Since our very beginning, we have defined Snøhetta as a project in itself. We have lived this project. It has been refined, twisted, rearranged and evolved, influenced by zeitgeist, society and technology. The overlapping activities driven by different people involved at all times, has led to a continuous state of reinvention, independent of the tasks at hand. These reinventions are transprofessional and include as much architecture as landscape architecture, as much art as graphic design, as much interior architecture as urbanism.
When our efforts in the process of “transpositioning” reveal unforeseen results, it means that each participant has managed to leave his or her profession slightly behind, releasing personality and insight into the core of the process. There is nothing to defend and nothing to gain but a moment of shared ideas. Ideas belonging to all. Each individual is a force, reaching their full potential in our collective space of creation. Each result is unique, has its own departure and each project has its own embedded logic in the spiral of creation.
Some may see this as inconsistent: we see it as a consistent adaptation to the wide range of conditions in relation to changing societies. The contemporary inter sects with the future and with history, both deeply imbedded in our world‑view. When walking, look down to see where you put your foot, then look forward to see where you are going, shift your eyes towards the sky to dream and now and again turn your head to see where you came from. This puts you in the middle of now, a moment in itself based on parallel complexities. Snøhetta
Snøhetta
People, process, projects
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Snøhetta
People, process, projects
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Snøhetta
People, process, projects
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9
Snøhetta
People, process, projects
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Snøhetta
People, process, projects
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17
Snøhetta
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Tverrfjellhytta, Norwegian Wild Reindeer Pavilion
People, process, projects
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Snøhetta
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Tverrfjellhytta, Norwegian Wild Reindeer Pavilion
People, process, projects
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Snøhetta
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James B. Hunt Jr. Library
People, process, projects
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Snøhetta
50
Serpentine Gallery Pavilion
People, process, projects
51
Snøhetta
58
Norwegian National Opera and Ballet
People, process, projects
59
Snøhetta
82
SFMOMA Expansion
People, process, projects
83
Snøhetta
94
Karmøy Fishing Museum
People, process, projects
95
Snøhetta
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Riyadh Metro Station
People, process, projects
97
Snøhetta
122
Kivik Art Museum
People, process, projects
123
Snøhetta
136
Vulkan Beehive
People, process, projects
137
Snøhetta
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The Isabel Bader Centre for the Performing Arts, Queen’s University
People, process, projects
139
Snøhetta
142
The Isabel Bader Centre for the Performing Arts, Queen’s University
People, process, projects
143
Snøhetta
166
A House to Die In
People, process, projects
167
Snøhetta
170
Busan Opera House
People, process, projects
171
Snøhetta
174
Busan Opera House
People, process, projects
175
Snøhetta
180
Barcode B.10.1
People, process, projects
181
Snøhetta
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Melgaard + Munch
People, process, projects
187
Snøhetta
190
Melgaard + Munch
People, process, projects
191
Snøhetta
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Bjellandsbu - Ă…krafjorden Cabin
People, process, projects
197
Snøhetta
218
Ryerson University Student Learning Centre
People, process, projects
219
Snøhetta
242
Hudøy
People, process, projects
243
Snøhetta
244
Times Square Reconstruction
People, process, projects
245
Snøhetta
250
Eggum Tourist Route
People, process, projects
251
Snøhetta
252
Eggum Tourist Route
People, process, projects
253
Snøhetta
256
Norway’s New Banknotes
People, process, projects
257
Snøhetta
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King Abdulaziz Centre for World Culture
People, process, projects
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W
Snøhetta
People, process, projects
Tverrfjellhytta, Norwegian Wild Reindeer Pavilion —
James B. Hunt Jr. Library —
Serpentine Gallery Pavilion —
The projects exemplify our common attitudes rather than being complete solutions. They are samples in a string of contextual examinations rather than masterpieces. They are associative rather than symbolic. They are comments rather than statements. Every story told is a shared experience of contemporary conditions set within a given frame.
