Oslo Opera House

The Oslo Opera House

by Snohetta.

Joanne Bernice Chua Yunn Tze Yeow Yi Chuan Soh Wei Aun Teh Gie Eng Muhammad Fadrizul Fikri

0315905 0317576 0316887 0316179 0311111

Snøhetta Snøhetta arkitektur landskap • international architecture, landscape architecture, interior design and brand design office.

• based in Oslo, Norway and New York City.

• Principles: Craig Dykers and Kjetil Trædal Thorsen • Partners: Robert Greenwood (architect), Ole Gustavsen (architect), Tarald Lundevall (architect), Jenny Osulden (landscape architect), Martin Gran (landscape architect).

Awards: • Aga Khan Award for Architecture for Library of Alexandria (2004)

Built for the Norwegian Opera and Ballet, Statsbygg which his Norway‫ע‬s largest civil property manager, was selected to be responsible for the planning and management of the building of the opera house. The Opera‫ע‬s central function is to be the national producer of opera, ballet, music and dance theatre and concerts. Estimating to house 300 shows and 250, 000 visitors per annum,as well as to be the workplace for approximately 600 workers, the Opera house aims to be both an architecturally relevant to the site and a social sculpture that becomes synonymous with the harbour.

// The Oslo Opera House, Bjørvika, Oslo, Norway.

CONCEPT

The Wave Wall

The Oslo Opera House is the culmination of three concepts;

Between the ground and sea, are the crashing waves. Using this analogy, the wave wall symbolises the meeting point between the land and sea, Norway and the world, public and art.

i. the wave wall ii. the factory iii. the carpet

The Factory Rationality, flexibility and functionality of a ‫ף‬factory‫ פ‬became the one of the core concept of the architecture. To realise that, Snøhetta has planned for the facilities to be adjusted to the needs of the users.

The Carpet

// Olso Opera House

The ‫ס‬carpet‫ ע‬was interpreted in the form of a horizontal, sloping surface on top of the building to connect the cityscape to the opera house itself. It serves as an extension of connection to achieve the concept of togetherness and openness.

t

Site Plan

// Technical Drawings

First Floor Plan

Second Floor Plan

// Technical Drawings

Third Floor Plan

Fourth Floor Plan

Roof Plan

Section A-A

A

A

// Construction Method MARBLE CLAD ROOF The characteristic geometry of the roof as it rises and is laid out like a carpet over the public areas has become the building’s defining feature.

To achieve enough acoustic volume in the auditorium, the roof has been raised independently inside the balustrades. This creates a new viewing point from which the city can be experienced.

The roof has been cladded with La Facciata, an italian marble which retains its brilliance and color even when wet.

// Structural System

TRUSS STRUCTURE SYSTEM A comprehensive steel truss system is used to support the multi-leveled seats in the auditorium. Due to the viewing angle, trusses on every floor are manufactured in a different but specific angle that give viewers optimum view and acoustics from the stage.

The truss system also allows for a horseshoe seat configuration to be employed in the design as the trusses can be spaced out in a convex form.

// Structural System

Routel steel fiixing Section view

CURTAIN WALL SYSTEM The glass construction was design to have an absolute minimum of columns, framing and stiffening in steel. The solution was to use glass fins where minimized steel fixings are sandwiched inside the laminates.

The glass stiffness increased due to the desire for large panels and slim joints where the panels meet, therefore AGC Stopray Safir 61/32, a low iron glass was used.

Isometric view

// Modelling Process

// Modelling Process