and the rear of the dingsværk og en række små huse med facade buildings along Store Kongensgade standing in mod Store Kongensgade. Denne pudsighed op- a gap in the corner. This state of affairs acquired nåede efterhånden sin egen legitimitet i Køben- its own legitimacy in Copenhagen’s history and havns historie og blev kendt som ”Tietgens Ær- became known as Tietgens Ærgrelse, or The grelse”. Da det med Realdania Bygs køb af den Thorn in Tietgen’s Side. When Realdania Byg ubebyggede grund og det ene af de små huse purchased the open land and one of the build- mod Store Kongensgade blev muligt at bygge på ings facing Store Kongensgade and it became en del af Tietgens Ærgrelse, var det ikke længere possible to develop part of Tietgens Ærgrelse en mulighed, endsige noget ønske, at rive resten there was no longer the desire or possibility af bygningerne ned og færdigbygge Meldahls to take down these buildings and complete projekt til Frederiksgade. Realdania Byg gav klart Frederiksgade according to Meldahl’s designs.

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Tietgens grund inden byggestart.

“Tietgens Ærgrelse” prior to breaking ground on the new construction.

udtryk for, at man ønskede en anden slags byg- Realdania Byg were clear in wanting to commis- ning, en bygning, der skulle være nutidig i sit ud- sion a building of another kind, one that was in tryk og som skulle fuldende pladsbebyggelsen the style of the present time that completed the ved at løse konflikten mellem Meldahls etage- square by resolving the difference between byggeri og de gamle huse på Tietgens Ærgrelse. Meldahl’s apartments and the buildings that remained on Tietgens Ærgrelse. Vores tegnestue blev valgt til opgaven på bag- grund af projekter som the Red House og Lisson Our office was selected for this task because of Gallery, moderne bygninger som skaber holisti- projects such as the Red House and Lisson Gallery, ske forbindelser med deres komplekse og histori- contemporary buildings that establish holistic ske omgivelser. Vores projekt til Tietgens Ærgrel- connections with their complex and historical se udsprang af de stil- og materialemæssige og so- surroundings. The design we made for Tietgens ciale kendetegn i området, som vi kunne aflæse. Ærg relse was derived from stylistic, material and I den oprindelige del af Frederiksstaden udgør social facts that we observed in the wider location. Eigtveds fire palæer det bærende arkitektoniske In the original part of Frederiksstaden, Eigtved’s element. Etagebyggeriet i Frederiksgade er blot et four palaces are the architectural statement. In

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bagtæppe for kirken. Om end slet ikke af samme Frederiksgade the apartments are just a setting for Rendering af Toni Yli kvalitet som Frederiksstadens oprindelige roko- the Church. Although by no means of the same Suvanto. Den nye bygning koarkitektur besidder Meldahls etagebyggeri den quality as the original Rococo architecture of tager afsæt i en abstrakt for- tolkning af de historicistiske underliggende styrke fra historicismen, den stilart Frederiksstad en, Meldahl’s apartments possess the træk, som områdets øvrige som gav så mange europæiske byer deres formel- underlying strength of beaux-arts classicism, the bygninger har. le sammenhæng i det 19. århundrede og gjorde style that gave many 19th century European cities dem beboelige. Facaderne på hver side af pladsen their formal coherence and habitability. Facades Visualization by Toni Yli følger stilen og er bygget op med et højt sokkel- along each side of the square are arranged accord- Suvanto. The design of the parti, et midterstykke og en gesims. På langs er de ingly with a plinth, middle and cornice, their new building takes its mark in an abstract interpretation opdelt af pavilloner i midten og i enderne, og length divided by pavilions at the centre and ends of the historicist features overfladen er moduleret af pilastre, balkoner, or- and their surfaces modulated by pilasters, bal- found on other buildings in namentik og forskydninger i plan. Historicismen conies, ornament and changes of plane. Beaux-arts the vicinity. var en meget føjelig stilart, der kunne håndtere de classicism was a very pliable style that could deal udfordringer, beliggenheden stillede. Dette ses på with the contingencies of a location, as can be seen den måde, at indgangene i Frederiksgade er pla- in the way that entrances in Frederiksgade are ceret efter behov, og hjørnerne i pladsen er be- placed where they are needed and the corners of handlet forskelligt. the square are given different treatments. Med elementer fra denne stilart lykkedes det Using elements of this style we were able to os at tegne en bygning, som på én gang fortsatte design a building that both continued the classi- pladsens klassiske form og tog udfordringen fra cal form of the square and brought the contin- de tiloversblevne, gamle huse op i den samlede gency of the older buildings remaining on the komposition. site, into the overall composition.

Facaden mod kirken på den nye bygning har The facade of the new building facing the Church samme størrelse som etagebyggeriets endepavil- is the same size as the pavilion at the end of the lon overfor, og ligesom pavillonen er den opdelt apartment building opposite it, and like the pavil- i tre fag med pilastre. Tilsammen danner de to ion it is divided into three bays by pilasters. To- bygninger et symmetrisk par, som set fra Store gether, the two buildings form a symmetrical pair Kongensgade indrammer kirken som forudsat i as envisaged in Meldahl’s scheme, framing the

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Tv. facaden mod kirken. Meldahls plan. Da der er tale om en nutidig byg- view of the Church from Store Kongensgade. As Th. facaden mod Store ning, skal dens enkeltdele ud over at være deko- a building of the modern era its parts have to be Kongensgade. Modsatte side: rative også have en funktion. Facadens pilastre er functional as well as decorative. The pilasters on Model af de to hjørnebygnin- en del af den bærende konstruktion, og mellem- its facade are the actual structure that holds the ger. Bygningen kan aflæses som en abstrakt udgave af Mel- rummene i mellem dem er udnyttet til vinduer og building up, and the spaces between are filled dahls hjørnepavillon overfor. altaner. Bygningen er en meget abstrakt udgave af with windows and loggias. The building is a very Variationer i facadeudformnin- pavillonen overfor: Den påpeger de grundlæg- abstract version of the pavilion opposite that gen medierer de omkringliggen- gende kvaliteter ved historicismen, mens dens points out the fundamental qualities of its beaux- de bygningers forskellighed. synlige konstruktion og enkle form relaterer sig arts style, while its visible construction and sim- kraftigt til de prismatiske former og let aflæselige ple shapes relate strongly to the exposed struc- opbygning af de tiloversblevne huse på Tietgens ture and prismatic forms of the older buildings re- Ærgrelse. maining on Tietgens Ærgrelse. Left: the facade Mod Store Kongensgade har facaden den an- On Store Kongensgade the facade has the dif- towards the church. Right: the facade towards Store den og måske mere vanskelige opgave at danne ferent, perhaps more difficult task of forming a Kongensgade. Opposite page: par med pavillonen overfor og samtidig være en pair with the pavilion opposite and at the same mock-up of the two corner del af rækken af pudsede bygninger uden relief, time being part of the range of earlier flat fronted pavilions. The building can be der ligger til den anden side. Dette er løst ved at stucco buildings that lie on its other side. This is read as an abstract rendition tegne den som en udgave af de ældre bygninger i achieved by designing it as a version of the earlier of Meldahl’s pavilion, situated samme størrelse som pavillonen, med et mønster buildings at the size of the pavilion, with a pattern on the opposite corner. Subtle variations in the elevation bygget op af tre vinduer og en gesims og en tage- of three windows and a cornice and attic, as in mediate the surrounding tage ligesom pavillonen. Denne og de øvrige fa- the pavilion. This and the other facades are fin- buildings’ differences. cader står i indfarvet puds – den traditionelle ished in unpainted stucco – the traditional stucco

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københavnske overflade som Meldahl bruger i sit of Copenhagen that Meldahl used in his apart- Mens vinduerne er en del af etagebyggeri og som, i malet udgave, også er an- ments and which, in painted form, covers the facadens kompositoriske vendt på bygningerne langs Store Kongensgade. buildings along Store Kongensgade. Noticing system, spiller deres forskel - lige materialer og udformning Vi lagde mærke til, at de tidlige, klassicistiske byg- that early classical buildings in Copenhagen are op til de umiddelbare kvali- ninger i København somme tider er bygget i en sometimes constructed of a mixture of real stone, teter ved deres omgivelser. blanding af natursten, puds, der skal ligne sten og stucco made to look like stone and wood painted I kontor- og beboelsesetagerne regulær puds. Det gav os en frihed til at bruge for- to look like stone or stucco, gave us the freedom er karmene i træ som i skellige materialer med ens udseende til bygning- to use different materials of similar appearance in Meldahls etagebyggeri, med ens facader. Der er anvendt sandstensfarvet the facades of the building. Natural, stone en midterpost, der støtter et næsten usynligt glasværn, puds udenpå højeffektiv isolering som afsluttende coloured stucco is used as the outer finish of the bag hvilket vinduerne åbner facadebehandling på den nye bygning. Gesimsen new building, placed over a layer of high- som til en balkon. Rendering er en blanding af Obernkirchen-sandsten – den perf orming thermal insulation. The cornice is of af Toni Yli Suvanto. samme som er benyttet til istandsættelsen af a mixture of Obernkirchen stone - also used in Amalienborg-palæerne – og armeret beton, der the restoration of the Frederiksstaden palaces - While the windows are a part of the ordering system of ligner natursten. Balkonerne vil blive udført i ar- and GRC that looks like stone, and balconies will the facade, their different meret beton, der vil ligne puds. Penthouse-lejlig- be of GRC that looks like stucco. Above, the materials and their heden øverst er beklædt med belgisk mørk granit, penthouses are clad in Belgian blue stone that elaboration are bound up som ser ud som skifertagene på etagebyggeriet. looks like the slate on the roofs of the apartments. with the outright qualities of Mens vinduerne er en del af facadens kompo- While the windows are part of the ordering their respective locations. In the office space and on the sitoriske system, spiller deres forskellige materia- system of the facade, their different materials and residential floors, they are ler og udformning op til de umiddelbare kvalite- forms engage with the immediate qualities of timber casements, as we also ter ved deres omgivelser. I caféen i stueetagen og their location. In the ground floor café and fifth find in Meldahl’s block of i penthouse-lejligheden på 5. sal har de smalle floor penthouse they have slim metal frames that flats, with a central vertical metalrammer, som maksimerer kontakten med maximise contact with the street or sky. In the of- mullion that supports an gaden eller himlen. I kontor- og beboelsesetager- fice and residential floors they are timber case- almost invisible glass balustrade, behind which the ne er karmene i træ som i Meldahls etagebyggeri, ments like those in the apartments, with a central windows open as they would med en midterpost, der støtter et næsten usynligt vertical mullion supporting an almost invisible open to a balcony. glasværn, bag hvilket vinduerne åbner som til en glass balustrade behind which the windows open Visualization by balkon. as onto a balcony. Toni Yli Suvanto.

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Meldahls lejligheder benyttes efterhånden på en Meldahl’s apartments have come to be occupied meget utvungen facon, nogle til beboelse og an- in a very informal way, some as residences and dre til erhverv. Gårdene er blevet til indgange, ha- others used for work. Their forecourts have be- ver og cykelparkering. Ovenpå baghuset til det come entrances, gardens and bicycle parks. On første gamle hus på Tietgens Ærgrelse er indret- the roof of the small house in Tietgens Ærgrelse tet en uformel taghave, en tilpasning, der fortsæt- an ad-hoc garden has been built that extends ter i altanerne på den nye bygning. Gennem sin from the back of a building in Store Kongens- disponering vil bygningen også spille en tilsva- gade, an adaptation that continues in loggias of rende rolle for pladsen. Fra Store Kongensgade the new building. Through the way that it is con- går man ind i en café i stueetagen med udsigt figured the new building will also play a similar mod Marmorkirken. Et separat lejemål til liberalt role in the square. A café on the ground floor is erhverv ligger på første sal. Herover kommer to entered from Store Kongensgade and looks out beboelseslejligheder per etage, den ene en klas- onto the Marble Church. A discrete professional sisk københavnerlejlighed mod Marmorkirken, office will occupy the first floor. Above there will den anden en mindre lejlighed med åben plan be dwellings, two per floor, one an apartment fac- mod Store Kongensgade. Hele tagetagen udnyt- ing the Marble Church the other a loft space tes til en penthouse-lejlighed med vid udsigt over looking out to Store Kongensgade. A penthouse København. with extensive views over Copenhagen will occu- Forskellige vinduesformater giver en særlig ka- py the whole of the attic. rakter til hver af etagerne. Caféen er mere afskær- Different window shapes give specific charac- met mod den støjende gade og mere åben mod ters to each of these floors. The café is more en- Frederiksgade og Marmorkirken. closed where it faces the busy street and open to- I kontorlejemålet er der en kraftfuld sammen- wards Frederiksgade and the Church. In the of- stilling af lodrette vinduer på gadesiden og næ- fice floor there is an energetic juxtaposition of sten trykkede, vandrette vinduer på de andre si- vertical windows on the street side and the com- der. Lejlighederne mod kirken har lodrette vin- pressed horizontal windows in the other eleva- duer til gulv og altaner, der udgår fra opholds- tions. Apartments facing the church have vertical stuen som indrammer udsigten til Marmorkirken windows extending to the floor and loggias that og pavillonen overfor. Mod Store Kongensgade extend from the living room, framing views of the

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I caféen i stueetagen og i penthouse-lejligheden på 5. sal har vinduerne smalle metalrammer, som maksimerer kontakten med gaden eller himlen. Rendering af Toni Yli Suvanto.

In the ground floor café and in the fifth-floor penthouse, the windows are fitted with slim metal frames that maximise contact with the street or the sky. Visualization by Toni Yli Suvanto.

