Programa de viaje 2016 - Oslo

OSLO

Plan de visitas DIA 25

DIA 28

Llegada y alojamiento

Estaciรณn Metro Storo. Jensen&Skovdin Estaciรณn Metro Sinsen. Jensen&Skovdin 10:00 Iglesia de Mornensrud. Jensen&Skovdin Museo Munch Holmenkollbakken Saltos Old Christiania (Norks Folkenmuseum)

Escuela infantil Fagerborg Cine Colosseo Vigeland Sculpture Park

DIA 26 Hammersborg Visita barrio Vulkan Visita AHO Visita barrio DOGA

12:45 13:30 Trienal ON RESIDENCE Visita barrios Dronning Eufemias Gate y Schweigaards Gate 16:00 Visita Opera Visita Sukkerbitten + pasarela + barrio Sorengkaia

DIA 27 Visita barrio Tjuvholmen Barrio Aker Brygge

12:00 12:45 Trienal IN RESIDENCE 13:00 Trienal THE EMBASSY: CITY HALL Visita centro histรณrico

DIA 29 Kunsternes Hus National Gallery Sehestedsplass Fokusbank.

13:00 Visita al Aula Magna de la Universidad. Pinturas de Much Paleet Shoping Center Fornebu Statoil ASA building Fornebu Shopping Center Lysaker Station Museo vikingo (80-40 NOK, 10/16H), Museo del Fram (100-40 NOK, 10/17H) Airport: Custom and Excise Building, Technopolis Kuben Centro de Arte Henie Onstad

DIA 25 Llegada y alojamiento TRAM 17 – 18. Ulleval Sykehus BUS 17B, 18B, 22, 25, 118, 156, N18

Escuela infantil Fagerborg ⨠ Calle Kirkeveien Cine Colosseo Vigeland Sculpture Park

FAGERBORG KINDERGARTEN. REIULF RAMSTAD architects. 2011. Fagerborgatta s/n This asymmetrically shaped wooden Kindergarten extends the nearby Fagerborg School with 1.200 m2 of space. It is separated into two parts, each with a different roof shape. Big cut-outs at ground floor connect the street-side with garden and playground behind the building. The geometry follows the uses: Each group room has its own entrance, designed like a cave. In the center there is a communal room with kitchen while the upper floor contains the offices and social rooms for the staff.

The facade has a vertical wooden pattern that runs parallel to all folded plains and edges. Besides the big display-windows at ground floor there is a number of smaller windows creating an irregular rhythm and an abstract connection between inside and outside. The different heights allow children of different ages views outside.

CINE COLOSSEUM. SVERRE FEHN architect. 2011. Essendropsgatta s/n December 20, 1921 the Kino was established as a public company. The largest stockholder was D. F. Olsen, who also was responsible for the building's construction.

With 2100 seats, the Kino was Scandinavia's largest cinema. February 15, 1963: a major fire shut down the Kino temporarily. Restoration work began immediately under the supervision of architect Sverre Fehn. After another minor fire on the roof and a work accident, the theatre reopened. September 12, 1964: Colosseum reopens with 1158 seats, premiering the movie Lawrence of Arabia on a 27.5 x 9.5 meter screen. It was viewed as one of Europe's most beautiful cinemas, with its "dome" measuring a diameter just above 40 meter, which is the same size as the dome in the famous St. Peter's Basilica.

VIGELANDSPARKEN El parque escultórico es el trabajo de toda una vida del escultor Gustav Vigeland (1869-1943), con más de 200 esculturas de bronce, granito y hierro forjado.

Vigeland fue también el diseñador del conjunto arquitectónico del parque. La estatua de bronce del pequeño enfadado (Sinnataggen en noruego) es una de las esculturas más famosas del parque de Vigeland, junto con el Monolito (Monolitten) y la Rueda de la Vida (Livshjulet)..

DIA 26 9:00 Intervenciรณn urbana Hammersborg Visita barrio Vulkan Visita AHO Visita barrio DOGA

12:45 13:30 Trienal ON RESIDENCE Visita barrios Dronning Eufemias Gate y Schweigaards Gate

16:00 Visita Opera Visita Sukkerbitten + pasarela + barrio Sorengkaia

DIA 26 9:00 Intervención urbana Hammersborg BUS33 Keysersgate Akersgata – Teatergata. Iglesia de Trefoldighetskirken (S. XIX)

SCHANDORFF SQUARE. OSTENGEN & BERGO (AS) architects. 2009 The dead end Schandorff street in the centre of Oslo was converted from car parking lot to an urban green space, Schandorff Square, adding up to an existing green structure through an old cemetery in the east. The square was privately financed by developer Høegh Eiendom AS and completed in 2009 when it was donated to the municipality. The square is surrounded by well-known motives of Oslo: The Trinity Church in the south, and the Deichman Library's pompous pillars in the east. The falling street Keysersgate opens a sight line from west.

DIA 26 Visita barrio Vulkan AHO Westerdals School of Communication

VULKAN. Transformación urbana ecofriendly At the once industry-heavy bank of the river Akerselva, one of Oslo’s most interesting new city development projects, called Vulkan, has come to life. Innovative, ecofriendly architecture defines this neighbourhood, which, among other sustainable features, has a local energy centre with 300-metre deep geothermal wells, and an office building with an exterior that is visually defined by its extensive solar water heating system. Vulkan brings together a multitude of people and enterprises, and the area comprises two hotels, schools, Oslo's first food hall, office spaces, cultural venues, restaurants, and apartments. In 2014, Vulkan also welcomed urban bees to two large beehives designed by Snøhetta architects.

