Dissertation

Dissertation

Architecture BA

Level 6 AR6001

K1828745

Kingston University London

2020/2021

Norwegian National Opera and Ballet

The Introduction

The creation of the Norwegian National Opera and Ballet in 1999 was a turning point in Norwegian architectural history. It marked a new period of large-scale modern architecture and helped to establish a Norwegian-based practice that became both internationally renowned and acclaimed. It was something new, large scale, and unlike any other architectural projects in a long time. The project was a result of a political fight and discussion to last for over a hundred years until the dream finally became reality Snøhetta won a competition which described the Norwegian National Opera and Ballet as “ having strongly identifiable themes that tie the building to its culture and place, while also presenting an unusual and unique expression that was in many ways new and innovative ” (Otterbeck, 2008, p. 90) The proposal was based on the idea of the ‘Right to Roam’ as a gift to the Norwegian people and culture. The architectural language of the building is easily recognised by the tight bond between architecture and nature.

The 1990s represents a fertile period of contemporary architectural culture. During this period the superficial and reactionary historicism of 1980s postmodernism, was overcome through a collective and mature sensibility, that embraces modernity as a tradition, and a cultural expression of our time. (Silvestre, 2019) The term “contemporary” is used to describe the art and architecture of our time and does not belong to any historical period such as modern or postmodern. In contemporary architecture no single style is dominant. It is the style of the 21st century, which is still being conceived. Who were the great influence of our contemporary architecture? And what forms it?

In this dissertation, I will look into the language of contemporary architecture to understand the Norwegian National Opera and Ballet. The architectural language is the conceptual language expressed through form, function, tectonics, scale, proportion, symmetry, and rhythm. (Mørstad, 2010, p. 42) The dissertation will present a reflection of experiencing the language of contemporary architecture through visiting and analysing the Norwegian National Opera and Ballet to get a better understanding of the architecture of our time

To understand the language of contemporary architecture we need to understand in what ways the language of the Norwegian National Opera and Ballet is innovative How the relationship between this contemporary building is to architectural history? And finally, I wonder if contemporary architecture do belong to history just the same way as any other style of the past?

1. The Architects – An outline of the career

In 1987, the architects Kjetil Trædal Thorsen and Øyvind Mo decided to move into a shared workspace in Oslo (Norway) together with four other landscape architects The idea was that, with a shared workspace, they could also share their fields of practice and experiences, and combine architecture and landscape as one design process. Their office was in the loft of a local pub, Dovrehallen, which formed the name Snøhetta, the name of the tallest mountain in Dovrefjell (fig.1), 2286 MASL (Kerguillec, 2014, p. 1) The spirit of Snøhetta’s way of tying architecture and landscape together has remained true to their way of thinking since their very inception.

1: Dovrefjell (Snøhetta, n.d)

In 1982 Thorsen, Mo, and Christoph Kappeller graduated together from Technischen Universität Graz (Austria). In 1989, Snøhetta received its first commission to an international architectural competition to re-conceive the Great Alexandria Library, Alexandria (Egypt), and the trio agreed that they would enter the competition together. Several other architects were also invited to join the competition with their proposals, including Craig Dykers from the United States of America. Snøhettas proposal was created in about five weeks and ultimately won the competition. The Norwegian artist Jorunn Sannes proposed the external stonewall and the German art historian Cordula Mohr helped to develop the project description (Snøhetta, 2019, p. 36)

Fig.

Snøhetta has expanded enormously and is now predominantly owned by Kjetil T. Thorsen and Craig Dykers (fig. 2) Snøhetta has become an internationally renowned practice with seven international offices and 240 employees. In the past ten years, they have won several big international competitions. (Snøhetta, 2015, p. 42). Also, it is interesting to mention their latest project with international attention, Under: Europe’s first underwater restaurant (fig. 3). Snøhetta creates architecture, landscapes, interiors, product design, and graphic design.

“Our work strives to enhance our sense of surroundings, identity, and relationship to others and the physical spaces we inhabit, whether feral or human-made. Museums, products, reindeer observatories, graphics, landscapes, and dollhouses get the same care and attention to purpose” (Snohetta, 2020).

Fig. 2: Kjetil Trædal Thorsen and Craig Dykers (Inexhibit, n.d.)

