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The Astrup Fearnley Museum of Modern Art is an independent part of the Astrup Fearnley building complex, which covers approximately one half of a city block. Designed by LPO architects and designers, the museum opened in the autumn of 1993 and encloses an area of about 2500m².
The main entrance on Revierstredet is marked with monumentally large steel doors; when the doors are open, one can see from a great distance that the museum is open.
The exhibition spaces cover two floors. The height of the galleries varies from 3,5 to 10,5 meters. In the design of the gallery spaces, emphasis is upon the rooms expressing humility in relation to the artworks; simultaneously they provide the works with a beautiful and functional frame. Emphasis is also laid upon the entryway and exhibition spaces being airy and pleasant to move about in. The floor-design provides great flexibility for temporary constructions and installations. The choice of materials expresses quality but with limited means—here the artworks are the main focus. The concrete wall, like a circular movement in the museum, establishes a powerful but nevertheless subdued backdrop; the stairway to the main gallery, formed in steel with steps of smoked oak, shows an unambiguous connection between the two floors. The stone floor is made of Cascais Azul, a Portuguese sandstone.
Aside form the sculpture garden, the exhibition spaces are devoid of daylight, yet they have a general artificial lighting that can be specifically adapted to any requirement.
The main entrance on Revierstredet is marked with monumentally large steel doors; when the doors are open, one can see from a great distance that the museum is open.
The exhibition spaces cover two floors. The height of the galleries varies from 3,5 to 10,5 meters. In the design of the gallery spaces, emphasis is upon the rooms expressing humility in relation to the artworks; simultaneously they provide the works with a beautiful and functional frame. Emphasis is also laid upon the entryway and exhibition spaces being airy and pleasant to move about in. The floor-design provides great flexibility for temporary constructions and installations. The choice of materials expresses quality but with limited means—here the artworks are the main focus. The concrete wall, like a circular movement in the museum, establishes a powerful but nevertheless subdued backdrop; the stairway to the main gallery, formed in steel with steps of smoked oak, shows an unambiguous connection between the two floors. The stone floor is made of Cascais Azul, a Portuguese sandstone.
Aside form the sculpture garden, the exhibition spaces are devoid of daylight, yet they have a general artificial lighting that can be specifically adapted to any requirement.
The administration department is situated on the mezzanine; with a predominance of steel elements, it is an architectural volume in its own right.
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