WESTERDALS SCHOOL OF COMMUNICATION. Kristin Jarmund Architects (KJARK). 2011

OSLO SCHOOL OF ARCHITECTURE. Jarmund Vigsnaes Architects (JVA). 1998-2001 The new Oslo School of Architecture is based in an existing building from 1938. It's part of a larger effort to revitalise this former industrial area for education-related use. The long-term aim is a campus for arts education along the riverbank. The project won an open architectural competition in 1998. The exterior of the existing building has a conservation status. The architects have kept the block open towards the river, and combined the new programme with the logic of the existing building together with the surroundings in one spatial sequence. An access court has been cut out of the existing 1st floor slab, marking the entrance and bringing daylight in to the ground floor foyer. A strip has been cut out of the existing slab along the inside of the existing building, bringing daylight to the surrounding functions. A simple U-shaped circulation zone is established along the strip. A new string of teaching rooms completes the U and forms a bridge across the entrance area.

BELLONA HOUSE. LPO arkitecter. 2011 The office building has a characteristic south facade with integrated solar panels that reduce solar exposure. On sunny days the building delivers energy to the local grid. The tenant of this building is the environmental organization Bellona, Norway's most environmentally friendly office building at the time, with an estimated power consumption of only 68 kWh/m2/year. The building consists of offices, businesses and restaurants. Everything from material selection to life cycle analysis was examined. A mobility plan for the whole Vulkan area was established. The most striking aspect is its saw-tooth-shaped south facade, where the glazed surfaces face downwards and are shielded from excess solar gain by solar panels on the upper surface. The architecture makes use of the sun´s heat in a functional way, at the same time as the sun´s exposure on the windows is limited despite the large south-facing glass surfaces.

The property lies centrally in Oslo and is easily accessed by public transport. A new bridge over the Aker River connects the transformed industrial Vulkan area with the trendy former working-class district Grünerløkka. To establish this connection, part of the old Vulkan factory hall was demolished, the rest being rebuilt into Oslo's first indoor food market, designed by the same architects. Employees do not have access to parking in the building. The good insulation (roof 400 mm, walls 270 mm), windows (U-value 0.8), minimal cold bridges and a low air leakage factor (0.5 to 1.0). A ventilation heat recovery system (efficiency 87.6%) was installed. The cooling needs are reduced through a low window area, external sun-screening (automatic blinds).

The building has 50% exposed concrete ceilings that accumulate heat and regulate the temperature throughout the day, as well as cool it at night. An energy-effective lighting system (3.8 W/m2) is demand-controlled. A local energy centre supplies the building with heat, cooling and warm water. This center gets its energy from the solar panels installed on the roof of Bellona House, a local ground source heat pump and district heating at peak load. The building´s structure is concrete. Some of the facades have rendered cladding panels made from recycled glass, while on the north facade the render is put directly on the insulation. The south facade uses

insulated wood studwork, while the west and east facades use Iso3 studwork. The wooden windows have aluminum cladding and the floors consist of cork linoleum.

The eastern wing of the building, facing the Akerselva river, has a somewhat more traditional design.

MATHALLEN FOOD HALL. LPO arkitecter. 2011

DIA 26 Visita barrio DOGA

12:00 12:45 Trienal ON RESIDENCE

12:00 H. TRIENNALE EXIBITION ON RESIDENCE This exhibition is one of the Triennale’s two main exhibitions, and it is completed by the the In Residence exhibition at the National Museum – Architecture.

The On Residence exhibition dissects the architectures entangled in the contemporary reconfiguration of belonging, showing how these architectures play a role in redefining residence and its spatial, aesthetic, technical, and sociopolitical implications of this redefinition.

The exhibition displays an accumulation of evidence unveiling the multiple scales and media involved in these architectures, including documents, objects, projects, and built interventions.

On Residence considers, among others, the relation of architecture to current pressing questions like refugeeism, migration and homelessness; new mediated forms of domesticity and foreignness; environmental displacements; tourism and the contemporary technologies and economies of sharing, among others.

On Residence is structured around five areas: Technologies of a Life in Transit, Furnishing After Belonging, Markets and Territories of the Global Home, Borders Elsewhere, and Sheltering Temporariness.

PARTICIPANTS: Adrian Lahoud; Andrés Jaque/Office for Political Innovation; Bouchra KhaliliCenter for Political Beauty; Cooking Sections (Daniel Fernández Pascual & Alon Schwabe); Coralie Gourguechon; Design Earth; Einar Sneve Martinussen & Jørn Knutsen; Enorme; Estudio; Femke Herregraven; FFB; Folder; Frida Escobedo & Guillermo Ruiz de Teresa; Jill Magid; Kadambari Baxi, Janette Kim, Meg McLagan, David Schiminovich & Mark Wasiuta; Kër Thiossane with Amadou Kane Sy; Sigil (Khaled Malas, Salim al-Kadi, Alfred Tarazi, and Jana Traboulsi); Laura Kurgan, Juan Saldarriaga & Angelika Rettberg; L.E.FT & Lawrence Abu Hamdan; Luis Callejas & Charlotte Hansson; Martha Rosler & Pelin Tan; Martti Kalliala; Nora Akawi, Nina V. Kolowratnik, Johannes Pointl & Eduardo Rega; OMA & Bengler; Pa.LaC.E; Paulo Tavares; Paulo Moreira, Ana Naomi de Sousa & Pétur Waldorff; ROTOR; estudio SIC | VIC; Sputniko!; Supersudaca; Superunion; Unfold CURATED BY Lluís Alexandre Casanovas Blanco, Ignacio G. Galán, Carlos Mínguez Carrasco, Alejandra Navarrete Llopis, and Marina Otero Verzier (After Belonging Agency), Chief Curators of the Oslo Architecture Triennale 2016.

