Oslo Touching The Water - the pursuit of coastal city nature by Malthe Mørck Clausen

T H E P U R S U I T O F C O A S TA L C I T Y N AT U R E Malthe Mørck Clausen

Anton Juel Lund

Oslo Touching the Water The Pursuit of Coastal City Nature Master Thesis in Landscape Architecture University of Copenhagen

Malthe Mørck Clausen

Anton Juel Lund

All photos are taken by the authors unless stated otherwise Prelude Photos 1 Overlooking the City Hall and the piers from Akerhusstranda 2 The industrial area of Filipstad. Spontaneous pioneer trees 3 Waterspace at Bjørvika and the Opera 4 Transformed dock between Tjuvholmen and Akerbrygge 5 Angling at Vippetangen, looking towards Hovedøya

Oslo Touching the Water The Pursuit of Coastal City Nature Malthe Mørck Clausen, rhz57 0 Anton Juel Lund, jhw755 30 ECTS points Master Thesis in Landscape Architecture September 30th 2020 University of Copenhagen - Faculty of Science Department of Geosciences and Natural Resource Management Supervisor: Ole Fryd, Landscape Architect and Associate Professor in Urban and Environmental Planning

Acknowledgement

We would like to thank our family and friends for great support and understanding throughout the entire process. Iben, and Signe & Uma for always being there - in particular during difficult times, Mette & Hans-Fredrik for lending us the apartment while staying in Oslo, Søren & Dorthe Lund for numerous transportations and for the use of the summer cabin, Kirsten & Thomas for providing shelter to Anton, and Hanne Mørck for letting us take over the office space. A special thanks to our supervisor Ole Fryd for an inspirational dialog and continuous support, to Johanna Bendlin og Rikke Munck Petersen for a rewarding midterm, to René Fischetti and Christian Nissen for useful discussions and for keeping up our spirits, and to Peter Lundsgaard Hansen for always being dedicated. Finally, we wish to thank all the committed people, we have been in contact with. Hans from Oslo Havn for giving us access to terrific pictures of Oslo, Kasper Old Jensen, Kjersti Bjerke & Franziska Meisel from SLA Norge for a great discussion on Oslo’s future and for supplying us with digital drawing materials, Peter Hemmersam & especially Elisabeth Sjødahl from AHO for important insights concerning the Oslo Fjord and for steering us in the right direction, Jakob Hedegaard & Stein Kolstø from Plan- og Bygningsetaten for discussing the ongoing development of Oslo, and Elin T. Sørensen for being an important source of inspiration and for raising the right questions. Thank you

Malthe Mørck Clausen Oslo Touching the Water

Anton Juel Lund

Abstract

The project investigates the encounter between Oslo and the fjord. Several decades of industrial progress and expansion in the fjord have exacerbated the marine environment. The absence of the former natural transition from land to water has eliminated important living conditions for many species. The original coastline has been replaced by today’s harbour edge, and as a result, the littoral zone, including the tidal zone which holds important living conditions for various species, is non-existent. In other words, the ecological condition of the fjord is at a low. The existing harbour edge is not communicating the qualities of the fjord appropriately. The contact to the water is in most of the time limited to a distance of 2-3 meters, and in a few cases a connection with stairs or platforms has been added. The fjord is a view and is understood as a surface where the transition from land to water is a sharply drawn edge. Focusing on Akersneset, a historically and geographically important place in Oslo, the project proposes an urban tidal landscape, to bring back the littoral zone to the city. To optimize the biodiversity, and as a coherent landscape space between the land and the fjord. Today, the look and feel of the industrial harbour is present in all situations along the waterfront. Inspired by French architect Alexandre Chemetoff and French gardener Gilles Clement, the design suggests to build on these industrial tracks, in a transformation that reuses certain structures for other functions, inviting natural processes to take over the design, while still remembering the industrial past. With the reuse of materials from the existing quays and crushed rocks from other local building projects. A resilient landscape that can withstand the pressure from human activities and occasional flooding. Lastly, concepts of city nature, industrial history and current urban development are reflected upon, in relation to the project. The discussion is on, how we should move towards not only being a livable city, but also a living city, with a strong focus on biodiversity, urban ecosystems and positive coexistence from a sustainable and somewhat necessary perspective.

Akershus Fortress seen from southwest. Ice skaters outside Akersneset. Wilhelm v. Hanno, 1873

Oslo Touching the Water

Content

Acknowledgement

Abstract

Setting the Stage

At the End of the Fjord

III 34

Absence of a

Coastal Landscape

Motivation

The journey begins

A transformed waterfront

Aim

Formed by water

Present harbour front

Methodology & design process

Landscape processes

Inspirational thinking

A city evolving

Continuation of a monotonous landscape

Story line

Present Oslo

Fjord composition

Overviewing the fjord landscape

The life within the littoral zone

Ongoing development

Adjacent coastal landscapes

Connectedness and the importance of coexistence

Distance and proximity

IV Presenting the Project Site

V 72

Exploring Coastal City Nature 84

On Human Practices

111

and Natural Processes

Akersneset and the industrial traces

Concept for an urban tidal landscape

Impact of the project

113

Touching the water

The rights of nature

114

Overviewing Akersneset

Illustration plan

Coastal urbanism

115

Analysis

Landscape sections

Existing situation

Hard bottom composition

100

The pandemic and the new agenda

Soft bottom composition

101

Visions for Akersneset

Layers

102

Meetings with the fjord

103

Planned and presumed vegetation

106

Construction as process

108

Natural processes after construction

109

References

126

Appendix A

130

Appendix B

131

Appendix C

132

Oslo Touching the Water

CHAPTER I

Setting the Stage

Motivation

The project has emerged as a result of a general critique

Current harbour transformation projects do not build

about how former industrial harbour areas are transformed.

on existing layers of the sites, why these projects are not

Over the last few years, the discussion between us has often

communicating the story of the site in a present-day context.

revolved around how the market forces have too much influence on how cities are developed. Form follows finance as urban designer

We want to challenge this common way of transforming these

Nan Ellin describes it, paraphrasing the modernist credo form

former industrial harbour sites. Now that this industry is no

follows function (Ellin, 1996). Issues of climate, sustainability,

longer a dominating factor, the city has gained a new potential

biodiversity, urban ecology, coexistence, segregation, etc. are

in its encounter with the water and the waterfront. A transition

not given a high enough priority in the development of urban

from land to water, where it is possible to explore how we can

and rural areas. Questions that have otherwise proved to be of

provide answers to some of the future challenges we face. Some

enormous importance in the anthropocene.

of the questions we have already addressed.

As students, we have experienced the possibilities of

After working in Copenhagen throughout our entire

landscapes in an ever changing society. The laws and processes

education, we both needed to work in a different context, and

of nature are the foundation for the perception of the landscape,

since one of us had lived and worked at a landscape architecture

and thus rural areas, urban landscapes, parks and urban

studio in Oslo, we were familiar with the city and its ongoing

spaces. We need a planning where the landscape is thought of

development. Oslo is in the process of integrating the harbour

as a whole, and thereby a unifying factor. The landscape as

areas as part of the city with the Fjordbyplan (Fjordbyplanen,

a common space in which we experience and understand the

2008). The plan is currently about halfway through its

world around us, interact with it and with each other.

completion. Several sub-areas in the plan have not been processed, and that led us to find it pertinent to work with this

In Copenhagen, we have been able to continuously follow how the harbour areas have been designed according to the same

development of Oslo, as we could contribute with an alternative solution to the ongoing development of the harbour front.

non-visionary recipe, as we have just pointed out. An issue that has proven to be present globally.

Throughout our process, the meeting with committed local actors has generated resonance with the problems we

“The problem of urban reintegration of harbor wastelands by a

examine, and it has only fostered a further desire to explore the

kind of global same-same answer that replaces old harbor sites

possibilities in the city’s meeting with the fjord.

by new economy or branding driven developments, including sometimes the preservation of a few single relics of the former port considered of historic value.” (Diedrich, 2013).

CHAPTER I

Aim

As stated further into the project, centuries of harbour

With the project in mind, we hope we can demonstrate an

activities have increased the distance to the fjord landscape and

alternative future for how a capital by the fjord can appear, be

decreased the marine life. The current development of Oslo

used and experienced. A future that focuses on urban coastal

harbour front is focusing on integrating the former industrial

ecology as an integrated part of the city, in a sustainable

harbour areas as part of the city, leaving the current harbour

development. The project attempts to provide inputs for the

edge itself untouched. The attention is not aimed at the

debate on the current development of Oslo. But it is also meant

transition towards the fjord or the life within.

as a general contribution for new opportunities in harbour development projects, where urban ecosystems are included

Therefore, the objective of this study is to investigate how

from the beginning in a holistic planning approach.

the urban tidal landscape of Oslo can be transformed to better sustain life of multiple species in a post-industrial environment. We aim to mediate the transition from land to water within existing structures, thereby emphasizing the experience of the fjord, the past and the present. The entire fjord landscape of Oslo is the field of our study, while the project site will be narrowed down to Akersneset and the industrial quays. Our intention is to present an alternative reading of Oslo’s harbour development and the present monotonous encounter with the fjord. Through a landscape design, we explore the possibility of creating coastal city nature with an increased marine life. An urban tidal landscape full of life, focusing on a positive coexistence, as a natural part of the fjord, while still remembering the tale of the industry that has ruled the waterfront the last century. We see the possibility for creating a resilient landscape where water is not seen as a threat but is included as an intended part of the design.

Oslo Touching the Water

SETTING THE STAGE

Orthophoto of Oslo 1 : 30 000 The project site is Akersneset

CHAPTER I

Field of study

Project site

Google Earth, 2014 Oslo Touching the Water

SETTING THE STAGE

Methodology & design process

The design result is achieved on the basis of a creative

During the field trip, interviews with three different

solution-oriented design process, where the original issues,

stakeholders were scheduled, each with their own interest in

that has created the interest for the topic, and with it the

developing the harbour. Stein Kolstø, head architect for the

starting point for the project, has changed as new knowledge

planning- and building department at the municipality of Oslo

and new understandings have emerged. As a result, the final

and office manager at Fjordbystrategien, SLA Norway, private

product is a response to the issues that have constantly been

landscape architecture studio that helps to develop Oslo, and

sharpened during the process. The process must therefore also

has a clear agenda to create more urban nature and higher

be considered as part of the final design result.

biodiversity, Elisabeth Sjødal, PhD fellow at Oslo School of Architecture, who works with freshwater and rivers in Oslo, and

The process starts with a field trip to Oslo. Yet, before

is concerned about the historical development of the harbour

the field trip, we drew a plan sketch of a certain part of the

front. The interviews were carried out as semi-structured

waterfront without any prior investigations. An intuitive design,

interviews. An approach where the given topic and a few

only produced with the help of an area map, which methodically

questions are the focal point for the interview. This aims for a

aims to initiate the creative process. This plan sketch works as a naive first hypothesis, which when tested on site provokes questions about scale, materiality, historical and cultural relevance, ecological value, spatial context, etc. By not making any research before the first sketch/hypothesis, we try to ensure as objective a registration of the site as possible. When registering the site, structures and qualities are mapped through photographs, which create an objective image of that particular experience in focus. Sketching and notation helps structuring the subjective experience of the site. The site is explored with the body as subject. Here, the inspiration is taken from the science of phenomenology, which seeks to enlighten a phenomena, as it appears to our consciousness. Space must therefore, in an architectural sense, be understood as more than its physical dimensions. Space has to be seen as a dynamic field, which must be experienced with the body and mind as subject (Zahavi, 2007). Expressions, sounds, smells and objects are analyzed in relation to each other to understand the appearance of the place.