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Når balkonerne og gesimsen er lejlighederne mere rå og atelier-agtige, med Marble Church and pavilion. Facing Store Kon- bliver opsat på bygningen hjørnevinduer, der åbner ud mod gadelivet ne- gensgade the apartments are more robust and efter metroens færdiggørelse, denfor. Penthouse-lejligheden er i høj grad et loft-like, with corner windows overlooking the og når bygningens indgang produkt af sin beliggenhed, en pavillon på taget street scene below. The penthouse is very much fra Frederiksgade åbnes, vil konflikten om det uafsluttede med balkoner hele vejen rundt, hvis brystning er a product of its situation, a pavilion on the roof hjørne være løst i respekt for i samme højde som kirkens, så kuplen og statuer- with balconies all around it, its parapet at the den formelle intention bag ne kommer overraskende tæt på. same level as that of the Church so that the cupo- pladsen, og Frederiksstaden Gennem udsynet vil bygningens indre have la and statues are startlingly evident. endelig fuldendt – ikke som en både fysisk og social sammenhæng med By their outlook the interiors of the building oprindeligt forudsat, men kvarteret. Man vil ikke alene kunne se den geo- will have social and physical continuity with the som det, den er blevet ved begivenhedernes og menne- metriske Marmorkirke, men også de andre neighbourhood. Not only the geometric Marble skenes påvirkning. bygninger, hvis organiske karakter skyldes gen- Church will be seen but the other older buildings, tagne ombygninger. Mens byer kan tilføres whose organic qualities come from successive When the balconies and the skønhed og orden gennem arkitekturen, får de modification. While cities can be given beauty cornice are clipped on to the building after construction deres karakter fra begivenhedernes påvirkning and order by architecture, they are given charac- on the Metro station has af dem og fra effekten af mennesker, der lever ter by the impact of events and the effect of been completed, and when deres liv i dem. Set fra den synsvinkel vil den people living their daily lives. From this perspec- the building’s entrance from udskydelse af byggeriets færdiggørelse, som tive the delay to the completion of the building Frederiksgade is opened, the skyldes anlæggelsen af metroen og stationen i caused by the construction of the Metro line and conflict around the Frederiksgade, være en del af denne proces. station in Frederiksgade is part of that process. unfinished corner will be resolved with respect to the Når balkonerne og gesimsen bliver opsat på When the balconies and cornices are installed on formal intention underlying bygningen efter metroens færdiggørelse, og når the building after the works to the Metro are the square, finally bringing bygningens indgang fra Frederiksgade åbnes, complete, and the building’s entrance is opened Frederiksstaden to its vil konflikten om det uafsluttede hjørne være into Frederiksgade, the unfinished corner will be completion – not in terms of løst i respekt for den formelle intention bag resolved with the formal intention of the square, how it was originally pladsen, og Frederiksstaden endelig fuldendt – finally bringing Frederiksstaden to completion - intended but in terms of what it has become, having ikke som oprindeligt forudsat, men som det, not in terms of how it was intended but what, come under the influence of den er blevet ved begivenhedernes og menne- through the action of people and events, it has people and events. skenes påvirkning. become.

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Mellem fuldendelse Between Completion og fragment and Fragment - Arkitekturen i Tietgens Ærgrelse - The architecture in Tietgen’s Agony

Af/By lektor, På hjørnet af Store Kongensgade og den del af On the corner of Store Kongensgade and the part dr. phil og ph.d., Frederiksgade, der fører ind til bagsiden af Mar- of Frederiksgade that leads in around the back of arkitekt maa morkirken, ligger Tietgens Ærgrelse. Huset er the Marble Church lies Tietgen’s Agony. The udformet som en moderne pendant til en over- building has been designed as a modern counter- Peter Thule for beliggende hjørnepavillon, der udgør en del part to a corner pavilion situated directly across Kristensen af den historicistiske randbebyggelse omkring the street, a building that forms part of the hous- kirken. Hermed indskriver projektet sig i en ing development in Beaux-Arts style surrounding lang historie, der tager sin begyndelse med ud- the church. With this, the project is inscribed in a bygningen af Store Kongensgadekvarteret i lengthy history that begins with the establish- midten af 1600-tallet, men som herefter især er ment of the Store Kongensgade quarter in the knyttet sammen med 1700-talsbydelen Frede- middle of the 17th century but subsequently re- riksstaden, hvis centrale monument, Marmor- volves around the 18th century urban develop- kirken og den omgivende randbebyggelse imid- ment known as Frederiksstaden, whose central lertid først bliver fuldendt i slutningen af det 19. monument, the Marble Church, with its encir- århundrede. Fuldendt – på nær det omtalte syd- cling housing development, however, was not vestlige hjørne, hvor fire 1700-tals huse blev lig- completed until the closing of the 19th century. gende, fordi de var for dyre at erhverve for mar- Completed – apart from the aforementioned morkirkens sidste bygherre C. F. Tietgen; heraf southwestern corner of the grounds, where four navnet Tietgens Ærgrelse. Det nye hus på hjør- 18th century houses were still standing, because Kig til Store net er således udtryk for en 260 år gammel am- they were too expensive for the Marble Church’s Kongensgadekvarteret fra Marmorkirkens kuppel ved bition om at afslutte rokokobydelen Frederiks- last patron, the financier C.F. Tietgen, to acquire. byggeriets begyndelse staden med et værdigt kirkemonument og en Hence the name, Tietgen’s Agony. The new januar 2010. dertil passende indramning. En ambition, som i building on the corner thus fulfils a 260-year old historiens løb blandt andet involverede arkitek- ambition to bring the Rococo urban quarter, View towards the Store ter som Frederiksstadens ophavsmand Nicolai Frederiksstaden, to its completion – with a digni- Kongensgade quarter from Eigtved, nyklassicisten Nicolas-Henri Jardin, hi- fied church monument and a suitable frame the Marble Church dome at the time that construction storicisten Ferdinand Meldahl og nu endelig around it: an ambition that, in the course of his- on the new building med Tietgens Ærgrelse den engelske arkitekt tory, involved several architects like Frederiks - commenced. January 2010. Tony Fretton. staden’s original creator, Nicolai Eigtved; the

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neo-classicist, Nicolas-Henri Jardin; the Beaux- Arts protagonist, Ferdinand Meldahl; and now, at last, with Tietgen’s Agony, the British architect, Tony Fretton. With this preliminary history in mind, an obvious question emerges: how does a modern architect address an ambition related to completing a historic layout with origins in the Baroque era and which consequently reflects a different mindset than that of our own time? – A mindset stem- ming from a hierarchical societal order that concretely translates into monumental buildings am- ply studded with ornamentation rooted in antiq- uity? The question becomes further relevant when we take into consideration that the artistic avant-garde in the 20th century, and even since the Romantic era, has made a virtue out of bringing forth works that are unfinished, fragmentary and abstract. As the present article will show, Tony Fretton circumvents the historical context in a manner that generates a multiplicity of meanings. At first glance, Fretton’s intervention has to do with completing the existing layout in a relatively straightforward and inconspicuous way. Upon closer examination, though, you come to discov- er that the simplicity cloaks a complex design where it is especially the building’s interior that sets up a surprising dialogue with the surrounding

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Med denne forhistorie er et nærliggende spørgs- city and where the historic fabric unexpectedly mål, hvordan en moderne arkitekt forholder sig becomes present and contemporary. til en ambition om at fuldende et historisk an- læg, der har aner tilbage i barokken og dermed også afspejler et andet tankesæt end vor tids. Et The architect tankesæt, som bunder i en hierarkisk samfunds- The project is designed by the British architect, orden, og som konkret udmønter sig i monu- Tony Fretton, who, aside from running his studio mentalbygninger, spækket med ornamentik in London, is also professor of Architecture and med rødder i den antikke bygningskunst. Interiors at Delft University of Technology in the Spørgsmålet bliver ydermere relevant, hvis man Netherlands. In Denmark, Fretton has designed medtænker, at den kunstneriske avantgarde i the Fuglsang Art Museum on Lolland in 2008, Portræt af Tony Fretton. det 20. århundrede, ja siden romantikken, har which, like Tietgen’s Agony, was built with local Portrait of Tony Fretton. gjort en dyd ud af at skabe værker, som er ufuld- assistance from the Danish studio, BBP Architects. endte, fragmentariske og abstrakte. The choice of Fretton as architect, however, Som artiklen vil vise, omgås Tony Fretton den was not motivated by his knowledge of Denmark historiske kontekst på en flertydig måde. Ved før- but rather by his ability to work within complex ste øjekast handler Frettons indgreb om at fuld- historical, cultural and urban contexts. He evi- ende det eksisterende anlæg på forholdsvis enkel dently manages both to bring an existing context og upåfaldende vis. Ved en nærmere betragtning into play and to create an up-to-date artistic opdager man imidlertid, at enkelheden dækker statement with a certain autonomy in a way sel- over en kompleks formgivning, hvor ikke mindst dom seen among architects who otherwise prac- husets interiører går i en overraskende dialog tise in preservation-worthy environments. Fur- med den omgivende by, og hvor det historiske thermore, Fretton has gained experience, espe- stof pludselig opleves nærværende og nutidigt. cially on the basis of his activity in London, with creating spatially composite architecture on relatively small sites. For example, Fretton took ad- Arkitekten vantage of a narrow and irregular backyard in Projektet er tegnet af den engelske arkitekt Tony Chelsea to create a house, recently designed for Fra Tony Frettons tegnestue. Fretton, der driver sin tegnestue fra London og the artist Anish Kapoor, with a surprisingly large From Tony Fretton’s studio.

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derudover er professor på arkitektuddannelsen array of spatial qualities. This talent is particularly Fotografi af Tony Frettons på Delfts Tekniske Universitet i Holland. I en relevant in relation to Tietgen’s Agony, which is ’Kapoor House’, interiør, dansk sammenhæng er Fretton især kendt som situated on a small and intractable building site in London 2008. arkitekten bag Fuglsang Kunstmuseum fra 2008, the midst of the historic city and has a compact Interior from Tony Fretton’s der ligesom Tietgens Ærgrelse er blevet til med programme with diverse functions. Finally, Fret- “Kapoor House”, London. lokal bistand fra den danske tegnestue BBP arki- ton masters the exclusive genre, as demonstrated Completed in 2008. tekter. early on in the urban villa, The Red House, from Valget af Fretton som arkitekt skyldes dog 2000, which has ceiling heights exceeding five ikke hans lokalkendskab, men snarere hans evne meters and a high but not overdone degree of de- til at arbejde med komplekse historiske, kulturel- tail: another useful skill deployed in Tietgen’s le og bymæssige sammenhænge. Han formår til- Agony, where the prominent location and high syneladende både at bringe en eksisterende kon- construction costs set the stage for exclusivity. tekst i spil og at skabe tidssvarende kunstnerisk In a larger perspective, Tony Fretton is espe- udsagn med en vis autonomi på en måde, som cially known as a pioneer of a British current that man sjældent møder blandt arkitekter, der ellers broke, at the end of the 1990s, with the otherwise slår deres folder i bevaringsværdige omgivelser. dominant British high-tech tendency, by taking Derudover har Fretton især fra sit virke i London the existing physical, cultural, and social context erfaring med at skabe rumligt sammensat arki- more into account. In this way, Fretton’s architec- tektur på forholdsvis lidt plads, eksempelvis for ture, as opposed to the more technology-fixated nylig i kunstneren Anish Kapoors hus i London, high-tech architecture, contains elements linked hvor Fretton udnyttede en smal og irregulær to the design of former times and to accidentally baggård til at tegne et hus med overraskende occurring conditions in the surroundings. How- mange rumlige kvaliteter. En sådan evne er net- ever, what we have here is not a case of a post- op relevant i forhold til Tietgens Ærgrelse, der modern “quotation-architecture” that regards the ligger på en lille og vanskelig byggegrund midt i reintroduction of historical styles as an ideological den historiske by og har et komprimeret pro- project but rather a kind of architecture that stems gram med forskelligartede funktioner. Endelig from a fascination with the “as found” around an behersker Fretton den eksklusive genre, tidligt architectural project. In this sense, Tony Fret- demonstreret i byvillaen The Red House fra ton’s architecture also differentiates itself from

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the nostalgic “Prince Charles” architecture – a contemporary British current which, spearheaded by the Crown Prince, aspires to recreate a Geor- gian architecture, regardless of context. About his own approach, Fretton has this to say: “When designing I draw on things that already exist, that I have observed and experienced, in which I sense social, political and artistic qualities that will be recognised by other people”.1

The quarter With Fretton’s contextual approach in mind, then, it seems relevant to begin an analysis of the project by taking a look at the context – or rather the contexts – for Tietgen’s Agony. This means, quite simply, the physical and non-physical rela- tions to which the project addresses itself through its architecture. If we consider, first of all, the urban context around Tietgen’s Agony two distinct situations come into view. Tietgen’s Agony, as mentioned in the introduction, is placed in the Store Kongens- gade quarter but belongs at the same time to Frederiks staden’s narrative, where the area encircling the Marble Church constitutes a kind of annex to the west of Bredgade. These two quarters are actually rather different. The parcelling out of the Store Kongensgade quarter’s lots dates back to