DogA. Jensen & Skovdin. 2004 In 2004 Norsk Form and the Norwegian Design Council established this meeting point, gallery and conference center for Design and Architecture in a former Transformer-Station in Hausmannsgate 16. The building consisted of different additions and alterations from 1860 until 1980. The architects revealed this history by uncovering the "voices" from the past. They removed only the plaster that was in bad shape, thus creating a "story" of the building's alterations. By revealing this architectural information the design gained a complex quality. The new additions inside like walls, furniture and stairs are constructed with simple geometries and rough surfaces. However, the precision and careful detailing of new elements create an elegant contrast to the ruin-like environment. In the same way as in Mortensrud church, steel joints and welding are exposed, presenting visitors with clues to the construction methods.

Original concrete pillars and ceilings are also left without any comforting cover. Lighting fixtures and acoustic panels are designed by the architects. The existing structures are listed, and it was not possible to make extensive changes in the main facades. In the transformer building of the 1940's, the solution was to insert low bands of glazing with minimal disturbance of the original architectural expression. New flats were built on the roof, and this part of the project was designed by A38 architects. The depth of the building was too large to accommodate only one row of flats, therefore the housing consists of two separate wings, connected by bridges.

Underneath, the old building gets daylight through this split into the central hall of offices and exhibition space. In the oldest part of the structure, a black box design is used for the main exhibition hall. The DogA is a part of an extensive transformation of old industrial structures along the Akerselva river.

DIA 26 Proyecto BARCODE Proyecto Skatt Ost

BARCODE. MVRDV Barcode es un proyecto de remodelación de una parte del barrio Bjørvika en el fiordo de Oslo en el antiguo suelo industrial del muelle de Oslo. Se compone de una fila de nuevos edificios de cierta altura, que contrastan con la escala tradicional de la ciudad. Los diferentes estudios de arquitectura que han participado, ha contribuido a la construcción de una hilera de elevaciones con diferentes propósitos. Los edificios son largos y estrechos con cierto espacio entre ellos, lo que les proporciona ese aspecto de código de barras. A pesar de su forma general, los edificios son muy diferentes entre sí, con diferentes detalles y rasgos arquitectónicos.

Las nuevas construcciones están situados cerca del fiordo de Oslo, y han redefinido radicalmente el perfil de una ciudad que se caracterizaba por su escasa altura.

El proyecto ha provocado un revuelo sin precedentes entre arquitectos y ciudadanos. Todavía hoy el diseño y la altura de los edificios del Código de Barras sigue siendo objeto de polémica.

PRICE WATERHOUSE COOPERS BUILDING. A-LAB ARCHITECTS 2007 18 floors. A glass structure of simple form with a central entrance five storeys high affording views through the building, and 3-storey voids within the building visible from the exterior. The first Barcode building to be completed. In April 2008 a-lab won the "Europe 40 under 40" prize in part on the basis of this design

KOMMUNAL LANDSPENSJONSKASSE BUILDING (KLP). SOLHEIM AND JACOBSEN ARCHITECTS 2007 2 overlapping segments in contrasting materials and of differing shapes separated by a column of glass, varying between 8 and 18 floors. The western tower contain 54 luxury apartments and the eastern the KLP offices. The building have 5 roof surfaces, 3 of which will be gardens, the other two passive planting

DELOITTE BUILDING. SNOHETTA 2007 16,950 M2 This building is placed between the KLP Building and the Station Common and provide services associated with the station, including restaurants, on its lowest floors. It is tall and narrow and the surface realized half in glass, half in dense elements. Its form was inspired by a calving glacier and it was initially referred to as "the Glacier."

VISMA BUILDING. DARK ARCHITECTS 2007

MAD BUILDING. MAD ARCHITECTS 2013 The architect said: “Nothing spurs creativity as tight restrictions. And you don’t get them much tighter than an 11 meter wide footprint for a 15 story housing block. Add two towering, 16 story-buildings as next-door neighbors, and it is obvious that something extraordinary had to be invented in order to make this work”

DNB WEST HOUSE. DARK ARCHITECTS 2013 The architect said: “This building is 15 storeys high and features a stepped profile that make it look like a huge set of stairs. This form allowed US to create both double-height rooms and a series of roof terraces for staff.”

BANCO DNB. MVRDV 2013 El edificio diseñado tiene 17 pisos exclusivos y una superficie de 36.500 m2. El volumen pixelado se basa en pequeñas unidades de trabajo que se adaptan a las diversas influencias del contexto urbano, combinando una organización interna eficiente y flexible con una variedad de espacios comunes como el vestíbulo de la entrada principal, un piso transparente de negocios, un pasaje público protegido, el respeto a las vistas urbanas y terrazas con vistas al fiordo. El vidrio y el ladrillo exterior expresan a la vez la transparencia y la estabilidad del DNB como una institución financiera moderna.

DNB NOR BYGG B. A-LAB 2013 The planning of the office levels allows different combinations of layouts, from open landscape to office cells - the possibility of variation of the circulation path (along cores or facades) guarantees efficiency in the different solutions, as well as the best working conditions according to the strict Norwegian regulations for the working environment. Contrasting with the enveloped machine underneath, the housing units rest on 1.000 m2 of common open areas, a garden/terrace elevated from the street level. With its panoramic elevator and open bridges, this green foyer acts as a buffer that every resident crosses. Opening in both ends to terraces overlooking the Oslo Fjord to the south or the cityscape towards the north and east, the covered garden is the result of an uncompromising real estate strategy of the Barcode Plan: one-sided apartments are not allowed - raising the environmental standards and the living qualities in the new city waterfront.

BARCODE B13 LEFT. A-LAB 2013 The project consists of four residential towers on a base containing common functions such as kindergarten and commercial premises. The site is divided into six parallel blank strips of varied width in line with the overall Barcode concept, a plan that is characterized by parallel building stripes where each building has its own individual shape and character. The residential towers create spaces which allow diagonal sightlines through the area and provide optimized sun, air and viewing conditions for the apartments. Terracing of the base case of the quarter's inner life from the surrounding streets and creates different levels of outdoor living space for kindergartens, private roof gardens and terraces. Each building has its own expression and materiality. In short, the facade consists of two layers; an insulated inner facade containing windows and doors, and an outer skin acting as a spacious element for the balcony area with integrated railing and winter gardens. The outer skin breaks up the otherwise vast facade- surfaces and brings them down to a more human scale.

