21.01.2026

Odense: Between fairytale architecture and urban innovation

Building design

City skyline of Copenhagen, captured by Adrien Aletti - urban flair and architecture from a bird's eye view.

Odense: The Danish city that was once considered a fairytale setting is currently reinventing itself – radically. Between Hans Christian Andersen romanticism and digital neighborhood development, an urban laboratory is emerging that is electrifying experts from architecture, urban planning and the construction industry alike. Is Odense the European prototype for the smart, sustainable city of the future – or just a beautifully staged fairytale village with a high-tech façade?

Odense is establishing itself as a hotspot for experimental urban development: fairytale meets high-tech.
The city is consistently focusing on sustainable planning and digital transformation.
Digital tools and AI are shaping construction processes and neighborhood management.
New mobility concepts, green infrastructures and sustainable architecture are being integrated.
Odense is challenging the traditional profession of architect and planner – and inspiring the German-speaking world.
Discussions about authenticity, gentrification and identity are making waves.
Global attention for Odense’s innovative spirit – but also criticism of commercialization and social selection.
What professionals from Germany, Austria and Switzerland can learn from Odense and why the Danish model cannot simply be copied.

Fairytale past, radical future – Odense’s urbanism in transition

When you think of Odense, you think of Hans Christian Andersen, cobblestones and colorful facades, carriages, ducks and a touch of nostalgia. But appearances are deceptive. In recent years, the city of around 1,800,000 inhabitants has quietly developed into a testing ground for urban innovation. While other municipalities are still cherishing their fairytale treasures, Odense is focusing on the symbiosis of tradition and technological avant-garde. Here, the romantic backdrops are by no means being torn down. Rather, they are being digitized, networked and charged with new urban planning concepts.

The transformation began with the radical conversion of the city center: where once a four-lane traffic axis cut through the city center, pedestrians and cyclists now stroll through a green ribbon. The reclaiming of public space was just the start of a whole series of initiatives that are turning Odense into an urban laboratory. The ambition is high: not just fairytale architecture, but a model for sustainable, smart urban development. Historic buildings are being retrofitted with state-of-the-art building technology, while digital platforms control access to mobility, energy and services.

Odense’s transformation is no coincidence, but the result of political foresight and an amazing culture of cooperation between the city administration, business and research. Instead of limiting itself to the tourist marketing of the past, the city is using its heritage as a springboard for innovative narratives. The new Andersen Museum, designed by Japanese architect Kengo Kuma, is an architectural coup – and at the same time a statement for the combination of storytelling and contemporary urban planning.

An international comparison shows that while other cities in Denmark and Northern Europe have long been focusing on sustainability and digitalization, Odense is going one step further. The city is orchestrating change as an integral process in which architecture, mobility and digitalization go hand in hand. The result is an urban ecosystem that goes far beyond the usual smart city phrases.

The German-speaking debate is watching Odense with growing fascination – and a pinch of skepticism. Can a city that is synonymous with fairytale romance worldwide really serve as a model for sustainable urban development? Or is it at risk of losing its identity in favor of an arbitrary aesthetic of innovation? The answer is complex – and cannot be reduced to simple copy-paste recipes.

Digital transformation: from smart district to urban platform

In Odense, digital tools are no longer an end in themselves, but an integral part of urban development. The introduction of Urban Digital Twins, for example, makes it possible to analyze and control complex relationships between climate, traffic, energy and buildings in real time. Where spreadsheets and individual applications often still dominate in German cities, open, modular platforms that combine planning, operation and participation are emerging in Odense.

A prime example is the Thomas B. Thriges Gade district project. Here, not only were traffic and open space concepts digitally simulated, but energy flows, shadows and quality of stay were also integrated into the design process. The result: a dynamically growing urban district in which sensor technology and AI help shape the everyday lives of residents. For example, mobility services or energy consumption are automatically adapted to actual needs, while urban open spaces are optimized for their intensity of use using crowd sensing.

This digital process architecture leads to a new planning logic: decisions are no longer made solely on the basis of forecasts, but on the basis of continuously updated real-time data. This fundamentally changes the role of architects and planners – from designers of static spaces to curators of dynamic systems. Anyone planning in Odense must have digital skills, from BIM and GIS to data analytics. The traditional job description is being shaken – and that’s a good thing.