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2000, der har rumhøjder på over fem meter og the middle of the 17th century. The original plots Fotografi af Tony Frettons en høj, men ikke overgjort detaljeringsgrad. Igen in this quarter, a few of which actually border on ’Red House’, interiør, en kunnen, som også kan bruges i Tietgens Ær- Tietgen’s Agony, are smaller than those typically London 2008. grelse, hvor den prominente placering og de høje found in Frederiksstaden. The Store Kongensgade Interior from Tony Fretton’s byggeomkostninger lægger op til eksklusivitet. quarter was not placed under the same stringent “Red House”, London. I et større perspektiv er Tony Fretton især protocol as was Frederiksstaden. Moreover, the Completed in 2008. kendt som pionér inden for en engelsk strøm- Store Kongensgade quarter was constructed over ning, der i slutningen af 1990’erne brød med den a longer span of time. For example, all the cor- ellers dominerende engelske high-tech tendens nices and roof heights in Frederiksstaden were ved i højere grad at inddrage den forefundne aligned with each other from the very outset, kontekst, både som et konkret fysisk, et kulturelt while Store Kongensgade is characterized instead og et mere socialt fænomen. På denne måde kan by houses that have varying window- and roof- Frettons arkitektur i modsætning til den mere heights, clearly divulging that they were con- teknologifikserede high-tech-arkitektur rumme structed at different points in time. elementer, som er knyttet til tidligere tiders ud- The three – originally four – houses on Store tryk eller til tilfældigt opståede forhold i omgi- Kongensgade, which – taken together – have velserne. Der er dog ikke tale om en postmoder- borne the nickname “The Thorn in Tietgen’s ne ”citat-arkitektur”, der ser det som et ideolo- Side” since the 1890s and which today are con- gisk projekt at genintroducere historiske stilar- tiguous to the new building, are typical examples ter, men snarere om en arkitektur, der udsprin- of this richness of variation. Two of the front ger af en fascination af ”de forhåndenværende buildings, which pre-date 1730, and the third søm” omkring et arkitekturprojekt. Hermed ad- front building, which dates from 1748, were all skiller Frettons arkitektur sig også fra den no- heightened with additional floors during the lat- stalgiske ”Prince Charles”-arkitektur – en nuti- ter part of the 18th century. Today, the complex dig engelsk strømning, der, anført af kronprin- has a picturesque look, thanks to the narrow fa- sen, forsøger at genskabe en klassicistisk arkitek- cades, the divergences in the roofs’ heights, the tur uanset kontekstens beskaffenhed. Selv siger diversity of the attics and the tortuous inner Fretton om sin tilgang: ”Når jeg formgiver, træk- courtyards, which function primarily as narrow ker jeg på ting, som allerede eksisterer, som jeg light shafts. The fourth of the houses, which was

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Den tomme byggerund er har observeret og erfaret. Ting, hvori jeg for- positioned at the north end of the row and was blevet brugt til forskellige nemmer sociale, politiske og kunstneriske kvali- built in 1786, had – over an extended period of ting i tidens løb. Her til salg teter, som vil kunne blive erkendt af andre folk”.1 time – fallen so deeply into disrepair that the Her- af gravsten. Tv: Juni 1902, itage Agency of Denmark repealed its status as a Fritz Benzen. Th: September 1912, Rådhusforvalteren. listed building. The previous owner had the Københavns Museum. Kvarteret house demolished and Realdania Byg acquired Med Frettons kontekstuelle tilgang er det rele- the two vacant lots. In the course of time, vant at indlede en analyse af projektet med at In comparison to these houses, the housing the vacant corner plot that kaste et blik på konteksten eller rettere kontek- development on Frederiksgade that encircles the eventually became a building sterne for Tietgens Ærgrelse. Hermed forstås Marble Church possesses a wholly different site has been used for many purposes. Here, for selling ganske enkelt de fysiske og ikke-fysiske sam- character. It is larger in scale, both in terms of gravestones and funerary menhænge, som projektet forholder sig til gen- floor heights and in terms of the building develop- monuments. nem sin arkitektur. ment’s aggregate volume and it is rather more Left: June 1902, Betragter man først den bymæssige kontekst pretentious in its facade expression. The housing Fritz Benzen. omkring Tietgens Ærgrelse, falder to forskellige development was designed by the period’s most Right: September 1912, situationer i øjnene. Tietgens Ærgrelse er, som influential architect, Ferdinand Meldahl, who the Town Hall Bailiff. Museum of Copenhagen. nævnt i indledningen, placeret i Store Kongens- also, a decade later, completed the Marble gadekvarteret, men hører samtidig også med til Church itself. It was finished and ready for occu- Frederiksstadens fortælling, hvor området pancy in 1884. The continuous structure nestles

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omkring Marmorkirken udgør et slags anneks up snugly around the church, thus enhancing Den tomme hjørnegrund har vest for Bredgade. De to kvarterer er i virkelig- the church building’s monumentality. Typical of haft en omskiftelig tilværelse heden ret forskellige. Store Kongensgadekvarte- Meldahl’s architecture, the complex has been i tidens løb. Her som tank- station. Tv. 1916, Elfelt. rets udstykninger går tilbage til midten af 1600- designed in a historical idiom that is supposed to Th. 1925, Elfelt. tallet, hvilket bevirker, at de oprindelige grund- appeal to the viewer’s cultural refinement and Københavns Museum. stykker, hvoraf et par grænser op til Tietgens arouse associations to famous historical monu- Ærgrelse, er mindre end Frederiksstadens. Store ments in and around Europe. In this case, how- The vacant corner plot has Kongensgadekvarteret havde heller ikke samme ever, the inspiration came more from Frederiks - had a chequered career in stramme regelsæt som Frederiksstaden og er til- staden’s Rococo architecture, which was more the course of time. Here, it can be seen in its incarnation lige blevet bebygget over et længere tidsspænd. than 130 years old by then, and, particularly as a filling station. For eksempel skulle alle gesimser og taghøjder i from the twin mansions, Dehn’s Palace and Left: 1916, Elfelt Frederiksstaden fra starten flugte med hinanden, Bernstorff’s Palace, which, when viewed from Right: 1925, Elfelt. mens Store Kongensgade i stedet er præget af the Marble Church, flank the entrance to Museum of Copenhagen. huse, der har varierende vindues- og taghøjder Amalienborg Palace Square. For example, Mel- og afspejler at være bygget på forskellige tids- dahl appropriated these two mansions’ division punkter. into pavilions that are crowned by mansard roofs De tre – oprindeligt fire – huse i Store Kon- and he also re-used specific ornaments from the gensgade, der sammen siden 1890’erne bar øge- mansions. At the same time, Meldahl could not navnet Tietgens Ærgrelse og i dag støder op til resist applying decorative dormer windows in a

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De to tvillingepalæer Dehns og Bernstorffs palæer flankerer, set fra Marmor- kirken som her, indkørslen til Amalienborg Slotsplads.

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The two “twin mansions”, Dehn’s and Bernstorff’s Palaces, as seen here from the vantage point of the Marble Church, flank the vehicular approach to Amalienborg Castle Square.

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Randbebyggelsen stod færdig det nye hus, er typiske eksempler på den omtal- French Renaissance style. Nor was he shy about i 1884 og var konciperet af te variationsrigdom. To af forhusene, der stam- taking recourse in the day’s new production periodens mest indflydelsesrige mer tilbage fra tiden før 1730, og det tredje for- methods, as evidenced in the form of pre- arkitekt Ferdinand hus, der er fra 1748, er alle blevet forhøjet med fabr icated concrete balconies. Above and be- Meldahl, der også et årti senere fuldendte selve ekstra etager i løbet af 1700-tallet. Komplekset yond this, the housing development surrounding Marmorkirken. I praksis blev virker i dag malerisk på grund af de smalle faca- the Marble Church – in contrast to these man- randbebyggelsen dog tegnet af der, uoverensstemmelserne i taghøjden, de for- sions – was not built for a single family but em- andre arkitekter, ikke mindst skelligartede kviste og de snirklede baggårde, braces a conventional – albeit luxurious – block hans tidligere medarbejder der mest af alt fungerer som smalle lysskakte. of flats in five floors. As has been said, the build- Frederik Blichfeldt. Den Det fjerde hus, der lå yderst i rækken og var fra ing development was never finished due to the smyger sig forholdsvis tæt omkring kirken, hvilket 1786, var over en længere årrække forfaldet så aforementioned 18th century houses. These er med til at fremhæve kirke- meget, at Kulturstyrelsen ophævede fredningen. made their mark with large fireproof gables that bygningens monumentalitet. Den tidligere ejer nedrev huset og Realdania faced a small square, which until recently housed Byg erhvervede de to tomme grunde. a hot dog stand. Some found this blemish The housing development was I forhold til de omtalte huse i Store Kongens- charming while others made attempts to con- drafted by the period’s most gade har den øvrige randbebyggelse omkring summate the ensemble. In 1987, for example, the influential architect, Marmorkirken en anderledes karakter. Den er architect firm of Kjær and Richter designed a Ferdinand Meldahl, who større i sin skala, både med hensyn til etagehøj- proposal for a narrow building to be positioned also, a decade later, completed der og bebyggelsens samlede omfang, og mere in front of the fireproof gables – like Fretton’s The Marble Church itself. prætentiøs i sit facadeudtryk. Randbebyggelsen house, a modern counterpart to Meldahl’s build- However, the housing development was actually stod færdig i 1884 og var tegnet af periodens ing complex. designed by other architects, mest indflydelsesrige arkitekt Ferdinand Mel- The building development’s raison d’être, the not least his former employee dahl, der også et årti senere fuldendte selve Mar- Marble Church – or Frederik’s Church, was con- Frederik Blichfeldt. It was morkirken. Den smyger sig forholdsvis tæt om- ceived from the outset as the culmination of finished and ready for kring kirken, hvilket er med til at fremhæve kir- Frederiksstaden, which had been established in occupancy in 1884. The kebygningens monumentalitet. Typisk for Mel- 1749 and which, in its own day, bore comparison continuous structure nestles up snugly around the church, dahls arkitektur er komplekset udformet i histo- with the very finest examples of European thus enhancing the church riske formsprog, der skulle appellere til betragte- Baroque and Rococo layouts. As an urban plan, building’s monumentality rens kulturelle dannelse og skabe associationer til Frederiksstaden stood as an exponent of an era

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Bebyggelsen blev aldrig kom- kendte historiske bygningsværker i det store Eu- when entire cities and landscapes were staged plet, og indtil for nylig stod ropa. I dette tilfælde er bebyggelsen dog især in- with theatrical axes and grand squares, all for the der i stedet en pølsevogn på spireret af Frederiksstadens godt 130 år ældre ro- glory of God or the King. It lies in fine accordance den tomme grund. kokoarkitektur, ikke mindst de to tvillingepalæer with this line of thinking that Frederiksstaden’s two The construction project Dehns og Bernstorffs palæer, der set fra Mar- main axes would meet precisely at an equestrian was never brought to its morkirken flankerer indkørslen til Amalienborg statue of the absolute monarch, King Frederik V: a completion and, until quite Slotsplads. Eksempelvis overtog Meldahl de to statue that is surrounded on four sides by noble- recently, a hot dog stand palæers opdeling i pavilloner, der er afsluttet af men’s palatial mansionspalaces and town houses stood on the otherwise mansardtage, ligesom han også genbrugte kon- and which has right in front of it, as its point de vacant lot. krete ornamenter fra palæerne. Meldahl kunne vue (as it was called in the ideal nation, France), samtidig ikke dy sig for også at bruge dekorative the Marble Church. In this way, the Danish sub- kviste i en fransk renæssancestil og var heller jects were constantly being reminded that the ikke bange for at ty til tidens nye produktions- royal power was centrally placed in society and metoder, der f.eks. viser sig i form af fabriksfrem- was also “by the Grace of God”. stillede betonbalkoner. Derudover er randbebyg- The church was not completed in either King gelsen omkring Marmorkirken i modsætning til Frederik V’s or his successor’s lifetime but re- palæerne ikke bygget til en enkelt familie, men mained instead as a ruin-like torso for almost 150 dækker over et konventionelt – om end herska- years, because of a lack of funds. This was partly beligt – lejlighedsbyggeri i fem etager. Som om- due to costly marble having been chosen as the talt, blev bebyggelsen dog ikke komplet på grund building material. Curiously enough, it was here af de omtalte 1700-talshuse, der ud til Frederiks- that the Golden Age artists including the sculp- gade markerede sig med store brandgavle foran tor Bertel Thorvaldsen, just returned from en lille plads, hvor der indtil for nylig stod en pøl- Rome, liked to host picnics and be reminded of sevogn. Mange fandt denne skønhedsfejl char- the Roman ruins. At the same time, however, merende, mens andre forsøgte at fuldende en- there was no shortage of proposals for making semblet, f.eks. arkitektfirmaet Kjær og Richter, use of the ruin: there was, for example, even a der i 1987 tegnede et forslag til en smal bygning suggestion to build a museum for the very same foran brandgavlene – ligesom Frettons hus en Thorvaldsen, who was otherwise busy justify- moderne pendant til Meldahls bebyggelse. ing the ruin’s existence2 and another proposal

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Frederiksstaden: Det kendte Bebyggelsens egentlige raison d’être, Marmor- involving using the marble from the ruin as a kobberstik af Amalienborg kirken eller Frederikskirken, var fra starten pedestal for an equestrian statue of King Frederik Slotsplads med Jardins tænkt som kulminationen på Frederiksstaden, VII. However, it wasn’t until the financier, C.F. Marmorkirke i baggrunden, der blev grundlagt i 1749 og i sin samtid ikke Tietgen, arrived on the scene with his assistance tegnet af Le Clerc og stukket af I. M. Preisler i 1766, stod tilbage for de fineste europæiske barok- og that the church was completed in a style that Københavns Museum. rokokoanlæg. Frederiksstaden var som byplan owes a debt to both the neo-classicist church ruin eksponent for en tid, hvor hele byer og landska- and the Roman Baroque, as can be seen, for exam- Frederiksstaden: I.M ber blev iscenesat med teatralske akser og plads- ple, in the dome crowning the St. Peter’s Basilica. Preisler’s famous engraving, anlæg, alt sammen til Guds eller Kongens ære. As I will describe in the next section, Tony dating from 1766, of the Det er i fin overensstemmelse med en sådan tan- Fretton addresses himself in a most thoughtfully Amalienborg Square, after a drawing by Le Clerc, kegang, at Frederiksstadens to vigtigste akser considered fashion to the quarter’s idiom. But at showing Jardin’s Marble netop mødes i en rytterstatue af den enevældige the same time, he involves other aspects of the Church in the background. monark Frederik V, der på fire sider er omgivet context than the merely formal ones. For exam- Museum of Copenhagen. af adelspalæer, og som foran sig – eller ”point de ple, he is interested in how the housing develop- vue”, som man sagde i idealnationen Frankrig – ment encircling the Marble Church, notwith- havde Marmorkirken. På denne måde blev un- standing its uniform and representative expres- dersåtterne erindret om, at kongemagten var sion, also has the capacity to accommodate infor- centralt placeret i samfundet og samtidig var ”af mal and unplanned social activities like smaller Guds nåde”. business premises, such as a dental clinic, or bicy- På grund af manglende finanser, der blandt cles parked in some of the small front gardens. andet skyldtes valget af det kostbare byggemate- The historicist mounting therefore possesses a riale marmor, blev kirken imidlertid ikke fuld- surprisingly composite character in the present endt i Frederik V’s eller efterfølgerens levetid, day that evinces that the luxurious residences men lå i stedet i næsten 150 år som en ruinagtig dating from the 19th century are relatively flexi- torso. På dette sted yndede guldalderkunstnere ble in relation to new and heterogeneous patterns som Bertel Thorvaldsen, der var hjemvendt fra of use. This composite character manifests itself Rom, at holde picnic og mindes de romerske as well in Tietgen’s Agony, which has a café on ruiner. Samtidig skortede det dog ikke på for- the street level, office space on the first floor and slag til at udnytte ruinen, f.eks. til et museum til flats in the rest of the building.