PUENTE PEATONAL AKROBATEN. L2 Architects. 2012 Akrobaten ('el acróbata' en noruego) es un puente peatonal de 206 metros de longitud que une las vías de la estación central de Oslo y las zonas de Grønland y Bjørvika. Su diseño vanguardista, fabricado en acero y vidrio, se ha convertido en un lugar popular para rodar escenas de películas y hacerse fotos. Desde el puente pueden verse las nuevas actuaciones urbanas en esta zona de la ciudad. El uso del color en la iluminación pretende otorgarle un atractivo que incremente su uso nocturno. En 2012 obtuvo el 1er premio (Certificate of Excellence) de ECCS European Award for Steel Bridges.

SKATT OST. NSW AS. 2009 The architect said: “Overlooking the fjord the Oslo´s tax authority´s center is located in between Schweigaards street and the railway tracks. The scheme comprises three connected buildings linked by bridges creating a quarter with visual openness. Shops, a center for the public and a auditorium are grouped at ground level, with parking below. The 7 storeys above the ground level, house the tax administration offices. The envelope is mainly of perforated aluminum panels to create elevations that vary in appearance and sparkle according to prevailing light conditions and changing viewpoint. The fully glazed elevation towards the fjord and the large windows maximize natural light to the work environment and opens the spaces to the surrounding views. The building provides a flexible layout enabling both landscape and cell offices”. Awarded with the City Prize 2009 and nominated to Oslo City´s Prize for Architecture 2010.

DIA 26 16:00 Visita edificio de la Ă“pera

NATIONAL OPERA AND BALLET. SNOHETTA. 2008 In the "Bjørvika" harbor development area the giant, gleaming white opera, built partly into the water, seems like an iceberg in the sun. The opera is a blinding shining new cultural icon of the Norwegian capital. Most visitors do not enter the spatially refined foyer immediately, but climb the roof of the opera, for the view of the city and an architectural experience. Architecturally the building encourages people to "give it a try". After a stroll on the roof and a peak into the lobby curiosity is raised. As Norway's biggest music-related institution the architects gave it an expression of "horizontal monumentality", avoiding all "vertical and muscular forms". This Snøhetta project is the first and only purpose-built opera in Norway, where a regular national opera company was established as late as after WW2. Originally housed in a theatre from the 1930's, which was totally unsuited to the acoustic demands of opera music, the need for better working conditions eventually became critical.

The decision was therefore not so much about building a new opera, but whether to have an opera at all; it could not go on without dedicated facilities. Like so often in Oslo, there was a fierce debate about where to build this huge project. Only a few locations had the necessary space available, and for a while the old West Railway Station, which went out of use after a central rail tunnel opened in 1979, was the favored place, next to the City Hall. Then the old east-west struggle raised its head; why locate all high-status cultural projects in the affluent western part of town, and not in the traditionally poorer East End? And so the east part of the port, the Bjørvika bay, was finally chosen, an area until then wholly occupied by roads, rail and harbor facilities. The opera became the "locomotive" of the development of this area. Norway's most famous architectural office, Snøhetta, won the international design competition in 2000.

One basic idea of the project was to "give back to the city what we take from the city", that is, the concept of making a large part of the roof into a public plaza, open to all 24/7. The sloping roof extends all the way to the water's edge, making it one of very few places in the city center where one can touch and feel the water, where children can play with the waves among seaweed and driftwood. This presence of nature in the very city center is a typically Norwegian concept; on the top of the opera roof you will in certain places only see white marble, reminiscent of a snow-covered mountain plateau, and the sky, a mere few hundred meters from the central station. The urban art of opera seems to deny its urban setting. The small steps and changes in level of the roof, which has caused many visitors to fall flat on their faces, is part of the artistic program, in order to break up the large even surface into a composition of lines and levels. The idea of the architects is to integrate the art as much as possible with the architecture, blurring the traditional border between decoration and structure.

Another example of this principle is the sculptural curtain walls of the three toilet "islands" in the lobby. In the lobby, one experiences the contrast between the hard, angled exteriors and the soft, curving interior walls, and also the strong interaction of the outside and inside, as well as the proximity to the water, which on sunny days joins forces with the white marble to dazzle the eye. 33.000 pieces of Italian Carrara marble have been put together into a giant puzzle, with exquisite detailing of the highest quality and precision. Inside, German oak is the main material, used both for the floor, walls and ceiling of the main hall where it projects into the lobby.

Here, the wood is cut into small sticks, whereas a flowing wooden composition is created inside the hall, curving smoothly according to acoustic demands. The main hall with 1370 seats has the classical horseshoe shape of the Semper Opera in Dresden.

The secondary hall has room for 400 spectators, and a rehearsal hall offers more intimate performances for 200 people. On 40.000 m2 there are more than one hundred rooms and 600 employees. A special feature, proposed by the architects, is the exposing of workshops on the ground floor to the public in the streets outside, creating a transparency of the inner workings of an opera production. The opera is divided into a public part and a production part, divided by a fire wall which is marked by glazed slits in the façade. In this area, workshops, storage units and wardrobes are arranged in the rear on four floors behind patterned aluminum-panel facades. In Norwegian society, which cherishes egalitarianism, such an expensive prestige project serving a supposedly elitist art form, the opera needs to have "low thresholds". Although modern architecture is as controversial here as in other cities, the opera has been popular from the start, and locals use it for meeting and greeting, as well as celebrating weddings and other special occasions.

