natgillin/translations-raw huggingface dataset:
Søger du fx inspiration til bibliotekets rolle i udvikling af byrummet eller et byområde, er der inspiration at hente i de mange cases fra forskellige lande.
If you are for example looking for inspiration about the library's role in the development of the urban space or urban area, you can find a lot of information in the many inspirational cases from various countries:
I disse cases kommer teksten omkring hele huset.
(Se also all the thematic cases via the menu at your right).
I 1785 indrettede militæret Kronborg til kaserne og flere rum blev ombygget.
In 1785, the military turned Kronborg Castle into a barracks, and several rooms were converted.
Militæret forlod Kronborg i 1923, hvorefter slottet blev restaurerert og genopbygget som i Frederik II og Christion IV's dage.
When the military left the Castle in 1923, it was restored and rebuilt to its state in the days of Frederik II and Christian IV.
Slottet er disponeret som et firefløjet anlæg, der omslutter en indre gård.
The castle is laid out as a four-winged structure surrounding an inner courtyard.
Indgangen sker fra nord over voldgraven, igennem bastionen og frem til den prægtige hovedportal i facaden.
It is accessed from the north, across the moat, through the bastion to the regal main portal in the façade.
Herfra går det videre igennem portrummet ind i gården, hvor man får oplevelsen af en rigt varieret og dog velafbalanceret arkitektur.
Through the gatehouse you enter the courtyard which gives the impression of a richly varied, yet balanced architecture.
Et særligt træk udgør trappetårnene, der i overensstemmelse med tidens byggeskik indeholder vindeltrapper og fremstår som næsten selvstændige bygningsdele.
A special feature is the stair turrets which, with their spiral stair cases in accordance with the architectural style of the time, appear almost as independent parts of the structure.
Bygningsanlæggets indre opdeling og funktioner på Frederik II tid kan man i store træk danne sig en forestilling om, selv om der hersker uklarhed om detaljer.
There is some uncertainty to the details af the interior division and functions of the structre at the time of Frederik II.
Monarkens store kammer lå over porten, så han kunne holde øje med trafikken ind og ud af slottet.
The Monarch's large chamber was situated above the gate so that he could keep an eye on traffic in and out of the castle.
Dronningen holdt til i den østlige ende, hvorfra et galleri førte til sydfløjens store rum, kirken og den store dansesal.
The Queen's chamber was at the eastern end, a gallery leading to the large rooms in the South Wing, the chapel and the great ballroom.
Den sidste er en af vor arkitekturarvs betydeligste rum.
The latter is one of the most outstanding halls in the architectural heritage of Denmark.
Enkel, men smukt proportioneret og med et pragtfuldt dagslys strømmende ind fra tre sider.
Simple, yet beautifully proportioned and with glorious daylight streaming in from three sides.
På Grønlands Hjemmestyres internetside præsenteres den grønlandskes verdensarv, www.nanoq.gl
The Danish sites included on the World Heritage List can be found on the website of the Heritage Agency of Denmark at www.kulturarv.dk
'Dansesalen', også kaldet 'Riddersalen'
The ballroom also known as the banqueting hall
Her ved Øresunds smalleste sted kontrollerede man igennem århundreder sejladsen til og fra Østersøen.
From this location at the narrowest stretch of the Sound, maritime traffic to and from the Baltic Sea was controlled for centuries.
De passerende skibe blev opkrævet told, en indtægt, der var væsentlig for Danmarks finanser.
Tolls from the passing ships, made a significant contribution to the Danish exchequer.
Derfor gjaldt det om på dette sted at markere kongens magt med et storslået slot indfattet af uindtagelige fæstningsværker.
Hence, it was important to emphasise the power of the king by a grand castle framed by impregnable fortifications.
Beliggenheden var forsvarsmæssigt og synsmæssigt optimal.
The location was optimal in terms of defence as well as visibility.
Oprindelig havde Frederik II tænkt sig et slot i røde teglsten prydet med sandstensornamenter og dertil et tegltag, som vi f.eks. kender det fra Frede riks borg slot.
Originally, Frederik II had in mind a red-brick castle with sandstone ornaments and a tiled roof like that of Frederiksborg Castle, for instance.
Efter tre års byggeri ændrede han dog mening og lod de næsten færdige facader beklæde med sandsten, mens tagene blev dækket af kobber.
However, after three years of building he changed his mind and had the almost completed façades covered with sandstone, while the roofs were covered with copper.
Slottets pragtarkitektur er inspireret af nederlandsk renæssance med vandrette opdelinger af facaden og en kraftig hovedgesims.