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Nordfacade mod Frederiksgade 1 Vestfacade mod Store Kongensgade

Mod Store Kongensgade er Fret- selvsamme Thorvaldsen, der ellers forsvarede The building and the quarter tons hus smallere end pavillo- ruinens eksistensberettigelse,2 eller til en piede- nen. Facadekompositionen me- stal for en rytterstatue af Frederik VII. Først med Considered as volume, Fretton’s House is related dierer i stedet mellem pavillonen finansmanden C.F. Tietgens hjælp blev kirken especially to Meldahl’s pavilion that stands at the og de tre oprindelige borgerhuse, fuldendt i en stil, der både står i gæld til den ny- opposite corner of Frederiksgade and Store Kon- der stadig er bevaret som en del af “Tietgens Ærgrelse”. klassicistiske kirkeruin og til romersk barok, gensgade. “Pavilion” is to be understood here as a f.eks. Peterskirkens kuppel. building section that forms part of a larger build- On the left: The northern facade Som jeg vil beskrive i de næste afsnit, forhol- ing structure but also distinguishes itself inde- towards Frederiksgade 1, der Fretton sig velovervejet til kvarterets form - pendently, for example, with its own roof silhou- Meldahl’s corner pavilion. On sprog, men inddrager samtidig andre sider af ette and its own axes of symmetry. It is from Mel- the right: The western facade konteksten end de rent formmæssige. Eksem- dahl’s pavilion that the new building adopts its towards Store Kongensgade. Facing Store Kongensgade, pelvis er han optaget af, hvordan randbebyggel- depth and width, its symmetrical siting vis-à-vis Fretton’s house is narrower than sen omkring Marmorkirken på trods af sit ens- the church, and its elevations, both of the ground the pavilion. With this artede og repræsentative udtryk er i stand til floor plinth and the uppermost cornice just below modification, the facade også at rumme uformelle og uplanlagte sociale the roof. However, in the facade that faces Store composition successfully stands aktiviteter, f.eks. små erhvervslejemål som en Kongensgade, Fretton’s house is narrower than as an intermediary between the tandlægeklinik eller cykelparkering i nogle af de the pavilion, since three of the townhouses that pavilion and the three original townhouses, which are still små forhaver. Den historicistiske indfatning originally contributed to the emergence of the preserved as constituent elements har derfor i dag en overraskende sammensat- name “The Thorn in Tietgen’s Side” are still pre- of “The Thorn in Tietgen’s Side”. hed, der viser, at herskabslejligheder fra det 19. served today. The new building also takes over

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århundrede er forholdsvis fleksible i forhold til the Meldahl pavilion’s window partitions and the Fra Store Kongensgade. nye og forskelligartede brugsmønstre. Denne symmetrical facade composition facing Frederiks - Betragtet som volumen sammensathed manifesterer sig også i Tietgens gade, where, in both Fretton’s building and Mel- forholder Frettons hus sig især til Meldahls pavillon Ærgrelse, der har café i stueetagen, kontor på dahl’s pavilion, the central part of the facade på hjørnet af Frederiksgade første sal og boliger i resten af huset. comprising the three middle window-bays is og Store Kongensgade. slightly projected. Finally, Fretton is working with a recessed penthouse level corresponding to Considered as volume, Huset og kvarteret Meldahl’s mansard roof, whose dormer windows Fretton’s House is related Betragtet som volumen forholder Frettons hus are also drawn back with respect to the facade especially to Meldahl’s pavilion, which stands at sig især til Meldahls pavillon på hjørnet af Fre- line. Fretton’s work thus distinctly re-reads the the opposite corner of deriksgade og Store Kongensgade. Med pavillon existing context, which promotes a symmetrical Frederiksgade and Store forstås i dette tilfælde et bygningsafsnit, der ind- and homogeneous framing of the Marble Church Kongensgade. går i en større bygningsstruktur, men som sam- as seen from Store Kongensgade. tidig markerer sig selvstændigt for eksempel On the other hand, the back side of Tietgen’s med en egen tagsilhuet og egne symmetriakser. Agony, which is contiguous to the aforemen- Fra Meldahls pavillon overtager det nye hus tioned townhouses on Store Kongensgade, is dens dybde og bredde, den symmetriske place- different in its framing and structure from the rest ring i forhold til Marmorkirken og højderne of the building’s sides. Here, we find an asym- både på sokkelpartiet i stueetagen og på den metric delimitation of the building and a more øverste gesims lige under taget. Kun mod Store complex arrangement of openings that fits neatly

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Østfacaden, der er vendt Kongensgade er Frettons hus smallere end pa- in ensemble with the more picturesque townhouses mod Marmorkirken, er kun villonen, idet tre af de borgerhuse, der oprinde- and the adjoining world of irregularly shaped tilsyneladende symmetrisk. ligt var med til at lægge navn til ”Tietgens Ær- courtyards and back buildings of varying heights. Den inderste række fag er grelse”, er bevaret. Tilsvarende overtager den The building’s eastern facade, which faces the nemlig ikke vinduer, men åbninger til udendørs nye bygning Meldahl-pavillonens fagdelinger, Marble Church and borders on the aforemen- loggiaer. det vil sige antallet af vinduer, og den symmetri- tioned courtyards, is not entirely symmetrical ske facadekomposition mod Frederiksgade, either, inasmuch as the innermost row of bays in The eastern facade, which hvor både Frettons bygning og Meldahl-pavillo- the flats are not windows but rather openings to faces the Marble Church, nen har markeret de tre midterste vinduesfag outdoor loggias. The symmetry is thus contested only appears to be med et bygningsfremspring. Endelig arbejder by degrees as the building draws nearer to the symmetrical: the innermost row of bays is not actually Fretton med en tilbagetrukket penthouseetage, group of 18th century buildings that, incidentally, composed of windows hvor Meldahl har et mansardtag, der også træk- also boasts a roof garden on top of one of its back but rather of openings ker vinduerne lidt tilbage i forhold til facadeflug- buildings. Interestingly enough, the older 18th to outdoor loggias. ten. Der er således tale om en tydelig genlæs- century context is conducive to an expression ning af den eksisterende kontekst, der fremmer that, with its asymmetry and irregularity, might en symmetrisk og ensartet indramning af Mar- actually appear more modern than the building’s morkirken, set fra Store Kongensgade. other facade expressions, which are under the Til gengæld er Tietgens Ærgrelses bagside, influence of Meldahl’s more recent but also more der støder op til borgerhusene i Store Kongens- formal architecture. Above and beyond this, the gade, anderledes i sin opbygning end resten af orthogonal network structure in Fretton’s facade

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Østfacade mod Marmorkirken. Sydfacade mod Store Kongensgade 82.

husets sider. Her møder vi en asymmetrisk af- is in keeping with the half-timbering of many of Sydfacaden er anderledes i sin grænsning af bygningen og en mere kompleks the 18th century houses. Another fine example of opbygning end resten af husets sider. placering af åbninger, der passer fint til de mere adaptation to the 18th century architectural style Her møder vi asymmetri og en mere kompleks placering af åbninger, der maleriske borgerhuse og den tilstødende verden is the windows in the facade on Store Kongens- passer fint til de mere maleriske af uregelmæssige baggårde og baghuse i forskel- gade, which are narrower and therefore more in borgerhuse og den tilstødende verden lige højder. Østfacaden, der er vendt mod Mar- harmony with the tighter spacing of the windows af uregelmæssige baggårde og baghuse morkirken og grænser op til de omtalte baggår- in the older townhouses. i forskellige højder. de, er heller ikke helt symmetrisk, idet den When we turn our attention to the constituent inderste række fag i lejlighederne ikke er vinduer, parts of the building, they can similarly be char- On the left: The eastern facade facing men åbninger til udendørs loggiaer. Hermed an- acterized as carrying on a dialogue, especially in towards the Marble Church. On the right: The southern facade (the back fægtes symmetrien, efterhånden som huset nær- conversation with Meldahl’s architecture. side), facing the adjoining property, mer sig 1700-talsbebyggelsen, som i øvrigt også Whereas Meldahl’s building, on the first story, is Store Kongensgade 82, is different in rummer en enkelt tagterrasse på toppen af et af fitted with balconies, Fretton’s house has corre- its framing and structure from the rest baghusene. Interessant nok er den ældre 1700- sponding balconies in the same dimensions and of the building’s sides. Here, we find tals-kontekst befordrende for et udtryk, der med while Meldahl works with pilasters, Fretton’s ver- asymmetry -delimitation of the sin asymmetri og uregelmæssighed kan virke tical pillars, situated between the window open- building and a more complex arrangement of openings that jibes well mere moderne end husets øvrige facadeudtryk, ings facing Meldahl’s building, have been pulled with the more picturesque townhouses der er påvirket af Meldahls nyere, men også a touch forward with respect to the wall beneath and the adjoining world of irregularly mere repræsentative arkitektur. Derudover har- the windows. Though not conventional pilasters shaped courtyards and back buildings monerer den retvinklede netstruktur i Frettons with base and capital, as we see on Meldahl’s of varying heights.

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Nordfacaden. Den nye bygning søger i høj grad både i komposition og stoflighed at spejle Meldahls pavillon. Og selvom udtryk- ket er moderne, og spejlingen er abstrakt, skaber de sammen en symmetrisk og ensartet indramning af Marmorkirken set fra Store Kongensgade.

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The northern facade. Both when it comes to its composition and in its physical make-up, the new building is going to great lengths to mirror Meldahl’s pavilion. And even though the building’s expression is modern and the mirror- relation is abstract, when taken together, the two buildings form a symmetrical and homogeneous framing of the Marble Church, as seen from Store Kongensgade.

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Slægtskabet med især facader med bindingsværket på mange af 1700- building, they are, rather, abstract projections Meldahls arkitektur sætter talshusene. Et andet eksempel på en tilpasning that nonetheless enter into dialogue with the sig både igennem med til 1700-talsarkitekturen ses i facaden mod Store many relief effects in Meldahl’s facades. Corre- hensyn til de enkelte byg- Kongensgade, hvor vinduerne er gjort smallere spondingly, the facade on Store Kongensgade is ningsdele og med hensyn til stoflighed og overflader. og dermed passer bedre til den tætte vindu- smooth like the facades in the adjoining town- estakt i de gamle borgerhuse. houses. Betragter man de enkelte bygningsdele, er de The affinity with Meldahl’s architecture in par- ligeledes kendetegnet ved en dialog ikke mindst ticular also manifests itself quite distinctly when it med Meldahls arkitektur. Hvor Meldahls byg- comes to the textural effects and surfaces. In Mel- ning på første sal er forsynet med balkoner, har dahl’s housing development, the facades are plas- Frettons hus tilsvarende balkoner i samme di- tered in a sandstone-like colour, while building mension, og mens Meldahl arbejder med pila- details like balconies are executed in concrete and stre, det vil sige flade indfældede søjler, er Fret- the roofs are covered with black slate. This has tons lodrette piller mellem vinduesåbningerne inspired Fretton to choose, also, to plaster his ud mod Meldahls bygninger trukket en anelse outer walls, which are moreover built of concrete frem i forhold til murstykkerne under vinduerne. elements, with a warm gray plastering. Similarly, Der er dog ikke tale om traditionelle pilastre the new penthouse is clad in dark Belgian blue- med en base og en kapitæl (søjlehoved) som hos stone that harmonizes neatly with Meldahl’s slate- Meldahl, men snarere om abstrakte fremspring, covered mansard roof. Meldahl’s predilection for

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der ikke desto mindre går i dialog med de man- imitating natural stones with the aid of artificial The affinity with Meldahl’s ge reliefvirkninger i Meldahls facader. Dog er fa- materials like cement rendering and concrete has architecture in particular caden mod Store Kongensgade glat ligesom fa- also spurred Fretton to work with prefabricated also manifests itself quite distinctly when it comes to caderne i de tilstødende borgerhuse. fibre concrete elements for the sturdy cornice un- individual building parts Slægtskabet med især Meldahls arkitektur der the penthouse floor and for the large balcony and when it comes to the sætter sig også igennem med hensyn til stoflig- on the first story. However, the balcony is sched- textural effects and surfaces. heder og overflader. I Meldahls randbebyggelse uled to be clipped on in 2018, after the comple- er facaderne pudset med en sandstenslignende tion of a new Metro station that will be posi- kulør, mens bygningsdetaljer som balkoner er tioned in the middle of Frederiksgade, right in udført i beton, og tagene er beklædt med sort front of the building. Genuine sandstone is used skifer. Dette har fået Fretton til at vælge også at only in very few particularly exposed places, e.g. pudse sine ydermure, der i øvrigt er opbygget af above the cornice. betonelementer, med en varm grå puds. Ligele- In general, the detailing of the house can be des er penthouseetagen beklædt med en mørk characterized especially by two factors: abstrac- belgisk sandsten, der harmonerer fint med Mel- tion and the use of small differences in nuances. dahls skiferbelagte mansardtage. Meldahls for- As an example of the abstraction, the translation kærlighed for at imitere natursten ved hjælp af of Meldahl’s pilasters into slightly projecting kunstige materialer som cementpuds og beton, wall-pillars has already been mentioned. In the har også ansporet Fretton til at arbejde med same vein, we can point out Fretton’s cornice,