Architecture, Landscape and Interior
Architecture, Landscape and Interior
Architecture, Landscape and Interior
2009–2011
2008–2013
2007
Location Hjerkinn, Dovre, Norway
Location Raleigh, North Carolina, USA
Location London, England, UK
Typology Keyless Structure
Typology Library
Typology Keyless Structure
264
265
Client
Norwegian Wild Reindeer Foundation
Client
NCSU Libraries
Client
Serpentine Gallery
Status
Completed
Status
Completed
Status
Completed
Size
90 m²
Size
21,300 m2
Artist
Olafur Eliasson
Executive Architect
The Norwegian Wild Reindeer Pavilion sits on a spectacular site on the outskirts of Dovrefjell National Park at around 1,250 meters above sea level, overlooking the mountain Snøhetta. The main purpose of the 90m2 building is to provide shelter for school groups and visitors as mountain guides lecture about the unique wildlife and history of the Dovre Mountain plateau. Natural, cultural, and mythical landscapes form the basis of the architectural idea. The building design is based on a contrast between a rigid outer shell and a soft organic-shaped inner core. A wooden interior is placed within a rectangular frame of raw steel and glass. The core is shaped like rock or ice eroded by natural forces like wind and running water. Its shape creates a protected and warm gathering place, while still preserving access to spectacular views. Considerable emphasis is put on the quality and durability of materials so that the building can withstand the harsh climate. The shelter’s simple form and use of natural building materials reference local building traditions. At the same time, new technologies have been utilized to bring modern efficiency to the fabrication process. The wood core is manufactured based on digital 3D models using a large scale robot-controlled milling machine. Tverrfjellhytta is a robust building that refines local building traditions, provides a pro tected gathering place for visitors and enriches the unique landscape of Dovrefjell.
Clark Nexsen
For the design of the James B. Hunt Jr. Library, Snøhetta and Clark Nexsen worked closely with the NCSU Libraries to set a new benchmark for technologically-sophisticated collaborative learning spaces. The library serves both as NC State’s second main library and the intellectual and social heart of the university’s Centennial Campus. It also houses the Institute for Emerging Issues, a think tank led by former North Carolina Governor James B. Hunt, academic offices, visual ization and digital media labs and an auditorium. It is designed to give the university a decisive competitive edge by democratizing access to the technologies driving our economy. As a clearly contemporary structure within a traditional context, the Hunt Library provides a forward-thinking platform for influencing its surroundings. Both technical and programmatic innovations are celebrated as part of the learning experience and provide a versatile and stimulating environment for the user. Generous open spaces connect all floors of the library and open stairs emphasize an interactive and social environment alongside more focused study areas. A wide variety of study and learning environments and technol ogy-focused experimental labs go beyond the now ubiquitous model of the learning commons. ‘Disruptive’ learning spaces with colorful, dynamic furnishings exist adjacent to more traditional study rooms. The building’s design recognizes the power of chance encounters and celebrates the role physical space plays in the intellectual stimu lation of its users.
Based on the principle of a winding ramp, the 2007 Serpentine Gallery Pavilion explored the idea of vertical circulation within a single space. The aim was to reconsider the traditional, single-level pavilion structure by adding a third dimension: height. While journeying upwards, visitors first encountered the interior space, which was followed by an enclosed stretch of ramp with the surround ings only glimpsed through the louvered facade. As they proceeded, visitors completed the spiraling movement and experienced a full, unhindered view of the park as the ramp blended into the roof of the Pavilion. The vertical move ment of visitors in the Pavilion complemented the horizontal circulation in the exhibition spaces at the adjacent Serpentine Gallery.
Snøhetta
People, process, projects
Norwegian National Opera and Ballet —
ZEB Pilot House —
YME Universe —
Bibliotheca Alexandrina —
SFMOMA Expansion —
Karmøy Fishing Museum —
Architecture, Landscape and Interior
Architecture, Landscape and Interior
Interior
Architecture, Landscape and Interior
Architecture, Landscape and Interior
Architecture and Interior
2000–2008
2014
2013–2014
1989–2001
2013–Expected 2016
1998
Location Oslo, Norway
Location Larvik, Norway
Location Oslo, Norway
Location Alexandria, Egypt
Location San Francisco, California, USA
Location Karmøy, Norway
Typology Opera House
Typology Zero Emission Building
Typology Retail Store
Typology Library
Typology Museum
Typology Museum
Client
Statsbygg
Client
Optimera and Brødrene Dahl (Saint Gobain)
Client
YME Studios
Client
Ministry of Education, Egypt
Client
San Francisco Museum of Modern Art
Client
Karmøy Fishing Museum
Status
Completed
Status
Completed
Status
Completed
Status
Completed
Status
Under Construction
Status
Completed
Size
38,500 m²
Size
200 m²
Size
1,000 m²
Size
80,000 m²
Size
20,900 m2
Size
500 m²
Artist
Inger Buresund, Axel Hellstenius,
Henrik Hellstenius, Peder Istad,
Jorunn Sannes
The Norwegian National Opera and Ballet is part of Oslo’s revitalization strategy to transform the city’s historically industrial waterfront into an active public space. Snøhetta’s prize-winning design was characterized by the jury as having strongly identifiable themes that tie the building to its culture and location while also presenting an unusual and unique expression that was in many ways new and innovative. The project developed a highly complex program into a simple general plan that integrated both a practical and intuitive sculptural approach to modeling the exterior. Its low slung form constitutes a link with the city rather than a divisive sculptural expression. Its accessible roof and broad, open public lobbies make the building a social monument rather than a sculptural one. The building is as much landscape as archi tecture and thus fosters public awareness and engagement with the arts. Generous windows at street level provide the public a glimpse of the scenery workshop activities. The building still finds an audience with people who are not opera, ballet, or orchestra fans. The cafes and gift shop, with their access to the waterfront, are destina tions which offer opportunities to generate rev enue for the institution while providing a general public amenity. Care was taken with the design of these components so that they are seamlessly integrated into the overall character of the build ing’s bold design.