Fig. 3: Under – Europe’s first underwater restaurant (Snøhetta, n.d.)

2. The building

The Norwegian National Opera and Ballet (fig. 4) were first commissioned through a competition in 1999, where their entry won from almost two hundred and fifty entries. Snøhetta’s prize-winning design was characterised by the jury as “Having strongly identifiable themes that tie the building to its culture and place while also presenting an unusual and unique expression that was in many ways new and innovative” (Otterbeck, 2008, p. 90). An ancient custom now protected by Norwegian law, ‘allemannsretten’ (the right to roam) ensures one’s freedom to move unrestricted throughout the countryside (Snøhetta, 2019, p. 27) Norway is a country with raw nature, large scale mountains, and a lot of vast and open landscape. The right to roam is a strong policy and the people of Norway use this opportunity well to make use of nature and experience all the beautiful nature that the country offers. Although this right generally does not apply to the interior of buildings, Snøhetta believes it can be beneficial. That by removing locks and barriers from structures, rendering them “keyless” and more accessible, we can move toward a more fully democratised nation. Applying this idea to the interior in addition to the exterior of a building – that is, to the landscape and also to the architecture

removes the oppositional nature from these terms. As architecture and landscape become synonymous, interior and exterior spaces become continuous. It was this spirit that formed the proposal for the Norwegian National Opera and Ballet from a paper folded in Japanese origami.

Fig.4: The Norwegian National Opera and Ballet (Photograph by the author, 2020)

The building has a strong and clear concept that is based on the interplay between ´The Carpet´, ´The Factory´, and ´The Wave wall´ (fig. 5). These three elements are strongly represented throughout the building in terms of materials, arrangement, and ideas. The materials of the building have been well considered and are vital to the design of the building in terms of their specific colour, temperature, texture, and weight. The Carpet symbolises togetherness and joint ownership and is represented through the massive exterior surface of white marble (18.000m2). The factory represents the making of culture and art within the building, shown in metal. The factory is exposed to visitors and others passing by the outside to get an insight view of the life behind the scenes in the Opera House. The wave wall is a representation of the threshold where land meets the sea; Norway meets the world and art meet everyday life. The wall is represented in oak The acoustics was one of the main concerns of the jury in the competition. How would the acoustics be experienced in such a massive foyer? Snøhetta solved this with the right use of the unique qualities of oak. (Otterbeck, 2008, p. 89)

Every little detail of the opera house is designed by Snøhetta. From the exterior to the interior. In the interior, all the details such as lights, door handles, and seating areas are also integrated into the thoughtful design. Every little detail with a lot of thought and precaution to the design as a whole

3. Circulation

In terms of the circulation, the pathways through the floor plan (fig. 6, p. 9) are carefully considered. It affects how we experience architecture, and it will be illustrated later in this essay through the visit to the building. The design of the circulation has an enormous effect on the success or failure of the plan. The main purpose of the circulation is the human movement and programmatic function.

Fig. 5: The Carpet, The Factory, and The Wave Wall (Snøhetta, n.d.)

When studying the plan (fig.6) and section (fig. 7) the main observations is the corridor running through the building from north to south (blue). This is the ‘opera street’ which splits the building in two. West of this corridor is all the public areas (orange) and stage areas (green) located. The east side of the corridor houses ´The factory´ (yellow), the production areas which are much simpler in form and finish. The building comprises three to four floors above ground level, in addition to a basement level There is also a substage area which is three floors deep.

The building has won several awards such as the Mies van der Rohe in 2009. In 2012 the Norwegian National Opera and Ballet was protected by Cultural Heritage. The opera house presents approximately three hundred shows a year and has about two hundred and fifty thousand visitors yearly. Today it welcomes 1.7 million people annually which makes it Oslo’s most visited tourist destination. The opera house has become a workplace for about 600 employees from more than 50 different professions (Otterbeck, 2008, p. 47). It has solidified its role as an economic driver for both the neighbourhood and the city.