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Tietgens Ærgrelse, præfabrikerede fiberbetonelementer til den kraf- which has no cavetto – which means to say, no november 2010. tige gesims under penthouseetagen og til den concave moulding profile-piece – as do classical store balkon på første sal, der imidlertid først cornices, and also the large balcony looking out Tietgen’s Agony. kan sættes op efter færdiggørelsen af en ny Me- on Frederiksgade, which has edged balusters November 2010. trostation midt i Frederiksgade foran huset i with grooves instead of Meldahl’s rococo- 2018. Kun enkelte særligt udsatte steder bruges insp ired balustrade with oval carvings. With this egentlig sandsten, f.eks. over gesimsen. touch, Fretton has incorporated a detailing that Generelt synes husets detaljering især at være corresponds to Meldahl’s but which, with its lev- kendetegnet ved to forhold: Abstraktion og bru- el of abstraction and sharp-edgedness, belongs to gen af små nuanceforskelle. Som eksempel på modernism’s iconography. When we compare abstraktionen har oversættelsen af Meldahls pi- the various materials in Fretton’s building, it is lastre til murpiller med et let fremspring allerede striking how similar they are in colour and tex- været nævnt, og man kan i samme ombæring ture. The facade’s plastering, the sandstone and fremhæve Frettons gesims, der ikke har nogen the fibre concrete all resemble each other and are, hulkehl – det vil sig et konkavt profilstykke – in their tone, not remote from the dark natural som klassicistiske gesimser, eller den store bal- stone on the penthouse’s facade. In what is a typ- kon mod Frederiksgade, der har kantede balustre ical touch in Fretton’s architecture, the fibre con- med riller i stedet for Meldahls rokokoinspirere- crete panel has a combed finish in the embrasure de balustrade med ovale udskæringer. Hermed while it is smooth, having a sawn finish, on the får Fretton indarbejdet en detaljering, der i relief- windowsill; this ultimately sharpens the viewer’s virkning modsvarer Meldahls, men som med sin gaze and appreciation for the importance of dif- abstraktionsgrad og kantethed tilhører moder- ferences in the nuances: differences in nuances nismens formverden. Sammenligner man mate- that are also crucial in Frederiksstaden’s refined rialerne i Frettons hus, er det slående, at de i de- Rococo universe. res kulør og stoflighed ligger forholdsvis tæt på In the final analysis, the abstract re-reading hinanden. Facadepudsen, sandstenen og fiberbe- of the quarter and the effort to highlight the tonen ligner hinanden og ligger i tone heller ikke significance of nuance reveals a form-related langt fra den mørke natursten på penthouse - potential in the historic surroundings. If the facaden. Symptomatisk for Frettons arkitektur contrast to the existing conditions had become

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Interiør, Tietgens Ærgrelse. er fiberbetonpanelet rillet i vindueslysningen, more glaring, after the fashion that has come to Interior. Tietgen’s Agony. men glat på sålbænkene, hvilket i sidste ende be universally accepted since modernism when- skærper betragterens blik for betydningen af nu- ever Danish architects build something new anceforskelle. Nuanceforskelle, som også er afgø- in conjunction with something historical, this rende i Frederiksstadens forfinede rokokounivers. potential would probably have emerged less I sidste ende får den abstrakte genlæsning af distinctly. With Fretton’s nuanced commentaries, kvarteret og bestræbelsen på at vise nuancens which braid several contexts together, the betydning betragterens øjne op for et formmæs- historical architecture is suddenly experienced as sigt potentiale i de historiske omgivelser. Hvis relevant. Fretton’s contextual approach, in other kontrasten til det eksisterende var blevet større, words, does not revolve around reconstructing a således som det siden modernismen har været historical context but rather around exploiting god latin, når danske arkitekter bygger nyt i for- the elements and phenomena that actually exist, bindelse med noget historisk, havde dette po- specifically and concretely, in the quarter today. tentiale sandsynligvis forekommet mindre tyde- In Fretton’s narrative, the whole saga of the ligt. Med Frettons nuancerede kommentarer, Marble Church’s past as a picturesque ruin has der fletter flere kontekster sammen, opleves den thus been left out. historiske arkitektur pludselig aktuel. Hans kontekstuelle tilgang handler med andre ord ikke om at rekonstruere en historisk kontekst, men The building’s space om at udnytte de elementer og fænomener, som Tony Fretton is interested in the composite use konkret er til stede i kvarteret i dag. Hele histori- that presently characterizes the Meldahl devel- en om Marmorkirkens fortid som pittoresk ruin opment notwithstanding its uniform and repre- er således fravalgt i Frettons fortælling. sentative facade expression. It fits well with this reading of the context that the building owner, Realdania Byg, in its project programme, also had Husets rum its sights set on functional diversity, perhaps hav- Tony Fretton er optaget af den sammensatte ing learnt from a good many recent Danish urban brug, der i dag præger Meldahl-bebyggelse på development projects, where the dense commin- trods af facadernes ensartede og repræsentative gling of residential and commercial spaces and

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Interiør, Tietgens Ærgrelse. facadeudtryk. Det passede fint med denne læs- shops, which has otherwise traditionally charac- Interior. Tietgen’s Agony. ning af konteksten, at også bygherren, Realdania terized the European metropolis, like Copen- Byg, fra begyndelsen i sit program lagde op til hagen, has given way to more truly mono- en funktionel diversitet. Måske belært af mange functional urban quarters. The consequence of nyere danske byudviklingsprojekter, hvor den this is that the big city atmosphere fails to mate- tætte blanding af beboelse, erhverv og butikker, rialize and that even newer urban quarters situat- som ellers har præget den traditionelle europæ- ed close to the heart of Copenhagen’s historical iske metropol, f.eks. København, er forsvundet centre and transformed parts of the old city often til fordel for mere rene, monofunktionelle kvar- appear to be sleepy bedroom cities without any terer. Konsekvensen af dette er, at storbystem- kind of inspiring diversity: a diversity that pre- ningen udebliver, og at selv nye bykvarterer tæt cisely characterizes the Store Kongensgade quar- på Københavns gamle bykerne eller transforme- ter. Here, the building’s ground level floors typi- rede dele af den gamle by ofte virker som søvni- cally accommodate small shops or cafes while the ge sovebyer uden nogen form for inspirerende upper floors generally contain flats or small ser- diversitet. En diversitet, som netop præger Store vice firms – and all of this on a relatively small Kongensgadekvarteret. Her rummer husenes patch of ground and wedged in on the busy av- stueetager typisk små butikker eller cafeer, mens enue of Store Kongensgade, crowded with pedes- de øvrige etager både kan have boliger eller små trians, bicycles, cars, buses – and in a few years servicevirksomheder – alt sammen på forholds- time, a Metro station right in front of Tietgen’s vis lidt plads og klods op af en travl Store Kong - Agony. On this thoroughfare, Copenhagen can be ensgade, fyldt med fodgængere, cykler, biler, experienced as a genuine European metropolis. busser – og om nogle år en Metrostation foran In this connection, it might seem obvious or Tietgens Ærgrelse. På denne gade opleves Kø- commonplace that Tietgen’s Agony is also being benhavn som en rigtig europæisk storby. organized with a café on the ground floor, a small Det kan i den forbindelse forekomme selv- business enterprise on the first floor, a pair of indlysende eller banalt, at også Tietgens Ær- two-room flats on each of the second, third and grelse er organiseret med en café i stuetagen, fourth floors and finally, a somewhat more spa- en mindre virksomhed på første sal, to toværel- cious penthouse flat at the top. Nevertheless, this ses lejligheder på anden, tredje og fjerde sal og mix is unique in relation to similar constructions

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Interiør, Tietgens Ærgrelse. endelig en lidt større penthouselejlighed på being built at this time, which would typically Interior. Tietgen’s Agony. toppen. Ikke desto mindre er denne sammen- contain only offices, possibly with a café at street blanding unik i forhold til lignende nutidigt byg- level. And the composite character is even more geri, der typisk kun ville rumme kontorer, evt. exceptional when we take the building’s modest med en enkelt café i bunden. Og sammensat - total floorage (1300 square meters) into account. heden er sågar exceptionel, hvis man tager husets There are only a few places in the world where a beskedne samlede areal på 1300 kvadratmeter i modern building, planted smack dab in the cen- betragtning. Kun få steder i verden vil et moder- tre of a big city, would contain so many functions ne hus midt i en storby have så mange funktio- in such a modicum of space. ner på så lidt plads. When we consider the ground plans for the dif- Betragter man grundplanerne for de forskelli- ferent stories, the staircase – with the accompany- ge etager, falder trapperummet med elevatoren i ing lift – catches our attention as the central gam- øjnene som den centrale spillebrik i husets orga- ing piece in the building’s organization. Interest- nisation. Det er interessant nok ikke placeret ud ingly enough, the staircase is not placed out to- til gaden, således som man umiddelbart ville forward the street, as one would immediately expect vente det, men midt i huset ud til nabohusets it to be, but rather in the middle of the building baggård. Hermed skal man gå et stykke igen- facing out to the neighbouring house’s courtyard. nem stueetagen for at komme op i huset – lidt The consequence of this, of course, is that you på samme måde som i det 19. århundredes mere have to walk a little way through the ground herskabelige københavnske lejlighedsbyggeri, floor before ascending the building – much like hvor hovedtrappen ofte ligger ud til baggården. it was when entering some of the 19th century’s Konsekvensen af denne disposition i Tietgens more luxurious blocks of flats in Copenhagen, Ærgrelse er, at etageplanerne bliver delt i to ho- where the main staircase often faced the court- vedafsnit, som bliver forbundet af et forholdsvis yard. The consequence of this disposition in- langt og smalt rum ud mod den korte Frederiks- side Tietgen’s Agony is that the floor plans gade. De to hovedafsnit henvender sig samtidig have become divided into two main sections, til to markant forskellige bymæssige situationer. which are conjoined by a relatively long and Det vestre afsnit mod Store Kongensgade ven- narrow space that faces the short segment of der ud mod en travl gade, mens det østre afsnit Frederiksgade. The two main sections of the

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Stueplan Ground floor

1. Café 2. WC

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Første sal First floor

1. Kontor 2. Køkken 3. WC 4. Terrasse

1. Office 2. Kitchen 2 3. WC 4. Terrace 1

4 3

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Anden til fjerde sal Second to fourth floors

1. Stue 2. Køkken 3. Soveværelse 4. Bad 5. Terrasse 1 2 1. Living/dining 2. Kitchen 3. Bedroom 4 4. Bathroom 5. Terrace 3

3 2

1 5

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Penthouse Fifth floor

1. Stue 2. Køkken 5 3. Soveværelse 4. Bad 4 5. Terrasse 3 6. Værelse

1. Living/dining 2. Kitchen 3. Bedroom 4. Bathroom 3 5. Terrace 6. Study

5 2

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Interiør, Tietgens Ærgrelse. mod Marmorkirken er præget af at være meget floor plans simultaneously refer to two markedly Interior. Tietgen’s Agony. tæt på det store kirkemonument og af det fred- different urban situations. The western section, fyldte byrum mellem kirken og Meldahls rand- facing Store Kongensgade, turns out toward a bebyggelse. busy avenue while the eastern section, facing the Går man rundt i huset, kan man blive over- Marble Church, is distinctively stamped by its rasket over, at det udadtil symmetriske byhus close proximity to the monumental church and byder på indre rumforløb med en vis komplek- the peaceful cityscape between the church and sitet. I stuetagen, der er tænkt anvendt til en Meldahl’s housing development. café, udgør det meste af etagen uden om trap- Walking around inside the building, you may perummet et sammenhængende og irregulært be surprised that the outwardly symmetrical rum, der har flere små knæk, og som derfor townhouse offers an interior spatial sequence that vanskeligt kan overskues i sin helhed fra et be- is punctuated with a certain intricate complexity. stemt punkt i rummet. Man får lyst til at fort- On the ground floor, which has been envisioned sætte gennem rummet for at se, hvad der skju- as housing a cafe, most of the level’s floor area ler sig bag det næste hjørne, samtidig med at around the staircase forms one continuous albeit opmærksomheden også fanges af de forskellig- irregular space that has several small set backs artede tableauer, som de usædvanligt høje og and therefore cannot easily be surveyed in its en- store vindues- eller rettere døråbninger vender tirety from any one particular point inside the ud til. Med en rumhøjde på over fire meter og space. You are seized by an urge to continue vinduer, der går fra gulv til loft, opleves lokalet walking through the room in order to see what it tillige som meget urbant. I København er der is that might be hiding around the next corner. At ikke så mange rum af denne slags, derimod i the same time, your attention is captured by the boulevardbyer som Paris eller Wien, hvor høj- diversified tableaux that the extraordinarily high loftede caféinteriører indtager en central rolle i and large window- or, rather, door-openings are bylivet. De indvendige overflader og selve ind- facing. With a ceiling height of over four metres retningen i de to erhvervslejemål, cafeen i stuen and windows that extend from floor to ceiling, og kontoret på 1. sal bliver dog ikke udformet this street-level room is perceived, moreover, as af Tony Fretton selv, men af lejernes egne råd- being manifestly urban. In Copenhagen, there are givere. not many spaces of this kind, in contrast to what