CHAPTER I

Harbour sauna visit during field trip to Oslo

conversation, developing towards what the interviewee finds

The starting point of our design process is the knowledge

relevant in relation to the given topic. A qualitative method

we have gained through the field trip, analysis from the context

that seeks to create a deeper understanding of the information

model, mapping of relevant information in the area, as well

the interviewee presents, in relation to the given topic (Kvale

as gathered empirical data on the fjord’s ecological condition.

& Brinkmann, 2009). A process in which we have subsequently

Charles Prominski describes this as “relevant and up to date

identified the most important points in relation to our project.

knowledge” - the knowledge one acquires at the beginning of a design project, since relying only on own experiences are

A 2.4 meter wide context model in the scale of 1 : 2 500,

rarely sufficient (Brink, Bruns, Tobi & Bell, 2017). Based on

displaying the harbour front and its surroundings, has been

this knowledge, the first hypothesis is created - in our case the

prepared at the beginning of the design process to create a spatial

first qualified sketch proposal. This can be considered as an

overview. A method that descriptively tells about scale, building

abductive method, whereby you present a hypothesis, a qualified

structures, terrain, etc. But also a method for analyzing the city,

guess in relation to your existing knowledge (Stahlschmidt &

the landscape and the water space, during the design process.

Nellemann, 2009).

Context model of Oslo harbour front

The thesis studio

Oslo Touching the Water

SETTING THE STAGE

When testing the sketch proposal, new questions arise,

Being in a two-person design constellation is the fundament

which are examined by alternating between descriptive and

for our journey. Together we have had to reflect on each other’s

normative approaches. We have worked in various media, to

experiences and understandings in the search for a common

qualify the potential impact. Localised knowledge about ecology,

language. It is about being open to perceive experiences

urban history, and social conditions. Drawing and analysing

differently, thereby optimizing a common argumentation that

form-analytical questions in plan, section, and perspective.

enhances the design process.

Simple physical models for studying spatialities. Mediating between digital drawings and hand sketches. Supervision

To strengthen the communication between us, we created a

from various professionals and local stakeholders. Through

tumblr page, https://findingoslofjordland scapes.tumblr.com/, which

the recently discovered knowledge, another qualified sketch

serves as an online archive. A way to document and describe the

proposal is created, which is again tested and examined,

working process, in which we reflect on our work.

whereby further questions arise. Thus, the process continues until the final result is obtained, which therefore must be the best qualified answer. An iterative method analog to the hermeneutic spiral, in which one’s preconception, our archived knowledge, is used for an interpretation, in our case the sketch proposal. The interpretation is therefore constantly affected by new understandings (Sørensen, 2010). Our way of being in a design process is described by, what the Swedish landscape architect Sven-Ingvar Andersson calls, the spiral method. Here, one alternates between what he describes as input of knowledge and the sketching phase. At the beginning of a design process, input of knowledge is the main focus. It decreases as the sketching phase intensifies, eventually reaching the design result (Stahlschmidt & Nellemann, 2009). The arrangement of our studio space has been actively used as a third member of our design studio. All surfaces in the room have been activated and used to project our ideas and specific drawings. The method is intended to make our ideas clearer so we more easily can understand them and include them in discussions and sketching. The presence of the context model and our library with theory, research and references helps the alternation between theoretical insights and design.

< Hand-sketch of the thesis process, displaying an iterative process, where alternating between different stages is a necessity to reach the design result

CHAPTER I

A non-linear process Design result

Subsequent reflections

Field trip

investigating possible thesis topics

Defining objective

preparation

Registration at field trip

Problem-oriented

Oslo Touching the Water

Context model

Analysis & idea generation

Constant mediation

Testing by drawing

Final product Finalising project

Further evaluation

Solution-oriented

SETTING THE STAGE

Selected material from the process

CHAPTER I

Oslo Touching the Water

SETTING THE STAGE

Sketches

Notes

Model space

Foam cutter

Drawings

Archive

Table

Whiteboard

Drawing space

Library

Context model

Materials

Sofa Entrance Door Sofa Munch painting Map

Plan of thesis studio with elevation of the walls 1 : 75

CHAPTER I

Coat rack

Printer

Drawings

Drink station

Inspirational thinking

What we experience and encounter through our studies,

Elin Tanding Sørensen, visual artist and landscape architect,

professional work, and everyday life, travels with us and shape

Pdh fellow at NMBU, has been a special source of inspiration

our way of thinking.

in the investigation of what is at stake by the waterfront. Her determination in creating better conditions for coastal ecology

The Scottish landscape architect Ian McHarg’s ecological

and people in the inner Oslo Fjord has helped us in working with

worldview has been used as an inspiration in the thinking of

the purpose of the project. Through the exchange of knowledge

landscapes and life as an ongoing process. His way of looking

and ideas, she has played an important role in our interest in the

at how mankind and nature are ecologically connected, and

urban tidal landscape.

that we must therefore understand natural processes as a cornerstone of landscape planning and design. “Let us accept the

As a way of looking at mankind in relation to its

proposition that nature is process, that it is interacting, that it responds

surroundings, we have been further inspired by anthropologist

to laws, representing values and opportunities for human use and even

Anna Tsing’s work The Mushroom at the End of the World: On

prohibitions.” (McHarg, 1969).

the Possibility of Life in Capitalist Ruins. Tsing critics modern capitalism and human conceit of growth and conquer. Through

In relation, we have been influenced by the French landscape

the search for matsutake mushrooms and their entanglements

architect Sebastien Marot’s understanding of being site-specific

with human and non-human interferences, we discover the

and process-oriented. “Rather than building a final solution, seeds

necessity of collaborative survival in an indeterminate world.

are sown, questions raised, potentials structured.” (Marot, 1999). He

We realise the possibilities offered by coexistence within the

criticizes the modernistic approach, which perceives a site as a

human environmental disturbance (Tsing, 2015).

blank surface, where standardized solutions are implemented. This results in a neglect of the specific site qualities, hence the belief that the landscape architect should be the manager of processes in the transformation of a site, by focusing on the specific local history and the natural environment.

Oslo Touching the Water

SETTING THE STAGE

CHAPTER I

Story line

CHAPTER I

SETTING THE STAGE The framework of the thesis is presented. Introducing the background for the project, the objective and the practised methods

CHAPTER II

AT THE END OF THE FJORD The journey begins by looking at the origin of the landscape surrounding Oslo and the fjord. We discover the historic layers of the city, while looking into the present situation and the ongoing development

CHAPTER III

ABSENCE OF A COASTAL LANDSCAPE The current harbour front is examined. We look into what is lost with the expansion of industrial quays, and what the possibilities are for an alternative development of the waterfront

CHAPTER IV

PRESENTING THE PROJECT SITE The scope of the project site is narrowed down to Akersneset. Existing conditions are presented, premises and visions for the design are unfolded

CHAPTER V

EXPLORING COASTAL CITY NATURE The design proposal is revealed, exploring the possible future for Akersneset and Oslo

CHAPTER VI

ON HUMAN PRACTICES AND NATURAL PROCESSES The outcome of the project are discussed and reflected upon, while concepts of city nature and urban coastal development are taking into consideration

Oslo Touching the Water

SETTING THE STAGE

CHAPTER II

At the End of the Fjord

The journey begins

We find ourselves in Norway. A landscape surrounded by water towards south and west, and bordered by Sweden, Finland, and Russia towards east. With more than 100.000 km coastline, making it the world’s second longest coastline after Canada, Norway is a country with a strong relation to the water. In the middle of Norway, a ridge rises that divides the country into what is known as Western-, Northern-, Southern-, and Eastern Norway. Our point of departure is the Oslo Fjord, located as the backbone of Eastern Norway. The fjord begins at Skagerrak and stretches about 107 km to the north, where it ends up at Oslo, the capital of Norway. The fjord is divided into the outer- and inner fjord, separated by the Drøbak Sound, the narrowest part of the fjord with its width of about 1 kilometer. Oslo Fjord is the most populous fjord in Norway, despite being the fifth largest. Throughout time, the sea has had great importance in Norwegian evolution - economically, recreationally, and mentally, as a strong identity and national understanding. Early settlements are seen along the fjord, where people have lived sheltered in the fjord valley. Rivers with freshwater have led the way to the fjord, which has served as transport routes and a source of food. The water has been the livelihood, existing on an equal footing with the population. Since the industrial revolution, the cities in Norway have grown, and Oslo in particular has experienced great growth, much like other big cities around the world. The urbanisation has left its mark on the fjord, and as the fjord ends its way in Oslo, our studies will take place here. At the end of the fjord - in the meeting between the city and the water.

CHAPTER II

Oslo 694 086

Asker 94 578

Drammen 101 638

Drøbak 13.409

Moss

Horten

49 571

27 418

Tønsberg 56 578

Fredrikstad 82 591

Sandefjord 64 013

Larvik 47 440

Sweden

Kjerringv

ik-Ström

stad Oslo - København Oslo - Frederikshavn Oslo - Kiel

irtshals

Larvik-H

Context map 1 : 1 000 000 The context in Scandinavia, the Oslofjord and settlements along the coast

Oslo Touching the Water

AT THE END OF THE FJORD

Lillehammer

Oslo

Drammen

Frederikstad Sandefjord Sweden

CHAPTER II

Formed by water

The landscape and banks of the fjord have been changed dramatically by the glacial periods, and is standing as a result of the last period, the Weichselian glaciation. The scandinavian ice sheet pushed the land down, and together with its retraction, it created the landscape as we see it today. When the ice sheet retracted 11.000 years ago, the ice melted from the coastal areas, making the sea level in the area 226 meter higher than it is today. In the area most of the top geological layers originate as fjord bottoms. The top layers are moraines containing layers of rock masses, located below newer layers of sand and clay. The marine border indicates a shift in the landscape. Above the border, a rocky landscape rises. Below the border, the former fjord bed of softly hilly moraines, suitable for settlements and farming, providing flatter ground and a clear connection to the fjord.

Bothnian Bay

Oslo

Topographic map with marine border 1 : 1 000 000

Scandinavia and the scandinavian ice sheet

The marine border from the previous glacial period indicates where the ocean disposed sediments

The scandinavian ice sheet had its center in the Bothnian Bay

Oslo Touching the Water

AT THE END OF THE FJORD

Landscape processes

Since the glacial periods, the lakes restrained the terminal

These three elements make the landscape of Oslo and its

moraines, while the rivers carried out glacial marine sediments

environs. Shaped by processes that have been going on for

to the outlet. The ice and water abraded the landscape, and

billions of years, changing its appearance throughout different

old sedimentary depositions were many places exposed to the

geological periods. Natural processes that have formed the basis

surface again.

of the human practices in the area.

The geological composition within Oslo holds a rich

At the center of Oslo, the transition from land to water

variety of rock types. Generally, understood as three elements

is made of land reclamation from the recent 200 years of

originated in each geological period.

industrialisation, leading to a whole new situation regarding the encounter with the fjord.

The precambrian basement rock, which deposited over 540 million years before present. Shale, limestone, and sandstone, which deposited during the Cambrian/Ordovician/Silurian periods between 540 - 419 million years before present. Lavaes and plutonic rocks, which deposited in the Permian period between 300 - 252 million years before present.

< Shadow relief map with general geologcal foundation and rivers 1 : 75 000 Indicates the distribution of the main rock types in the Oslo area. Marked as the darkest parts are the land reclamation during the industrialisation

Basement rocks

Shale, limestone and sandstone

Lavaes and plutonic rocks

Glacial periods

Precambrian - 540 mil BP

Cambrian / Ordovician / Silurian 540 - 419 mil BP

Permian 300 - 252 mil BP

Quaternary 2.5 mil BP

< Big Bang 4.6 bil BP

CHAPTER II

Today

Permian

Maridalsvannet

Holmenkollen

Cambrian / Ordovician / Silurian

Kolsås

Oslo city center

Sandvika

Fornebu Ekeberg

Inner Oslo Fjord

Precambrian

Nesodden

Bunnefjorden

Oslo Touching the Water

AT THE END OF THE FJORD

A city evolving

Oslo arose around the year 1000 by the calm waters of

Much like other capitals, the city is a product of the

Bjørvika, surrounded by two rivers with fresh water, and

industrialisation. In the 18th century, Oslo experienced an

proximity to good agricultural land. Since then, Oslo, like most

increased economy and a population growth as a result of

other medieval cities, has grown as time has changed. Political,

the industrial revolution in the western world. The city was

military, and economic conditions have developed the city

characterised by harbour industry, and quays were extended

over the last millennium. Akershus Fortress has been located

towards the fjord, with this in mind. Today’s image of Oslo’s

strategically, overlooking the fjord, and has increased- and

waterfront is strongly influenced by the last 200 years.

decreased in size, due to military needs of the time. Today, it stands as a national treasure.