Fig.6: The Norwegian National Opera and Ballet plan (Drawing by the author, 2020)

Fig.7: The Norwegian National Opera and Ballet section with programmes (Drawing by the author, 2020)

The Norwegian National Opera and Ballet Plan 1:1000 / A4 22.08.2020

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4. Location and surroundings

The Norwegian National Opera and Ballet is located in Bjørvika the inner end of the Oslo Fjord (fig. 8) The urban area has developed dramatically during the past twenty years after over a hundred years of discussing city planning in Bjørvika. The Norwegian government was rebuilding and expanding the city and therefore in a unique position to plan the most urban part of Oslo. The new waterfront is being developed with tall multipurpose buildings mostly programmed with public spaces on the ground floor and offices and residential programmes above. In recent years these programmes have been predominating in the Barcode project east to the Opera. The project later faced major critique for lack of identity and use of colours. Meanwhile was a major discussion in terms of materials and sustainability as some of the buildings seem more technological and designed in a way that is not suited to the Norwegian climate. (Byggindustri, 2020) The critique is very well established facing the fact that some of the facades had to be refurbished within less than ten years.

Thus, it has been a public debate whether or not the marble was truly a good decision in terms of being designed to last for three hundred years, as it has already after ten years started to fade and being miscoloured. Statsbygg, the state agency in charge of state-owned property including the Opera House, concluded in a report that the problem was tied to chemical reactions in the acrylic coating to protect the marble.

Fig.8: The Norwegian National Opera and Ballet site plan (Drawing by the author, 2020)

Typical architecture of our time is the use of fewer and neutral colours. Originally, the use of neutral colours was a theory of making the Opera stand out and not being overshadowed by the surroundings. Therefore, all of the buildings in Bjørvika are white, grey, and black (fig. 9). A quite sad and boring representation and first impression of a vibrant and historic city behind the neutral wall facing the waterfront (Moe, 2017, p. 37). In a sense, all the neutral buildings do the opposite. It camouflages the Opera and makes it blend in with the surroundings Within the last year also the iconic buildings Deichmanske library (Lund Hagem, 2020) opened and the Edvard Munch museum (Estudio Herreros, 2021) is being built close by the Opera in Bjørvika Contemporary architecture should also seek to design cityscapes and environments that interest the people and makes a good and comfortable space where colours play a very important role.

Fig. 9: Bjørvika Urban development (Visit Oslo, 2020)

5. Social and cultural history

The idea of building an Opera house in Oslo was first suggested by Norway’s foremost composer Edvard Greig in 1917. Shipowner Christoffer Hannevig offered to finance the project, but the plans stopped shortly after when Hannevig was personally bankrupt during the First world war. However, there were further attempts to build an opera house in Oslo both in 1920 and 1946. The building of a Norwegian Opera was a raw political fight until which eventually forced the dream to Bjørvika at the end of the 20th century (fig.10)

After Snøhettas presentation of the project, there was a period of intense discussion about whether or not their ideas should be realized. The critiques pointed to the level of cost, time, and demands for it and there were issues about the building’s architectural expression (Otterbeck, 2008, p.25) The patience finally paid off with a culture factory in white marble The official opening was on the 12 March 2009 and to this day the Norwegian Opera and Ballet is the largest national music and performing arts institution, and presents opera, ballet, and concerts of the highest artistic quality.

Fig. 10: Bjørvika 1993 (Otterbeck, 2008)

Historically the Opera House is addressed Kirsten Flagstad's plass 1, named after the very first leader of the Norwegian Opera. Bjørvika is part of a harbour city, which was the meeting point with the rest of the world. The roof is open to the public at all times and appears as a glacier coming up from the water. The dividing line between the ground and the water is both a physical and symbolic threshold. It is a centre point connecting all the different areas of the city, positioned and constructed within an area expanding as a cultural district. It is also a part of the government’s strategy to revitalise and redevelop the earlier industrial waterfront of the city into a social and active public space. It is an urban and vibrant area close to the city’s central train station, Oslo S, and is the centre point in the circulation in the city. The Norwegian National Opera and Ballet is truly a landmark and a tribute to a new era of Norwegian cultural life and architectural history

Fig. 11: Norwegian National Opera and Ballet in sketches (drawings by the Author, 2020)

