Offener Wettbewerb | 04/2010
National museum of art, architecture and design at the Vestbanen
1. Preis
schlaich bergermann partner - sbp SE
Tragwerksplanung
Bauingenieurwesen
Lichtplanung
hhpberlin - Ingenieure für Brandschutz GmbH
Brandschutzplanung
Erläuterungstext
forum artis
The idea of architectures looking each other and getting into relation is a constant in architectural history. Tiberius wanted the 12 villas he realized on the island of Capri to be seen from each other as if they were parts of a unique idea. Platon defined beautyness with relation. According to him an object is beautiful if it is able to get into relation with us and the world and it is ugly if it doesn’t. In this sense art and architecture are the first and most important objects, which create the world.
The new national museum of art, architecture and design gets on two levels into relation with the existing structure of the city: With the two existing buildings on the site the museum is creat- ing a new entrance forum, actually to be used to introduce to the museum with sculptures and other objects of art, and as outer space for the café. The building here has a similar eaves size than the existing. Looking from the pier to the building (see perspective) the different parts of the building are staggering up to the horizontal element of the alabaster hall. On this second level the museum gets into relation with the existing monuments in the area, the powerful City Hall and the Akershus fortress.
the entrance forum
the visitor can access the entrance courtyard from the two sides, the city in the north and the pier /aker brygge in the south-east. As the two vestbanen station buildings have front facades also to the courtyard side it is possible to create a new piazza togeth- er with them. The new museum building wants to respect them in their size and character.
the museum
Through a generous foyer the visitor enters the museum. Here there are direct connections to the design, arts and crafts exhibi- tion and to the café and bookshop. Through a generous stair- case with skylight illumination a connection is made to a second- ary entrance on Drooning Mauds Gate. Here are collocated the library and the study room for art on paper. The latter is directly connected to its corresponding storage vault.
The presentation area has its reception rooms closed to the foyer, while the group rooms and studios are on the second floor, connected with a separate staircase.
From the entrance lobby large stairs lead up to the first floor, which is completely dedicated to the permanent exhibition of older and contemporary art. The halls and cabinets are orga- nized around 4 sculpture courtyards. The largest of them is connected with the terrace and the sunken gardens on the roof. The exhibition rooms have classical proportions with artificial daylight ceilings. The rooms are organized in a way that the visi- tor passes in a natural way from halls to cabinets, without having to visit a room twice. While there are relatively few openings in the façade, the museum has a plenitude of visual connections to the outside and to the four internal sculpture courtyards.
a kind of temple on the akropolis
The last floor is the alabaster hall, like superimposed onto the stone building of the first two floors. With its magic light it is not a conventional exhibition area, but a challenging space for artists. As Mies van der Rohes Neue Nationalgalerie or the Kunsthaus in Bregenz it could lead to impressing installations on or with the facade and inside the space. For example the exhibition of Olafur Eliasson in Bregenz where he flooded an exhibition room with water while the visitors could only walk on wooden gang- ways on the side. Another example could be James Turell, who transformed the whole façade of the same building into one of his light installations.
In addition to the exhibition function the central area of the alabaster hall can also have a lounge character, a memorable place, where people go to read a book, meet other people,... the alabaster hall will become part of the collective memory of Norway.
Apart from that, the alabaster hall is also a kind of lantern in the cityscape of Oslo and the symbol of the new museum.
The skin of the hall is a double facade with thin slabs of alabas- ter mounted on glass. With an integrated system of screens it is possible to have sun protection as well as daylight control for exhibitions that need complete darkness. A smaller part is made in transparent glass, in order to have a visual connection to the terraces of the museum, Pipervika and the Akerhus Fortress as well as the city hall.
The idea of architectures looking each other and getting into relation is a constant in architectural history. Tiberius wanted the 12 villas he realized on the island of Capri to be seen from each other as if they were parts of a unique idea. Platon defined beautyness with relation. According to him an object is beautiful if it is able to get into relation with us and the world and it is ugly if it doesn’t. In this sense art and architecture are the first and most important objects, which create the world.
The new national museum of art, architecture and design gets on two levels into relation with the existing structure of the city: With the two existing buildings on the site the museum is creat- ing a new entrance forum, actually to be used to introduce to the museum with sculptures and other objects of art, and as outer space for the café. The building here has a similar eaves size than the existing. Looking from the pier to the building (see perspective) the different parts of the building are staggering up to the horizontal element of the alabaster hall. On this second level the museum gets into relation with the existing monuments in the area, the powerful City Hall and the Akershus fortress.
the entrance forum
the visitor can access the entrance courtyard from the two sides, the city in the north and the pier /aker brygge in the south-east. As the two vestbanen station buildings have front facades also to the courtyard side it is possible to create a new piazza togeth- er with them. The new museum building wants to respect them in their size and character.
the museum
Through a generous foyer the visitor enters the museum. Here there are direct connections to the design, arts and crafts exhibi- tion and to the café and bookshop. Through a generous stair- case with skylight illumination a connection is made to a second- ary entrance on Drooning Mauds Gate. Here are collocated the library and the study room for art on paper. The latter is directly connected to its corresponding storage vault.
The presentation area has its reception rooms closed to the foyer, while the group rooms and studios are on the second floor, connected with a separate staircase.
From the entrance lobby large stairs lead up to the first floor, which is completely dedicated to the permanent exhibition of older and contemporary art. The halls and cabinets are orga- nized around 4 sculpture courtyards. The largest of them is connected with the terrace and the sunken gardens on the roof. The exhibition rooms have classical proportions with artificial daylight ceilings. The rooms are organized in a way that the visi- tor passes in a natural way from halls to cabinets, without having to visit a room twice. While there are relatively few openings in the façade, the museum has a plenitude of visual connections to the outside and to the four internal sculpture courtyards.
a kind of temple on the akropolis
The last floor is the alabaster hall, like superimposed onto the stone building of the first two floors. With its magic light it is not a conventional exhibition area, but a challenging space for artists. As Mies van der Rohes Neue Nationalgalerie or the Kunsthaus in Bregenz it could lead to impressing installations on or with the facade and inside the space. For example the exhibition of Olafur Eliasson in Bregenz where he flooded an exhibition room with water while the visitors could only walk on wooden gang- ways on the side. Another example could be James Turell, who transformed the whole façade of the same building into one of his light installations.
In addition to the exhibition function the central area of the alabaster hall can also have a lounge character, a memorable place, where people go to read a book, meet other people,... the alabaster hall will become part of the collective memory of Norway.
Apart from that, the alabaster hall is also a kind of lantern in the cityscape of Oslo and the symbol of the new museum.
The skin of the hall is a double facade with thin slabs of alabas- ter mounted on glass. With an integrated system of screens it is possible to have sun protection as well as daylight control for exhibitions that need complete darkness. A smaller part is made in transparent glass, in order to have a visual connection to the terraces of the museum, Pipervika and the Akerhus Fortress as well as the city hall.