266
Local Architect
Snøhetta is an active partner within ZEB (The Research Center on Zero Emission Buildings). The ZEB Multi-Comfort House is a cooperation between Snøhetta,Snøhetta, Scandinavia’s largest independent research body SINTEF, ZEB partner Brødrene Dahl, and Optimera. The house is the size of a single family home; however, the building is intended for use as a demonstra tion platform to facilitate learning on building methodology for net-zero energy residences with integrated sustainable solutions. To achieve ZEB-OM classification the project is required to document and verify a minimum of 100% CO2 offsets. Renewable energy produc tion via photovoltaic and solar-thermal panels integrated in the building envelope offsets carbon emissions generated by the burning of fossil fuels in power stations. By offsetting in this manner we simultaneously reduce emission of other greenhouse gasses. Focus on carbon emissions associated with building materials represents a new direction in the vital drive towards a sustain able construction industry. The house in the garden has a characteristic tilt towards the southeast and a sloping roof surface clad with solar panels and collectors. These elements, together with geothermal energy from energy wells in the ground, will serve the energy needs of the family house and generate enough surplus to power an electric car year round! For this to become a successful reality, architecture and technology must come together and ensure optimization of both comfort and energy use.
YME is located between the Royal Palace and the Parliament in Karl Johans gate 39, in a beauti ful and historic building from 1844 previously described as a ‘Paris in miniature’. The store’s design and interior, created by YME Studios in col laboration with Snøhetta, features an art gallery, a bookstore, a café, and a future roof garden. The goal was to create a universe based on the saga about Yme, the giant of Norse mythology who was born when fire and ice met, that would connect Oslo and Norway to the rest of the world. Different expressions meet on a variety of levels in a gathered yet schizophrenic expression. Ideas are manifested in physical objects based on the Norse story of creation. At the main entrance, one is welcomed through a 25 meter long frieze of pinewood, telling the story of the 12 rivers coming together in Ginnungagap. The first floor has a cold palette putting the focus on product display and high lighting special elements. From the first floor, one is guided further up by the staircase – or more accurately put, a 12 meter tall art space with a transparent glass bridge from which one can see three floors down. Between the cold first and the warm third floor is the second floor, with woven solid wood flooring and windows out to the street Karl Johans. From the second floor one is brought up to the upscale third floor through a crude steel spiral staircase. On the third floor one can find a café with art and a selection of books.
Hamza Associates
The Bibliotheca Alexandrina is built on a magnifi cent site alongside Alexandria’s ancient harbor in the historic center of the city. The 11-story library can hold up to 4 million volumes, and can be expanded up to 8 million by the use of compact storage. In addition to the library facilities, the library also houses other cultural and educa tional entities including a planetarium, several museums, a school for information science, and conservation facilities. Characterized by its circular, tilting form, the building spans 160 meters in diameter and reaches up to 32 meters in height, while also diving some 12 meters into the ground. An open plaza and reflecting pool surround the building, and a foot bridge links the city to the nearby University of Alexandria. Conceived as a revival of the ancient library in the city founded by Alexander the Great some 2,300 years ago and lost to civilization centuries later, the new Alexandria Library is a contempo rary design that will contribute meaningfully to students, researchers and the public. The design of the new library is both timeless and bold. Its vast circular form alongside the circular Alex andrian harbour recalls the cyclical nature of knowledge, fluid throughout time. Its glistening tilting roof recalls the ancient Alexandrian light house and provides the city with a new symbol of learning and culture.
267
Associate Architect
EHDD
In 2010, Snøhetta was commissioned to the design the Expansion of the San Francisco Museum of Modern Art in California. With this project, the museum’s objective is to accommo date its growing audience, increased educational programs, and expanded permanent collection due to the generous donation of the Fisher Collection. The Snøhetta-designed expansion will run contiguously along the back of the current Mario Botta-designed building which opened in 1995. It will feature free, public ground-level galleries, giving new indoor and outdoor public spaces back to San Francisco when the museum re-opens in 2016. The new SFMOMA will provide an openness that welcomes visitors and projects its role as a catalyst for new ideas in the city.