DIA 26 Visita Sukkerbitten + pasarela + barrio Sorengkaia

SUKKERBITEN. MMW Architects. 2015 Restaurante de uso temporal, con espacio de exihibición artística y cultural, y posibilidad de albergar ciertas actividades deportivas

SORENGA. MMW Architects. 2015 Sørenga is an old harbor pier stretching out in the fjord in Bjørvika. It Is a major residential and mixed use projects in Bjørvika, a part of the Fjordcity project. Between 2009 and 2016 approximately 800 dwellings are being built here offering a fantastic location right on the waterfront. The area is unique in that it is surrounded by the fjord on three sides. Among the facilities planned are a park and bathing complex, a long harbour promenade with shops, cafés and restaurants and a marina. As well as underground parking facilities, there will also be storage units where residents can stow their kayaks. A total of eight building phases are planned for completion by 2016.

SORENGA 3. Jarmund Vigsnaes Architects (JVA). 2012 The building is part of an 8 block/ 900 unit development named Sørenga, in the harbour area of Oslo. The Sørenga project is located at its own peninsula, and is part of the large Bjørvika development, that also include the Norwegian Opera building. Sørenga 3 is located at the east side of the peninsula. The specific set-back rules for the development has been utilized to make a terraced and highly sculptured volumetric composition that provides for optimized sun and view conditions for all the apartments. Most of the roof area will be used for terrace purposes. The 4 collaborating architectural teams have agreed upon using a common main material for the facades, a dark bluish brick, with a reflective surface.

DIA 27 TRAM 12, 13, 16, 19. Aker Brygge BUS 21, 54. Bryggetorget 9:00 Visita barrio Tjuvholmen ⨠ Calle Stranden Barrio Aker Brygge ⨠ Hacia Radhusplassen

12:00 12:45 Trienal IN RESIDENCE 13:00 Trienal THE EMBASSY: CITY HALL Visita centro histórico

DIA 27 9:00 Barrio Tjuvholmen

TJUVHOLMEN Tjuvholmen es mencionado en ocasiones como un ejemplo dentro de la arquitectura europea contemporánea, para bien o para mal. Proyectada a continuación de la zona de Aker Brygge, desarrollado en los noventa, este barrio se caracteriza por una gran variedad de expresiones arquitectónicas, y por unos espacios exteriores con un diseño muy cuidado. La ordenación de la zona es una propuesta del arquitecto Niels Torp en 2005, y se basa en una serie de islas interconectadas, que buscan referencias paisajísticas en el fiordo. Otros arquitectos que ha participado son, por ejemplo, Kristin Jarmund, MAD, Kari Nissen Brodtkorb, Jensen & Skodvin y Lund Hagem entre los locales. Además, hay obras del danés Schmidt Hammer Lassen, el finés Gullichsen Vormala y también de Renzo Piano, autor del nuevo museo Astrup Fearnley. Renzo Piano también es responsable del diseño del Parque de Esculturas situado junto al museo.

EITZEN GROUP HEADQUARTERS. KRISTIN JARMUND ARKITEKTER. 2007

TJUVHOLMEN JUS 24-26. HRTB Architects. 2007

TJUVHOLMEN JUS 24-26. MAD Architects. 2007

EDIFICIO LANDGANGEN 3. LOF ARKITERKTER. 2013

EDIFICIO THE THIEF. SCHMIDT HAMMER LASSEN. 2010

HANDELSBANKEN. SCHMIDT HAMMER LASSEN. 2010

EDIFICIO TJUVHOLMEN HOUSING 81-82. SCHMIDT HAMMER LASSEN. 2010

TOWER. NARUD STOKKE WIIG. 2012

ASTRUP FEARNLEY MUSEET. RENZO PIANO. 2012 A curving roof of fritted glass unites the three timber-clad buildings that comprise the complex, while two bridges cross the canal to link them at ground level. The architects selected naturally weathered timber for the facades and interiors of each block, to reference the traditional Scandinavian construction of local buildings and boats. Ten galleries are split between the three buildings, and one block also contains offices within four of its upper storeys.

The roof is the main element: a curved surface which covers all three buildings to emphasize their interaction as a cultural destination and the architecture of the complex. The design strongly identifies the project. Its curved shape, formed by laminated wood beams, crosses the canal between the buildings. The beams are supported by slender steel columns, reinforced with cable rigging, which refer to the maritime character of the site. The roof geometrical shape is derived from a section of a toroid and it slopes down towards the sea. On Skjaeret, the roof almost touches ground in the Park, over a small water pond that prevents people to climb on the glass. The roof surface is fully glazed and a ceramic fritting gives the glass the right solidness and the right transparency where needed. Some of the exhibition spaces, the museum lobby as well as the office atrium will receive daylight through the roof.

DIA 27 Barrio Aker Brygge

AKER BRYGGE El estudio de arquitectura y urbanismo SPOL, llevó a cabo una reordenación del barrio – inicialmente desarrollado en los noventa – de acuerdo a un Master Plan que se ejecutó entre los años 2010 y 2012. Los arquitectos describen así su propuesta: “From Rådhusplassen to the National theatre, Tjuvholmen to Skillebekk, to the Oslo fjord – all roads lead to Aker Brygge. Understanding the immediate context provides the impetus for a new reading of Aker Brygge, no longer a quarter on the edge but a centre. This reading we have translated into the Aker Brygge Star. The star eliminates the dichotomy of inside out, haves and have not’s, front and back.