6. Construction

The construction of the Opera House started on 17 February 2003. Building an Opera house is first and foremost tremendous teamwork. At the busiest time of the building process, it registered 8000 workers from 600 different companies. (Hvattum, 202015, p.65) Bjørvika traffic tunnel had to be constructed to reroute traffic from the highways that used to block access to the waterfront. The engineers stated that the project was very ambitious, and they faced several critical moments during the process. (Otterbeck, 2008, p. 18) The architectural expression challenged the construction of the base work of the pier, the diagonal roofs above the big concert hall and entrance in addition to the massive marble roof. However, the construction of the opera house has also produced other benefits. The large-scale environmental clean-up of the site, which was once a highly polluted industrial shipyard, has restored the Oslo Fjord to its cleanest in nearly a hundred years. The Oslo Fjord is healthy enough for people and animals alike, the water is now safe and hosts two public swimming areas. Additionally, more than forty plants and species of animal have returned to the area (Snøhetta, 2019, p. 57). The success of this clean-up has led to national efforts to revive the coastline, deepening the impact of the opera house beyond the scope of Oslo’s original plans. The clean-up has allowed the public the opportunity to explore the boundaries, well beyond the roof plaza, to the outer limits of the Norwegian shore. In true faith of Snøhettas mantra of tying architecture and landscape together to make a better living environment for the people The Opera house was the largest building project since the church Nidarosdomen (Trondheim) in 1300 and truly took Norwegian architecture and the Norwegian people’s interest and enthusiasm for architecture into a new era

Fig. 12: The Norwegian National Opera and Ballet under construction in 2004 (Otterbeck, 2015)

7. Language of contemporary architecture

Rem Koolhaas approached the premises of modern architecture more as the sensibility and experience of the modern world as opposed to an ideological programme of action for architecture. In his early work, the language of modern architecture belongs to history just the same way as any other style of the past (Filler, 2013, p. 178). His thoughts reflect on the fact that architecture is built for the future, not the past. And to do so, we need to study the buildings from the past, theories, and ideas to understand what has been and how it could be done differently How architecture relates to its time and how it influences its future will forever be a starting point for interesting debates as architectural theory is hard to define as one set of theories and it may change over time.

Whilst Post-Modern is described and recognised as a specific architectural movement of the 1970s and 1980s, it is important to recognise a post-modern condition in a broader sense, as a time in which architectural cultures acknowledge the loss of a paradigm such as the one that formulated modern architecture in the early 20th century. The 1990s represents a fertile period of our contemporary architectural culture. During this period the superficial and reactionary historicism of 1980s postmodernism is overcome through a collective and mature sensibility that embraces modernity as a tradition and a cultural expression of our time. (Silvestre, 2019)

The architecture of Snøhetta is well known for its naturalistic connection and tight bond between architecture and landscape. It combines a tight relationship and their knowledge to make the best architectural result. The building is innovative in the sense that it is related to critical regionalism and other architects of its time such as Le Corbusier and Alvaro Siza. After Kenneth Frampton’s notion of critical regionalism (1981), it was stated the importance of a building being well positioned within the surroundings as well as speak the language of the landscape. Rather than flattening out the sites to build upon, benefit, and highlight the specific qualities of the site in terms of topography, variation in volumes, climate, light, smell, and texture. (Frampton, 2007, p. 317) At a time when welcoming what the universalisation can offer is important, architects should value the unique characters of the region, the quality of social ties, and the physical and cultural resources available. This is a critical regionalist approach to architecture.

Urban Context

There is no doubt that the Norwegian National Opera and Ballet (fig. 13) is a well-established landmark The Opera is located all by itself on an artificial extension of the land with no other buildings close upon it, which means it is supposed to be attracted by the people of the city. From Oslo S (central train station) the Opera house is the mediator between the space of the city and landscape. The architecture with its low diagonal surfaces highlights the relationship between the city and the sea. The large scale of the building gives it authority. It is a large-scale building but does not appear as tall as the surrounding buildings because of the extent of the level changes

From the waterfront, it appears as the original drawings: low, sloping, and very different from the other tall, vertical buildings that form the background. At the same time, this form gives the length of the building a calm rhythm towards the front of the city. The form is unusual and reminds me of an iceberg. The building is not symmetrical but its composition of each element of the building harmonises well and comes together as a three-dimensional whole. Symmetry and balance between the individual elements and how it come together as a whole have been the traditional way to organise a building. But in modern and contemporary architecture it has been more important to connect and combine the elements in a fluid and organic way (Mørstad, 2013, p. 49).