At the same time, digitalization is raising new questions. Who owns the data? Who controls the algorithms that control urban processes? Odense is trying to address these challenges with open data platforms and transparent governance. But the criticism remains: Not everyone benefits equally from the digital city. The danger of a new digital divide is real – and calls for socially balanced solutions.

Compared to German-speaking countries, Odense’s approach seems remarkably pragmatic. Whereas in Germany, data protection, responsibilities and participation are often perceived as a roadblock, Odense sees them as a design task. The city demonstrates that digitalization is not an end in itself, but can be a lever for greater sustainability, participation and quality of life.

Rethinking sustainability: between greenwashing and genuine transformation

Odense sees sustainability not as a decorative façade, but as a strategic guideline. The focus is on consistently reducing CO₂ emissions, promoting active forms of mobility and expanding green infrastructure. But the city goes further: sustainability is considered an integral part of all planning and construction processes – from the choice of materials to energy supply and water management.

Take mobility, for example: instead of expensive prestige projects, Odense is focusing on the massive promotion of cycling and walking. The city center has been made largely car-free, and sharing services and local public transport are digitally networked. Sensor-based traffic control ensures smooth processes, while microclimatic data is incorporated into the design of streets, squares and parks. The result: fewer emissions, more quality of life, a clear locational advantage for the city.

Odense is also setting standards in the construction sector. The use of renewable raw materials, circular building materials and energy-efficient building technologies characterize the city’s new architectural language. Attention is paid not only to ecological sustainability, but also to social sustainability: Mixed neighborhoods, affordable housing and inclusive open spaces are firmly anchored in the mission statement – at least on paper.

However, sustainable urban development remains a balancing act. Critics accuse Odense of using the staging of sustainability and digitalization to construct a new narrative of “urban branding” that covers up social problems. In fact, gentrification is also noticeable in Odense, property prices are rising and pressure on traditional population groups is growing. Sustainability quickly becomes an empty shell if it is not linked to social justice and genuine participation.

Odense provides valuable inspiration for German, Austrian and Swiss cities – but also warnings. Sustainability is not a technical update, but a social negotiation process. Without broad participation and clear governance, it remains superficial and creates new exclusions. If you want to learn from Odense, you have to dig deeper than the façade.

Global trends, local debates: What Odense means for the future of architecture and urban planning

Odense is no longer just a local phenomenon. The city has become an international benchmark for experimental urban development. Experts, investors, researchers and politicians make pilgrimages to Denmark to be inspired – and to test the limits of what is feasible. At the heart of this is a new role for architecture: it is no longer seen as mere design, but as an interface between technology, society and ecology.

The consequences for the image of architecture are serious. In Odense, planners, designers, engineers and data experts work hand in hand. The traditional hierarchy is being replaced by interdisciplinary teams that work together on urban solutions. The digital transformation is forcing the profession to reposition itself: Those who still believe they can shape the future with renderings and building applications today will be overtaken by data-driven processes and AI-supported scenarios tomorrow.

At the same time, a debate about authenticity and identity is simmering. Can a city that is undergoing such radical renewal retain its soul? Is the combination of fairytale architecture and urban innovation more than just clever marketing? The answers are ambivalent. Odense shows that transformation can succeed if it is pursued as an inclusive, dialogical process. But it also shows how quickly innovations can lead to new social divisions if there is a lack of participation and transparency.

In the global discourse, Odense stands for a paradigm shift: away from the purely business-driven smart city and towards people-centered, sustainable urban development. The city is becoming a learning space for everyone who understands architecture, technology and society as an inseparable unit. Especially in Germany, Austria and Switzerland, where the fear of losing control and complexity often puts the brakes on innovation, Odense provides the counter-model: the courage to change, openness to experimentation, the desire to break with routine.

But one thing is clear: Odense is not a patent remedy. The city has learned from its own fairy tales – and knows that every change has its price. If you want to shape the future, you have to be prepared to endure contradictions, accept risks and constantly renegotiate what the city should actually be.