Cantilevering slightly over the North Sea horizon where it leaves the ground, the Karmøy Fishing Museum resembles a container that has been dropped informally upon the site. Very early in the design process, the archi tects imagined a concrete tube-like building, open at both ends, placed carefully onto the land scape. This way the museum can be lengthened in the future: the entrance wall can simply be replaced, while the window towards the water will remain as a framed view, marking the departure point of the structure. The exterior walls are designed to become overgrown by the local lichen just by adding sour milk and nutrition to the concrete surfaces. Slowly the walls will then adopt the character of their surroundings. These surfaces are only partially broken by the two square windows at each long side of the building and by the wall of woven juniper branches near the entrance. The interior of the museum is a single space, similar to the space within a cargo container, a nickname which has been adopted by the local public. This allows for full flexibility for exhibitions within the four walls of the museum.
SNØHETTA. PEOPLE. PROCESS. PROJECTS © Forlaget Press 2015 1. edition, 1. edition 2015 Design: Snøhetta Repro: JK Morris Production AB, Värnamo Paper: 140 g Tauro Offset Printing and binding: Printer Trento s.r.l., Italia Photography: Are Carlsen 62, 120, 121 Birdseyepix 56 Bjørn Ove Holmberg 144 Bruce Damonte 66, 234, 236, 237, 238, 266, 276 Calle Huth 22, 24, 32, 34, 188, 190, 192, 194, 195 Coca-Cola 222, 275 David Schreyer/Swarovski Kristallwelten 151 diephotodesigner.de OHG 2010 36, 265 Erik Five Gunnerud 178, 272 Gerald Zugman 74, 76, 267 Gerhard Berger/Swarovski 152 Gerry Johansson 122, 124, 269 Greger Ulf Nilson/Snøhetta 102, 105 Helene Binet 60 Henrik Kam 84, 86, 88 ,89 Inge Ove Tysnes 271 Ivan Brodey 182, 183, 184, 185 Ivar Kvaal/Port Magazine 8, 10, 16, 28, 29, 30 James Silverman 196, 200, 201, 273 James Willis 78, 79 Jarle Wæhler/Statens Vegvesen 252, 277 Jeff Goldberg/Esto 20, 26, 42, 44, 45, 48, 49, 114, 116, 118, 119, 246, 265, 269 Jens Sølvberg 59, 266 Jiri Havran 90, 92, 93, 94, 95, 267 Johan Wildhagen/Palookville 176 John McNeal/Snøhetta 82 John Offenbach 54 Jose Parla 46, 47 Ketil Jacobsen 38, 40, 68, 70, 71, 202, 204, 205, 266, 274
Lorne Bridgman 138, 140, 142, 210, 212, 214, 215, 216, 218, 270, 274 Ludger Paffrath/Aesop 154, 155, 156, 157, 271 Luke Hayes 50, 52, 53 Marte G. Johnsen 14, 18 Mattias Frolund/Snøhetta 4, 220, 223, 298 MIR/Henrik Kam/Snøhetta 267 MIR/Snøhetta 96, 98, 108, 224, 226, 228, 248, 268, 275, 276 Morten Brakestad 134, 136, 270 Neil Gordon 233 Nils Petter Dale 72, 77 Nina Reistad/Statsbygg 58 Paal-André Schwital 64, 67 Patrick Lüth/Snøhetta 148, 150, 153, 271 Philip Vile 230, 232, 275 Pål Laukli 100, 106, 268 Robert Sannes 146, 270 Snøhetta 6, 12, 61, 80, 99, 110, 111, 112, 130, 137, 141, 158, 164, 166, 167, 168, 169, 177, 180, 206, 208, 209, 213, 227, 240, 242, 243, 247, 250, 254, 256, 258, 260, 261, 262, 263, 265, 273, 274, 276, 277, 278297 Steelblue/Snøhetta 87 Stephen Mallon 244 Sølve Sundsbø 103, 104 Tegmark/Snøhetta 170, 172, 174, 272 Thomas Ekström 272 Trygve Østebø 198, 199 Vegard Kleven 186, 273 Åke E:son Lindman 126, 128, 129, 131, 132, 160, 161, 162, 269
ISBN 9788232800261 This material is protected by copyright law. Without explicit authorisation, reproduction is only allowed insofar as it is permitted by law or by agreement with a collecting society. Forlaget Press, Kongens gate 2, 0153 Oslo www.forlagetpress.no