Norwegian Collection of Potential Architecture

svop/t: Bybrua

2008-11-19T03:00:03+01:00

An upside-down lawn beneath a highway bridge proposed for the international workshop Tou Works 1 arranged by Tou Scene in Stavanger in connection with the city's status as European Cultural Capital 2008.

70°N arkitektur : Fire Station

2008-11-18T22:29:32+01:00

www.70n.no 70n.blogspot.com

70°N arkitektur : Holtermannsvegen

2008-11-19T07:03:44+01:00

Office / shopping www.70n.no 70n.blogspot.com

ZERO ARCHITECTS: FUNSCAPE

2008-11-19T00:18:01+01:00

Sustainable Urban development. Housing 50.000m2. Cultural 20.000 m2 University 30.000 m2

Kristoffer Roxbergh: Illuminated

2008-11-19T04:27:56+01:00

A new channel of communication satisfies the desire of consumption. The façade of the building becomes an interface for individuals in an urban context; the Facebook of the streets. The residents use the façade fabric as a screen for watching TV, surfing the internet or just for the projection of an identity boosting symbol, which is seen both from the outside and from within. The act of dwelling contributes to the image of the urban environment. Heat, pulse and sound are other ingredients to the immediate collage of the façade. Sound revolutionized films in the 1920s, mobile phones redefined telecommunication in the 1980s, and in the same manner façades of projections can affect the urban communication of today and replace consumption as a way of defining identity.

Johanne Borthne M.Arch.: Transferium +

2008-11-19T06:56:24+01:00

A transferium, or Park&Ride, is an out-of-city parking facility where drivers may switch to public transport and continue their journey into the city, a strategy developed with the purpose of dealing with severe inner-city traffic congestion. They are strategic points of transportation, located no further away than 15 min from the centre, with a maximum size of 1500 cars to ensure efficiency. These garages are usually considered “non-places”, as they are spaces for transit, not for staying. This diploma seeks to explore the further possibilities of a hub where highways, public transportation and people meet. Since the fall of communism, Russia, and Moscow as the premium example, has been catching up with the western lifestyle in a tremendous speed. The car serves as the uttermost symbol of the new and rapidly growing middleclass, thus ensuring that Moscow’s car fleet expands with 200 000 cars each year. As Moscow is about to choke in its own capitalist individualism, a strategy not seeking to eliminate or hide a so-called problem is developed. In USA, especially between 1930 and 1960, the number of cars rose at a similar speed. The car, with accessories such as the highway, drive-in-anything and garages, was embraced and celebrated. This was later observed in Europe, and car-ownership was connected to the feeling of freedom, as well as a status of prosperous middle-class. In Moscow a new middle-class has been increasingly visible since the fall of communism, with the growth of the car and the new third ring road as prime symbols. As was the case in USA when the car made its entry, the car can here be seen as a symbol of a new era. In the Soviet times every need was taken care of by the state. The new middle class in russia with its new economy and consumeristic way of living is increasingly depending on the automobile. The car represents not only a new lifestyle, but also the growth of personal freedom. Based on an overall strategy, logging on to points where arterial roads meet public transportation, nine sites are identified based on common criterias. They are all connected to main arterial roads, they are all connected or inhabit the potential to connect to a metro station, they are within 15 min. reach from the central city and they all have enough space to carry a large program. One particular site - no. 2 Rizhskaya is chosen for further investigation. Moscow’s car fleet has increased with 200 000 cars/year the last decade. This gives a number between 2 200 000 - 3 000 000, depending on the inclusion of commuters or not. By reducing this number by 5 % and dividing it between the 9 sites, the total number og parking spaces is between 10 000 - 16 000 / site. With the context of Moscow in mind, the symbolic effect of gathering 10-15 000 cars in one place becomes just as, if not even more important as the transit function. As the car serves as a symbol of the capitalist realism post- communist era, the Transferium + becomes a new “peoples palace”. As a filter, yet also a destination, the Transferium + truly celebrates the car. The parked cars are gathered in a mountain typology, where the parking is situated on the outside, as a facade (except from the motel), and other programs can inhabit the room inside. The mountains vary accordingly, as the sites and situations are different. Johanne Borthne johannebo@gmail.com