1300 Towards the end of the Middle Ages, Norway is a great power in Europe, with Oslo being the third largest city. Over 90% of the population lives in the countryside, while around 3000 people live in Oslo, which was then located east of Bjørvika. Akershus Fortress stands on Akersneset, but is considerably smaller than we see it today

1624 A large fire destroys most of the city, and the regent, Danish king Christian IV, rebuilds the city on the opposite side of Bjørvika, north of Akershus Fortress, where it is easier to defend the city. The fortress is also being expanded. The new city is renamed Christiania after the king. The quarter is today known as Kvadraturen, named for the stringent structure

1536 After the separation of the Kalmar Union in 1523, Norway are assigned to the Danish crown in 1536, and the kingdom is named Denmark-Norway. The kingdom is a maritime nation bound together by the Oslo Fjord, Skagerrak and Kattegat. All urban development is located along the coast

1048 According to old Norwegian sagas, Oslo was founded around 1048 by King Harald Harderåd. However, recent archaeological excavations at Old Oslo show Christian tombs from before year 1000

1795 The city has grown towards north and along Akerselva, and harbour construction has begun in Bjørvika. North of the city and west of Pipervika, smaller settlements have been constructed as a suburb of the city. Outside the city, we find the reservation Bymarka, which is privatised

1686 After the fire in 1686, the fortress is further expanded at the expense of the city

1814 Denmark-Norway is broken up and Norway becomes an independent nation. Christiania becomes the new capital of Norway

Akerselva Kvadraturen Akershus Fortress Old Oslo

Bjørvika

Former coastline Present coastline

CHAPTER II

Pipervika Harbour

Timeline 1 : 60 000 Map derived from historical maps

2020 Oslo Touching the Water / Thesis Project 2000 The Fjordbyplan is adopted by the municipality. A strategy aiming to develop the city’s industrial harbour. Several sub-areas of the strategy are still under development

2020 Present Oslo

1939 - 1945 World War II. Akershus Fortress is occupied by Nazi Germany 1911 Christiania is now a modern metropolis, in rapid development. The industrialisation is at its peak and the city is being expanded with public buildings, parks, railways and roads

1925 The name of the city returns to the original name Oslo, and the medieval town is renamed Gamle Oslo

1844 The industrial revolution begins with Akerselva as a catalyst. At that time, around 29,000 people is living in Christiania. 50 years later, the number is raised to 230,000

Royal Park

Quays

Oslo Touching the Water

AT THE END OF THE FJORD

Present Oslo

Oslo is the capital of Norway and has more than 694,000 inhabitants. Located at the end of the Oslo Fjord, in a hollow surrounded by forested hills to the west, north, and east, and the fjord with a protective group of islands and skerries to the south. Ekeberg is located as the nearest ridge to the fjord, extending 140 m above the mean sea level. The sheltered location of the city makes the wind strength become moderate and there is a high frequency of calm winds, especially in the winter. The average temperature is –4.3 °C for January and 16.8 °C for July. Oslo has undergone a major transformation in the last 30 years, from an industrial port to a modern city. Submerged tunnel for the motorway has removed heavy traffic from the city center, and changed the connection to the port area and water surface. From being an industrial workplace, there is a incipient fjord culture with activities by and in the fjord, such as kayaks, saunas, and harbour baths. Cultural buildings such as the Opera and the Astrup Fearnley museum are now a part of the waterfront. New mixed districts by the water include Tjuvholmen, Aker Brygge, Bjørvika, and Sørenga. The harbour industry, covering shipping business, is moved entirely to Sydhavna. From Rådhuspladsen there are harbour busses to the islands and Bygdøy, as well as regional boat connections to Fornebu, Nesodden, Slemmestad, and Vollen. The cruise ship industry has a large business in the port, where there are daily connections to Denmark and Germany. Larger cruise ship voyages also frequent the port on trips through the Baltic Sea or along the Norwegian coast.

< Map of present situation in Oslo 1 : 15 000

CHAPTER II

Oslo Touching the Water

AT THE END OF THE FJORD

Overviewing the fjord landscape

CHAPTER II

Bygdøy

Frognerkilen Hovedøya

Tjuvholmen

Filipstad

City Hall Vippetangen

Ekeberg

Akershus Fortress

Sydhavna Pipervika

Bjørvika

The Opera

Nordmarka

Chell Hill, 2010

Oslo Touching the Water

AT THE END OF THE FJORD

Ongoing development

Oslo is currently developing the city in order to accommodate the growing population, while creating further jobs and increased recreational opportunities. They do so with the slogan the city will be opened towards the fjord. In the year of 2000 the Fjordbyplan was adopted by the municipality. The Fjordbyplan aims to release the largest possible part of the harbour areas for new development projects including residential, commercial, and recreational use. A large part of the area, currently used for harbour activities, will be developed for other purposes. The vision is to bring in the fjord as part of the city, for the benefit of Oslo’s population. Despite this, the cruise ships- and other harbour related industries will continue their work along the harbour front. The development of the Fjordbyplan progresses in different stages, with different sub-areas. These development areas are developed independently of each other, with different purposes. Some areas are already completed, while others are being planned. They are connected by the harbour promenade, a continuous public stretch leading the way along the waterfront. The area of the Fjordbyplan is covering 2.261 acres, including all industrial quays. It stretches from Frognerkilen in the west, to Sydhavna in the southeast.

1. Harbour promenade A more than 9 kilometer public stretch along the waterfront, with varied offers around the clock. It goes through all the development areas in the Fjordbyplan Status: 2008-2030 2. Frognerstranda Current marina, located near the E18 motorway and railway tracks. Both the harbor promenade and a main bicycle path will be led over Frognerstranda in the future. Status: Not finished planned 3. Filipstad Former industrial harbour area, that is being developed as a new residential district with between 2000 - 3000 dwellings, approximately 9000 jobs, a new school and a kindergarten. There will still be a pier for large cruise ships Status: Ongoing planning 4. Tjuvholmen The latest completed urban development project in the Fjordbyplan, with approximately 950 new dwellings and 1700 new jobs. The area is built on the 20th-century quay, but more land is reclaimed for the project Status: Completed 2007 5. Aker Brygge The first developed project in the Fjordbyplan with 400 dwellings and 7000 jobs. It was developed during 1985-1998 (before the Fjordbyplan), though the area was rehabilitated in 2014 (as part of the Fjordbyplan) Status: Completed 1998, rehabilitated in 2014 6. Vestbanen Transformation of the old track area into a new museum facility for the National Museum, including café, lecture hall, cinema and library. In 2005, the Nobel Peace Center opened in the old railway station building Status: Completed 2019 7. Rådhusplassen Central square by the City Hall and the harbour front, with piers of historical value. Events are held throughout the year. Car-free since 1994 8. Akershusstranda A stretch from Rådhusplassen to Vippetangen with industrial purposes. In the future, there are plans to change the area with focus on recreation. Yet, there are no plans to change the function of the present cruise ship industry Status: Not finished planned 9. Vippetangen Industrial area that has grown larger throughout the last century due to industrial purposes. The aim for Vippetangen is to be a recreational area with Akershus Fortress as a national cultural monument, and to be an arena for culture, art, catering, entertainment and trade. Yet, there are no plans to change the function of the present cruise ship industry Status: Not finished planned 10. Bjørvika The decision on the development of Bjørvika was made by the city council in 1988, before the Fjordbyplan was adopted in 2000. The further development of the area includes dwellings, jobs and cultural institutions like The Opera and The New Munch-museum Status: Ongoing planning. Some parts are completed 11. Sørenga Residential area with 746 apartments, built between 2009 and 2017. The area is built on the 20th-century quay, but more land is reclaimed for the project. It is developed as a part of Bjørvika Status: Completed 2017 12. Grønlikaia New residential district as part of Bjørvika, including mixed housing and business. Status: Ongoing planning. Expected completion 2035 13. Loenga One of Oslo’s oldest cultural-historical areas with medieval ruins. It is unclear how Loenga will be developed in the future, but it is most likely to be a new residential area Status: Unknown

< Development diagram 1 : 25 000

14. Sydhavna Common name for the contiguous industrial harbour areas on the east side of the Inner Oslo Fjord. The harbour site will continue to handle industrial purposes, thus there will be no development with housing in the area

Summing up on present situation and relevant concepts from the Fjordbyplan

CHAPTER II

14. Sydhavna

13. Loenga

12. Grønlikaia

11. Sørenga

10. Bjørvika

9. Vippetangen

8. Akershusstranda

7. Rådhusplassen

6. Vestbanen

5. Aker Brygge

4. Tjuvholmen

3. Filipstad

2. Frognerstranda

1. Harbour promenade va outlet Frognerel

Royal Castle

National Museum

City Hall Central station

Aker

selva

outle

Kvadraturen

Bøgdøy

Akershus Fortress

Opera

Ekeberg elva

Alna

outle

Harbour promenade Main connection points Development areas Harbour front River outlet

Oslo Touching the Water

AT THE END OF THE FJORD

CHAPTER III

Absence of a Coastal Landscape

6. Akerselva outlet 1. Frognerelva outlet

5. Sjursøya

2. Islets 3. Natural bays

4. Akersneset

9. Hovinbekken 7. Ekeberg 8. Alnaelva

Map of industrial land reclamation and landscape traces 1 : 40 000 1. Frognerelva partly piped and the outlet is extended towards the fjord 2. Former islets erased by industrial land reclamation 3. Natural bays no longer existing Sydhavna

4. Akersneset surrounded by an industrial barrier towards the fjord 5. Sjursøya erased by industrial land reclamation. Now Sydhavna

10. Langøyene

6. Akerselva partly piped and the outlet is extended towards the fjord, reducing the natural estuarium 7. Ekebergs meeting with the fjord is cut off by industrial quays and infrastructure 8. Alnaelva partly piped and redirected under Ekeberg 9. Hovinbekken almost entirely piped and connected with Akerselva 10. Langøyene now connected by former waste disposal

CHAPTER III

A transformed waterfront

The entire waterfront of central Oslo is made of land

Today, the active harbour industry has been reallocated to

reclamation, produced during the last 200 years. Since the

Sydhavna. Now only the cruise ship industry operates along

beginning of the industrialisation, the harbour has gradually

the harbor edge. Thus, the entire harbourfront remains as a

expanded towards the fjord, concurrently with growth in

post-industrial relic that belongs to the needs of a previous

economy and industrial needs. The growing harbour industry

time. The areas along the fjord are being transformed, but even

was claiming the coast, at a time when prosperity and economy

though the harbour industry is no longer active, the monotonous

in the country were increasing. With economic upturn and

expansion towards the fjord continues. It is efficient to build on

technological progress, the conditions for the efficient harbour

the industry’s design language in relation to maritime activities

industry have improved over the years, and quays have grown

and when preventing flooding, but in the practicality, we lose

further and further into the fjord landscape.

the proximity to the fjord.

The former coastal landscape has been erased by today’s waterfront. From the outlet of Frognerelva in the north to Sydhavna, Oslo’s encounter with the fjord is built on premises of the industry, with a monotonous edge where heavy ships can dock and load. Islands, skerries, and the dynamic coastline have been replaced by geometrically straight structures, adjusted to practical functions.