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Interiør, Tietgens Ærgrelse. Også på første sal, der er øremærket til kontor- we might typically find in boulevard cities like Interior. Tietgen’s Agony. erhverv, er det meste af etagen udformet som ét Paris and Vienna, where high-ceilinged café inte- stort rum med det samme forholdsvis irregulære riors play a central role in the city’s life. The inte- omrids som i stueetagen. Her er rumhøjden rior surfaces and the interior design inside the imidlertid betydeligt lavere end i cafeen, ligesom two commercial leases, i.e. the café on the ground vinduesåbningerne på de steder, der ikke giver floor room and the office on the first floor, will udgang til balkoner, har brystninger. Det er et not be designed by Tony Fretton himself but rum, der tydeligvis medtænker en møblering rather by the respective tenants’ own consultants. med skriveborde og siddende arbejdsstillinger, Also on the first floor, which has been ear- og som også kan indrettes på forskellig vis af marked as commercial office space, most of the kommende lejere. Hvis man sammenligner med floor has been designed as one large space with andre kontorlandskaber, er det mest iøjnefal- the same relatively irregular contour that we find dende element den lange smalle balkon, som on the ground floor. Here, however, the room’s spejler balkonen i Meldahls pavillon på den an- height is considerably lower than in the café den side af Frederiksgade. Den åbner for uforud- downstairs. Similarly, those window openings sete arbejdssituationer på en måde, som man not offering access to balconies have parapets. normalt ikke forventer at møde i et nutidigt er- This is a space that clearly lends itself to being hvervsbyggeri. Måske er det herude på kanten af furnished with desks and sitting working postures byen, at de interessante samtaler kommer til at and which can also be fitted and adapted in dif- finde sted. ferent ways by future tenants. If you compare this De næste tre etager, der er udformet med den space with other office landscapes, the most con- samme planløsning, har etagevis to lejligheder spicuous element is the long and narrow balcony med hver et soveværelse og en stue, hvori der that mirrors the balcony on Meldahl’s pavilion også er køkken i den ene lejlighed. Lejligheder- on the opposite side of Frederiksgade. It opens up ne (på henholdsvis 102 og 116 kvadratmeter) er to unforeseen workplace situations in a way that placeret på hver side af trappen, således at den you do not ordinarily expect to find in a contem- mindste er orienteret mod vest og Store Kong - porary commercial building. Maybe it is out here, ensgade, mens den anden vender ud til Mar- on the brink of the central city, that the really in- morkirken mod øst. De har samtidig begge mod teresting conversations are going to transpire.

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

The next three floors all have the same layout, with two one-bedroom flats per floor: one of the flats on each floor has a combined kitchen and living room. The flats (covering, respectively, 102 and 116 square metres) are placed on either side of the staircase in such a way that the smaller of the layouts is oriented to the west and faces Store Kongensgade, while the other flat looks out on the Marble Church, toward the east. At the same time, all the flats have outdoor terraces, respectively facing the neighbouring building’s courtyard and the back house; these terraces are carved out of the building’s volume like loggias and therefore possess a more intimate character than the balconies that will be eventually clipped onto the office floor. In addition, the flats’ windows in themselves constitute balconies of a kind, since they extend almost from floor to ceiling and possess the character of being elements with double French balcony doors, hatches for venti- lation and a discreet balustrade in glass. Even the bathrooms inside the larger of the two units have such a window element and are, to boot, placed in the facade’s prominent middle axis - a stylistic leap you would not encounter in either modernist or historicist construction. What makes these flats something extraordi- nary is especially the spatial finishing, including the design of the windows. In spite of their modest

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nabohusets baggård og baghus udendørs terras- size, the flats possess a spatial complexity that ser, der er lagt ind som en slags loggiaer i selve prompts the visitor to move through the flats and bygningskroppen og dermed har en mere intim explore the space. In the flats facing Store karakter end balkonerne i kontoretagen. Derud- Kongens gade, as a matter of fact, it is not possible over er lejlighedernes vinduer i sig selv en slags to take in the living room’s outline all at once as balkoner, idet de næsten går fra gulv til loft og you enter the flat. No, you have to take a little har karakter af at være elementer med dobbelte stroll before you eventually wind up standing in franske altandøre, lem til udluftning og en di- front of a large French balcony facing Frederiks- skret balustrade i glas. Selv badeværelset i den gade. In the flats facing the Marble Church, on ene lejlighed har et sådant vindueselement og er the other hand, your attention when entering the oven i købet placeret i facadens prominente living room is led directly toward the large midterakse – et stilbrud, som man hverken ville French balcony doors and also toward the ter- møde i modernistisk eller historicistisk byggeri. race, which in itself is a small well-defined space Især den rumlige bearbejdning, herunder ud- with large apertures in its wall. We must add here formningen af vinduerne, gør disse lejligheder til that the windows are unusually high, thus con- noget særligt. På trods af deres beskedne størrel- joining them to a bodily scale and further eliciting se har lejlighederne nemlig en rumlig komplek- the effect that the city’s grandiose space is being sitet, der tilskynder den besøgende til at bevæge drawn, in a strikingly palpable way, right into the sig gennem lejlighederne. I lejlighederne mod flat’s intimate space. In this very way, the city’s Store Kongensgade kan man eksempelvis fra space becomes a direct extension of the flat’s indgangen ikke overskue stuens omrids, men space, like a series of multifarious spatial situa- må gå en lille rundtur før man ender foran en tions to which the flat alludes and communicates, stor fransk altan ud til Frederiksgade. I lejlighe- as it were, via its own space: the narrow space of den mod Marmorkirken bliver opmærksomhe- the courtyard; the space between the church and den i stuen både ledt hen mod de store franske Meldahl’s housing development; the space be- altandøre og mod terrassen, der i sig selv er et tween Tietgen’s Agony and Meldahl’s pavilion; lille veldefineret rum med store åbninger i mu- Store Kongensgade’s space and so on. ren. Dertil kommer, at vinduerne er usædvanligt The same applies to the penthouse flat at the store, hvilket kobler dem til en kropslig skala og top of the building; only here, the boundary

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ydermere bevirker, at byens storladne rum på en between outside and inside feels even more open Interiør, Tietgens Ærgrelse. markant måde bliver trukket ind i lejlighedens because the flat has open balconies on four sides Interior. Tietgen’s Agony. intime rum. Byens rum virker på denne måde and the possibility of egress through sliding doors som en direkte forlængelse af lejlighedens rum; from virtually all of the openings. Up here, as som en serie af forskelligartede rumlige situatio- compared with the situation in the other flats, ner, som lejligheden så at sige henvender sig til there are not only more possibilities for moving gennem sine rum: Baggårdens smalle rum, rum- around but there is also more room (165 square met mellem kirken og Meldahls randbebyggel- meters, to be precise). Skylights in the penthouse’s se, rummet mellem Tietgens Ærgrelse og Mel- two bathrooms serve to remind the tenant that dahls pavillon, Store Kongensgades rum osv. the flat is, in fact, located at the very top of the Også i penthouselejligheden øverst er det building. samme på færde som i de andre lejligheder, blot After a tour inside the entire building, you real- føles grænsen mellem ude og inde endnu mere ize that the apparently simple building is acting as åben, idet lejligheden har åbne balkoner på fire an intermediary by presenting a well-known city sider og udgangsmulighed via skydedøre fra næ- in sectioned samples you may not previously sten alle åbninger. Her er der sammenlignet have been aware of. med de andre lejligheder flere bevægelsesmulig- The building is something like a lookout ap- heder, men også mere plads (nærmere bestemt paratus, where a hierarchically organized quar- 165 kvadratmeter). Ovenlys i de to badeværelser ter, with its origins reaching back to the minder samtidig beboeren om, at lejligheden baroque, is being fragmented. However, the re- ligger øverst oppe. ferral that is being addressed to the surrounding Efter en rundgang i hele huset står man tilba- world is not a one-sided affair: many of the ge med en erfaring af, at det tilsyneladende enk- building’s social activities will come to be ex- le hus formidler en velkendt by i udsnit, som posed on the open terraces, balconies and log- man måske tidligere ikke har været opmærksom gias or through the open doors in the café, på. Huset er som en udkigsmaskine, hvor et hie- which will also enjoy the right of disposal over rarkisk organiseret kvarter med aner tilbage til a part of the pavement. In this way, the building barokken fragmenteres. Henvendelsen til omver- will be exhibiting its diversity and will be giving denen er dog ikke ensidig, idet mange af husets something back to the city.

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sociale aktiviteter bliver eksponeret på de åbne The building Nogle af åbningerne i muren terrasser, balkoner og loggiaer eller gennem de as architectural statement i Tietgens Ærgrelse viser sig åbne døre i cafeen, der også har råderet over en Architects have by definition always addressed at vende ind til udendørs loggiaer, mens for eksempel del af fortovet. Huset udstiller på denne måde sin themselves to specific places but it was only in loftbelysningen og gardinerne diversitet og giver noget tilbage til byen. England at the end of the 18th century that archi- i andre åbninger afslører, om tects really started to aspire toward a kind of ar- der er tale om en bolig eller chitecture that appears to have sprung forth from et kontorlandskab. Huset som arkitektonisk statement the existing context. These architects were in- Arkitekter har som udgangspunkt altid for- spired by the picturesque English garden, which Some of the openings in the wall in Tietgen’s Agony holdt sig til steder, men først i England i slut- was programmatically arranged to look natural reveal themselves as giving ningen af 1700-tallet begyndte arkitekter for al- and self-grown, as it does in a classical landscape toward the outdoor loggias vor at tilstræbe en arkitektur, der synes at ud- painting, and where irregular plantings and wind- while, for example, the springe af den eksisterende kontekst. De var in- ing courses of footpath were supposed to stimu- ceiling lighting and the spireret af den pittoreske engelske have, der late the visitor’s curiosity and urge the guest to curtains in other openings blev tilrettelagt til at se naturlig og selvgroet ud move onward through the garden. With the pic- divulge whether we are standing inside a residential som i et klassisk landskabsmaleri, og hvor irre- turesque tradition, English architects began flat or in the midst of an gulære beplantninger og snoede stiforløb skulle drawing the surrounding environment right into office landscape. ægge den besøgendes nysgerrighed og tilskyn- their construction drawings, while their French de gæsten til at bevæge sig gennem haven. counterparts, who were working in the 19th cen- Med den pittoreske tradition begynder engel- tury’s Beaux Arts tradition, generally isolated the ske arkitekter at tegne omgivelserne med på facade drawings and kept them separate from the bygningstegningerne, mens deres franske kol- context. The picturesque approach still plays an leger inden for det 19. århundredes Beaux Arts- important role in English architecture, having tradition typisk isolerede facadetegningerne fra been updated and linked with modernism by, konteksten. Den pittoreske tilgang spiller fort- among others, the English architect luminaries, sat en stor rolle i engelsk arkitektur, blandt an- Alison and Peter Smithson, who re-introduced det ajourført og forbundet med modernismen the picturesque in the 1960s, taking their point of af de engelske arkitektkoryfæer Alison & Pe- departure in concepts like “as found” and “con- ter Smithson, der i 1960’erne relancerede det glomerate ordering”. In writings and interviews,

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pittoreske med udgangspunkt i begreber som Tony Fretton has acknowledged the legacy from det forefundne eller konglomerat-orden. The Smithsons. In Tietgen’s Agony, as a matter Tony Fretton har flere steder vedkendt sig ar- of fact, Fretton makes a virtue of working with ven fra The Smithsons og gør da også i Tietgens the heterogeneously diversified articles and phe- Ærgrelse en dyd ud af at arbejde med de forskel- nomena that are “as found” already within the ligartede ting og fænomener, der allerede fore- situational context.3 The long-standing intention findes i konteksten.3 Intentionen om at genskabe to re-create a totality around the Marble Church helheden omkring Marmorkirken ender derfor is therefore being consummated with a building med et hus, der også er et slags konglomerat, det that is actually some kind of conglomerate, that is vil sige en ansamling af uensartede dele – både to say an accumulation of heterogeneously dis- på et socialt og formmæssigt plan. Tietgens Ær- parate parts – both on the social and on the mor- grelse vil dog i sidste ende næppe gå under be- phological levels. However, when all is said and tegnelsen pittoresk. Hele ideen om at etablere done, Tietgen’s Agony will hardly end up being en symmetri omkring Marmorkirken er grund- classified as “picturesque”. The whole idea of es- læggende antipittoresk, ligesom den stram me fa- tablishing a symmetry around the Marble cadekomposition, det høje abstraktionsniveau i Church is fundamentally anti-picturesque, just detaljeringen og de små nuanceforskelle i husets as the stringent facade composition, the high forskellige stofligheder ikke passer med et tradi- level of abstraction in the detailing and small tionelt pittoresk ideal, der hylder irregularitet og differences of nuances in the building’s different variationsrigdom. textures do not jibe with a conventionally pictur- Der findes imidlertid også kontekstuelle esque ideal, which pays homage to irregularity strømninger i det 20. århundredes arkitekturhi- and richness in variation. storie, som ikke nødvendigvis er knyttet direk- There are, however, also contextual currents in te til det pittoreske. Den kontekstuelle tilgang the 20th century’s history of architecture that are blev ellers grundlæggende anfægtet af det 20. not necessarily linked directly to the picturesque. århundredes mest succesfulde tendenser, funk- The contextual approach was otherwise funda- tionalisme og senere modernisme, der havde mentally contested by the 20th century’s most det som ideologisk program at skabe en indu- successful tendencies: functionalism; and later on, strielt orienteret universalstil, og som ofte modernism, which had in view, as an ideological

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Tv: Svenn Eske Kristensens kontorbygning til forsikringsselskabet Baltica er opført i 1958 og er et eksempel på et værk skabt af en dansk kontekstbevidst modernist.