Conclusion: Odense’s fairytale formula – inspiration, but not an instruction manual

Odense shows what is possible when tradition and innovation are not seen as opposites, but as resources. The city proves that sustainable, digital urban development is more than just a marketing gimmick – it is a complex, sometimes contradictory process that requires courage, know-how and a clear vision. For planners, architects and decision-makers in German-speaking countries, Odense is a wake-up call: those who remain stuck in old patterns will remain spectators. But those who embrace the fairytale formula – radical openness, digital expertise, social responsibility – can play an active role in shaping the future of the city. Fairytale-like? Only at first glance. The true innovation lies in the consistent break with the familiar.

02.01.2025

Society

Vandersanden Linge: The paving brick for ambitious projects

Building design

The large paving brick in Linge ® format from Vandersanden: Calm appearance, sustainability and an authentic character. Read more here. Sustainability and authenticity have established themselves as lasting trends in the design of public spaces. The Linge® format from Vandersanden picks up on current developments and offers creative solutions. The pavers in the special large format provide […]

The large paving brick in Linge ® format from Vandersanden: Calm appearance, sustainability and an authentic character. Read more about it here.

Sustainability and authenticity have established themselves as lasting trends in the design of public spaces. The Linge® format from Vandersanden picks up on current developments and offers creative solutions. The pavers in the special large format provide a rustic and calm look. At the same time, they perfectly cover the sustainability aspect.

Already very successful in neighboring countries, this unusual format is also gaining ground in Germany. It offers many facets, especially for urban architects. In addition to the different formats, the bricks also differ in terms of their properties. Vandersanden supplies them in four basic variants, each with its own individual characteristics:

The Linge® paving brick in the 80/80 format(L 245 x W 80 X H 80 mm) is the most robust brick in this series. It has three sanded sides in molded back, all of which are suitable as visible sides. This means it can be reused up to three times and always ensures a unique and fresh street scene.

The Linge® paving brick in 80/70 format(L 245 x W 80 x H 70 mm) is a special version with a high edge that is offset to the rear. Among other things, this prevents chipping under heavy traffic loads. As a result, the road surface retains both its look and feel.

The Linge® format 80/60(L 245 x W 80 X H 60 mm) has a lower height of 60 mm. This means that fewer raw materials are required during production. The low height is more than sufficient for the design of squares, sidewalks and cycle paths.

The Linge® clinker in the 60/80 format(L 245 x W 60 X H 80 mm) is the big and strong brother of the classic Waal format Riegel.

The large format of Vandersanden’s Linge ® bricks reduces the number of joints in squares, streets and paths. The rustic look of the bricks gives them an authentic appearance. In addition, their long service life, reusability and low number of joints underpin Vandersanden’s sustainability concept. The innovative clinker bricks are available as molded bricks, waterstruck or, in some cases, extruded, sanded or unsanded.

The innovative clinker bricks are available as molded bricks, waterstruck bricks or, in some cases, as extruded bricks, sanded or unsanded. You can find more information at www.vandersandengroup.de.

Also interesting: Schwerin architects realize multi-generation house in an unusual way with the help of Vandersanden clinker bricks.

17.01.2025

Exhibitions, Industry news

Ferdinand Hodler as an established figure of Berlin Modernism

Building design

Visitor to the exhibition "Ferdinand Hodler and Berlin Modernism" in front of the artist's "Self-Portrait (The Angry Man)". Photo: Harry Schnitger / Berlinische Galerie

They are icons of modernism: the expressive figure paintings, mountain landscapes and portraits by Ferdinand Hodler (1853-1918). Even during his lifetime, the work of the Swiss painter, who helped shape Symbolism, attracted great international attention. But what is hardly known today is that Hodler’s path to fame led via Berlin, as an exhibition at the Berlinische Galerie currently shows (still […]

Ferdinand Hodler is undisputedly the most popular painter in Switzerland today and is considered a key figure in modern art alongside Paul Cézanne, Vincent van Gogh and Edvard Munch. His work was last shown on a large scale in Berlin in 1983. The current exhibition at the Berlinische Galerie (until January 17, 2022) presents the artist for the first time as a major figure in Berlin Modernism. A selection of his most important symbolist figure paintings, which established Hodler’s success in the German imperial capital, his unmistakable mountain landscapes and outstanding portraits, which already inspired the contemporary Berlin public, can be discovered: “In the Künstlerbund exhibition. Hodler made the strongest impression,” noted the influential collector and patron Harry Graf Kessler in his diary in 1905.