The Opera is facing the public primarily on its west and north facade. Meanwhile, its profile manifests at a long distance in the waterfront from the south. “It is not enough to see architecture; you must experience it” (Rasmussen, 1959, p. 33). The writing is well explained as architecture is something three dimensional that cannot fully be understood and therefore experienced in any other way. The Opera is a great example of architecture that needs to be experienced. It makes us wonder, feel joy, recognise the usual elements, and still surprise us with unusual qualities from these familiar elements When visiting the Opera together with Marius Næss, practising architect in Snøhetta, he said:

Fig. 13: The Norwegian National Opera and Ballet elevation (drawing by the author)

“This project is genius. It took us ten years to build it and the project is extremely complex. But the concept really is genius. There were so many feelings and hate involved in this investment from the people. The winning entry makes as much space as possible public areas. Because of this, it is the most visited building in Norway. There is one material used for all the public spaces, white marble. Stone, durable, and accessible. Free to walk on and use. In the competition entry, this is what the project is based on. It is also the most expensive component of the building”

(Næss, 2020)

When walking across the massive white marble carpet you can see the waterfront, boats, people, and the city from a different perspective. It is a big open space, and the warm sweeping breeze is comfortable. The design and its position invite you to put your feet into the water and the tight relationship between architecture and landscape is very clear The open public space is a calm escape from where the city appears quiet and at a distance. The white marble carpet is one of the main artworks (fig. 14). All of the 36.000 pieces of marble came numbered from Carrara (Italy) with its very own specific place in the puzzle. Snøhetta thought differently and solved the railings, benches, ledges, and guidelines all incorporated in the design of the white marble carpet. The design is fluid and consistent. This makes amazing architecture.

“This is only possible because of a clear concept. What was important to the audience? What is the connection? What is the understanding?” Why is this concept genius? “Because people think it is an iceberg. And internally during the process, we could orientate by using this ideology. Over a period of ten years, there have been so many different people involved in the project. There was never any confusion. If you were set to work with the public area you always knew the basic principles. The goal was to make an arc which means if you move a brick, it falls apart. There is a clear idea about having to use all components together as a whole. The concept is made very clear in a way that anyone can easily understand the project” (Næss, 2020)

Fig. 14: The marble carpet from the outside (left) and inside (right) (Photographs by the author, 2020)

9. Interior

When entering the building we pass through the steel swing door in a low entrance passage (fig. 15). Once passed you enter the massive foyer (fig. 16. p. 19). The floors are a continuous white marble surface and communicate the idea of it being a public space also inside the building. There is no doubt this is the most important part of the concept. The polished marble makes a squeaky sound when people walk across it. There is no formal, uncomfortable silence. People chat, sit down to eat in one of the two restaurants, or work on their computers on the public tables

Neither is it a noisy space. Because the internal walls are covered in light oak. Warm, welcoming, and organic. This language is a contrast to the external and the use of oak is carefully considered to reduce the reverberation in the massive foyer. The wall marks the edge of the coastline, thereby the wave wall, which means the entire foyer is built on an extension into the sea. No windows are framing the view from the ground level. The only openings are the entrances from north and south in addition to the daylight let in through the massive glass surface from above. You can easily recognize the importance of form and proportion to achieve a bright, open foyer, easily accessible, and open to the public.

Fig. 15: Entrance of the Opera (Photograph by the author, 2020)

Fig. 16: The foyer of the National Opera and Ballet (Photograph by author, 2020)

The Opera is a cultural tribute to the people and is exquisitely decorated with artistic art pieces. One of them on the walls around the public wardrobe and toilets on the ground floor (fig. 17). Made by an Icelandic artist named Olafur Eliassons. He also visualised and relates the Opera as the glacier in an iceberg. At the bottom of a glacier, there is green water, therefore the light in the art piece is green towards the floor and white up towards the ceiling. It changes every ten minutes to create an artistic interpretation and story of the building. When the white light on the floor gets stronger, it turns weaker in the wall. The colours change constantly (Otterbeck, 2008, p 152) The use of art pieces to decorate architectural projects is also a way of coworking and tying different expertise’s together to make a stronger experience for the visitors. It could be an incidental discussion and therefore an important contribution to making meaningful connections between the people visiting the building