The magnificent architecture of the castle was inspired by Dutch renaissance with horizontal divisions of the façade and a strong cornice.
Som kontrast hertil rejser tårne og spir sig magtfuldt over tagene, så der opstår en afbalanceret helhed.
In contrast to this, the towers and spires rise powerfully above the roofs to create a balanced whole.
På bygningens ydre fremtræder østsiden med en særlig rig facade, hvor gesimslinien bliver brudt af en prægtigt udformet gavl.
On the exterior of the building, the east side has a particularly richly ornamented façade with a magnificently crafted gable breaking the cornice line.
Den markerer beliggen heden af to af slottets vigtige rum, kirken og den store dansesal.
It marks the location of two of the important rooms of the castle: the chapel and the great ballroom.
Hovedformålet har været at imponere de forbisejlende, for renæssanceslottet som sådant var på ingen måde egnet til forsvar under krigeriske handlinger.
The main objective was to impress the passing vessels, for the renaissance castle was in no way fit for defence in warlike situations.
Denne rolle var tiltænkt de omgivende fæstningsværker af jordvolde beklædt med mure af sandsten og foran dem vandfyldte grave.
That role was intended for the surrounding fortifications of earthworks covered by walls of sandstone behind moats filled with water.
Endnu senere tilføjedes foran dette endnu en befæstningslinie, 'forværket'.
At a later time, yet another line of fortification, ‘the outwork', was added.
Dekorationerne i Slotskirken
Decorations in the chapel
Kronborg med volde, set fra sydøst
Kronborg Castle with fortifications seen from south east
Fra betjent til selvbetjent bibliotek
From serviced to self-serviced library
Bibliotekerne er i den forbindelse blevet omdannet til gæsternes rum.
All of Aalborg's libraries, Denmark, are unmanned during parts of the opening hours.
At holde biblioteket åbent uden for bemandet åbningstid, handler om mere end blot at holde dørene åbne.
Keeping the library open outside manned opening hours is about more than just leaving the doors open.
Der er tale om et markant anderledes bibliotekstilbud, og derfor må indretningen i højere grad tilpasses de mange ubemandede timer.
It is, in fact, a radically different library offer, which calls for the interior design to be adapted to a higher degree for the many unmanned hours.
Casen kan især bruges som inspiration til at arbejde strategisk med ”det selvbetjente bibliotek” og til at lave en indretning på budget der er tilpasset både den bemandede og den ubemandede åbningstid.
This case is particularly useful as inspiration for working strategically with 'the self-serviced library' within a budget to design an interior that is adapted for both manned and unmanned opening hours.
Læs mere om at transformere biblioteker på et lille budget her i casen om Vesthimmerland .
Read more about how to transform libraries on a small budget here in the text about Vesthimmerland , Denmark.
Genkendelig basisindretning som del af det nye koncept
Recognisable basic interior design as a part of a new concept
Det overordnede strategiske arbejde med indretning af de ”åbne biblioteker” i Aalborg betyder blandt andet, at der er arbejdet med en standardiseret basisindretning, hvilket fx består i brugen af den samme type af møbler.
The overall strategic work with the interior design of the open libraries in Aalborg has been based on a standardised basic interior design, which, for instance, uses just one type of furniture.
Dette sikrer at gæsterne oplever en genkendelighed, uanset hvilket bibliotek de besøger.
This ensures that visitors experience a sense of recognisability, regardless of which library they visit.
Hvis møblementet ikke længere kan bruges på det ene bibliotek, så passer det måske ind på et andet.
If furniture is no longer to be used at one library, it may fit in at one of the others.
Dette sparer bibliotekerne for at bruge en masse penge på indkøb af nyt.
This also means that the libraries can save money on the acquisition of new furniture.
Nogle farver i indretningen er lokale, mens andre går igen på alle de fem åbne biblioteker.
Some of the design colours are local, while others are used throughout all five open libraries.
Genkendeligheden bemærkes i den grafiske designlinje samt i skiltningen.
The recognisability is evident in the graphical design line and in the signage.
Tidligere havde bibliotekerne hver sin individuelle skiltning, hvilket medførte store forskelle i detaljeringsgrad og niveau.
Each of the libraries used to have its own individual signage system, which resulted in great differences in terms of detailing level and standard.
Nu følger alle bibliotekerne de samme overordnede principper.
Today, all of the libraries follow the same general principles.
En del gæster anvender mere end ét bibliotek, og den ensartede skiltning medfører genkendelighed på tværs af bibliotekerne.
Many visitors use more than one library, and the uniform signage enhances the recognisability across the libraries.
