Abstract
Atmospheres are strange – evasive and yet profound. Bound to space, they can a ect our very being by colouring our perception and in uencing our moods. In this article I will demonstrate how an awareness of the atmospheres in the house museum of the architect Marius Pedersen can provide a comprehension of the ambiguity in Bedre Byggeskik’s architectural project – an ambiguity that has proven di cult to grasp otherwise. rough an exploration of the two dominant spaces (the front garden and the entrance room), I will focus on the potentials of the atmospheres as ways of recognizing the actual house as the object of the house-museum. Because of their uncertain status of being ”in-between” (as in- between subject–object, consciousness–unconsciousness, material–immaterial), the atmospheres o er a kind of evocative communication that exceeds the deliverance of ”facts”. e experiencing of atmospheres o en evokes past experiences of similar atmospheres that a ect the moods of the house museum’s guests. ese moods can be considered existential given that they simultaneously contain the past, the present and the possible future in a privileged space in-between re ection and emotion.
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