wilhelmson / wilhelmson plus: Slussen

2008-11-19T03:18:21+01:00

The water passage between the Old Town in Stockholm and the Södermalm island has for centuries been an important traffic junction. At water level it connects the lake Mälaren with the see Saltssjön. The level difference of on average one meter creates the need of a lock for seagoing vessels. Lock translates into the Swedish word sluss giving the name Slussen to the area. In the thirties the complex traffic situation was solved with a for-leaf clover road structure. Old age and increased traffic pressure has made this solution obsolete. How to solve this both complex and important situation has been an ongoing discussion for years resulting in several architectural competions. The presented proposal focus on and total restoration of the area opening up the historical open water stream and at the same time establishing a new terminal for the east going sub-urban buses and rapid ligt train system. Under a large open air glassroof a new intersection of mayor urban public transport systems created. Thus establishing a new urban revival for a long neglegted part of the Old Town.

EFFEKT: E+ Science Centre

2008-11-19T03:19:48+01:00

The project unites science, education and sustainability in one concept for Sarspborg Science Centre. The project introduces the concept of an E+ building that produces energy and reduces consumption. The building contains a forest that regulates humidity, cools the air and contributes to good indoor environment. The building itself becomes a living exhibition showing various aspects of energy use and indoor climate. Collaboration with EMA, Niras

Dahle & Breitenstein AS: Brobekk Waste, Recycle and Energy central

2008-11-18T20:32:04+01:00

The building is a barometer and will be more illuminated and beautiful according to; if times are good or bad. Consciousness through sensuality.