The exhibition “Ferdinand Hodler and Berlin Modernism” traces the Swiss artist’s success story on the Spree. Here, his works were first shown at the Great Berlin Art Exhibition, then at the Berlin Secession and in renowned galleries in the city such as the Fritz Gurlitt and Paul Cassirer art salons. Hodler was already perceived as a typical exhibition artist in his time, and his career spread beyond Switzerland’s borders throughout Europe. After initial successes at home, where Hodler’s work was the subject of controversial debate, he built up relationships in Paris, Munich, Vienna and Berlin, where he exhibited his works in the context of leading avant-garde associations.

Ferdinand Hodler gradually won over the Berlin public

The rather sober Prussian mentality in Berlin initially made it difficult for Hodler to assert himself with his symbolist figure paintings. The Swiss artist polarized opinion. He inspired artists and critics who were open to modernism. He was only gradually able to win over the general public, who were still familiarizing themselves with Naturalism and Impressionism in Berlin. When gallery owner Paul Cassirer included Hodler’s naturalistic early works as well as portraits and landscapes in a group exhibition in 1907, the artist gained wider acceptance in the city. It was also Cassirer who organized an extensive monographic exhibition of Hodler’s work in 1911. As part of a larger exhibition tour that included Cologne, Frankfurt am Main, Berlin and Munich, it took into account all facets of Hodler’s work. The landscapes, which enjoyed great popularity among collectors, were particularly emphasized.

The second half of the 1900s saw the emergence of Expressionism in Berlin. For the metropolitan art scene, this led to a paradigm and generational shift around 1910/11. Hodler was already considered a pioneer of Expressionism and abstraction at the time due to his tense outlines, which seem almost comic-like to us today, and his free use of color and form.

The “Hodler case”

When the Swiss artist, together with other artists and intellectuals, signed a protest against the shelling of Reims Cathedral by German troops in Geneva immediately after the start of the First World War, this triggered a wave of indignation in Germany. The press turned it into the “Hodler case”, which led, among other things, to the painter being expelled from German artists’ associations. By the end of the war, however, the artist, who died in May 1918, had been largely rehabilitated in Germany.

Paul Klee on Ferdinand Hodler

According to the artist Paul Klee in 1911, contemporaries saw Hodler above all as a “portrayer of man who knows how to shape the soul through the body”. Hodler’s art focused on simplification and grandeur. The timelessly elegant postures and delicate faces of his dancers and young men are still captivating today. They appear archaic, often serious and yet also animated, full of lightness and life. Hodler drew inspiration for his art from nature, of which he understood people to be a part. The air that his figures breathe and that blows around his mountains is cold and clear. As Hodler himself wrote in one of his programmatic texts, the artist “shows us an enlarged, simplified nature, freed of all details”.

The exhibition “Ferdinand Hodler and Berlin Modernism” shows around 50 paintings by the artist, including 30 from the Kunstmuseum Bern, which is a cooperation partner of the show. In addition, there are further works by artists from the Berlin Secession who exhibited with Hodler in Berlin, such as Lovis Corinth, Walter Leistikow, Hans Thoma and Julie Wolfthorn.

The exhibition catalog has been published in German and English.

Since 2019, the permanent exhibition “Art in Berlin 1880-1980” at the Berlinische Galerie has been accessible to blind and visually impaired visitors, making it possible to experience art with multiple senses. In close cooperation with the German Association for the Blind and Visually Impaired (DBSV), work was carried out over two years to equip the collection presentation “Art in Berlin 1880-1980” with tactile media, a guidance system and a museum app to create an inclusive art experience.

Reading tip: Four cities in the Leichter Reisen working group – Emden, Rostock, Magdeburg and Erfurt – are presenting accessible art museums and their special exhibitions in winter 2021. Find out more here.