Quays expanded towards the fjord for industrial purposes, removing the natural coast The quays have been extended throughout time, due to a growing industrial demand

Principle section Industrial development of quays Oslo Touching the Water

ABSENCE OF A COASTAL LANDSCAPE

Present harbour front

Along the entire waterfront, the distance to the water is at least 2 meters, except at Frognerstranda, where the marina occupies the entire water space. There is only access to the water in a few places such as harbour baths, maritime activities, or staircases towards the water surface. The presence of the fjord is mainly a distant view. The monotonously designed harbour mimics the form, materiality, and scale of the industry, dominated by open surfaces of asphalt, concrete, and sometimes granite.

CHAPTER III

1. Maritime activities at Honnørbryggen near the City Hall Square 2. Newly developed Sørenga Harbour bath 3. The industrial quay at Filipstad, looking towards Tjuvholmen 4. Asphalt roundabout at Akerhusstranda, the footing of the fortress walls 5. Sørenga residential area, looking towards Lohavna 6. Connecting steps to the fjord surface at Tjuvholmen 7. Kayak storages at a floating raft, Langkaia 8. DFDS cruise ship blocks the acces to the water at Vippetangen 9. Kongen Marina occupies the water space at Frogner Kilen.

10 Oslo Touching the Water

10. Newly developed Stasjonsallmenningen at Bispevika

ABSENCE OF A COASTAL LANDSCAPE

Continuation of a monotonous landscape

In general, we see the same continuous edge through-out the city’s meeting with the fjord. Created by excavations of the upland and land reclamation in the fjord for the aforementioned harbour industry. At the newly developed locations, additional land has been reclaimed to achieve a larger area of land. The same methods are continued as during the industrialisation,

D A

and by studying the landscape sections, it becomes clear how I B

F G

the same abrupt encounter with the fjord recurs, even after the practical needs from previous decades are no longer present.

H J

The newly developed areas have become prominent places,

where the waterfront is either capitalized by restaurants, cafes, or retail stores, or is located right by new residential L

areas. Although the areas are publicly accessible, they feel semi-private, affected by being a residential area. The two harbour baths and the urban beach are all located in these areas.

Section overview diagram

The non-transformed harbour areas are left on industrial terms. As a result of being either capitalized, semi-private residential areas, or post-industrial, the waterfront lacks a sense of diversity, whether it is socially, recreationally, og biologically. The current practical function of the harbor edge in preventing flooding is seen as a fail-safe solution. A term Jack Ahern, American professor of landscape architecture and Storm flood

planning, uses to describe the effective management of change and growth. A mono functional practicality, as opposed to the

High tide Mean sea level Low tide

concept of safe-to-fail, which is the capacity to recover from change and disturbance without changing to other states (Ahern, 2012). In other terms, a resilient landscape with the ability to

Low water

absorb disturbance and still retain its multi functionality, much like the former natural coast.

Diagram The movement of the fjord in relation to the harbour edge

As a consequence of the hard harbour edge, the movement of the fjord, with tide, low water, and storm flood, is experienced primarily as a vertical movement, and not as a gradient that mediates the dynamics of the fjord. < Landscape sections 1 : 2 000

CHAPTER III

A. Frognerstranda Land reclamation made for rail road and motorway. The infrastructure serve as a barrier between Frogner and the fjord. Kongen marina is occupying the shallow Frognerkilen

Area of landfill + 1.2

Frogner Rail roads

E18

Kongen Marina

Frognerkilen

B. Filipstad

Pillar and pile quay (concrete / sheet pile wall / wooden deck) Industrial area still active. Made entirely of land reclamation, built on a former islet

Area of landfill

+ 2.5 Former islet Cruise ship terminal

Industry buildings Cruise ship

C. Tjuvholmen Residential area includes an urban beach and a harbour bath. The dwellings cause a semi-private atmosphere

Area of landfill

+ 2.5

+ 3.1

Filipstad

Dwellings and offices

Astrup Fearnly Museum

Urban beach

D. Akerbrygge Shops and restaurant adjacent to the promenade. Wooden deck and stairs towards the water front

Area of landfill + 3.0 Road 162

Oslo Touching the Water

Retail stores and offices

ABSENCE OF A COASTAL LANDSCAPE

E. City Hall Square City Hall, City Hall Square and the long piers towards Pipervika. Strong maritime heritage

Area of landfill

+ 2.5 City Hall

Tram line

City Hall Square

+ 1.7 Honnørbryggen Pier II

Pipervika

F. Akershus Fortress and Akershusstranda Parted by the basement rock and the fortress wall, Akerhus Stranda stands as a post-industrial platform with sheds

Area of landfill and excavation Akershus Fortress + 2.5 Kongens gate Akershusstranda

G. Vippetangen At the tip of Akersneset. Fiskehallen, Kornsiloen, and the DFDS Cruise Ship Terminal

Area of landfill + 2.5

+ 3.0

Fiskehallen

Kornsiloen

DFDS Cruise ship terminal

Cruise ship

H. Revierkaia The quay serves as an area for logistics and is prohibeted area

Area of landfill and excavation

+ 3.0 Resistance Museum Prohibited area Cruise ship

CHAPTER III

I. Bispevika and Stasjonsallmenningen Residential area and prominent culture side. Entirely made of land reclamation

Area of landfill

+ 2.0

Munch Museum

Bispevika

Dronning Eufemias gate

Stasjonsallmenningen

Dwellings and cafés

J. Sørenga and Grønlikaia Residential area built on existing quay, with more land reclaimed for the development

Area of landfill

+ 5.0

+ 3.0

Restaurants

Bjørvika

Dwellings Lohavna

Grønlikaia

K. Ekeberg and Grønlikaia Land reclamation for motorway and rail road. Infrastructure serves as a barrier between Ekeberg and the fjord

Kongshavn high school

Area of landfill and excavation

+ 2.5

L. Sydhavna

E18

The active industrial harbour. Built on former island

Rail roads

Grønlikaia

Area of landfill + 3.5

+ 3.0

Container ship Former island of Sjursøya

Oslo Touching the Water

ABSENCE OF A COASTAL LANDSCAPE

CHAPTER III

Fjord composition

SKY The fjord landscape has continually been impacted by

INFINITY LOFT

changes. From the natural geological processes over millions of years to the most recent human activities. The fjord is a landscape in constant motion, a transport route, a resource of food, but it also contains a diverse weaving of life, where humans are just an actor among many species. The fjord as a natural common. Today, when you move around central Oslo, the fjord

HORIZON

landscape is experienced as a sky, a horizon, and a water surface.

LANDSCAPE ENDING

A scenic view, which is almost impossible to get in touch with. The natural transition between land and water disappeared with the expansion of the city, and below the water surface the biological state decreased. The coastal landscape is lost, and with it, a sensuous space of experience is gone. A stretch, communicating the fjord as a continuous landscape space. The presence of the tide testifies to

WATER SURFACE

the mutual force of attraction between the earth, the moon and the sun. This dynamic zone is an important habitat for animals

OPEN SPACE

and plants, which together contribute to the experience of the fjord. An experience that is inextricably linked to the ecological condition and the biodiversity. Oslo is experienced as a city next to the fjord, and not a city that is a part of the fjord landscape and its circuits.

LOST COASTAL LANDSCAPE THE LITTORAL ZONE DYNAMIC TRANSISTION

? Water

Oslo Touching the Water

Land

ABSENCE OF A COASTAL LANDSCAPE

The life within the littoral zone

With the development of industrial quays, the transition,

Based on the hard bottom bedrock typology, the sublittoral

known as the littoral zone, is lost. An aquatic ecosystem that

zone covers the area below the lowest astronomical tide down to

forms the food source for a multitude of species. This is highly

where the sunlight does not reach. Flora and fauna consists of

noticeable in the presence of the fjord, which is referred to as

several seaweeds, fish, crustaceans and echinoderms. Microalgae

a biodiversity desert by several marine biologists (Ellingsen,

and smaller animals are attached to the seaweed. The eulittoral

2018). Today, the quayside protrudes vertically down to the

zone is located between the lowest and highest astronomical

seabed with upright surfaces, where growing conditions are

tide. It is also defined as the area between the upper part of

poor, due to reduced lighting conditions, plain surfaces and

serrated wrack and the top part of barnacles, that are attached

disturbances from large ships. The few molluscs and algae that

to the hard surface and form a white belt. Due to the movement

live on the nubbed granite surfaces do not form a sufficient food

of the tide and the impact of the weather, the wildlife has

source, which can be the reason for the absence of fish in the

adapted to dry spells. At the supralittoral zone, above the highest

area. At the bottom of the quayside, most places are too deep for

astronomical tide, there is in the first part a dark stripe formed

sunlight to penetrate, hence the limited presence of marine life.

by salt-tolerant lichens. It reaches up to where the breakers normally go. In extension, a yellow stretch exists, formed by

A distinction is made between soft-bottom and hard-bottom

less salt-tolerant lichens, which are only touched by drops and

typologies. Soft-bottoms occur where small sediments are

foam from the seawater. The upland begins immediately after,

deposited from rivers and ocean currents, and here we find

with herbs and grasses, tolerant of salt and drought, and ends

eelgrass, molluscs, crustaceans, and fish. Hard bottom includes

with dense forest. Much upland around central Oslo is today

pebblestone beaches and bedrock shores, which is the most

removed, in favor of infrastructure.

common in the Oslo Fjord. At depressions in the eulittoral zone and the supralittoral The littoral zone is understood as the area from the peak of

zone, tide pools occur. A biotope with distinctive species that can

the water level, which is rarely flooded, down to the permanent

withstand large environmental variations such as temperature

water cover. Flora and fauna appear in clearly defined zones, but

fluctuations and varied salinity and oxygen content, as a result

are part of important intertwined food chains, across the zoning,

of evaporation, tide, and rain. The top of skerries are seen above

land and water. The zoning includes the sublittoral zone, the

the water surface in the sublittoral zone. They contribute to

eulittoral zone and the supralittoral.

additional littoral zones and tide pools. Since they are too small for settlement, they often stand undisturbed by humans, and therefore many birds here benefit from the diverse food source. Half a month

< + 2.09 High water with 1000 years recurrence

Upland

+ 1.77 High water with 100 years recurrence + 1.42 High water with 10 years recurrence + 1.07 High water with 1 years recurrence

Splash zone

Spring tide

Neap tide

0 Mean sea level 0.36 Lowest astronomical tide level (LAT)

Subtidal zone

CHAPTER III

Showing the loss of the littoral zone as a consequence to the expansion of quays. Qualifying the life within at hard bottom typology

Spring tide

+ 0.36 Highes astronomical tide level (HAT)

Intertidal zone

Principle sections

0.80 Low water with 1 year recurrence 1.01 Low water with 20 year recurrence

Diagram of the tide and height of water level in Oslo The tide is primarily composed by the astronomical circumstances. Though, wind and weather conditions are particularly crucial in Oslofjorden, and will frequently lead to long periods of higher and lower height of water

Former natural upland

Industrial quay

No sunlight

Open water

Former natural upland

Littoral zone

Upland

Industrial quay

No sunlight

Open water

Littoral zone

Upland

Sublittoral zone

Eulittoral zone

Supralittoral zone

Sublittoral zone

Eulittoral zone

Supralittoral zone

1 year recurrence (+1,07) HAT (+0,36) Mean sealevel (0) LAT (-0,36)

Tidepool

1 year recurrence ( 0,80)

In Norwegian:

Sjø

HAT (+0,36) Open water

Subtidal zone

1 year recurrence (+1,07) Mean sealevel (0) LAT (-0,36)

Marine mammals

1 year recurrence ( 0,80)

o res

Fish, cnidarians, echinoderms, macroalgae, crustaceans

e son

In Norwegian:

Sjø

Open water

Subtidal zone

Oslo Touching the Water

Fish, cnidarians, echinoderms, macroalgae, crustaceans

sso

sl lge

Fjæ

son

okk

r Sjø

Bø

Intertidal zone

Splash zone Tidepool

Mussels, sea snails, barnacles, Tidepool

Lichens

on res

Fjæ

Intertidal zone Mussels, sea snails, barnacles, fish, cnidarians, echinoderms, macroalgae, crustaceans,

Terrestrial mammals

gss

a esl

ølg

Upland

Seabirds

fish, cnidarians, echinoderms, macroalgae, crustaceans,

Marine mammals

e son

kks

ro Sjø

Splash zone Lichens

Upland

Seabirds

Terrestrial mammals

ABSENCE OF A COASTAL LANDSCAPE

Mussels

While previously describing the vibrant landscape that could have been between Oslo and the extensive fjord, we now elaborate on what different species may be found in the area. A representative selection of the flora and fauna that live in the littoral zone of the inner Oslo fjord. Here, the biodiverse field communicates the tidal movement and the transition between

Blue mussel,

Mytilus edulis

Habitat The intertidal zone, where the water is rich inoxygen. They attach themselves to hard surfaces by thread-like structures called byssal threads, so they are not destroyed in the surf Food source They are suspension feeders, feeding on phytoplankton. Blue mussels cleanse the sea of nitrogen by eating many algae, causing oxygen depletion

land and fjord, and narrates of species closely connected to each other across the zones.