Dahle & Breitenstein AS: New Holmenkollen

2008-11-19T05:08:16+01:00

Cape of Good Hopp Oslo has been awarded the FIS Nordic World Ski Championships in 2011 and the insignia of the arena in Oslo, the Holmenkollen ski jumping hill, is to be reconstructed. The task at hand is truly challenging, for Holmenkollen as it stands is an architectural icon and unquestionably the most significant emblem of Oslo. It also symbolises Norwegian culture as a whole; it is a manifestation of national identity and an heirloom that the citizens of Oslo and Norway all have a special relationship to. Holmenkollen also enjoys a unique degree of prominence in the wider world of skiing, historically and in terms of a collective crest for winter sports. It is Oslo’s principal tourist attraction. Holmenkollen and the spellbinding sport of ski jumping Anyone familiar with Holmekollen’s standing will agree that its essence is two-fold: It is an aesthetic and architectural icon in a matchless location, and then there is the legacy: Holmenkollen as the defining arena for what is arguably the most extreme and audacious of sports. In our view the latter element is primary; it is the characteristics of the sport, and the spirit associated with those who dare indulge in it that has delineated Holmekollen’s status. Events in Holmenkollen have always been more than mere entertainment: for Norwegians ski jumping is almost an existential activity: they find in it –and thus in Holmenkollen– a mirror of the Norwegian soul. Over more than a hundred years this relationship has taken on distinctive characteristics by which Norwegians associate with Holmenkollen an idiosyncratic mode of being; manifest in spirit, turnout, clothing, and paraphernalia. The former king Olav, who’s statue overlooks the Holmenkollen site, embodied this national identity to the full by being both one bold enough to jump the hill in younger years and a keen spectator later on in life; defining with his practical outfit and modest equipment the very symbiosis of Norway and skiing. Yet the sport has been in continuous development all along. Time and again it has been revived by radical innovation, the last of which was the aerodynamic revolution that came with the V-style of jumping. This development aroused great suspicion and disdain among Norwegians, who regarded themselves as true stewards of the essence of the sport. But soon enough it became clear that this iconoclastic way of jumping only furthered the appeal –with record lengths and a true sense of flying– and it did nothing but salvage the essential allure of the sport. This is a case in point, for it manifests that it is the content, in terms of objective achievement, and not the form or style that defines the noble art of ski jumping. This essential consideration we hold true for the Holmenkollen arena too, and it is on this integral notion that our solution is based: The main task, which overrules other considerations, is constructing a new hill that will reiterate Holmekollen’s status as an arena where ski jumping is done best. An arena tailored to the sport The aerodynamic revolution of the V-style in a sense made ski jumping more correct; more in accordance with physics and more reminiscent of creatures that fly naturally. Our fundamental conception is that the same paradigmatic change is called for regarding Holmenkollen. Because over the last twenty years it has become increasingly clear that there is a widening discrepancy between the architectural icon and its location and its status as a world-leading sports arena. And in our view this problem is not possible to remedy while clinging to the existing architectural solutions. Therefore we deem it essential to be bold enough to let the hill be emancipated from its familiar appearance and transform it into a functional and more “physically correct” construction, which breaks clear of all its current inhibitions. For us this is a conclusion based upon true knowledge of Holmenkollen and its soul: contrary to the kind of insensitivity that “uninformed” solutions can sometimes represent, we will claim that it is exactly with insight and respect –and in the spirit of Holmenkollen– that a radical rethinking emerges as the right solution. From dysfunctional monument to monumental function The major functional problem with Holmenkollen today is its exposure to unfavourable weather conditions. Chiefly in the form of wind, but its location is also susceptible to fog. Many events have been cancelled, postponed or relocated and the jumpers’ safety has proved a matter of concern. Also topographically the site is not well suited for a hill of Holmekollen’s size, and regarding the necessary expansion of the arena it entails digging even deeper into the ground. When the decision was still made to build a new hill more or less superimposed on the current one, it was because of the lofty and magnificent positioning in the landscape above Oslo. This decision overruled the difficulties of the site, and rightfully so, because there are solutions to the challenges. Our proposal represents a radical yet feasible and permanent solution. And it is the only solution, in our view, that can secure Holmenkollen a world-leading position in the future. Most importantly, it presents itself as a unique possibility given by the site itself: The disadvantage of the slight natural incline that has resulted in digging ever deeper into the ground can be turned into an unparalleled advantage when one considers that a great part of the vertical volume is already below the terrain. This opens up for a possibility unthinkable in any other kind of topographical circumstances, namely to make Holmenkollen into the worlds first indoor arena. We are talking about an exceptional opportunity; turning Holmenkollen into a revolutionary hill, unique in the world, where the fairest and best competitions are held, where all nations want to practice and where the spirit of the unparalleled sporting event thrives anew. Reclaiming the open space Like no other sport ski jumping signifies a unique experience of open space. The three dimensional volume the jumper traverses is vast, and in only a couple of seconds the spectator at the bottom of the hill sees the jumper go form a distant figure at the top of the inrun; far away and above, to a person flying down the slope towards him, increasing in size as the distance diminishes. Our radical notion is to gain control of the vast volume of the ski jumping hill and thus create a completely new spatial experience for both jumper and spectator. By covering the entire arena with a translucent membrane we will create a tensile structure that will surely be one of the largest rooms in the world and certainly the one with the greatest indoor vertical height. The sense of volume will be utterly spellbinding and the ceiling will seem as a white buoyant firmament. Like the earth’s atmosphere, its function is to secure favourable conditions in the openness below. It will be beautiful and simple; a relatively undemanding construction made possible by the unique topography of the arena and a truth-functional concept of architecture. The coated fabric membrane will be suspended by long cables stretching from