Læs mere om ensretning af det grafiske udtryk i denne case om Grønlandstorv Bibliotek , som er ét af de fem ”åbne biblioteker” i Aalborg.
Read more about the standardisation of the graphical design line in this case about Grøndalstorv Library , Denmark, which is one of the five open libraries in Aalborg.
Skiltene på bibliotekerne har to gennemgående farver: Rød til børn og sort til voksne.
The signs at the libraries feature two consistent colours: red for children and black for adults.
Gamle billedbogskrybber er blevet fornyet ved at få en rød frontplade på.
Old picture book containers have been reconditioned by having a red front panel added.
Ved overgangen til ”åbent bibliotek” var det vigtigt at formidle til gæsterne, at de kun kunne få hjælp af personalet i den bemandede tid.
At the transition to the 'open library', it was important to convey to the visitors that they could only get help from the staff during manned opening hours.
Derfor blev der lavet et informationsbanner til betjeningspunkterne i den ubemandede tid.
An information banner was therefore made for the service points during the unmanned opening hours.
Efterhånden har banneret ændret karakter og fungerer nu som velkomst, når personalet ikke er til stede.
The banner has gradually changed character and now serves as a welcome when the staff are not present.
Derfor er det også billeder af lokale medarbejdere, der er på bannerne.
This is why the banners now feature photos of local staff.
Her ses udviklingen fra det første velkomstbanner i 2011 til det sidste nye fra 2016.
These pictures show the development from the first welcome banner in 2011 to the most recent from 2016.
Eksponering og materialer
Exposure and materials
Eftersom bibliotekerne er ”alene hjemme” en stor del af åbningstiden, er det ikke muligt løbende at fylde materialer op de steder, der eksponeres.
As the libraries are 'home alone' for a significant part of the opening hours, it is not possible to continually fill up with materials in the exposure places.
For at undgå at gæsterne mødes af tomme hylder og bogstøtter, har Aalborg Bibliotekerne forsøgt at skabe en passende balance mellem samling og eksponering.
In order to avoid that visitors are met by empty shelves and bookends, Aalborg Libraries have aimed to create an appropriate balance between collection and exposure.
Eksponeringen er derfor blevet afgrænset til bestemte områder: Zonen, skråbånd og udstillingspottet.
Exposure has therefore been limited to certain areas: the Zone, angled shelves and the exhibition spot.
Op mod halvdelen af materialebestanden er blevet kasseret - blandt andet for at begrænse håndtering af materialer.
Almost half of the material stock has been scrapped, partly in order to reduce the handling of materials.
Færre materialer har også givet mulighed for at anvende reolerne på nye måder.
Having fewer materials has also made it possible to use the bookcases in new ways.
Reolerne er blevet skåret ned, så de nu kun er 160 cm i højden.
The bookcases have been cut down, so that they only measure 160 cm in height now.
Dette giver bedre udsyn i biblioteksrummet for gæsterne og er med til at skabe tryghed i den ubemandede åbningstid.
This provides a better view across the library space for visitors and helps create a sense of safety during the unmanned opening hours.
Eksponering og prioritering af Zonen
Exposure and prioritisation of the Zone
Den markante eksponering af materialer sker i Zonen, som har en fremtrædende plads i velkomstområdet på alle Aalborgs biblioteker.
The distinctive exposure of materials happens in the Zone, which has a prominent place in the welcome area at all of Aalborg's libraries.
Serendipitet er princippet bag materialerne i Zonen, gæsterne kan således både finde nye og populære titler, men også mere ukendte og smalle.
The principle behind the materials in the Zone is serendipity - visitors can find both new and popular titles, but also more obscure and narrow literature.
Krimier og fag- og skønlitteratur står blandet mellem hinanden.
Thrillers, non-fiction and fiction are intermingled in the displays.
Materialer eksponeres ikke i selve samlingen for enden af hver hylde i det åbne bibliotek.
Materials are not exposed in the actual collection at the end of each shelf in the open library.
I stedet er der lavet vandrette ”bånd” i samlingen.
Instead, horizontal 'ribbons' have been created in the collection.
Eksponering laves i et helt lodret fag med skråhylder.
Exposure is achieved by means of vertical sections with sloping shelves.
Dette er gjort med inspiration fra detailhandelen, hvor undersøgelser viser, hvordan øjet danner sig et overblik.
The decision to present materials in this way was based on studies from the retail trade about how the eye forms an overview.
Desuden fungerer det samtidig også som et hyldestop, når gæsterne kigger ned langs reolerne.
This set-up also serves as a shelf end when visitors look along the bookcases.