Every part is vital and contributes to the whole identity of Aker Brygge. Our ‘compact’ strategy for Aker Brygge, predicated by the current inefficiency of multi-layered commercial space, and the incongruities of the ground floor, clarifies the urban layer – a tabula rasa – commercially and urbanistically. This provides two unique opportunities: first, a ‘clean-cut’ trajectory through a densified shopping street, and secondly ‘corporate’ lobbies for the offices (everyone with an address). While maintaining the physical constraints of the basic building structures and servicing, a new layer is superimposed, more logical, more precise, and more deliberate. The urban carpet is articulated through patios, gardens, courtyards, and transformed streets. Between the existing blocks, the side streets of Aker Brygge become prime, new business fronts. Aker Brygge’s future will be defined by transparency, congruency, synergy, openness, and connectivity

MARINA. ALLIANCE ARKITEKTER + MAPT. 2009 Los arquitectos comentan: Sustainability has taken a key role in the design and development of this project, with pioneering technologies such as cooled waste grinders implemented throughout the facility. A domineering feature in the sustainable design approach is the architects’ choice of materials, selecting Kebony’s environmentally-friendly, non-toxic alternative to traditional wood products for the external sweeping facades.

This single material choice has had a dramatic effect on the building’s sustainability levels, inserting a textile that is cleverly-suited to the chilly Norwegian climes.

Kebony is durable, resistant to decay, easy to maintain, very cost effective, and in this case contrasts beautifully with the Onda restaurant’s sheer glass panels and galvanised steel gratings.

The basic form of the restaurant is split into four conical volumes which undulate down the Tingvalla Pier to the water’s edge. Each swell of the building is capped at a different slope and angle ‘to form an organic-looking exterior wave’ and collectively these peaks provide a physical manifestation of the restaurant’s name.

12:00 H. TRIENNALE EXIBITION IN RESIDENCE The In Residence exhibition invites the audience to explore ten sites that encapsulate the contemporary transformation of belonging. Each site is presented through texts and materials selected by the curatorial team; reports commissioned to a group of architects, artists, journalists, and other professionals; and a series of intervention strategies. These intervention strategies speculate on the architectures associated to the particularities of each site, and have the ambition of questioning contemporary modes of practice. Developed throughout a year after their selection through an International Call, they range from spatial strategies, typological variations, and material prototypes to digital platforms and legal propositions, among many others. They are being developed as built structures, 1:1 tests, scale models, and representations for public debate. Through this multiplicity of materials, each site is presented as as unstable node submitted to ongoing alterations and redefinitions. The sites in Oslo and the Nordic region include: an apartment in Copenhagen rented through digital sharing platforms; a worker’s residence in Kirkenes, in the Arctic Region, on the Norwegian border with Russia; a transnational neighborhood that forms part of the Million Housing Programme on the outskirts of Stockholm; an asylum seekers’ reception center in Oslo; and the border spaces, technologies, and transit areas of the Oslo Airport in Gardermoen. The five global case studies include: a personal cubicle in a self storage facility in New York City; a house resulting from the remittances sent to the coffee growing region of Colombia; a patient room in the Dubai Health Care City; the technological spaces linking religious communities in Lagos; and an Italian textile factory in one of the biggest Chinatowns in Europe.

CURATORS : Lluís Alexandre Casanovas Blanco, Ignacio G. Galán, Carlos Mínguez Carrasco, Alejandra Navarrete Llopis, and Marina Otero Verzier (After Belonging Agency), Chief Curators of the Oslo Architecture Triennale 2016.

PARTICIPANTS : Reports by: James Bridle; Matilde Cassani; Eriksen Skajaa Architects; First Office; Husos; Living Architectures; Emeka Ogboh; Ahmet Ögüt+Emily Fahlén; The State (Rahel Aima, Ahmad Makia, Deepak Unnikrishnan); Transborder Studio.

Intervention Strategies by: Nabil Ahmed+Dámaso Randulfe; Caitlin Blanchfield+ Glen Cummings+Jaffer Kolb+Farzin Lotfi-Jam+Leah Meisterlin; Factory-baked Goods (Paula Currás, Ana Olmedo, Enrique Ventosa); Ruimteveldwerk (Pieter Brosens, Brecht Van Duppen, Sander Van Duppen, Lene Beelen, Pieter Cloeckaert); Elisabeth Søiland+Silje Klepsvik+Åsne Hagen

MUSEO DE ARQUITECTURA. PABELLĂ“N DE SVERRE FEHN The Architecture Museum of Norway uses one of the country's first monumental Empire Style buildings, designed by Christian Grosch in 1830, and its four-story addition of 1910. A branch of the National Museum of Art, Architecture and Design, has taken over the oldest premises of the Norwegian Central Bank. Sverre Fehn's introverted Pavilion uses daylight, the sky, and the walls of the nearby Akershus Fortress as its references. From the outside, a main motive is the contrast between the concrete outer walls and the dainty glass pavilion. Inside, the pavilion is square in plan with four large concrete columns supporting the shallowly vaulted concrete ceiling. The structure is basic, almost archaic in its simplicity. The facades are glass, blurring outside and inside. The somewhat oversized stainless steel sockets for vertical glass elements are typical for Fehn's design philosophy, emphasizing structural joints. Exterior glass louvers provide for sun screening. The pavilion is surrounded by concrete walls that expand the experience in the room and act as a backdrop for the exhibitions, with glazed slits that provide glimpses of the outside world.

Visitors enter the museum through the Grosch Building. Reception, bookstore and cafĂŠ are located in the main hall on the ground floor with library and administration on the second floor. From the main hall visitors access the Pavilion with changing exhibitions, or the adjacent building with the permanent collection. New building materials are concrete, glass, steel, marble and oak. Fehn was the architect for both the refurbishment of the old building and the pavilion. To the south, there is access to the park through the cafe, which has outdoor catering during the summer months. The museum's administration, library and assembly rooms are on the first floor. The two top floors of the repository are used as archives for photography and drawing collections and for registration.

DIA 27 13:00 City Hall. THE EMBASSY

13:00 H. TRIENNALE EXIBITION THE EMBASSY The New World Embassy: Rojava is a temporary embassy that will be constructed in Oslo, and which represents, through cultural means, the ideals of "stateless democracy" developed by the Democratic Self-Administration of the autonomous region of Rojava, northern-Syria. The embassy will consist of a large-scale oval shaped architectural structure, designed as an "ideological planetarium".