Echinoderms Common starfish, Spiny starfish, Sea urchins,

Crustaceans Asterias rubens Marthasterias glacialis Species of Strongylocentrotus and Echinus

Habitat The intertidal zone, the subtidal zone, and down to deep water. Some species may also be found in tide pools, regularly supplied by new seawater Food source Seafish are carnivores, feeding on mussels, some species of cnidarians and small fish and even sea urchins. Sea urchins feed primarily on algae, but will also devour small slow-moving or sessile animals. Works as decomposers

Cnidarians

Brown crab, Shore crab, Common lobster, Flying crab, Isopods,

Cancer pagurus Carcinus maenas Homarus gammarus Liocarcinus holsatus Species of Idotea

Habitat The intertidal zone and the subtidal zone. Most of their food is found in the intertidal zone Food source Isopods are omnivorous, but feed mainly on algae. The lobster and crabs feed primarily on molluscs, small fish and small crustaceans. Works as decomposers

Macroalgae

Common jellyfish, Lion’s mane jellyfish, Sea anemones, Hydroids,

Aurelia aurita Cyanea capillata Species of Actiniaria Species of Hydroidea

Habitat Jellyfishes are free-swimming animals moving from open water to the intertidal zone. Sea anemones and hydroids are animals attached to hard surfaces in the subtidal zone and the lowest part of the tidal zone Food source Mainly zooplankton, that are captured and paralyzed via tentacles

Brown seaweed, Serrated wrack, Spiral wrack, Bladderwrack, Sea oak,

Ascophyllum nodosum Fucus serratus Fucus spiralis Fucus vesiculosus Halidrys siliquosa

Habitat The intertidal zone and the subtidal zone. The upper part of serrated wrack marks the beginning of the intertidal zone Living conditions Macroalgae, commonly known as seaweed, requires light to support photosynthesis, and a hard surface to attach themselves. Macroalgae serves as habitat for many fish, hunting and spawning here. Different small animals and microalgae are attached to the macroalgae

Fish Anguilla anguilla Clupea harengus Gadus morhua Neogobius melanostomus Pollachius virens Salmo salar Scomber scombrus

Habitat Open water, the subtidal zone and the intertidal zone. They hunt and spawn within the subtidal zone and the intertidal zone Food source Fish are feeding on other fish, insects, annelids, crustaceans and molluscs

CHAPTER III

European eel, Atlantic herring, Atlantic cod, Round goby, Saithe, Atlantic salmon, Atlantic mackerel,

Isometric illustration 1 : 500 Categorising the species in the littoral zone, with their habitat and food source

Barnacles Rough barnacle, Acorn barnacle, Wart Barnacle,

Seabirds Balanus balanus Semibalanus balanoides Verruca stroemia

Greylag goose, Mute swan, Eurasian oystercatcher, Black-headed gull, Common eider,

Habitat They are attached to hard surfaces in the top part of the intertidal zone. Since they are sessile, an opening in the shell can be closed by two small plates, keeping the water inside the shell during dry spells

Anser anser Cygnus olor Haematopus ostralegus Larus ridibundus Somateria mollissima

Habitat Most seabirds nest at the upland, closest to the littoral zone, where they have adapted to the marine environment

Food source Barnacles are suspension feeders, feeding on phytoplankton, zoo-planton and detritus

Food source They hunt both at the ocean’s surface and below it, feeding mainly on small crustaceans, fish and mussels

Lichens Orange Sea Lichen, Caloplaca marina Tar lichen, Verrucaria maura Common orange lichen, Xanthoria parietina Habitat The splash zone. Dark lichens grow closest to the intertidal zone with yellow lichens growing above

Sea snails Common periwinkle, Flat periwinkle, Dog whelk, Common limpet, Cone snails,

Living conditions Lichen is a composite organism, consisting of algae (sometimes cyanobacteria) living in a mutualistic relationship with fungi species. The fungi ensures water, while the algae ensures photosynthesis, turning carbon dioxide into sugar for both to use. When dry it goesinto hibernation. In the littoral zone, the lichens nourish on excrements from seabirds

Littorina littorea Littorina obtusata Nucella lapillus Patella vulgata Species of Conus

Habitat The intertidal zone or just above high tide. Can occasionally be found in tide pools Food source The snails are primarily feedingon microalgae and detritus, while some feed on small invertebrates. Works as decomposers

D st

lan

Up e

la Sp

zon

p ex din w n r tio lle ta Ta ge ve

ora

Litt

e zon

al z

tid ter

In ne

ar s

After the splash zone, sporadic vegetation of salt and drought-tolerant herbs such as bitter stonecrops, sea thrift and sea squill is growing in small crevices. In continuation, a more cohesive vegetation begins, consisting of grasses and herbs such as red fescue, sheep fescue and matgrass. Of lower woody plants, black crowberry, juniper and mugo pine are seen on hard and nutrient-poor rocks, while sloe and dog rose are found on more nutrient-rich rocks. s

s en ch s n lit w che lit les c na

l Ye B

d Ti

Oslo Touching the Water

Upland

nt se ra s le ra to g t- & al s S rb he

l zo

a btid

At the dense forest closest to the coast, the deciduous trees are typically birch, elm, linden, maple, ash, hazel, oak species, beech and blackthorn. The evergreen trees are dominated by larch, spruce and pine. Here we find a variety of animals, including marten, shrews, stoat and species of deer, also benefiting from the littoral zone.

ABSENCE OF A COASTAL LANDSCAPE

Adjacent coastal landscapes

At the islands outside central Oslo, we find a more unspoiled landscape. By looking at this encounter with the fjord, we get an idea of how it might have looked before the industry claimed the coast. We see a coast where different inclinations make the tide move widely in a horizontal motion. A littoral zone, where the built environment is adapted to the natural ecosystems. Obviously, the islands have a different legacy than the city center. Nevertheless, we can learn from their safe-to-fail qualities, when

developing the city by the fjord. The landscape is resilient by nature, as it has adapted to the local climate over several years. We can use this knowledge to provide answers to our current needs.

1. The intertidal zone at mean sea level. Seaweed in the upper part of the section 2. Subtle settelment and landing stage in the landscape 3. Shells from molluscs and stones at the beach 4. Grasses and herbs growing under exposed conditions 5. Lichen and mosses on the beach rock. Stratification from the Cambrian/Ordovician/Silurian periods 6. Pines, hawthorn, grasses and herbs at the upland 7. Variation of rocks and sandy beach. Upland forest in different levels according to the conditions. House adjust ed to the surroundings 8. Dense vegetation close to the water surface

9. Tide pool right above the intertidal zone

CHAPTER III

8 Oslo Touching the Water

ABSENCE OF A COASTAL LANDSCAPE

Our society is built on a Western worldview, where humans are dominant over nature, and natural resources are used for the

Connectedness and the importance of coexistence

Diagram of coexistence An incomplete set of values overlapping within the concept of coexistence. The values reflect the present position at a given point, and will evovle as new knowledge is achieved

benefit of mankind. A paradigm whose priorities have created the climatic and environmental crises that today threaten our livelihoods. Marianne Krogh, PhD in architectural history and curator at the Danish pavilion at the 17th Venice Architecture Biennale, reflects on how humanity does not have exclusive rights to the world, but instead is part of a non-hierarchical system, where all biotic and abiotic elements are contributing to mutual benefits: “... We - you and I, animals, plants, organic and inorganic, systems, artefacts and so forth - not only share the space; together we create it in a mutual process of emergence where we, as human beings, are not alone in possessing agency while the environment simply reacts. Instead, we co-exist in one coherent, active system where every component has agency and meaning.” (Krogh, 2020, pp. 13) Our cities are part of the natural world, where Mother Earth is our eventual developer. We must recognize the landscape we live in as a system of many actors with interconnectedness that strengthens each other. Therefore, we must also understand the city as being underwater. When talking about life in the city, the importance of marine life is equivalent to the importance of life on land. After all, aquatic plants are just as important as the rainforest for the Earth’s overall ecosystem (Christensen & Høgslund, 2011). Essentially, to grasp the importance of the fjord’s ecological condition, it is necessary to understand our connection to the marine life. If there are no macroalgaes to form habitats for certain phytoplankton, zooplankton and smaller fish, there is no food source for larger fish, and fishing can therefore not take place. If fish and molluscs disappear, so do the seabirds. experience of the fjord.

Wildlife, which for us humans are closely connected to the

Collage of connectedness Connectedness in the layers of the landscape. Actors, each playing a role in one coherent system. Section and elevation

CHAPTER III

Learn ing

Experience

Nature

Equa lity

lution Evo

S o ci e t y

m te ys

Su sta i

ity bil na

Ec os

Climate e ilienc Res

Variab ility Oslo Touching the Water

y munit Com

Bi o l o g y

In si

Culture

Biodiv ersi ty

g in ng

t gh

Be lo

sing Sen

ABSENCE OF A COASTAL LANDSCAPE

Au bord du fjord de Christiania Claude Monet, 1895

CHAPTER III

Distance and proximity

Through the ages, Oslo has been closely connected to the fjord. The glacial periods’ ice sheets and water currents created a landscape of marine deposits, well suitable for settlements, where the fjord was the main livelihood. Since then, the fjord landscape has undergone significant changes in relation to increasing human activity along the coast. The harbour industry of recent centuries has had a major impact on the fjord and the design of the coast. At central Oslo, the natural transition, including the littoral zone, has been replaced by a consistently hard harbor edge, which stands as a barrier between land and water. Yet, industrialisation lifted our society to the prosperity we benefit from today. The development was based on different prerequisites, than today, with the belief of a new and better world. Today, our knowledge and perspective on nature is much different than during the industrialisation. Yet, the city is still on these terms. Is it time we ask ourselves whether the imprint from the industry takes up too much space in today’s fjord landscape? Should the fjord be more than just a surface that is experienced as a view from a distance? Claude Monet’s impressionist landscape painting of the fjord outside Oslo communicates a landscape in close proximity to the fjord. Where the fjord is not just a water surface, but a living element that, together with the coast, skerries and islands, creates an overall understanding of the landscape space. It is not about making a romanticised reproduction of this image, as it would be naive to believe in a possible rendering of a landscape, created by endless natural-historical processes. Instead, we can be inspired by the opportunities offered by the coast’s active processes, and create a contemporary landscape, based on the former industrial tracks.

