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Huset
The house on Bakkekammen demonstrates in an exemplary way the aesthetic rules that prevailed in the National Association for Better Building Practices: the building is constructed in the association's preferred material, brick, with external walls in yellow flamed stone and a roof of red brick, and the house is strictly symmetrical both in facades and ground plan. The roof is steep and half-pitched, and there is no overhang. On the other hand, the roof is integrated into the house's sharply cut form via the facades' strong and plastered cornice. The cornice goes around to the gable and forms a plastered band there. The strip divides the gable and gives the windows the same "escape line" to follow, so that the windows sit at the same height all the way around the house.
The house is deep so that the gable becomes wide and the ground plan approaches a square, thereby making the layout of the rooms very compact; in a floor plan of less than 100 square metres, there will be space for 8 regular rooms in addition to a toilet and wardrobe. In each of the four corners are four identical rooms of just over 8 square meters each, but with very different functions: kitchen, drawing room, bathroom and stairwell. The drawing room where Marius Pedersen worked was optimized to the extreme, everything that was needed for daily work was within immediate reach, but the basic symmetry of the house may still have won over function. The drawing room is so small that Marius Pedersen had to use the table in the living room when it was busy; compared to this, the bathroom seems very large and spacious.
The house's layout and furnishings reflect that the house's residents were always busy with various tasks and duties, and that there were no sharp divisions between private life and working life. There is no "soft" furniture that invites you to sit idly by. The drawing room was often used as a meeting room when Marius Pedersen held construction meetings, and since the drawing room is directly connected to the drawing room, everyone who had an errand in the drawing room had to pass through the drawing room.
Both externally and internally, the house is characterized by good proportions, solid materials and good craftsmanship with attention to detail, but without superfluous decoration. Marius Pedersen has designed several of the house's furniture himself, e.g. a tobacco table, a sewing table and the dining room table. Especially in the hall of the house with the many doors in dark golden wood, the style of the time can be felt, but also a "Danish" kinship with the slightly older English Arts & Crafts Movement can be sensed in the room.
Port
The front garden of the house, which was bordered by low straight and closely trimmed hedges, was sparsely vegetated. Just two close-cut 'square' bushes were placed symmetrically around the house's entrance. Above all, the garden showcased the residents' diligence and sense of order with bare soil that was raked weekly into straight tracks. The backyard was split in two. Also in the part of the backyard that was next to the house, the planting was sparse and symmetrical. Here, three curved rows of roses were placed so as to complete the axis of symmetry that ran through the house and garden. This part of the back garden was terminated by a low arched hedge separating it from the rear part of the garden which was overgrown with fruit trees. In the backyard too, there was torn up soil everywhere in straight tracks. The house has no direct exit to the garden, and there were no places to stay in the garden - you also had to work in the garden.
After Marius Pedersen's death in 1965, Emma Pedersen changed the backyard. Emma Pedersen, who valued being self-sufficient in food, sold her vegetable garden, which was located on a nearby road, and instead established a vegetable garden in the backyard. The symmetry was softened, grass was planted and more beds were created. The more lush backyard we can see today at Bakkekammen 45 is as Emma Pedersen laid it out.
The function and layout of the gardens was not a high priority in the work of the National Association of Better Building Practices. But in order to meet contemporary criticism in this area, they tried, with garden architect C. Th. Sørensen's help, to incorporate garden plans for the building types that were presented in publications and exhibitions, but the tendency was still that the interest in the gardens was overshadowed by the house building itself. However, the association had a great interest in the garden's aesthetic significance: "A tasteless garden with heavily and senselessly divided lawns, carpeted beds and rockery can seem incredibly simplistic on a good house.” as C. Th. Sørensen stated in the Landsforeningen Bedre Byggeskiks Annual Report 1923. Here it is also mentioned that for the smaller garden - the suburban garden, the homestead garden and the rural garden as a whole, there was no real tradition, no particularly valuable past foundation to build on. Thus there was no custom to maintain or improve