Eksponering ved hjælp af ”hyldestop” i samlingen.
Exposure by means of 'shelf ends' in the collection.
Være- og mødested
Drop-in and meeting place
I indretningen blev det prioriteret højt at få mange siddepladser på bibliotekerne, så de også kan bruges af studerende og af gæster, der har lyst til at læse aviser og tidsskrifter, eller som blot har brug for et sted at benytte deres lap top.
The interior design has also given high priority to getting a lot of seating into the libraries, so that they can also be used by students and visitors who want to read newspapers and journals, or who just need a place to sit whilst using their laptops.
I den ubemandede åbningstid virker det trygt at komme ind i et rum, hvor andre gæster opholder sig.
During unmanned opening hours, it feels safe to enter a room where there are other visitors.
Derfor er Aalborg Bibliotekerne meget tilfredse med, at mange studerende anvender bibliotekerne.
Aalborg Libraries are therefore very pleased that the libraries are being used by many students.
Bordopstillingen er fleksibel og kan nemt tilpasses forskellige behov - fx i forhold til afholdelse af aktiviteter i biblioteksrummet.
The table layout is flexible and can easily be adapted to meet different needs - e.g. in relation to specific activities held in the library space.
Udover i Zonen eksponeres der på hvert enkelt bibliotek også på et udstillingsspot.
In addition to the Zone, each individual library has an exhibition spot for exposure of materials.
Spottet indeholder materialer, men der anvendes også effekter, bannere og skærme ved udstillingsspottet, for at det kan tiltrække sig gæsternes opmærksomhed.
The spot contains materials, but other effects are also used at the exhibition spot, e.g. banners and screens, in order to attract visitors' attention.
Opgaven med at lave udstillingsspottet er centraliseret pga. de reducerede personaletimer på bibliotekerne.
The task of preparing the exhibition spot is centralised due to the reduced staff hours at the libraries.
Alt efter tema genbruges mange af udstillingerne på tværs af bibliotekerne.
Depending on the theme, many of the exhibitions are used across the different libraries.
Da bibliotekerne har mange ubemandede timer, er udstillingsspottet en vigtig inspirationskilde for gæsterne.
As the libraries have many unmanned opening hours, the exhibition spot is an important source of inspiration for the visitors.
Gæsterne i centrum
Focus on visitors
Der er udfordringer ved at tilpasse et-rums-biblioteker til mange forskellige målgrupper og behov.
Adapting one-space libraries to many different target groups and needs is not without challenges.
I forbindelse med projektet ”værtskab på åbne biblioteker” er der på Aalborg bibliotekerne kommet fokus på, hvordan biblioteket kan rumme flere behov.
In connection with the project 'Hosting at open libraries', Aalborg Libraries have focused on how the library can accommodate more needs.
Observationsstudier viste, at ca. 44% er det, der kaldes ”drive-in-gæster”: Kendetegnet ved korte besøg, hvor gæsten hurtigt ordner sit ærinde og går igen.
Observation studies have shown that 44 % of the visitors are so-called 'drive-in visitors': They are characterised by brief visits where they quickly do what they have come for and then leave again.
Knap 33% var ”biblioteksentusiaster”: Disse bruger længere tid på biblioteket, græsser i samlingen eller slår sig ned og læser et tidsskrift.
Some 33 % were 'library enthusiasts': This group stays longer at the library, roaming around the collection or settling down to read a journal.
Mange gæster er begge dele, og foretager begge typer biblioteksbesøg alt efter tid og behov.
Many visitors are both, i.e. they make both kinds of library visits depending on time and needs.
”Liv og aktivitet” er placeret i forreste del af de åbne biblioteker og herfra skal ”drive-in gæsten” kunne klare alt.
'Life and Activity' is placed at the front end of the open libraries to enable the 'drive-in visitor' to complete all his/her errands here.
Derfor indeholder området selvbetjeningsautomaterne, reserveringer, Zonen og - de steder det er muligt - også børneområdet.
This area contains the self-service machines, reservations, the Zone and - wherever possible - the children's area.
Overskueligheden og de lave reoler gør, at selv om ”drive-in gæsterne” kun benytter første del af biblioteket, så får de uundgåeligt et kig ned gennem biblioteksrummet.
Due to the clear layout and the low bookcases, the 'drive-in visitors' get a view down through the library space, even if they only use the first part of the library.
Udstillingsspottet er derfor placeret, så det kan ses fra indgangen.
With this in mind, the exhibition spot is placed so that it can be seen from the entrance.