Oslo Touching the Water

ABSENCE OF A COASTAL LANDSCAPE

CHAPTER IV

Presenting the Project Site

Akersneset and the industrial traces

The harbour areas at Akersneset are the project site. With its

Today, the industry is reduced, and the area is used for

location between Pipervika and Bjørvika, it is an important place

various purposes. At Akershusstranda, the harbour sheds have

in the city’s meeting with the fjord. The harbour promenade is

mixed functions, such as restaurants, an office for a sailing

planned to follow the harbour front here, while Vippetangen will

association, and a station for the harbour police. Vippetangen

be a recreational area, but without plans to stop the functioning

has an active industry. Shed 38 and Shed 39 function as office

cruise ship industry. We believe the entire harbour front along

facilities. Fiskehallen contains a restaurant and a wholesale

Akersneset should be considered as a whole that can function as

and retail fish market, with 100 tons of fish being delivered

a coherent public stretch on the fjord’s and the people’s terms.

every day. Kornsiloen is still active as a grain silo. At the far

Where historical layers, social communities and the fjord’s

end of Vippetangen, Vippa Streetfood is located in a former

marine life are the center of attention.

industrial building. DFDS Cruise Ship Terminal operates daily departures to Copenhagen and Frederikshavn. DFDS occupies a

The about 1.6 km long stretch runs from the City Hall Square

large part of the Revierkaia area for logistics and parking. SALT

in the west towards Vippetangen tip in the south and to Langkaia

is a temporary feature in the urban space at Revierkaia, with a

and The Central Station in the east. The area is divided into

restaurant, bar, sauna, and event area. Along Akershusstranda,

three sub-areas. From left: Akershusstranda, Vippetangen, and

Vippetangen and Revierkai there is a capacity for 4 cruise ships.

Revierkaia. Akershusstranda is located at the foot of Akershus Fortress as a narrow quayside passage with harbour sheds,

Parts of the area are considered a highly cultural environment

and has a quay pointing out, Akershusutstikkeren, at the bottom

worthy of preservation as it contains many important layers

of the castle. Vippetangen is an active industrial area with a

of Oslo’s history. Akershus Fortress, Kvadraturen, and the land

fish market, grain silo, and a cruise ship terminal. Revierkaia

reclamation from the industrialisation. The industrial build-

consists of a loading dock for industrial purposes, a service hall

ings and quays are considered significant markers for Oslo’s

for vehicles, a tunnel gate for a subterranean motorway, and the

harbour industry, and parts of the quays are marked as worthy

temporary event area SALT. Festningallminningen is located in

of protection.

the northern part of Revierkaia. Akershus Fortress was built on the land elevation on Akersneset, where the fortress could overlook the two bays and the inner Oslofjord. When Gamle Oslo burned down in 1624, Christian the 4th moved the city behind the fortress, today known as Kvadraturen. The project site is today owned by the municipality, which bought the coastline surrounding Akershus Fortress around the 1900s and converted the natural coast into a harbour area with a connecting railway. In 1907, the facility was completed, and for the first time, the city had a continuous quay facility that connected Pipervika and Bjørvika.

< Orthophoto of project site and context 1 : 7 500

CHAPTER IV

City Square

Central Station

Kvadraturen

Akershusstranda

Pipervika

Akershusutstikkeren

Akershus Fortress

The Opera

Langkaia

Cruis

Festningallminningen

e ship

SALT

area

e sh Cruis

e ship

Cruis

ip ar

Revierkaia

Skur 38

area

Bjørvika

Skur 39

e ship

Vippetangen

Cruis

Site

area

Fiskehallen

Kornsiloen

DFDS

Vippa

Sørenga

Hovedøya

Google Earth, 2019

Grønlia Oslo Touching the Water

100 m

500 m

PRESENTING THE PROJECT SITE

Overviewing Akersneset

City Hall

Nobel Peace Center National Museum

Akershus Fortress

Resistance Museum Akershusutstikkeren Akershusstranda Pipervika

Armed Forces Museum

Skur 38 Kornsiloen Skur 39

Vippa streetfood

Fiskehallen

CHAPTER IV

Vippetangen

Central Station

Festningallminningen

Motorway subterranean tunnel

Revierkaia SALT

Ministry of Defence

Langkaia

Truck and bus service base

The Opera DFDS cruise ship terminal

Bjørvika

Harlald Valderhaug, 2019 Oslo Touching the Water

PRESENTING THE PROJECT SITE

+ 2.5

+ 30

+ 2.5

Cruise ship loading area + 2.5

Parking area +3

+ 2.5

Road Only pedestrians

Movement in the landscape Terrrain and infrastructure

Fjord view Acces point

Spatialities Acces points and fjord views, prohibited areas

CHAPTER IV

1300

1624 1795 1911 2020

Harbour edge worthy of preservation

History Heritages, harbour edges made of granite and worthy of preservation, former coastline and land reclamations

– 10 – 15

–5

– 20

– 10 – 10

Ultra sheltered Extremely sheltered Very sheltered

Local conditions Impact from waves, seabed depth, wind rose

Oslo Touching the Water

PRESENTING THE PROJECT SITE

Existing situation

1. Entering Akershusstranda from the City Hall Square 2. The rock and the fortress wall, seen from Akershusstranda 3. Akershusutstikkeren with the fortress in the background 4. Asphalt surfaces at the quayside along Akershusstranda. 5. Looking towards Vippetangen from Akershusstranda. Kornsiloen in the background 6. Parking space for Fiskehallen. Akershus Fortress in the background 7. Crane at Vippetangen, still active 8. Parking lot at Vippetangen for the cruise ship terminal 9. Armed Forces Museum of Akershus Fortress and excavated basement rock

10. Revierkaia seen from Bjørvika. Akershus Castle at the top of Akersneset

CHAPTER IV

10 Oslo Touching the Water

PRESENTING THE PROJECT SITE

The pandemic and the new agenda

The global pandemic has made the world a new place. The

Accordingly, the cruise ship industry is in our view a thing

circumstances have forced governments to shut down societies

of the past. We will therefore retire the cruise ships from Oslo’s

with restricted mobility and limited mutual contact. It has

harbour, thus showing how much we can gain by removing them

proven the need for alternatives to our present way of living

for good. Making space for a new common waterfront, where

and the way we design our common future. Without sticking to

communities around the fjord, culture and history can take

business as usual.

place, and where the environment is the primary matter as part of a sustainable city.

Many scientists consider the effects of the pandemic as a warning sign. Canadian political scientist and University Research Chair at the University of Waterloo, Thomas Homer-Dixon discusses a possible change of our current priorities as a consequence of the situation: “Today’s emerging pandemic could help catalyze an urgently needed tipping event in humanity’s collective moral values, priorities and sense of self and community. It could remind us of our common fate on a small, crowded planet with dwindling resources and fraying natural systems.” (Homer-Dixon, 2020). The pandemic has already shown that we must extend our reach beyond short-term goals, and plan our cities from a different and larger perspective. We must take responsibility, by acting when it comes to climate, communities and social relations. With human activity on hold, we experienced how the environment flourished. As transportation, tourism and industrial production were temporarily stopped, we saw how climate-damaging emissions were significantly reduced, and how people stuck together in their local communities, to overcome the crisis. The cruise ship industry pollutes like thousands of cars and is one of the largest emitters of particulate pollution (Mølsted et. al., 2019). When in dock, the cruise ships occupy large areas of the waterfront and destroy sensitive marine environments. The industry supports a form of mass tourism that is disproportionate to the way we ought to manage our resources, and is therefore incompatible with a sustainable future.

CHAPTER IV

Harlald Valderhaug, 2019 Akersneset in the foreground. Akerbrygge, Tjuvholmen, and Filipstad behind. No less than seven cruise ships in dock along the waterfront

Visions for Akersneset

As the municipality has no plans for developing the area with

The area must support the motion of the harbor promenade

residential purposes, and with the cruise ships now being retired,

along the fjord, but also tie together the city and fjord across. The

the ground is prepared for one contiguous public waterfront.

landscape must continue into the fjord, and the fjord must enter the city. Historically, the waterfront has been a common property

We pursue to optimise the life in the littoral zone to enhance

for the Norwegians. A democratic space for recreation, transport

the experience of the fjord. Doing so as a process-oriented

and access to food. We want to evoke this identity again. With an

design, where the frames for a landscape is established, inviting

interpreted coastline where you can smell seaweed and hear birds

the natural processes to make the design and change it as time

calling. Where you can see mussels, crabs and fish instead of

progresses. This landscape must stage the movement of the tide,

merely an endless water surface. And where you can get in touch

occasional flooding, and thereby the dynamics of the fjord. We

with the fjord in different ways.

want the design to balance coastal ecosystem services with the existing maritime culture. The present human activities and the practical functions will still take place and be integrated in the design. Akersneset will be a publicly accessible blue-green stretch with a transition between the existing landscape and the fjord, making it possible to touch the fjord, in the middle of central Oslo. At the same time, we must not forget the cultural and industrial heritages in the area. Buildings and existing layers should be transformed and included in a new context. Inspired by the French architect Alexandre Chemetoff, who suggests that we

Process

build on existing foundations, in order to look forward and create

Democratic waterfront

Public space

progress in transformation as a sustainable approach (Hauxner, 2011). We wish to use the existing landfill as the foundation for our design. With this design approach, we seek to create a field

Urban tidal landscape

Sustainable waterfront

of tension between the post-industrial landscape and the diverse life of the littoral zone, which conveys the cultural history of the harbour and the experience of coastal city nature. Since glacial rebounds cause the land to elevate about four

Marine ecosystems

Open-endedness

Life below water

History

millimeters per year in the Oslo area (Nøttvedt et al., 2012), the rising water levels are equalized, and do not pose a threat to the

Communities

Heritage

city. On the other hand, storm floods are experienced from time to time, where the water is forced towards the bottom of the fjord

Maritime activities

Identity Diagram for the vision of Akersneset

and the water level is high for a short period. The urban tide landscape will be designed as a resilient landscape that can receive such disturbances without being damaged. Oslo Touching the Water

PRESENTING THE PROJECT SITE

CHAPTER V

Exploring Coastal City Nature

Conceptual overview The tidal landscape in relation to the fjord, Akershusstranda and Akershusutstikkeren

CHAPTER V

Concept for an urban tidal landscape

Concept diagram

French gardener Gilles Clément, argues for Le Tiers-Paysage, The Third Landscape, which is a landscape left on its own terms. Clement explains the term as neglected places, where order and decision making processes are on hold, making it possible for biodiversity to unfold (Clément, 2004).

From existing quay

We propose a reading of Cléments Le Tiers-Paysage, where carving of the existing quay creates a transition between land and fjord. The existing quay edge is lowered to 2 meters below mean sea level for the sun light to reach, optimising the To an urban tidal landscape

living conditions for marine species. Reused debris from the excavation, and crushed rocks from other local building and infrastructure projects are spread out, leaving it for natural processes to take over the landscape. Domestic rock types are suitable for enhancing the biodiversity as the native species are adapted to the environment of this materiality. Above the 1 year recurrency of high water level, sandy loam is added to enhance the growth of spontanous vegetation. The tidal landscape is left on its own terms and will be shaped by the progress of time, the dynamics of the water, the weather, and activities of the future species including humans. A resilient landscape design, informing of a man-made urban tidal landscape based on the industrial tracks, created in accordance with the order of nature.