Fig. 17: Art installation on the walls covering the public wardrobe (photograph by Author, 2020)

Moving on towards the massive oak stairs in the centre of the foyer (fig. 18) to circulate between the floors. The staircase forms a straight line in contrast to the organic shape of the wave wall. The staircase is wide and invites up to the more enclosed and private area of the Opera. The scale of the staircase is proportional to the scale of the building and the number of people the theatre can host. The stairs are a historical element of some of the greatest operas of all time. But since the Norwegian Opera is built in the 21st century it had to be reinterpreted in a more contemporary way The timber feels soft and warm, leading the way up towards the heart of the building. On top of the staircase, there is a painting of Kirsten Flagstad. Norway’s foremost Opera singer. Powerful, with the deepest respect of her fight for the Norwegian Opera. All artificial light sources are incorporated into the wall and cannot anywhere be seen directly. The walls are all made up of handmade oak trellis. They all align perfectly making an exceptional rhythm to the architecture The stairs, walls, floors, and doors all speak the same language. The next staircase leading to the second floor breaks the straight line and creates a nice rhythm through its organic form

On the platform between the floors is a big black Bösendorfer grand piano. Accordingly, the platform is used to host smaller concerts. The small arena creates a wonder of what comes next. It is a clear understanding of the function of the space is about music and performance and it gives a feeling of reaching something higher in a sense exalted cultural experience.

Fig. 18: Staircase (Photographs by the author, 2020)

When moving up on the second floor we move along the wave wall as it leads through a narrow passage that leads onto a balcony (fig. 19). There are no longer any straight vertical forms as every shape is curved. There fluidity between the marble, the oak and the aluminium framing the entrances, windows and door handles is fascinating. The project plays a tribute to the level of detail in the design and construction. From the balcony, the view is a surprising element in contrast to the modest views on the ground floor. Hence the curved balcony contrasts towards the strict straight lines of the skeleton of the building. From here the opening frames a view of the surrounding harbour area and the city that is truly magnificent. The balcony view creates a framed overview of the relationship between the building, the landscape and the city It addresses the importance of the people who use the building, how they shape it. The people who use it creates an even wider range of possibilities and use than the buildings original programme.

Fig. 19: Balcony view (Photograph by the author, 2020).

Adjacent is the heavy double oak doors leading into the heart of the Opera. The main theatre (fig. 20). When entering the main stage, the expression is very dark in comparison to the very bright and open foyer. In the theatre everything is made from smoked oak that has been polished and treated with ammoniac to make a contrast beneficial to performance and scene technology and also to improve the acoustic. The theatre is formed as a horseshoe and all the surfaces are curved and blunt. Also, a well-considered decision for better acoustic. The stage carpet `Meta Foil´ hangs majestically from the roof. Representing the language of the production area in the back of the building. Yet so current to our contemporary architecture where we can see increased use of metal use in facades and roofs. All of the seats have different patterns not a single seat in the theatre is identical. They are covered with orange and red fabric. This fabric is custom made to spread the sound equally weather or not someone is sitting in the seat. The balconies are also carefully designed with respect of the acoustic experience of the visitors of the Opera. (Otterbeck, 2008. p. 183).

“When we worked on the theatre the acoustics were extremely complex. The only thing we know is that every time we use a material, the audience should see it is made from timber and it starts darkest here towards the black box and it goes all the way out to the lightest oak in the foyer. We can talk about this infinitely” (Næss, 2020).

Fig. 20: The main theatre, the heart of the opera (Photograph by the author, 2020)

It is truly magnificent to see the complexity of all these different elements coming together to make one of the world’s best opera theatres competing with other operas like the Semper Opera in Germany (Gottfried Semper, 1975). The fifty square meters chandelier in the roof of the theatre, the fabric and plan all come together to give the audience an amazing musical and cultural experience.