the top of the inrun to points around the rim of the bowl. Thus the ceiling will appear as an elegant fan with longitudinal lines that come together at one decisive point; the tower saddle. This means that the ceiling and the whole space itself create a surge of attention towards the starting position for the jumpers. All focus is naturally directed to the point of suspension; and the construction of the ceiling therefore emphasises the unfolding of the sport itself: the release from one point into a motion that fans out and draws near. This effect will be enhanced by an open chairlift running along one of the cables in the ceiling, transporting the jumpers back to the top of the inrun. The locus point at the top of the inrun will be visible from almost all parts of the spectator stands because the membrane does not close-in the inrun in any way but fans out in an immense widening gesture that accords with the visual field of the jumper as he stares outwards. TV-cameras will have full view of the entire expanse of the arena and the unfolding of every jump in its entirety. Conversely, from the top the jumper will have unhindered lines of vision to the spectator bowl and to coaches positioned around the jump. The experience will be that of beholding a great open space from its point of opening; the centre of all human attention and the entire dome’s physical suspension point. The inrun tower The locus of the entire construction is thus the top of the inrun-tower. Three decisive functions come together here: regarding the event it is the point of release for the jumpers and thus the point of mental suspension, constructionally it holds the tower straddle over which the cables run before disappearing into their anchorage in the concrete mass of the tower itself, and externally it constitutes the apex of the entire construction, rising above the tower straddle and the canopy, offering a baffling view of the surroundings. The tower summit holds the jumpers’ lounge, a restaurant area and a visitors’ viewpoint from which one may behold the city and the fjord, the vast hinterland forest and also the canopy from above. In terms of design the tower will take up the basic silhouette of Holmenkollen and be constructed as a slanting sculpture that delineates an elegant skyward motion but also signifies the immense strength of the anchorage. The suspension, and the way the tower supports it will appear as an extra dimension of the aesthetic properties of the tower and arena. The merger of architectural shapes The transition between the shapes of the tower and ground construction and the canopy is an important part of the integral architectural layout: The membrane will not cover or obscure the profile of the tower; instead there occurs a distinct transition in the form of the canopy itself being angled inwards along this part of the structure. From the apex of the tower to the site’s ground level the outermost supporting cable stretches wide of the construction below. Thus a limited longitudinal section of the canopy will curve inwards from this cable before attaching to the solid structure. The slant of this pane then constitutes an accentuated transition between the curvature of the canopy proper and the concrete structure of the hill. The tower itself is distinguished by an enlarged profile in virtue of having concrete flanks that rise perpendicularly along the plane of the inrun and constitute the primary phase of the wind protection. These flanks follow the longitudinal lines of the inrun but then break-off outwards in a motion that opens up the indoor space. At the foot of the inrun the flanks extend uninterrupted into a concrete sheet that rises vertically from the ground while tracing the topography of the site. The unbroken line of this vertical sheet makes the tower –in material, shape and colour– extend unto the ground in a continued architectural form that runs around the entire circumference of the arena as an accentuated cordon. And it is from this circumferential wall that the canopy arises. Around the rim of the bowl the vertical wall is made up by a fan of concrete slabs – the anchorages for the cables– with open space between them. This allows for the spectators’ entrance into the vast indoor volume. Thus one enters the internal space around its vertical mid-point and steps into a huge openness that transcends anything suggested from the outside. For at ground level the canopy will rise only moderately above the terrain and then slope gently upwards to the top of the inrun. No supporting structures will be visible to disrupt the external shape of the canopy, which will seem light and almost hovering. Knoll section The internal knoll section of the arena will be laid out in a horizonal c-shape that clutches around the upper part of the landing slope and extends out into the spectator stands. Its north-western wing will house the Royal suite and VIP facilities. From the Royal suite one can also follow events in the ski stadium behind the hill. This section is accessed directly by elevator from the underground car park, located directly beneath the c-shaped area. The north wing also comprises offices facing the ski museum. The opposite south-eastern wing will contain the designated areas for judges and coaches as well as a restaurant area. From the knoll building one reaches the ground level of the tower by elevator. On this level a slant elevator and a staircase lead to the top of the tower. Colour, illumination and communication The colour and luminosity of the arena is an important aesthetic aspect. All parts of the construction will be white, taking up the historical colour of Holmenkollen, but angle, material and illumination will give each part a character of its own. In sunlight the arena will appear as a beautiful and slightly glimmering shape in the hillside, floating there more than weighing down. When natural light is weaker, the possibilities for creating a changing and pulsating luminous sculpture are many, and the arena will appear as something that exerts a pull on whoever sees it, glowing afar with a promise of something fantastic. More specifically, the translucent canopy and the possibilities regarding illumination gives the arena a unique opportunity to communicate with the city by announcing events by means of light. One can envision that only a look at Holmenkollen from afar will reveal that something is happening there. Cape of Good Hopp Our scheme for the new Holmenkollen will constitute a gift to the city of Oslo and to Norway as the homeland of skiing. Aesthetically the new hill will be a vibrant architectural object with the ability to pulsate, communicate and truly emanate magic. The new hill will become a world leading arena with fair and stable conditions at all times, all year around. Optimal jumping conditions are secured by manipulating the thermal flow by means of temperature, venting and fans. The notion of a Mecca for ski jumping that essentially defines the legacy of Holmenkollen is restored. In addition the new hill gives to Oslo a huge versatile arena, the uses of which are only limited by imagination. As a white poignant peak in the hillside, we like to call it a cape; Cape of Good Hopp.