The Embassy will operate for two consecutive days, bringing representatives from Rojava together with international politicians, diplomats, academics, journalists, students, artists, and more. Through open deliberation and public discussion The New World Embassy: Rojava proposes a platform to build new transnational relationships and explore alternative models of people's diplomacy. This includes an analysis of the history, ideals, and implementation of stateless democracy; of the successes of Rojava in building a new civil society in a war-torn region; and finally the alternative that Rojava proposes in order to confront the crises of democracy seen on a global scale.

The New World Embassy: Rojava is a collaboration between the Democratic Self-Administration of Rojava and Studio Jonas Staal.

Oslo City Hall. Arnstein Arneberg – Magnus Poulsson. 1950 Oslo City Hall is the third in the series of early 20th century city halls in the Scandinavian capitals, starting with Copenhagen in 1905 and continuing with Stadshuset in Stockholm (finished 1923). Oslo, or Kristiania as the town was called from 1624 to 1924, also needed a new representative city hall, and the idea of a location by the fjord in Pipervika bay was first suggested in 1908. A city hall here would involve a major rebuilding of the suburb of Pipervika, originally a fisherman's village outside the city proper, which had been incorporated into the town structure during the 19th century. This area blocked access from the main street Karl Johan to the waterfront of the fjord, and an important aspect of the city hall project was to open up the town towards the sea. In 1918 the architects Arnstein Arneberg and Magnus Poulson won the first prize in an architectural design competition with a very historicist proposal inspired by the Stockholm City Hall. Financial problems in the aftermath of World War 1 delayed the progress of the project. In 1929 the architects laid out their eighth and final proposals, now under the influence of functionalism and stylistically combining it with National Romanticism and the Neo-Classicism of the 1920s. The most striking change from the earlier proposals was the division of functions, with two office towers flanking a lower central part, where the main hall, city council hall and other meeting rooms are located. The towers, 66 and 63 meters tall respectively, have an upper part without windows, for architectural effect alone. Some of these volumes are used as ateliers for artists, with skylights.

Construction started in 1933 and the main structure was completed in 1936. World War II also caused construction to stop, and it was resumed in 1947, with remaining art work of the interiors finished for the official opening in 1950, the 900th anniversary of Oslo. The structure is of concrete, but the whole building is covered with 1,5 million bricks, specially made for the project with slightly larger dimensions than modern bricks. Practically all existing buildings and street structure in the area were demolished to make room for the project, an urban transformation which was not completed until the early 1960's. The building has two faces; a dramatic north side where the towers dominate, surrounded by a circular square which is carefully proportioned with the city hall, and the south seawards façade with the lower "festive" part in the foreground. The grand square on the waterfront gradually became a traffic-choked barrier between the fjord and the city, until a new motorway tunnel made it possible to turn the square into a pedestrian precinct in 1990. The city hall forms a focal node for the Pipervika bay which constitutes the western part of the inner city harbor, in the same way as the new opera does for the eastern Bjørvika bay.

The city hall was meant to be a showcase of civic spirit, with a comprehensive program of artistic decoration, both in sculptures and fountains of the surrounding squares and parks, and in the monumental murals of the interiors. A competition for the artistic interior designs was launched in 1936 with the "Norwegian people" as the central motive. The Nobel Peace Prize ceremony takes place in the city hall, but apart from all official functions, the building was designed as the "living room" of the town, and is still open to all every day during office hours.

OSLO CENTRO (Kvadraturen)

Palacio Real. Hans Listow. 1849. M-X: 12, 14, 14:20, 16 h; 135/100 NOK

Kunstnernes Hus. Gudolf Blakstad – Herman Munthe Kaas.1930

Museo Nacional de Historia. Henrik Bull. 1902. M-X: 11/16 h; 80/50 NOK

National Gallery. 1882. Heinrich Ernst, arq. M-X: 10/18 h; 100/50 NOK

Plaza de la Universidad y Aula.

Teatro Nacional. 1899

Paleet Shoping Center. JVA architects. 2014. M-X: 10/20 h

Fokus Bank. Kristin Jarmud Arkitekten. 2007

Parlamento. 1866

Catedral. 1697

Dobloug Garden Store. ERICH MENDELSOHN. 1932 (Construido por Rudolf E. Jacobsen)

Ministerio de Defensa de Noruega. JVA Architects. 2006

Castillo Fortaleza de Akershus. 1300

Embajada americana. Eero Saarinen. 1959

DIA 28 9:00 Estaciรณn Metro Storo. Jensen&Skovdin T5 Estaciรณn Metro Sinsen. Jensen&Skovdin T5 Cambio en TOYEN a T3 Mortensrud (11 paradas) 10:00 Iglesia de Mornensrud. Jensen&Skovdin T3 BOLER (3 paradas) Biblioteca y centro social. Sverre Fehn Iglesia. Hansen-Bjorndal Arkitekter AS T3 TOYEN Munchmuseet (9 paradas) 11:30 14:00 Museo Munch T1 HOLMENKOLLEN (17 paradas) 14:30 16:00 Holmenkollbakken Saltos T1 BERGKRYSTALLEN (14 paradas); BUS30 Bygdoy via Bydoynes (6 paradas) 17:00 Old Christiania (Norks Folkenmuseum) Regreso BUS30 Nydalen hasta Estaciรณn Cetral

ESTACIĂ“N DE METRO STORO. JENSEN&SKOVDIN. 2003 The new Metro Station was inserted into the city fabric at a place with lots of visual chaos. The main task was to ensure that the travelers would be able to orientate themselves.The main strategy has been to use a new visual language, namely a roof structure that is also a very large three dimensional canvas, that acts as a great transparent painting for an artist (Hilmar Fredriksen). All the glass panes have been decorated by Hilmar Fredriksen and have been arbitrarily assembled. The result is an urban element (the roof) that attracts attention because it uses a different visual language, and that also fulfills all the functional requirements of the station. In this way one could say that the building is both a station and an art gallery

ESTACIĂ“N DE METRO SINSEN. JENSEN&SKOVDIN. 2003 Sinsen Metro Station is also a stop on the new Metro Ring in Oslo. The place had especially complex geometric relationships with the different surrounding areas.