Moving on towards the back of the Opera and down on the ground floor is the production area. The production makes up for two thirds of the total area of the building. The materials are of good quality, but not the best. Because this amount of money should be spent on the performance which gives back to the public audience. Which is also what the competition first and foremost asked for. All of the workshops have windows so the visitors can see from the outside what is going on inside the different workshops. The people play an important role to form the building. They give it more character and explains its function clearly Incredibly the same play can go on for ten to fifteen years. Accordingly, the production has tailors, seamstresses and studios where singers and dancers rehearse the shows. The production is also made to last. Just as the opera itself, which is built to last three hundred years. Through generations, for the future.

Fig. 21: The Norwegian National Opera and Ballet Model from North (Model by the author, 2020)

10. The operas approach to architectural styles

Because contemporary architecture is yet to be defined as a style and historical period, we need to find a way of reading architecture in relation to its language. Snøhetta has expressed the importance of being true to their way of thinking. The French architect Violett-le-Duc defined being true to architecture in ‘Entretienssur l’Architecture’ (1872), as follows:

“In Architecture, there are two necessary ways of being true. It must be true according to the programme and true according to the methods of construction. To be true according to the programme is to fulfil exactly and simply the conditions imposed by need. To be true according to the methods of construction, is to employ the materials according to their qualities and properties…purely artistic questions of symmetry and apparent form are only secondary conditions in the presence of our dominant principles ”

There are several aspects to consider if the Norwegian National Opera and Ballet is being true. First and foremost, its programme. The programme is clear and designed to invite the people into a common cultural life by inviting everyone into the public space. It hosts a big arena for cultural programmes, teaching and hundreds of jobs and gives a lot back to the people. Norway does not have any other buildings alike to fulfil these needs at this scale. The materials are used wisely to make a strong and clear concept. They are used in a way that promotes their qualities and properties such as the marble for sustainable exterior and the use of oak concerning the acoustic requirements. Just like the historic operas it is made clear that everything in performance should be quality and of special character.

The people behind the Norwegian National Opera and Ballet likes to compare it with the Semperoper in Dresden (Germany, 1841) in plan and especially in comparison to the aspect of acoustic quality. It also makes me think about the Garnier Opera in Paris (France, 1975). The Garnier Opera and the Norwegian National Opera and Ballet do not look alike at all, but still have some of the same generosity: a will to give something back to the city more than just the solution of its plan. The roof of the Norwegian National Opera and Ballet might be the `escalier de l´opéra´ of our time: a place to see and be seen and a place to come together in an urban public. Three buildings with the same function from very different historic periods Similar for all of them is their importance of inviting the public to art and culture. And they were all built during a change historical periods as the Sempoper and Garnier Opera was built at the end of classicism and into historicism. Back to the start of the architectural style functionalism during modernism - they found themselves questioning what was defining new architecture at the time.

The German artist, Werner Gräff wrote:

“According to its most significant pronouncements, the new architecture is striving towards a new way of living, and a more rational use of new materials and new constructional methods. These are more important than the creation of a new form or style. Perhaps the new generation do not know how they want to live purely because they have no idea that they have a choice. … they must be made aware of the fact that the most talented architects throughout the world are striving after something new . And so long as one gives practical examples of the different types of dwelling, it is preferable to fix things as little as possible, to show on the contrary that everything has yet to be given its final shape, which will be developed out of the way it is used” (Gräff, 1927)

It is interesting to see how Gräff points at how the new architecture is striving towards a more rational use of new materials and new constructional methods which has been an important aspect of architecture ever since. Alvaro Siza was one of the critical regionalists who stated the importance of identity and local relationship between the building, landscape, and materials (Frampton, 2007. p. 317). Snøhetta has kept their mantra of tying architecture and landscape together since their very inception through interdisciplinarity.

It is sensational how Siza at the time critiques the architects at the time for striving something new, but it appears boring or less creative than any historical period of the past. Perhaps because of the changes in materials, technology, construction and production availability and techniques available. Sizas thoughts also compile on contemporary architecture, whereas some of the contemporary architecture seems in lack of creativity and made from commercial schemes and economic profit, and therefore in a sense less ambitious than in the past. The relation between construction, spaces, materials and expression is very complex and a resource to controversy and reinterpretation in architecture. Finally, Siza states the fact that the buildings of contemporary architecture have not yet achieved its final shape because it is developed out of how the inhabitants use it.