1000 years recurrence 100 years recurrence 10 years recurrence

Existing level +2.5 to +3.0

1 years recurrence Highes astronomical tide level (HAT) Mean sea level (0) Lowest astronomical tide level (LAT) 1 year recurrence 20 year recurrence

Subtidal zone

Intertidal zone

Splash zone

Upland

Edge lowered to - 2.0 m

Crushed rocks and debris Naturally occuring: Oslo Touching the Water

Macroalgaes, fish, echinoderms, cnidarians, crustaceans

Crushed rocks and debris mixed with sandy loam Mussels and sea snails

Barnacles and lichens

Salt and wind-tolerant vegetation

EXPLORING COASTAL CITY NATURE

Touching the water

The design is based on the existing landscape along

The existing Vippetangen is separated from the mainland, by

Akersneset between the City Hall Square and Langkaia. It is

leading in the fjord, creating an island at the southern tip of the

now possible to walk along the entire waterfront of the site, and

landscape and an open water space in the middle. You can enter

on the stretch you will experience different encounters with

Kulturøya, the culture island, from one of three bridges. Here, the

the fjord and varied spatial impressions of the post-industrial

former industrial buildings accommodate public culture, such

harbour area. Along the way, you will find several stays and

as the existing fishmarket, Vippa street food, a possible new

activities related to the fjord.

museum in Kornsiloen and a possible new aquarium in the former DFDS Terminal. The existing surface is kept, while patches of

When entering the new landscape from the City Hall Square,

gravel are added. A new harbour bus stop and a new marina

you step onto an eight meter wide promenade paved with gravel,

offers boats to visit the area and people to access Kulturøya from

which indicates a change of scenery. The promenade guides

the fjord, highlighting the historical maritime connection of

the way between the footing of Akershus Fortress and the tidal

Vippetangen.

landscape. Skerries are places outside the tidal landscape of the entire stretch for humans not to reach, except visually. Along

Four bridges offer access to the soft bottom area between the

the promenade, granite steps are providing access to the shore

mainland and Kulturøya, two bridges on each side of the water

side, and succession beds are placed against the fortress wall,

space. From the long bridge between the mainland and the

inviting spontaneous vegetation to sprout. The skerries and

northeastern corner of Kulturøya, you can overview the sheltered

the succession beds consist of the same material as the tidal

soft bottom area on one side, and the open water at Bjørvika on

landscape. Along the waterfront, new edges are marked with

the other side, before entering the industrial relic of Lasteplassen,

wooden beams, and existing orange safeguards are placed where

the former loading area for the cruise ship. Now it serves as a

the edge is more than 1 meter tall.

large square of existing asphalt and road paint. Three rows of lime trees, and benches placed in the same manner emphasise

Akershusutstikkeren is intact and stands as a strong industrial marker, where boats and smaller ships can dock. New sheds are

the strong direction towards the fjord, while highlighting the industrial memory.

added, for the existing functions at Akershusstranda to continue, such as the harbour police and restaurants. A new floating

The former industrial service hall serves as a culture house

harbour bath, Havnebadet, is placed after Akershusutstikkeren,

for water activities and has a landing for kayaks and small

making it possible to swim in Pipervika. A landing for kayaks

boats, as well as an area with long benches for gatherings. The

and smaller boats is found at the southern entrance to the

promenade continues between a raised landscape towards the

Akershus Fortress, creating a connection to the fortress from the

existing road and the tidal landscape. In the middle, you will

waterside.

find the Orchard with fruit trees placed in a grid, and spread into the raised landscape. On the opposite side, long concrete

After Akershusstranda, the promenade continues on the

stairs provide a relation to the fjord, and will occasionally be

existing surface. Here, the area remains untouched, but rows of

under water during flooding. The important connection of

trees are added to emphasise the direction of the quay. Kongens

Festningallmenningen is emphasised with a large green space of a

gate is an important connection to the city, and a strong view to

raised landscape, ending in the Fjordbasseng, an urban harbour

the fjord. The harbour identity is maintained with the historic

pool with an adjacent urban sand beach and wooden decks for

buildings and the granite quayside.

recreational purposes.

CHAPTER V

City Hall Square

Akershusstranda

Kongens gate

Havnebadet

Akershus Fortress

Langkaia

Festningallmenningen

Fjordbasseng

Pipervika

Bjørvika

Lasteplassen

Kulturøya

Illustration plan 1 : 5 000

Sørenga N

A detailed illustration plan in 1 : 2 000 can be found in the back cover. The illustration plan is, as the name implies, an illustration, and not an exact replication of the conclusive landscape transformation. Paved surfaces, buildings, locations of water activities and planned vegetation are fixed, while the final outcome of the tidal landscape, the skerries and the overall shape depends on the process of the construction. Therefore, the illustration plan must be understood as how the landscape is structured

Oslo Touching the Water

EXPLORING COASTAL CITY NATURE

Lasteplassen The former loading area is transformed into a public square. Benches, trees, and existing road paint frame the direction towards the fjord, while staging the industrial history of the place. Sydhavna is visible in the horizon

A A B

Landscape sections 1 : 500

Section AA Akershusstranda, the tidal landscape and Akershusutstikkeren

Akershusuts

Section BB Akershusstranda, the tidal landscape and Havnebadet

CHAPTER V

Akershus Slott

Tidal landscape (hard bottom) Existing quay edge Bouy marking shallow water

stikkeren

Promenade (gravel)

Succession bed

Steps (granite)

Akershus Slott

Havnebadet (floating and attached to the bottom) Tidal landscape (hard bottom) Existing quay edge Bouy marking shallow water

Oslo Touching the Water

Promenade (gravel)

Former rail road tunnel

Harbour safe guard edge (wooden beam and orange safe guard)

EXPLORING COASTAL CITY NATURE

C D

D C

Landscape sections 1 : 500

Section CC The promenade, soft bottom area and Kulturøya

Raised landscape (herbs and grasses)

Road

Tidal landscape (hard bottom)

Promenade (gravel)

Soft bottom (reeds)

Skerry (hard bottom)

Steps (granite)

Section DD Soft and hard bottom areas and Lasteplassen

Lasteplassen Soft bottom (eelgrass)

Skerry (hard bottom)

Soft bottom (eelgrass)

Promenade (bridge)

Tidal landscape (hard bottom) Harbour safe guard edge (wooden beam and orange safe guard)

CHAPTER V

(existing asphalt)

Kulturøya Soft bottom (eelgrass and reeds)

Acces bridge (industrial grates)

Tidal landscape (hard bottom)

(existing asphalt)

Trees in grid (gravel)

(existing asphalt)

Possible new aquarium

Wooden beam edge

Tidal landscape (hard bottom)

Skerry (hard bottom)

Tidal landscape (hard bottom) Existing quay edge Bouy marking shallow water

Harbour safe guard edge (wooden beam and orange safe guard) Oslo Touching the Water

EXPLORING COASTAL CITY NATURE

F E F

Landscape sections 1 : 500

Section EE Between the orchard and the tidal landscape

Statens vegvesen

Ministry of Defence

Entrance (subterranean tunnel)

Road

Orchard (gravel)

Promenade (existing asphalt)

Section FF Festningsallmeningen and Fjordbasseng

Festningallmenningen Road

Path (gravel)

Raised landscape (herbs and grasses)

Promenade (existing asphalt)

(gravel)

Urban beach (wooden decks & sand) Wooden beam edge

CHAPTER V

Long stairs (concrete)

Fjordbasseng in background Tidal landscape (hard bottom)

Skerry (hard bottom)

Tidal landscape (hard bottom)

Existing quay edge Bouy marking shallow water

Fjordbasseng (concrete bottom)

Tidal landscape (hard bottom)

Skerry (hard bottom)

Tidal landscape (hard bottom) Existing quay edge Bouy marking shallow water

Oslo Touching the Water

EXPLORING COASTAL CITY NATURE

Soft bottom area Standing between reeds and skerries, looking towards Kulturøya

Hard bottom composition

Succession bed Promenade Tidal landscape Hard bottom Skerry

Open water

Naturally occurring macroalgae (new habitat) Crushed rocks & reused debris from landfilling Isometric illustration 1 : 500

Protection layer Root-proof & waterproof membrane

Example from Akershusstranda. Showing the principle composition of the hard bottom habitat. The root-proof & waterproof membrane secures the fjord water against possible pollution from the subjacent landfill. The protection layer protects the membrane against the overlying rocks and debris

100

CHAPTER V

Existing quay contruction

General contruction of hard bottom habitat

Soft bottom composition

Raised landscape Promenade

Tidal landscape

Soft bottom

Planted reeds & eelgrass, retaining sediment transport Sand & gravel (4-12mm) Rocks holding on sediments

Isometric illustration 1 : 500 Example from the soft bottom area. . Showing the principle composition of the soft bottom habitat. The root-proof & waterproof membrane secures the fjord water against possible pollution from the subjacent landfill. The protection layer protects the membrane against the overlying rock, sand and gravel. The planted eelgrass acts as a natural protection against sediment transport due to its stems and root formation

Oslo Touching the Water

Protection layer Root-proof & waterproof membrane Existing quay contruction

General contruction of soft bottom habitat

101

EXPLORING COASTAL CITY NATURE

Layers

Tidal landscape

Surfaces

Industrial traces

Soft mobility and shared space

Water activities

Planned vegetation

102

CHAPTER V

Meetings with the fjord

Existing quay

Stairs towards the tidal landscape

Edge towards the tidal landscape

Edge with visble hard bottom

Soft bottom with reeds

Bridge at soft bottom area

Fjordbasseng

Havnebadet

Floating kayak landing

Long stairs

Marina at Kulturøya

Bridge overlooking the landscape

Principle sections Mean sea level and 1 year recurrence Oslo Touching the Water

103

EXPLORING COASTAL CITY NATURE

Akershusstranda Following the promenade along the fortress wall and the tidal landscape. The Scandinavian Star monument is located at one of the skerries. Hovedøya in the horizon

Planned and presumed vegetation

The design alternates between planted vegetation and naturally occurring species. The tidal landscape is subject to natural succession, while the remaining landscape consists of planned planting structures. Natural succession

Tidal landscape Tidal landscape hard bottom

Tidal landscape soft bottom

Naturally occuring shrubs, herbs and grasses

Naturally occuring marcro algees

Eelgrasses, Zostera Reeds, Phragmites australis

Moor birch, Betula pubescens Mugo pine, Pinus mugo Aspen, Populus tremula

Serrated wrack, Fucus serratus Sea oak, Halidrys siliquosa Brown seaweed, Ascophyllum nodosum Bladderwrack, Fucus vesiculosus

106

Meadowsweet, Filipendula ulmaria Wallflower, Erysimum strictum Arrowgrass, Triglochin maritima

CHAPTER V

Succesion beds

Promenade trees

Naturally occuring shrubs, herbs and grasses

Moor birch, Betula pubescens Scots pine, Pinus sylvestris Mugo pine, Pinus mugo Juniper, Juniperus communis

Moor birch, Betula pubescens Mugo pine, Pinus mugo Aspen, Populus tremula Cow parsley, Anthriscus sylvestris Sea plantin, Plantago maritima Goldenrod, Solidago virgaurea Sea thrift, Armeria maritima

Lasteplassen and Kulturøya Grid and lined trees Naturally occuring herbs and grasses in asphalt cracks

Orchard

Raised landscape

Pear, Pyrus communis Apple, Malus domestica Quince, Cydonia oblonga

Lawn Grass meadow Maple, Acer pseudoplatanus Scots pine, Pinus sylvestris Oak, Quercus petraea Birch, Betula pendula

Common lime, Tilia x europaea

Elm, Ulmus minor Ash, Fraxinus excelsior Blackthorn, Prunus spinosa Hazel, Corylus avellana

Planting diagram Showing examples of chosen plantings and presumed occuring vegetation Oslo Touching the Water

107

EXPLORING COASTAL CITY NATURE

Construction as process

Since the design represents a comprehensive landscape transformation, the entire stretch will not be constructed at once. The construction relies on available local rock masses, from other building projects, to be crushed and used in the tidal landscape. At the same time, the excavations of the existing 1. An edge is implemented, securing the construction area against the water during excavation of the quay

quay must be sorted for relevant building material, which will also be included in the tidal landscape. Current buildings and functions must be moved in a transitional phase, while the construction takes place. We suggest that the first transformation will take place between the City Hall Square and Akershusutstikkeren. The

2. The slope is secured and the site is prepared for the next layers

shortest section of the project, where the road is already closed. At this location, it is possible to test the outcome of the design, while the area is usable for people as well. The current functions on the site will be relocated to temporary sheds on Akershusutstikkeren, while the functions on Akershusutstikkeren itself will be able to continue.