”Ro og fordybelse” er placeret i den bagerste del af biblioteket, og her er fokus på ”biblioteksentusiasten”.
The area for 'Quiet Contemplation' is placed at the rear end of the library, focusing on the 'library enthusiast'.
Området indeholder samlingen, pc'er og siddepladser - både i form af studieborde og blødere møbler.
The area contains the collection, PCs and seating - in the form of both study desks and soft furniture.
I grænselandet mellem de to områder findes betjeningspunktet.
The service point is located in the borderland between the two areas.
Med fokus på disse to målgrupper har Aalborg Bibliotekerne justeret indretningen og opdelt alle bibliotekerne i to områder ”liv og aktivitet” og ”ro og fordybelse”.
Focusing on these two target groups, Aalborg Libraries have adjusted the interior design and divided all of the libraries into two areas: 'Life and Activity' and 'Quiet Contemplation'.
Se eksempel på hvordan denne opdeling kan se ud i praksis i teksten om Grønlandstorv Bibliotek .
You can see an example of how this division is implemented in practice in this text about Grønlandstorv Library .
Pladsen der før husede reserveringerne på Hasseris Bibliotek er nu blevet til et hyggeligt læsehjørne.
The space that used to contain reserved materials at Hasseris Library has now been converted into a cosy reading corner.
Frederik IX og Dronning Ingrids gravplads
Burial place of King Frederik IX and Queen Ingrid
Domkirken er næsten udelukkende opført af røde teglsten, et byggemateriale som på denne tid fik fodfæste i landet.
The cathedral is built almost exclusively of red brick, a building material that was establishing itself in Denmark at the time.
Man regner med, at kirken, der blev bygget fra øst mod vest, var færdig omkring år 1280.
It is assumed that the church, which was built from east to west, was completed around 1280.
Siden da er den mest markante ændring i selve kirkens ydre Christian IV´s nye spir fra 1635 på de to vesttårne.
The most significant change subsequently made to the exterior of the church itself was Christian IV's new spires mounted on the two western towers in 1635.
De kongelige kapelbygninger har respekteret kirkens materialekarakter med røde teglfacader.
The red-brick façades of the royal chapels respect the character of the building materials of the church.
Arkitektonisk fremstår disse tilbygninger hver for sig som udtryk for den tid, de er skabt i, og de regnes med til mesterværkerne i dansk bygningskunst.
Architecturally, these additions each reflect the time at which they were created, and they are rated among the masterpieces of Danish architecture.
Også sarkofagerne, udført af de til enhver tid førende billedhuggere, er af fremragende kvalitet.
The sarcophagi executed by leading sculptors of the time, are also of outstanding quality.
Verdensarvslistens kriterier for autenticitet opfyldes i fuldt mål af domkirken.
The cathedral fulfils the World Heritage List authenticity criteria to the full.
Reparationer og ændringer i tidens løb har været hensynsfulde over for dette enestående bygningsværk.
Repairs and changes made down through the ages have been considerate to this unique building.
Domkirken set fra palæets gård
The Cathedral seen from the Palace
Her finder man gravmælet for Nordens Frue, Dronning Margrete I, som er placeret midt i koret under det spir, der bærer hendes navn.
It contains the sepulchral monument for Queen Margrete I, Sovereign Lady and Ruler of Denmark, Norway and Sweden, at the centre of the choir under the spire that bears her name.
Domkirkens indre er præget af kostbart inventar.
The cathedral has a precious interior.
Altertavlen er fremstillet omkring 1560 i Antwerpen.
The altarpiece was made in Antwerp around 1560.
Den stråler gyldent og fortæller om Jesu liv.
Its golden reliefs depict the life of Jesus.
Domkirken var i middelalderen rigt dekoreret med kalkmalerier, hvoraf der findes rester flere steder.
In the Middle Ages the cathedral was richly decorated with frescos, the remains of which are found in several places.
Grundstammen af det bygningsanlæg, man kan se i dag, blev påbegyndt omkring år 1170 af biskop Absalon.
The main body of the structure that can be seen today was commissioned by bishop Absalon around 1170.
Den afløste en række ældre kirker, der efter hinanden havde stået på samme plads.
It replaced a number of older churches that had succeeded each other at the same site.
Den nye domkirkes ud formning var i begyndelsen stærkt påvirket af romanske katedraler i Flandern og Nord frankrig, men undervejs under den lange byggeproces skete en tilpasning til gotikkens idealer.
To begin with, the design of the new cathedral was strongly influenced by Romanesque cathedrals in Flanders and the North of France, but in the course of the protracted building process it was adapted to the ideals of the Gothic style.