At first it seems as though my interpretation is the product of an indistinguishable tangent reminiscent purely of a long forgotten concept, A flamboyant expression of my own ideas in a near arrogant defiance of Utzon’s plans. I hope to however, convince you otherwise. The complex ramp series present in the Silkeborgs early clay renders appear to have been comprehensively discarded up initial observation of my model. Rather they have been fused into a single central ramp system, guiding guests through the museum without a sense of confusion or oppression. The multi ramp system presents alternative paths, but they are distant and difficult to get to without much travel and or back tracking, closing down the area. The singular ramp system allows the structures interior to seem almost like an exterior, even whilst underground. The broad glass ceiling enhances this sensation enabling penetration of sky and light into the building, reflecting off the water in the courtyard and flooding the museum with indirect light. The walkway cover has borrowed its support beams from the original design of Utzon, and whilst the overhead beams have adopted a more modern feel, their geometric allocation is yet another echo of Utzon’s legacy. The pseudo spherical eggs erupting from the ground in Utzon’s model have been simplified and reduced to a central shaft that serves as an elevator and an entrance egg. The elevator leads to a restaurant and store beneath the ramps, and due to the glass dome, clearly separating food and drink from the artworks. Due to layout of the structure, art can be displayed on nearly every vertical surface whilst the museum itself holds a subtle, yet elegant sculptural beauty.
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