I was watching the re-run of ‘The Bridge’ recently which included intriguing glimpses of Hack Kampmann’s (1856-1920) stunning Copenhagen Police Headquarters. This proved to be his swansong and a fitting end to the career of the most prolific Danish architect of the late 19^th and early 20^th centuries. Like the best Nordic Classical work, Kampmann’s Politigården is designed to evoke a strong emotional response from its visitors and users. It’s grey-rendered exterior suggests the dull administration of the law, (thus lowering our expectations) and while a recessed arched portico responds to the modest square in front of it, there is no obvious entrance. From within the portico, two modest flights of stairs on either side lead visitors up to the first floor, where they are suddenly confronted by one of the most stunning exterior architectural spaces of the twentieth century (above). This represents the law in all its majesty, raised above the everyday level of life on the streets outside and bringing dignity to its pursuit. A further courtyard (reached by an unadorned alleyway) is an equally dramatic memorial to police officers killed in the line of duty. The interiors are exquisite, complete with the original fittings and beautifully maintained.

Perhaps the most interesting aspect of all about this building, however, is that it has been in continuous use since the 1920’s and (as seen on ‘The Bridge’ and ‘The Killing’) still functions effectively as the city’s police headquarters. It makes you wonder just how many other beautiful Victorian and Edwardian schools, town halls, police stations and offices could have been saved from either destruction or conversion, if their users, advisers and architects, had been a little more flexible and a little bit less dogmatic.