Th: Erik Korshagens og Juul Møllers Pressens Hus fra 1974 er et eksempel på dansk modernisme påvirket af Mies van der Rohes ‘International Style’.

On the left: Svenn Eske Kristensen’s office building for the Baltica Insurance Company was erected in 1958 and is a prime example of Danish “context- conscious” modernism.

tænkte arkitekturen med udgangspunkt i en in- programme, the creation of an industrially orient- On the right: Erik dre funktionalitet. Hermed trådte hensynet til ed universal style and often envisioned architec- Korshagen’s and Juul Møller’s House of the Press, de omgivende gade- og pladsrum i baggrunden, ture as taking its point of origin in an internal from 1974, is an example of og arkitekturen blev på én og samme tid uniform functionality. With this, considerations about the Danish modernism that was og autonom. En del arkitekter formåede ikke de- surrounding cityscape receded into the back- strongly influenced by Mies sto mindre at forene opmærksomheden over for ground and the architecture became, at one and van der Rohe’s en lokal kontekst og klassiske byrum med den the same time, uniform and autonomous. “International Style”. moderne trang til universalitet og autonomi. Den Nonetheless, quite a few architects managed to engelsk fødte arkitekturhistoriker Colin Rowe, unite awareness of local context and classic der på et teoretisk plan var bannerfører for en cityscapes with the modern desire for universality

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mere kontekstuel modernisme, har kaldt en så- and autonomy. The English-born architectural dan hybridarkitektur for komposit og har i den historian, Colin Rowe, who, on a theoretical lev- forbindelse blandt andet fremhævet moderne el, was a standard-bearer for a more contextual skandinavisk arkitektur. Med sin blanding af et modernism, has called this kind of hybrid archi- moderne abstrakt formsprog, der slår fra sig i tecture composite and has, in this connection, es- forhold til omgivelserne, og meget specifikke pecially drawn attention to modern Scandinavian henvisninger til den konkrete kontekst indskri- architecture. With its combination of a modern ver Tietgens Ærgrelse sig på en måde i denne abstract idiom that principally disengages itself tradition. Dog er der også forskelle mellem Tiet- from the surroundings and its very specific referen- gens Ærgrelse og eksempler fra det lidt brede ces to the context at hand, Tietgen’s Agony in a fænomen, som man – i manglen på bedre ord – way inscribes itself into this tradition. However, kan kalde den kontekstbevidste modernisme. there are also differences between Tietgen’s Et eksempel på en kontekstbevidst dansk mo- Agony and examples of the somewhat wider dernist er Svenn Eske Kristensen, der også byg- phenomenon that can be called – for lack of any gede moderne huse i Frederiksstaden. Et af disse better terms – context-conscious modernism. er forsikringsselskabet Balticas kontorbygning One example of a context-conscious Danish fra 1958, der ligger ved siden af Bernstorffs Palæ modernist is Svenn Eske Kristensen, who also – på den anden side af Marmorkirken. Denne built modern buildings in Frederiksstaden. One of bygning er med sit fravær af præmoderne orna- these is the Baltica Insurance Company’s office mentik og synliggørelse af husets konstruktion i building, dating from 1958, which is located right facaden umiskendeligt moderne, men forholder next to Bernstorff’s Palace – on the other side of sig samtidig med fin indlevelse til etageinddelin- the Marble Church. This building, with its ab- ger, vinduestakter og detaljeringsgrad i den til- sence of pre-modern ornamentation and its dis- stødende rokokofacade. Et andet dansk eksem- closure of the building’s essential construction in Frettons ‘Red House’ og pel er Erik Korshagens og Juul Møllers Pressens the facade, is unmistakably modern, but simulta- ‘Andreas Ensemble’. Hus fra 1974, som er påvirket af Mies van der neously relates itself, and with striking empathy, Fretton’s “Red House” in Rohes ’International Style’, men, fordi den ligger to the elevations, the spacing of the windows and London and the “Andreas midt i København mellem gamle borgerhuse, the level of detailing in the neighbouring Rococo Ensemble” in Amsterdam. ikke undlader at bruge en taggesims ligesom facade. Another fine Danish example is Erik

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nabohusene. Efter sigende skulle Fretton have Korshagen’s and Juul Møller’s House of the Press, indført gesimsen i Tietgens Ærgrelse blandt an- from 1974, which was influenced by Mies van der det efter at have set denne bygning. Rohe’s “International Style” but which, in refer- Tietgens Ærgrelse kan ligne sådanne eksem- ence to its location in the middle of the historical pler, men adskiller sig samtidig fra dem på en centre of Copenhagen, surrounded by older række punkter. Fretton er eksempelvis i højere townhouses, is equipped with a roof cornice in grad optaget af arkitekturens sociale dimension, conformity with the neighbouring houses. herunder muligheden for at give rum til uforud- Fretton is said to have introduced the cornice sete og uformelle sociale situationer. I Tietgens in Tietgen’s Agony especially after having seen Ærgrelse møder man således en langt større this building. brugsmæssig diversitet end i et typisk modernis- Tietgen’s Agony might resemble such exam- tisk projekt – måske en af de væsentligste kvali- ples, but at the same time, it differs from them in teter ved projektet. Derudover er projektet langt several respects. Fretton, for example, is more mere specifikt i sin dialog med konteksten end concerned with architecture’s social dimension, de omtalte eksempler, der stadigvæk har karak- including the possibility of providing room for ter af at være tilpassede prototyper. Typer, der unplanned and informal social situations. In Tiet- med få ændringer også ville kunne stå andre ste- gen’s Agony, you accordingly run into a far der i byen, og som i sig selv er stabile komposi- greater use-related diversity than what you tioner. Tietgens Ærgrelse har i stedet snarere ka- would otherwise find in a typical modernist pro- rakter af at være løst ad hoc, det vil sige uløseligt ject – and this is perhaps one of the most impor- forbundet med konkrete og specifikke forhold i tant qualities about the project. Above and be- konteksten, der kræver lokale svar på forskellige yond this, the project is far more specific in its di- steder. Huset vil ikke se sådan ud på andre steder, alogue with its context than are the previously og det er på trods af sine symmetrier og regel- mentioned examples, which still have the charac- mæssige vinduessætning et hus med mange ”lap- ter of being adapted prototypes: types that with Frettons ’Erste Bank’s peløsninger”, der vil få en modernistisk arkitekt few changes would be able to stand elsewhere in netfacade. til at rynke brynene. Tag eksempelvis de mange the city and which in themselves are stable com- The grid facade in Tony forskelligartede terrasse- og balkonsituationer positions. Instead, Tietgen’s Agony has, if any- Fretton’s proposal for eller de store franske altandøre i badeværelserne. thing, more precisely the character of being Erste Bank, Vienna

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Tietgens Ærgrelse forholder sig ydermere til en solved ad hoc, i.e. it is inextricably connected anden kontekst end den lokale, nemlig til Frettons with concrete and specific relational conditions øvrige produktion, hvori der findes en forkærlig- in the context that require local responses at dif- hed for bestemte motiver. Et eksempel på et så- ferent spots. This building would not appear as it dant motiv er terrassen omkring en tilbagetrukken does if it were placed anyplace else. Despite its etage på toppen af huset, i dette tilfælde penthouse - symmetries and regular window placement, it is lejligheden. Motivet findes også i projekter som a building with many “stopgap measures” that Red House, Fuglsang Kunstmuseum, i projektet til would certainly make a modernist architect den britiske ambassade i Warszawa eller i nogle af wince. Consider, for example, the many diverse hans boligbebyggelser i Amsterdam. Taghaven, terrace- and balcony-situations or the large der var på Le Corbusiers liste over ”musts” for en French balcony doors in the bathrooms. moderne arkitektur, synes således at være et væ- Tietgen’s Agony, furthermore, relates itself to a sentligt element i Frettons arkitektur. Den indskri- different context than the local, namely to the ver projekterne i en modernistisk tradition, men rest of Fretton’s output, within which there is a bliver måske også brugt til at skabe en tvetydig si- marked predilection for certain motifs. One ex- tuation. Her får man følelsen af at møde en næsten ample of such a motif is the terrace organized skjult verden, der på en særlig måde både har ud- around a recessed floor at the top of the building: syn til og er isoleret fra omverdenen. in this case, the penthouse flat. This same motif Et andet motiv er vinduet, der – som arkitek- can also be found in projects like The Red House, turteoretikerne Martin Steinmann og Mark Fuglsang Kunstmuseum, the project for The New Cousins også har været inde på4 – er noget helt British Embassy in Warsaw and in some of his centralt hos Fretton. Vinduerne i Tietgens Ær- residential buildings in Amsterdam. The pres- grelse er ikke bare åbninger i muren, men bliver ence of a rooftop garden (one of Le Corbusier’s artikuleret som vigtige overgange mellem for- “musts”) penthouse inscribes these projects with- skellige situationer; som steder, der giver mulig- in an urban and modernist tradition, but perhaps hed for dialog mellem livet inde i husene og livet it is also being deployed for purposes of creating i byen. I princippet har vinduer altid en sådan an ambiguous situation: here you get the feeling funktion, det er bare sjældent, at det bliver for- of meeting an almost hidden world which, in a muleret så klart som her. peculiar way, both embodies a survey view look-

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

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

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

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

Med til vinduessituationen hører også muren, ing out over the surrounding world and is simul- der hos Fretton anfægter meget af samtidsarki- taneously and strangely isolated from it. tekturens bestræbelse på maksimal transparens. Another motif is the window, which – as the Muren er i såvel Tietgens Ærgrelse som i Fret- architecture theorists Martin Steinmann and tons mere urbane projekter, f.eks. Andreas-be- Mark Cousins have also touched on4 – is some- byggelsen i Amsterdam eller Erste Bank i Wien, thing entirely central in Fretton’s work. The win- organiseret som en slags net, hvor åbningerne i dows in Tietgen’s Agony are not merely open- hver enkelt facade for det meste er lige store og ings in the wall; they are articulated as crucial placeret med samme afstand. Den graduering af transitions between different situations, as places vinduerne mellem de forskellige etager, som that offer the possibility of carrying on a dialogue

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between the life being lived inside the house and the life that is unfolding in the city. In principle, windows always have such a function; it’s only seldom that this becomes formulated as clearly as it does here. What is part and parcel of the window situation is, of course, the wall, which, in Fretton’s work, contests much of contemporary architecture’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 as a kind of grid, where, for the most part, the openings in each individual facade are equally dimen- sioned and positioned with the same rhythm. The graduation of the windows between the various floors, which Meldahl was trying to achieve, has accordingly vanished for the sake of a cooler compositional form. In much the same way as in the 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 the anonymity and the urge toward repetition that characterized modernism or Schinkel’s classicism in the less picturesque phases. Fretton’s facades, however, when compared to a more anonymous modernism, have either a texturality

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Meldahl tilstræber, er således forsvundet til or relief effects that render them interesting and Max Dudler, kontorhuse i fordel for en mere cool kompositionsform. På more ambiguous at close range. Some of the Mannheim, 1991. samme måde som hos jævnaldrene schweiziske openings in the wall in Tietgen’s Agony reveal Max Dudler: kolleger som Diener & Diener eller hos berliner- themselves as giving toward the outdoor loggias Office building in arkitekter som Max Dudler og Hans Kollhoff while, for example, the ceiling lighting and the Mannheim, 1991. arbejder Fretton således gerne med den anony- curtains in other openings divulge whether we mitet og repetitionstrang, der kendetegnede are standing inside a residential flat or in the modernismen eller Schinkel-klassicismen i de midst of an office landscape. mindre pittoreske faser. Frettons murede facader In the final analysis, Tietgen’s Agony is, like so har imidlertid, sammenlignet med den mere much of Fretton’s output, a project that must be anonyme modernisme, enten en stoflighed eller experienced in reality, from inside, up close and reliefvirkninger, der gør dem interessante og in connection with the surroundings. It is prima- mindre entydige tæt på. Nogle af åbningerne i rily in the meeting with the context and the user muren i Tietgens Ærgrelse viser sig at vende ind that the building, after some time, will emerge in til udendørs loggiaer, mens for eksempel loft- its entire potential. belysningen og gardinerne i andre åbninger afslører, om der er tale om en bolig eller et kontorlandskab. I sidste ende er Tietgens Ærgrelse som meget af Frettons produktion et projekt, der skal opleves i virkeligheden, indefra, tæt på og i sammenhæng med omgivelserne. Det er først og fremmest i mødet med konteksten og bruge- ren, at huset efter noget tid kommer til sin fulde ret.