The platform is basically a fixed shape and is connected to the several different areas with nine entrances, all of them at different levels and with specific requirements regarding widths and wheelchair accessibility. All these entrances are treated like separate site given architectural instances. An added quality of this strategy is that orientation, always a pressing problem at such places, is eased, because each entrance has its own separate identity.

IGLESIA EN MORTENSRUD. JENSEN&SKOVDIN. 1998 The church is situated on the top of a small crest with large pine trees and some exposed rock. Geometrically speaking the church is an addition to the existing ground, no blasting and excavation was necessary except carefully removing the thin layer of soil. This technique, among other things, makes it easier to preserve the existing vegetation and topography, thereby adding a dimension to the experience of the building. A number of trees are preserved in atriums within the enclosure.

Some of the rock formations emerge like islands in the concrete floor of the church, between the congregation and choir. Thus the church takes its major divisions from elements already on the site.

This is possible because there are relatively large tolerances in dimensioning the rooms. No module has been used to determine the exact positions of the gardens.

Rather the materials and structures are chosen so that a gradual non incremental adjustment of dimensions, without steps or modules, is possible. The tension between the wish to create a "silent" self-referring room, and a variety of obstacles limiting this possibility, has been deliberately chosen as a strategy to architecturally "disturb" a process in which a wide range of people and interests are involved, and which otherwise would be heavily loaded with conventional and other historical references. The main structure is a steel framework with a stone wall carrying the roof. A glass facade 90 - 160 cm off the stone wall defines a narrow gallery around the church room. The stone in this wall is built without mortar, thus letting light through, and has one even side, and one uneven as standard. The uneven outside of the internal stone wall is exposed to the outside through the glass facade on three sides of the church. The stonewall is stiffened horizontally by steel plates, 4mm x 250mm, that spans between the columns, inserted into the wall every meter. These plates can stiffen this wall only when the weight of the wall itself is added to this structure. The glass facades are stiffened with "propels" made from steel plates that are inserted into the vertical joints between the glass panes, and to the horizontal steel plates in the stonewall. The budget was very tight, and the price per square meter equals that of social housing in Oslo. To get this building realized we had to use every possibility we could think of to get more out of less, economically speaking. This was achieved mainly by avoiding conventional proprietary systems for facades, structures, walls, floors etc. Rather we used very basic methods and techniques and surprisingly found out, again and again, that not only was it cheaper, it also gave us a far greater architectural freedom. The fragmented and complex character that emerged and concluded the process of searching for the possible configurations - that is the layout that eventually could be realized given the limitations we had - turned out to be so complex that it is virtually impossible to photograph the whole building, or interior in one shot.

BIBLIOTECA Y CENTRO SOCIAL BOLER. SVERRE FEHN. 1962

IGLESIA BOLER. JENSEN-BJORNDAL ARKITEKTER. 2012

HOLMENKOLLEN SKY MUSEUM AND TOWER A historic landmark in the Norwegian consciousness, Holmenkollen embodies more than a century of skiing competitions. Inside the ski jump is the Holmenkollen Ski Museum, the oldest of its kind in the world. The museum presents over 4,000 years of skiing history, Norwegian polar exploration artifacts and an exhibition on snowboarding and modern skiing.

NORKS FOLKENMUSEUM A historic landmark in the Norwegian consciousness, Holmenkollen embodies more than a century of skiing competitions. Inside the ski jump is the Holmenkollen Ski Museum, the oldest of its kind in the world. The museum presents over 4,000 years of skiing history, Norwegian polar exploration artifacts and an exhibition on snowboarding and modern skiing.

DIA 29 OPCIĂ“N 1. CENTRO Visita con mĂĄs detalle a algunos lugares visitados Kunsternes Hus National Gallery Sehestedsplass Fokusbank. Kristing Jarmund arch. 2005 13:00 Visita al Aula Magna de la Universidad. Pinturas de Much Paleet Shoping Center

Kunsternes Hus

Fokusbank. Kristing Jarmund arch.

Sehestedsplass. Sverre Fehn

Universidad

Paleet. JVA arch.

DIA 29 OPCIÓN 2. SUR BUS 31 (Telenor Fornebu) Fornebu Telenor building Statoil ASA building. A-Lab arch. 2014 Fornebu Shopping Center. Biotecture. 2014 BUS 31 (Lysaker stasjon) Lysaker Station. Snohetta. 2009 BUS 30 (Vikingskipshuset) Museo vikingo (80-40 NOK, 10/16H), Museo del Fram (100-40 NOK, 10/17H)

Statoil building

Lysaker st.. Snohetta 2009.

Fornebu Mall

Museo del Fram

Museo vikingo.

OTRAS OPCIONES Spikerverket Housing.

April Arkitekter + MAD arkitekter 2012 Loc: Nydalen (Norte Oslo) c/ Nydalsveien, 20 METRO 4/5. NYDALEN

Timber cabin Jarmund Vigsnaes arch.

2015 Extensión en jardín privado

Custom and Excise Building Reiulf Ramstad Arkitekter 1998 Oslo airport

Fornebu IT (Technopolis) A-Lab arch.

2009 Oslo airport

Kuben Arch Uno arch.

2013 METRO 4/5 OKERN

Centro de Arte Henie Onstad Eikvar and Engebretsen arch. 1968-1994 Stein Halvorsen arch. 2003 11 – 19 H 100 / 70 NOK BUS 151 to Høvikodden

Geriátrico Økern, Økernveien Sverre Fehn. 1955 METRO 4, 5 OKERN