 Yes, thank you. And I would like in my paper to present a new museum, Tippits, which I have been working on as a part of a project team. As you all can see from my paper's heading or just by looking at me, I'm an old archaeologist. I worked for my museum at Varte for about 28 years. Mostly making rescue excavation. Here you can see field work exactly one week ago. When Stina and I did some nice ironed graves, Stina and I have also worked together in the Tippits project and she will speak after me. In my many years at Varte Museum, I had also made a lot of exhibition, mostly in the old-fashioned way, by using what the museum got of old showcases and make some text, mostly too long. Very interesting, of course, if you like the subject as much as I do, but probably we're boring for many others. The location for our new museum are in the most western part of Denmark, where an old bunker called Tippits since 1991 had been used as a small museum. This is the new museum, Tippits. In 2014, Varte Museum had collected most of the money and got the plans ready for the new Tippits Museum and the hard work started. I think more hard than any of us could have imagined. I would first of all stress that Tippits had gotten to be a great success. Before I come to all the troubles and difficulties, people really love it and we have, in the first year, around 300,000 visitors. Stina will later explain about the target groups and how the exhibition was created to match different people. So to start with the beginning, Varte Museum got a new director in 2007, Klaus K. Jensen. At that time, Varte Museum had 14 smaller or bigger museums. His overall strategy was to close some of the old museums and make a fewer, bigger and more visitor-friendly museums. To the left and in the middle, you see the old Tippits Museum. To the right, our old Amber Museum in Augsburg and underneath Bloven Museum. The decision was to close two of them and move the most interesting of the content to Tippits and build a brand new museum in connection to the old Bonder. The world-famous architect Berge Engels, head of Berge Engels' group, also known as BIG, was asked to draw on a new museum in Bloven. The task BIG was given was quite a challenge. Make the most spectacular, fantastic museums building that nobody can see. The nature in the whole area are protected and normally it would have been impossible to build here. Fortunately, whilst the dune behind the Bonder is not real nature, but a ramp made by the Germans in 44 when they constructed the Bonder, so we could argue it was okay to build the museum here. But still because of the nature, it had been to be a discrete building which not disturbed the nature. BIG made a great solution, which matched our four needs of four exhibitions, our need of four exhibitions rooms. The whole building was mostly built underground and only in the middle, not seen from the outside, aware big windows. The architect preferred room with daylight where people felt comfortable. I would really have preferred darker room because of the preservation of the fragile museums items and the difficulties to show movies and pictures on the wall using projectors in daylight. But I must agree that they give visitors a nice view into the museum and I think a lot of tourists who normally just would have passed the museum's yard now come back later and pay the entrance fee and to have a closer look. From the beginning, we have an all or plan of the exhibition. Three rooms for permanent exhibition and one for temporary. The three permanent exhibitions were an army of concrete about the Atlantic War. West Coast stories, different stories from the area from Ice Age until today. And Gold of the Sea and exhibition about amber which I was in charge of. We started to read about the different subject and study our collection to find out what we would like to tell and what items we would like to exhibit. We also take us time to visit museums together and discuss what we like and dislike. The result was a broad rough or a storyline and of course some suggestion for which object to show. It was obvious that we don't have the expertise in-house to build three exhibition with all that modern technology and fancy decoration and ice showcases which are custom today. So we asked three different companies to make suggestions for how they would like to make three different permanent exhibition from our craft. It was quite a competition and all the companies were surprising quality and there were plenty of ideas we would never have sought of by ourselves. It was Tinker in Mediniers from Utrecht in Holland who won the competition. And when they started the work they challenged us again and again. I would say there are wonderful people with so much fantasy and I have been so much fun to work with them but I sometimes prefer the good stories a little more than exactness. Vardemuseum have an extraordinary amber collection and the gold of the exhibitions was not to show it all but select items we could tell an interesting story or impress people by being very rare or beautiful. In an early stage we have some argument about what to show. I would really have liked to show something about handicraft manufacturing the amber through the times and I would have liked to show some old tools but the designers think that that was boring and the old tools wasn't nice enough to put on display. So that story we have to leave out. Central in the exhibition was planned a treasure room where we should display man-made amber from stone age to modern times. The selection of the items to this was also a bit of a fight. My goal was to show how people use of amber changed through the times by starting the amber. It is possible to see how fashion changed but it also tell about fate and trading. Interesting are that the Danish Neolithic have a huge amount of amber in the finds which more or less disappear in the bronze age. In the iron age the amber come back and graves often in combination with imported glass beads. To tell the stories I think it's not enough to show the amber alone and as an archaeologist I couldn't stand to take the amber out of its context. At last I succeeded to show the whole content in most of the finds and I think the result are beautiful and explain how the amber was used together with other objects in different periods. After we have agreed on which story we want to tell and what object we would show and Tinker had made a design everybody like and we were so ready to start we got a new problem. Big the architect saw the design and for some parts the architect couldn't approve. They don't want anything to touch their beautiful building especially not the roof and he don't like the fairytale expression of the amber forest and he doesn't think the choice of material matched the building. So less than six months before opening Tinker had to make a whole new design for the amber exhibition. What before was made of wood was now perforated steel which made the exhibition many times more expensive but maybe also more stylish I think. And the light effect came out to be very beautiful. The color changing all the times not like you see here it looked like a disco but in the exhibition you see the color change from dripping orange resin to blue water rising in the bottom which are very effective when you tell the story about the amber was created 40 million years ago while building it was very complicated. Mounting the object ended up to be quite a nightmare. First way late in the process Tinker hired a man to do the job. He come to Denmark and make photos of all the amber pieces and the plan was to come back two weeks before the opening and fasten the objects. I suggest that our conservators should have began the job months before supervised by him and I asked several times for the company to send some samples for the textiles that should be the background. I know the design for it was black and I have again and again said that I would like to avoid velvet but it ended up black velvet which are the worst background material at all. It attract dust and you can still see the fingerprints from the mountain. When they came to Denmark to make the mountain it was clear after a few days work it was impossible for two persons on the job to finish. Luckily some of our local conservators jumped in in the last moment. Another problem which made me sleepless was question of the security of the showcases for the treasure room. It seems to be an impossible job for the designers to make showcases which security standards are high enough for the demand from the National Museum which also in my opinion are ridiculous. I think that the standard security showcases they could recommend it look like ugly telephone boxes. You can see them on the picture here on the right and I really have the understanding of that it's very difficult for designers to make beautiful showcases which are secure enough. I think we have some of a problem there. Now it ended up that we have to cancel all our loans from the Royal Collection and National Museum but we had beautiful showcases. One of my personal biggest challenge was the decision that the exhibition should be without text at all. I love reading and I think it is important to orient you in an exhibition by reading to make a fast overview and then with the text of the subject who interest you most. But I had to admit that the solution is this kind of small handy audio guide work perfect. You hold the audio near the point of the showcase you would like to know something about and you get a short story in your chosen language Danish, English or German. It was very difficult to make the story short enough and every time I complain and want to add more facts I was told to read a book about amber and that's what I'm doing now. In the treasure room I was allowed also to make some text for the objects in hidden drawers about the age and the use but I had to admit that it's only used by very few people. One of the best thing with audio guides is that children like them very much. They go silent around and listen and you don't have parents and grandparents reading text for the children very loudly. To sum up it had been a huge challenge to work with architects and designers who's not had the same view on what is interesting and how to handle museums items but I had to admit that I know much better than I to create a success. So I think Stina will go on now. Thank you.