aart a/s: Stavanger Concert Hall

2008-11-18T22:02:33+01:00

New concert hall, Stavanger. Fourth prize/sourcing international architecture competition (105 participants). The attractive, open, and from all sides very visible location in Sandvigå requires that the concert hall complex is regarded not just as a distinctive building, but as a sculpture in its own right. As regards height, the complex is adapted to the surrounding natural and urban sceneries, but distinguishes itself from its context by means of its triangular and expressive shape. As a result, the building assumes the role of a music-cultural landmark of great symbolic value. The building’s main body appears as a facetted, sharply cut structure of glass and light stone. Glass and stone are subdivided by distinctive, geometrical compositions of acute-angled shapes. When based on lines of building and vision and limits height constitute the basis, the shape recedes or is further facetted, and, thus, the structure reflects the qualities of the area. Fourth prize/awarded a purchase, international architecture competition with 105 participants.

aart a/s: Sami Parliament

2008-11-17T19:39:46+01:00

New Sami Parliament in Kiruna, Sweden. Short-listed along with five other projects of originally 111 in an international architecture competition. The point of departure was to create an ideal and dignified framework for the efforts to preserve and develop Sami culture, language, education, tradition and industry. The Sami parliament is a robust concept, utilizing through simple means the qualities of the site, the complexity of the spatial program, and the program’s desire for an architectonically distinctive work of symbolic value. The building is an icon for Sami identity and banks on dignity, understanding of culture and tradition, while at the same time reaching beyond traditional limitations. Among 111 proposals from all over the EU, aart was short-listed along with five other architects practices.

aart a/s: Berg - Campus of the Future

2008-11-13T17:52:12+01:00

500 student residences and communal functions in Trondheim, Norway. 2nd prize in open international architect competition. The project has been guided by a fundamental social ambition to create a student campus with secure housing and a sense of community as the important central themes. Each of the five tower blocks has its own central function. For example, one building houses the launderette and another houses the assembly hall. This gives students ample opportunity to use the whole area as their home and creates the possibility for chance social encounters – at the same time allowing students to retreat and concentrate on their studies. Roof gardens outside and inside, upwards and downwards, open up the construction to the world around.

