Questions of scale sensitivity, experience, and branding culture in and beyond Hans Christian Andersen’s house

With a new museum, Hans Christian Andersen's House, the Danish city of Odense has intensified the relationship between the nineteenth-century author, a son of the city, and the architectural spaces of today. The museum opened in 2021 but has drawn much attention since 2016 when Kengo Kuma and Associates were announced as winners of the competition to design this new house of fairy tales. The combination of Andersen, a cherished author whose works are read worldwide, and Kuma, an esteemed world-famous architect, seemed a perfect match to secure attention from a wider public and attract local and international visitors. The museum's architecture and urban garden form a focal point in the exhibition design but are also central elements in a larger transformation project in Odense. Entangled in all this is Andersen: his fairy tales, his personality, and the places he lived in Odense. The article explores how experiential visions and branding culture are balanced, and argues that the museum was created with a sensitivity towards different scales that form the relations with the museum's contexts. How such scale sensitivity is connected to the materiality, spaces, and bodily experiences of the museum is analysed through theories by Gilles Deleuze and Félix Guattari, Maurice Merleau-Ponty, and Celia Lury.