The Conclusion

To conclude, the Norwegian National Opera and Ballet truly is a great example of architecture that needs to be experienced to fully understand the concept and powerful relationship between the architecture and its context. On the whole, as architecture has developed through history it has been more important to tie the buildings to their context. It is inevitable to notice the great relationship between the Opera house and its nationalism What started as a political fight to save and perhaps bring historic traditions forward in Norwegian cultural life, ended as a successful and symbolic building in the centre of the Norwegian capital. The Norwegian National Opera and ballet is a building that created value and authentic meaning to people and is great a success in public ownership.

The Norwegian National Opera and Ballet is a tribute to how Snøhetta is taking advantage of all that interdisciplinarity offers. The result is distinctive creativity, more than contextual. Distinctive simplification makes the Opera house recognisable and innovative. Architecture has to do with history and the future. We build for future demands and to make architecture to the best of human development. The Opera house is built for future generations, to last for three hundred years and inevitably and architectural bauta of the architecture of our time into bring forward to future history.

Gottfried Semper, the architect of the great Semper Opera, questioned how architecture could become a relevant, and true expression for modern time. “Style describes the agreement compliance between a built project and its historical and material origin” (Semper, 1869) As he saw it the architect’s responsibility to secure this compliance of its time. The architectural language is formed by the architects themselves. Although beautiful, it can be hard to interpret as its very nature is unique. Reading the contradictions is an individual interpretation. In the case of the Norwegian National Opera and ballet, this can be seen as a reflection of history in cultural life and the city itself. The use of materials complies with its time using materials we consider exclusive, solid and sustainable and is taking advantage of the very unique qualities of each material

From these evaluations, we can conclude the Norwegian National Opera and Ballet is a very good example of having a very successful language of contemporary architecture. And there is no doubt that in order to bring architecture further we need to learn from the past in our advantage for the future, and therefore contemporary architecture is just as important to history as any other style of the past.

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Illustration List

Front Page: The Norwegian National Opera and Ballet, Photograph by the Author (May 2020)

Fig. 1: Snøhetta (n.d.). Snøhetta is a place that nobody is from, but anyone can go to.. [image] Available at: https://snohetta.com/about [Accessed 7 Mar. 2020].

Fig. 2: Inexhibit (n.d.). Snøhetta. [image] Available at: https://www.inexhibit.com/architectsartists/snohetta/ [Accessed 7 Mar. 2020].

Fig. 3: Snøhetta (n.d.). “Under” – Europe’s First Underwater Restaurant. [image] Available at: https://snohetta.com/projects/428-under-europes-first-underwater-restaurant [Accessed 7 Mar. 2020].

Fig. 4: The Norwegian National Opera and Ballet, Photograph by the Author (May 2020)

Fig. 5: Snøhetta (n.d.). Norwegian National Opera and Ballet. [image] Available at: https://snohetta.com/projects/42-norwegian-national-opera-and-ballet [Accessed 7 Mar. 2020].

Fig. 6: Plan drawing by the author (September 2020)

Fig. 7: Section drawing by the author (September 2020)

Fig. 8: Site Plan drawing by the author (March 2020)

Fig. 9: Visit Oslo (n.d). Bjørvika. [image] Available at: https://www.visitoslo.com/en/youroslo/new-architecture/on-the-horizon/fjord-city-and-bjorvika/ [Accessed 16 Nov. 2020].

Fig. 10: Bjørvika 1993, Otterbeck, 2008, p. 27

Fig. 11: Sketches by the Author (May 2020)

Fig. 12: Norwegian National Opera and Ballet under construction 2004, Otterbeck, 2008, p. 71

Fig. 13: Elevation drawing by the author (September 2020)

Fig. 14: Photo by the author (August 2020)

Fig 15: Photo by the author (August 2020)

Fig. 16: Photo by the author (August 2020)

Fig. 17: Photo by the author (August 2020)

Fig. 18: Photo by the author (August 2020)

Fig. 19: Photo by the author (August 2020)

Fig. 20: Photo by the author (August 2020)

Fig. 21: Model by the author

Appendix

Primary Research

Drawings from the sketchbook of the authors visits