Espen Ransedokken & Andreas Tingulstad: Ankomst Stockholm

2008-11-19T03:16:48+01:00

I masteroppgavens forarbeid definerte vi en intensjon om å prosjektere et hotell- og konferanseanlegg på en kommunalt eid tomt i Stockholm sentrum. Vi ble introdusert for prosjektet gjennom en av flere potensielle kjøpere av tomten som i likhet med andre anbudsgivere så store potensialer for oppføringen av anlegget. Tomten inngår i byutviklingsområde Västra City som anses som Stockholms siste tomtereserve (ubebygd bangård), med meget høy substans og strukturell verdi med Centralstationen som dets hjerte. Stockholm Kommune har ved ulike anledninger forsøkt å selge tomten for bygging av anlegget uten å ha tenkt helhetlig og strukturelt for området. Områdets sentralitet og plassering, samt det faktum at eiendommene utelukkende eies av stat og kommune, påkrever etter vårt syn at Västra City i utgangspunktet bør tilgjengliggjøres som offentlig byrom, for deretter å programmeres med et forsvarlig innhold med en tetthet som svarer til en knutepunktkontekst. Status quo for utviklingen er at det verken diskuteres premisser eller program for å oppnå dette, og den har derfor en grunnleggende skjevhet vi ønsker å se nærmere på. Fravær av diskusjon i de politiske kammer samt offentlig engasjement for øvrig skyldes mest sannsynlig to ting; området har alltid vært avgrenset fra byen tross dens sentralitet grunnet strukturelle årsaker, samt at prosessen tilknyttet utviklingen føres bak lukkede dører der private aktører i stor grad definerer premissene. Dess mer informasjon vi tilegnet oss om situasjonen, dess klarere ble det for oss at hotellkonferanseprosjektet innenfor eksisterende rammer hadde minimale forbedringspotensialer for området. Da områdets sentralitet er et udiskutabelt faktum, fant vi det tilsvarende forunderlig at kommunens ambisjonsnivå kun fokuserte på gjennomføringen av salget av tomten for bygging av anlegget. Anlegget utgjør en størrelse som vil legge store føringer for øvrig utvikling, og vil derfor låse andre potensialer inne. Vi fant altså ut at utfordringene i Västra City først og fremst var av strukturell art. Med bakgrunn i samtaler med vår hovedveileder, har vi derfor valgt å redefinere oppgavens fokus; som vil være å diskutere en helhetlig urban strategi for omforming av Västra City. PROBLEMSTILLING / HYPOTESE Vi oppfattet tidlig at planprosessen rundt utviklingen av Vastra City hadde fundamentale mangler. Vi valgte derfor å kartlegge den politiske/forvaltningsmessige prosessen som lå til grunn, for å kunne avdekke eventuelle skjevheter (avvik mellom intensjon og status quo) samt å finne argumenter som taler til fordel for helhet. Deretter å foreslå et scenariebasert hendelsesforløp der dagens suboptimaliserte utvikling stoppes til fordel for en utvikling der helhet legges til grunn. Videre formulerer vi således et overordnet masterplan forslag med ønske om å forløse et helhetlig potensial. Områdets sentralitet fremprovoserte et valg om å undersøke områdets rolle som et offentlig byrom med maksimal tilgjengelighet som styrende prinsipp. Prosjektet baseres videre på sentrale veivalg vi mener bør legges til grunn. - Vår overordnede visjon for masterplanen er at Västra City (med grunnlag i det knutepunkt det allerede er), ved å knytte sammen omkringliggende områder, etableres som Stockholms nye origo. Med et sammenhengende byromsforløp som det forbindende element vil vi således foreslå en helhetlig urban strategi som gjør området til et offentlig tilgjengelig byrom.

Anna Szőnyi: House of Climates

2008-11-19T03:25:08+01:00

Architectural shapes never seen before meet functions never invented before. Tropics and climates, storms and placid winds are set to date in the House of Climates, intended to become something of a weather-museum. Anna Szőnyi is a recent graduate of the architecture faculty at Moholy-Nagy University of Fine Arts, Budapest (formerly known as University of Applied Arts). Her diploma piece, the House of Climates was inspired by architectural reflections on climate-change. Global warming has doomed earth’s various climatic zones to disappear, together with their specific characters, and the human notions connected to them. The House of Climates is destined to preserve them. There are no objects in this museum, only spaces capable of arousing emotions and sensations. Not only weather, but setting can also be modeled in its halls. Nature becomes palpable, changing biosphere becomes an experience to be lived. The choice of location is at once symbolic and remarkable: the lot is on the edge of Budapest downtown, between the future Government Quarter and the historic Western Railway Station. The spaces of the House of Climates divide to different zones. Walking out from the direction of downtown we leave the hottest climates until we reach the coolest ones. Perpendicular to this, is the range of precipitation. The House of Climates consists of two kinds of spaces: outdoor spaces are in the confines of the building but they have no roof: mainly continental climates are shown here. Extreme climates not reconcilable with Budapest’s microclimate are modeled indoors: here we find the hottest, the coolest, the most humid and the driest zones. For the construction of The House of Climates, Szőnyi chose extraordinary architectural tools. The lot is 220 meters wide and 300 meters long, adding up to a total of sixty-six thousand square meters. The body to be built is of a twofold nature: it is positively a block from the distance, from where the silhouette made up of a long series of successive screens looms like a cubic body, but it becomes immaterial if you go closer to find the parallel screens penetrable, refusing to assemble into a façade. The double stressed skin of the inner space covered with EFTE-foil runs perpendicularly to this thick comb of screens as a fluid mass. The body of the building is dissolved, vanishing in thin air, making the expansion of the inner space stressed only by the lack of supporting elements. This intensive play with the space results in the disappearance of visual borders, the dissolution of the traditional hierarchies organizing inner and outer spaces. The House of Climates is an autonomous complex, almost as an organism. It feeds partly on energy produced by herself, and partly on a range of natural energy-resources, living in a constant, lively interaction with what it is supposed to showcase. website: http://www.hg.hu/cikk/a_museum_of_weather