"Almost every time I make a building, some people will condemn it straight to Hell"

Arne Jacobsen’s statement reveals the inevitability of controversy and criticism in the realm of creative work, particularly architecture. Buildings are public statements, large and tangible, and people encounter them daily, often they become unavoidable parts of one’s environment. Such visibility means every new structure is subject to intense scrutiny and emotional reaction. Jacobsen recognizes that his designs, no matter the care and intention poured into them, will inevitably attract detractors who judge the work harshly or viscerally dislike it.

The phrase "condemn it straight to Hell" conveys a strong, almost theatrical rejection that goes beyond mere disapproval. It suggests that some people see his buildings as offensive to the urban or cultural landscape, perhaps an affront to established traditions, taste, or personal memory. This serves as a reflection on both the deeply personal relationship people have with their built environment and the resistance to change that often accompanies new architecture. Many people grow attached to the familiar forms of their surroundings; any disruption, especially one that challenges aesthetic conventions or adopts a modernist approach, may be perceived as a threat or a loss.

For Jacobsen, a pioneer of modernist architecture with his signature clean lines and functional forms, friction with public opinion was almost an occupational certainty. He suggests, perhaps wryly, that negative reactions are a constant companion to innovation. His words imply an acceptance of creative risk and of being misunderstood, even maligned. Rather than seeing condemnation as a deterrent, there’s an underlying assertion that progress and originality in art or design will always invite strong opinions. If any new contribution seeks meaning or impact, its very audacity will invite both admiration and passionate condemnation. Jacobsen’s remark affirms that shaping the future is contentious business, but such friction might be necessary for architectural and artistic progress.