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

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Noter

Marmorkirken 4 E. Cohn: Privatbanken i Kjøbenhavn gennem Hundrede Aar og Tietgens Ærgrelse 1857-1957. Kbh. 1957. 1. Halvbind s. 284 Tietgens skattepligtige indtægt 1862-63 til 1901-02. Helga Stemann: F. Meldahl, bd. 4 s. 159-66, 176. Birgit Nüchel Thomsen: Tuborg 1873 – 13. maj – 1 Helga Stemann: F. Meldahl og hans Venner, bd. 4 1930, s. 160-62, 1973. Tuborg og bryggeriindustrien under skiftende markedsvilkår 165-68. C.F. Tietgen: Erindringer og Optegnelser. 1904 s.165-66. 1873-1973. Kbh. 1973. Helga Stemann s. 176-80. Morgenbladet Ole Lange: Stormogulen. C.F. Tietgen – en finansmand, hans 5/11 1882. Ole Lange: Stormogulen, s. 416 ff. Berlingske Tiden- imperium og hans tid. 2006 s. 407 ff. de, Dagbladet og Morgenbladet 5/11 1882, Jyllandsposten 22/12 2 C.F. Tietgens arkiv. Materiale vedr. Frederikskirken (pakke 56-58). 1882. Tietgen har købt nr. 86 og 88 (matrikel nr. 257 og 258), Tietgen 5 Helga Stemann s. 183-97 og noterne til side 183, 184, 1888, 1889, har desuden tilsyneladende købt nr. 82 og 84 i Store Kongens - 1893, 1894 og 1896. Dagbladet 20/12 1882. C.F. Tietgen: gade (matrikel nr. 255 og 256) for 34.000 og 36.000 kr., men dette Erindringer s. 169. køb synes ikke at være endeligt gennemført. Lægget Marmorkir- ken. Beskrivelser, Overslag, Tegninger og Regninger. Forskelligt, 6 E. Cohn: Privatbanken i Kjøbenhavn gennem 100 Aar, s. 284. udateret koncept til skrivelse, men fra 1877 til Finantsministeriet, Ole Lange: Stormogulen s. 214-15, 415. lægget Marmorkirkepladsen 1874-75 m.m. Foreløbig slutseddel 7 Ole Lange: Stormogulen s. 495-96. Johs. Lehmann: C.F. Tietgen. for køb af matrikelnumrene 255 og 256 Husmægler Julius Jørgen- Hans Liv og Virke. Kbh. 1929, s. 295-306 beskriver Marmorkir- sen, Pistolstræde. Plan over Frederikskirken med navnene på ejer- ken, s. 307-40 hans sidste år Sygdom, Død og Eftermæle. ne og matrikelnumrene 251-258. Materiale vedr. Marmorkirken 1873-1900. Korrespondance. Pakke 59, lægget Bygningerne omkring Kirken, angaaende de Frederiks Kirkeplads paahvilende Ser- Mellem fuldendelse vitutter, dateret 22. april 1875, underskrevet kontorist S.S. Lütken. og fragment Store Kongensgade nr. 78, 80, 82 og 84 er beskrevet med deres bygningshistorie i Historiske huse i det gamle København. For- 1 Cit. fra Marc Cousins, ”Drawing upon: the work of Tony Fretton”, tegnelsen over bevaringsværdige, ældre bygninger i ”Bispestaden” i: 2G, nr. 46, s. 7. og ”Ny-København”. Nationalmuseet 1972 s. 215. 2 Jf. Tobias Faber, s. 140. 3 Ole Lange: Stormogulen s. 412 ff. Om Svend Petersen-affæren se 3 Jf. Architecture d’Aujourd’hui, nr. 344. Ole Lange: Finansmænd, stråmænd og mandariner. C.F. Tietgen, Privatbanken og Store Nordiske. Etablering 1868-76, s. 233-58. 4 2 G, nr. 46.

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Kilder og litteratur

Marmorkirken og Tietgens Ærgrelse Mellem fuldendelse og fragment Berlingske Tidende 1882. Tobias Faber, Bind 6: Frederiksstaden og Nyhavn, i serien: Bo Bramsen (red.), København før og nu – og aldrig, København 1989. Jyllandsposten 1882. Sys og Godfred Hartmann, Bind 5: Kgs. Nytorv, Rosenborg og Ole Lange: Finansmænd, stråmænd og mandariner. C.F. Tietgen, Nyboder, i serien: Bo Bramsen (red.), København før og nu – Privatbanken og Store Nordiske. Etablering. Kbh. 1978. og aldrig, København 1988. Ole Lange: Stormogulen. C.F. Tietgen – en finansmand, Martin Spring, ”Tietgen’s Agony”, i: AJ Specification, 2010, hans imperium og hans tid 1829-1901. Henning Larsen: De skal nr. 3, s. 14-27. sige tak! Kulturhistorisk testamente om operaen. Kbh. 2009. Nationalmuseet, Historiske huse i det gamle København, Johs. Lehmann: C.F. Tietgen. Liv og Eftermæle. Kbh. 1929. København 1972. Hans Helge Madsen: Meldahls rædselsprogram. F. Meldahl. Hans Helge Madsen, Meldahls rædselsprogram, København 1983. Arkitekt og politiker 1827-1908. Kbh. 1983. Colin Rowe, Collage City, Cambridge Mass., 1978. Knud Millech: Danske arkitekturstrømninger 1850-1950. En arkitekturhistorisk undersøgelse af Knud Millech under Tony Fretton om The Smithsons i: redaktion af Kay Fisker. Kbh.1951. Fotografisk genoptryk 1977. l’architecture d’aujourdhui 344/3003. F. Meldahl: Frederikskirken i Kjøbenhavn saaledes som den blev 2 G, Revista internacional de Arquitectura, 2008 Nr.46, s. 4-143, projekteret i det XVIII Aarhundrede af Eigtved, Anthon, Jardin (temanummer om Tony Fretton). med flere, samt deres Forhold til Danmarks og Europas Mark Cousins, Kenneth Frampton & Tony Fretton, Architecture, Bygningskunst i det XVII og XVIII Aarhundrede. Kbh. 1896. Experience and Thoughts: projects by Tony Fretton, London 1978. Morgenbladet 1882. A plus T. Arquitectura plus tecnologia, 2001, nr. 18, s. 4-159, (temanummer om Tony Fretton). Helga Stemann: F. Meldahl og hans Venner. Kbh. 1926-32, bd. 1-6. Henning Thomsen, “Alt andet end almindelig”, interview med C.F. Tietgens arkiv: Materiale vedr. Frederikskirken Tony Fretton i: Arkitekten, 2006, nr. 10, s. 38-41. (pakke nr. 56-58). Materiale vedr. Frederikskirken 1873-1900. Kor- respondance (nr. pakke 59). Architecture d’Aujourd’hui, 2003 (jan-feb), nr. 344, s. 30-115 (temanummer om Alison og Peter Smithson, herunder kommentar C. F. Tietgen: Erindringer og Optegnelser. Kbh. 1904. af Tony Fretton). Peter Winge, “Husene omkring Marmorkirken. Et tilpasningsbyggeri i Frederiksstadens hovedakse”, i: ARCHITECTURA, nr. 22 (2000), s. 77-102.

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Notes

The Marble Church and The Thorn in Tietgen’s Side building history in Historiske huse i det gamle København. Fortegnelsen over bevaringsværdige, ældre bygninger i ”Bispe - 1 Helga Stemann: F. Meldahl og hans Venner, vol. 4. 1930, pp. 160- staden” og ”Ny-København”. National Museum. 1972, p. 215. 62, 165-68. C.F. Tietgen: Erindringer og Optegnelser. 1904, pp. 3 Ole Lange: Stormogulen. p. 412 ff. For lengthier discussion on the 165-66. Ole Lange: Stormogulen. C.F. Tietgen – en finansmand, Svend Petersen affair, see Ole Lange: Finansmænd, stråmænd og hans imperium og hans tid 1829-1901. 2006, p. 407 ff. mandariner. C.F. Tietgen, Privatbanken og Store Nordiske. 2 C.F. Tietgen’s archive. Materiale vedr. Frederikskirken [Material Etablering 1868-76. pp. 233-58. pertinent to Frederick’s church] (parcel 56-58). Tietgen has pur- 4 E. Cohn: Privatbanken i Kjø benhavn gennem Hundrede Aar chased nos. 86 and 88 (Land Register title numbers 257 and 258); 1857-1957. Copenhagen 1957. 1. Half-volume, p. 284: Tietgen’s moreover, Tietgen has evidently purchased nos. 82 and 84 on taxable income, 1862-63 to 1901-02. Helga Stemann: F. Meldahl, Store Kongensgade (Land Register title numbers 255 and 256) for, vol. 4, pp. 159-66, 176. Birgit Nüchel Thomsen: Tuborg 1873 – respectively, 34,000 and 36,000 Danish kroner, but it does not ap- 13. maj – 1973. Tuborg og bryggeriindustrien under skiftende pear that the process of effecting this purchase was carried all the markedsvilkår 1873-1973. Copenhagen 1973. Helga Stemann pp. way through to a final sale. Lægget Marmorkirken. Beskrivelser. 176-80. Morgenbladet 5/11 1882. Ole Lange: Stormogulen, pp. Overslag, Tegninger og Regninger [Gathering the Marble Church. 416 ff. Berlingske Tidende, Dagbladet and Morgenbladet, Nov. 5, Descriptions. Price estimates. Drawings and Accounts]. Forskelligt, 1882. Jyllandsposten, Dec. 22, 1882. udateret koncept til skrivelse, men fra 1877 til Finantsministeriet 5 Helga Stemann, pp. 183-97 and the notes on pages 183, 184, 1888, [Miscellaneous, undated draft preparatory to the letter, but from 1889, 1893, 1894 and 1896. Dagbladet, Dec. 20, 1882. 1877 to the Ministry of Finance], lægget Marmorkirkepladsen C.F. Tietgen: Erindringer [Memoirs], p. 169. 1874-75 m.m [Gathering the Marble Church Plaza area 1874-75, 6 E. Cohn: Privatbanken i Kjøbenhavn gennem 100 Aar, p. 284. etc.]. Foreløbig slutseddel for køb af [Provisional broker’s Ole Lange: Stormogulen, pp. 214-15, 415. contract note for the purchase of] Land Register title numbers 255 7 Ole Lange: Stormogulen, pp. 495-96. Johs. Lehmann: C.F. Tietgen. and 256 / Realtor Julius Jørgensen, Pistolstræde. Plan over Fre - Hans Liv og Virke. Copenhagen 1929, pp. 295-306 offers a derikskirken med navnene på ejerne [Plan of Frederick’s church description of the Marble Church, while the material on with the names of the owners] and Land Register title numbers pp. 307-40 describes Tietgen’s final years of illness, his death and 251-258. Materiale vedr. Marmorkirken [Material pertinent to the his posthumous reputation. Marble Church] 1873-1900. Correspondance. Parcel 59, lægget Bygningerne omkring Kirken, angaaende de Frederiks Kirkeplads Between Completion and Fragment paahvilende Servitutter, dateret 22. april 1875 [Gathering the 1 Quoted from Mark Cousins, buildings surrounding the church, as concerns The Frederick’s “Drawing upon: the work of Tony Fretton”, in: 2G, no. 46, p. 7. Church plaza area’s chargeable easements, dated April 22, 1875], 2 Cf. Tobias Faber, p. 140. underskrevet kontorist S.S. Lütken [signed by Clerk S.S. Lütken]. 3 Cf. Architecture d’Aujourd’hui, no. 344. Store Kong ensgade nos. 78, 80, 82 and 84 are described with their 4 2 G, no. 46.

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Sources and Literature

The Marble Church and The Thorn in Tietgen’s Side Between Completion and Fragment Berlingske Tidende 1882. Tobias Faber, Bind 6: Frederiksstaden og Nyhavn, in the series: Jyllandsposten 1882. Bo Bramsen (ed.), København før og nu – og aldrig, Copenhagen 1989. Ole Lange: Finansmænd, stråmænd og mandariner. C.F. Tietgen, Sys and Godfred Hartmann, Bind 5: Kgs. Nytorv, Rosenborg og Privatbanken og Store Nordiske. Etablering. Copenhagen 1978. Nyboder, in the series: Bo Bramsen (ed.), København før og nu – og aldrig, Copenhagen 1988. Ole Lange: Stormogulen. C.F. Tietgen – en finansmand, hans imperium og hans tid 1829-1901. Gyldendal, Copenhagen 2007. Martin Spring, “Tietgen’s Agony”, in: AJ Specification, 2010, no. 3, pp. 14-27. Henning Larsen: De skal sige tak! Kulturhistorisk testamente om operaen. Copenhagen 2009. Nationalmuseet [The National Museum], Johs. Lehmann: C.F. Tietgen. Liv og Eftermæle. Copenhagen 1929. Historiske huse i det gamle København, Copenhagen 1972. Hans Helge Madsen: Meldahls rædselsprogram. F. Meldahl. Hans Helge Madsen, Meldahls rædselsprogram, Copenhagen 1983. Arkitekt og politiker 1827-1908. Copenhagen 1983. Colin Rowe, Collage City, Cambridge, Massachusetts, 1978. Knud Millech: Danske arkitekturstrømninger 1850-1950. Tony Fretton on The Smithsons in: Architecture d’Aujourd’hui, En arkitekturhistorisk undersøgelse af Knud Millech under redaktion 2003 (January-February), no.344, pp. 30-115 (special issue devoted to af Kay Fisker. Copenhagen 1951. (Photographic re-print, 1977.) Alison and Peter Smithson, including commentary contributed by F. Meldahl: Frederikskirken i Kjøbenhavn saaledes som den blev Tony Fretton). projekteret i det XVIII Aarhundrede af Eigtved, Anthon, Jardin med 2 G, Revista internacional de Arquitectura, 2008 No.46, pp. 4-143, flere, samt deres Forhold til Danmarks og Europas Bygningskunst i (special issue devoted to Tony Fretton). det XVII og XVIII Aarhundrede. Copenhagen 1896. Mark Cousins, Kenneth Frampton & Tony Fretton, Architecture, Morgenbladet 1882. Experience and Thoughts: projects by Tony Fretton, London 1978. Helga Stemann: F. Meldahl og hans Venner. A plus T. Arquitectura plus tecnologia, 2001, no.18, pp. 4-159, Copenhagen 1926-32, vols. 1-6. (special issue devoted to Tony Fretton). C.F. Tietgen’s archive: Materiale vedr. Frederikskirken Henning Thomsen, “Alt andet end almindelig”, interview with Tony parcel no. 56-58). Materiale vedr. Frederikskirken Fretton in: Arkitekten, 2006, no. 10, pp. 38-41. 1873-1900. Correspondance (parcel no. 59). C. F. Tietgen: Erindringer og Optegnelser. Copenhagen 1904. Peter Winge, “Husene omkring Marmorkirken. Et tilpasningsbyggeri i Frederiksstadens hovedakse”, in: ARCHITECTURA, no. 22 (2000), pp. 77-102.

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Fotos og illustrationer Photos and illustrations

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 Udgivet af Realdania Byg Tietgens Tietgens Ærgrelse Bindesbølls Rådhus i Thisted i Thisted Rådhus Bindesbølls Udgivet af Realdania Byg

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