3. Crushed rocks and reused debris from the existing landfill forms the landscape

Thereafter, the rest of the stretch down to Vippetangen must be completed, so a continuous landscape with a harbor bath, a kayak landing, a restaurant etc. is usable and intact. Once the area is established, the next step will be Vippetangen and the construction of Kulturøya with transformations of the existing buildings. By then, the last phasing out of the cruise ships will be completed and a new chapter for the waterfront can begin.

4. The shielding edge is removed and the water is led into the landscape

Given that the construction of the landscape must take place during individual phases over a long period of time, the vegetation and the condition of the materials will be at different stages, depending on the time of construction. Trees planted early will be significantly larger than later planted trees, and the diversity of species will be much richer where the tidal 5. The construction is completed and the natural processes are taking over the design

landscape has had time to unfold. This will only reflect the processes of nature taking place, creating varied expressions, and thus also reflect the transformation process itself.

Diagram of construction Visualising the estimated stages in the construction process

108

CHAPTER V

Natural processes after construction

0 year after construction The tidal landscape is bare for vegetation, as nothing is planted. The rocks and the debris are visible, also below the water surface

1 year after construction Grasses and herbs are appearing in the upper part of the landscape. Below the water surface, macroalgaes have begun attaching themselves to the rocks. There are beginning signs of echinoderms, crustaceans, mussels, sea snails and barnacles in the area. Lichens can be seen on the rocks in the supratidal zone. Seabirds are finding food and rest at the skerries

5 years after construction Herbs and grasses have cultivated the ground and created condtions for more demanding plants. Smaller trees and shrubs are seen in the area. Below water the macro algaes have created a natural habitat for multiple species, so cnidarians and fish are also to be found. The marine ecosystem has been established

20 years after construction The life within the littoral zone is thriving. Some trees in the tidal landscape have grown too big, and is considered to be removed for their roots not to ruin the constriction, and for the accesibility to the coast Principle sections Visualising the estimated stages in the hard bottom habitat during natural succession Oslo Touching the Water

109

EXPLORING COASTAL CITY NATURE

CHAPTER VI

On Human Practices and Natural Processes

Impact of the project

With our proposal, we present an alternative development

Today, we are talking about the 21st century’s liveable cities,

of the post-industrial harbour front along Akersneset in

that are evolving in constant competition at a global market.

central Oslo. By recycling materials from the site and using

Despite the name, the cities and their surroundings are primarily

rocks from local construction projects, and by structuring the

liveable for human beings. More and more people are living

position of them, we have worked on creating a landscape that

their whole lives in the big cities, which are constantly growing,

takes advantage of the processes of nature, to optimize marine

and increasingly dominant in the landscapes worldwide. We

biodiversity. A landscape with space for recreational purposes

believe in thinking of the city as a tool to tackle ecological and

along and in the fjord, in coexistence with a variety of new

social crises. Where city nature is included as a permanent part

species.

of urban development. Not only as spatial planting strategies, but as a way to sustain a rich biodiversity on land and in water.

The design builds on the existing layers of the site. Both in terms of the reuse of materials, but also by rethinking buildings

In other words, we are convinced in perceiving the city as not just being the livable city but also the living city.

and certain surfaces so they can accommodate new functions. As a testimony to a time in history where the ideals of what the

With our proposal, we try to set free the urban landscape

city should provide, were significantly different from today.

by showing a multifunctional waterfront that is in constant

When we maintain certain edges, buildings and industrial

dialogue with the forces of nature. For the sake of the experience

surfaces, and by making them part of a new context, side by

and realisation, but also as an active method to increase the life

side with new city nature, it must be understood as a way of

and ecosystems of the big city, as a value in itself. When we

mediating a positive balance between built environments and

leave a large part of the project’s outcome to the processes of

local ecosystems. A common language between the static and the

nature, we can not be certain how flora and fauna will unfold in

dynamic, for the benefit of experience and learning. And as a

the design. We can come up with qualified guesses that give an

solution to the environmental challenges we are facing.

impression of the possible outcome. The decisive factor is that it is nature itself that creates the qualities of the landscape within

The new landscape should be seen as an urban tidal

our framework.

landscape that brings back the littoral zone to the transition between the land and the fjord. A constructed interpretation of

The proposal should not be read as a definitive solution, but

the original nature that can not be recreated, but with many of

as a reflection on the present needs and enlightenment. Nature

the same qualities. An interpretation, which is adapted to the

is changeable and so is society. We have studied the traces from

city’s current context, where a lot of people have their daily

industrialisation and modernism, and built upon the legacy

movements, and where the water rises drastically at times. From

of their time, with the knowledge and view of nature we have

a straight monofunctional edge, to a sloping terrain, mediating

today. Inspired by the natural coastal landscape that existed,

the dynamics of the water and the diverse life, whose natural

before it was claimed for human practices. Presumably, in the

habitats are located here.

future, one will learn from our shortcomings and build upon our traces in the landscape, with future ideals. Perhaps, the biggest flaw of modernism was the belief that they had figured out the definitive solution of the proper city. Despite the fact that societies are also part of a perpetual process, where new knowledge and new ideals are constantly emerging.

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ON HUMAN PRACTICES AND NATURAL PROCESSES

Rights of nature

The process of our studies has driven us to reflect on the

Professor emeritus of history and environmental studies

inherent values of nature and its rights. For whom or what do

at the University of California Santa Barbara, Roderick Nash,

we create city nature? And is nature important in the city at

narrates about the evolution of environmental ethics in his work

all? The Norwegian Constitution, article 112, added in 1992,

The Rights of Nature. In the past, the initial ethics were limited

prescribes that nature must be regarded as a fundamental right

to the family and the tribe. Since then, entire nations and

for human beings:

minorities have been granted rights, and at the time the work was written, some animals had also been granted rights. He

“Every person has the right to an environment that is conducive

explains that the environmental ethic will develop concurrently

to health and to a natural environment whose productivity and

with our knowledge of ecology are increasing, and that the

diversity are maintained. Natural resources shall be managed on

widening of the ethical circle will continue. We can expect the

the basis of comprehensive long-term considerations which will

future rights to include animals, plants, rocks, ecosystems, the

safeguard this right for future generations as well”

planet, and ultimately the universe (Nash, 1989).

(Article 112, The Norwegian Constitution). Can this article also be understood as the right to live in a city

Will we in the future witness cities where human

with nature as a part of it? That we humans have an obligation

management of nature is limited, and where nature is allowed

to maintain nature, also in the city, in order to have the right

to exist on its own unpredictable terms? Where we do not try to

to a daily dose of nature, also in the future? The Danish landscape

control nature, but let it thrive on its own terms, altso below the

architect Stig L. Andersson reflects upon city nature and what he

water surface.

describes as nature-based design. Solutions where the built and the grown have equal rights and exists on even terms, as it leads to cities that are good and healthy to live in. A nature man creates with our quality of life and survival in mind (Andersson, 2019). Article 112 focuses on human beings’ individual rights to a natural environment. It must have been a groundbreaking step to add this article in its time, where the ecological focus was much different than it is today. In previous centuries, nature has been considered an inexhaustible resource for humans, but today we have become aware of this not being a sustainable approach. Another way of thinking about nature and its rights, consists of shifting the idea of people’s right to nature, the anthropocentric focus, to letting nature itself be in focus. That nature, both biotic and abiotic factors, also has rights of its own.

114

CHAPTER VI

Coastal urbanism

The issue we address is not a unique case, linked only to Oslo. Throughout the world, the harbour industry has had a major impact on coasts located near cities. It is sustainable to transform these former industrial areas into residential and commercial districts, and this is also the tendency worldwide. But at the same time, constructions are still taking place along the coasts according to the same methods as during the active harbour industry, with land reclamation and a strict geometry. We continue to remove the natural ecosystems along the coast through our practices. Although we have become very aware of sustainable development, we are forgetting the biodiverse life underwater. We can not turn history around and go back to the time before industrialisation. What has already been done can simply not be undone. Neither should it, as it tells us about a time in history with other interests and purposes. Instead, we must look towards the future with the values we believe contribute to the common good today. Just like any architecture provides an insight into the time it was created with the values in question, contemporary harbour transformation projects and urban development near the water must also reflect the sustainable ideals we have today. With a starting point in what has once been, in order to learn from the past. We have to ask ourselves whether coastal cities should still primarily function as fortifications against the water? Or is it possible to use the areas closest to the water to create resilient solutions, where dynamics of the tide, storm floods, and the rising sea levels can contribute to the city’s ecosystems, increased biodiversity and recreational experiences? As a cohesive part of the living city, both below and above the water level. It is not about accusing existing and future maritime cultures, that are depending on the hard edges of the city. Quite the contrary. They hold plenty of space for communities and experiences. Nevertheless, we should question what values we acknowledge today and will in the future - for us and the planet we live on. And create a sense of connectedness between human practices and natural processes.

Oslo Touching the Water

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ON HUMAN PRACTICES AND NATURAL PROCESSES

Nordhavnen in Copenhagen, Denmark Ongoing Harbour transformation project in northern Copenhagen. Former industrial harbour with still functioning cruise ship terminals. Daily departures to Oslo. More land has been reclaimed during the development

Rasmus Hjortshøj, 2016

The harbour in Næstved, Denmark The municipality has plans to establish a new port on the edge of the city and integrate the current harbour areas in the new development plans

The harbour in Svendborg, Denmark Ongoing transformation with focus on climate and cloudburst protection of the harbor as well as recreational opportunities along the quayside. The installation will take place in stages during the coming years

Jyske Fynske Medier

Shanghai Deepwater Port, China The world’s largest industrial harbour

Pixabay, 2019

REFERENCES

Books – Ahern, Jack. (2012) ‘Urban Landscape Sustainability and Resilience: The Promise and Challenges of Integrating Ecology with Urban Planning and Design’, from: “Landscape Ecology, 28”, pp. 1202-1212 – Andersson, Stig L. (2019): ‘En by, der fungerer og føles som en skov’, from Søberg, Martin (red): “Manifest Stafet”, Arkitekturforlaget B. Pp. 68-69 – Bjerkely, Hans Jan. (2018) “Norske Naturtyper: økologi og mangfold”, (2nd edition), Universitetsforlaget. (Orignial published in 2006) – Diedrich Bruns, A.; van den Brink, H.; Tobi, S. Bell. (2017): “Advancing landscape architecture research”, Landscape Architecture and Spatial Planning, WASS WIMEK, Education and Learning Sciences, Wageningen University & Research – Christensen, Peter B. & Høgslund, Signe. (2011) “Havets planter: På oplevelse i en ukendt verden”, Aarhus Universitetsforlag – Diedrich, Lisa. (2015) “Site-specific landscape architectural approaches in contemporary European harbour transformation”, Københavns Universitet, Center for Skov & Landskab – Ellin, Nan. (1996) ‘Themes of Postmodern Urbanism’ from “Postmodern Urbanism”, Blackwell Publishing. pp. 133-181 – Hauxner, Malene. (2011) “Fra naturlig natur til supernatur: Europæisk landskabsarkitektur 1967-2007 set fra Danmark”, IKAROS Press – Krogh, Marianne. (ed) (2020) “Connectedness. An Incomplete Encyclopedia of the Anthropocene”, Strandberg Publishing – Kvale, Steinar; Brinkmann, Svend. (ed) (2009) “Interview. En introduktion til et håndværk”, Hans Reitzels Forlag – Marot, Sebastion. (1999) ‘The Reclaiming of Sites’, from: Corner, James: “Recovering Landscape: Essays in Contemporary Landscape Architecture”, New York: Princeton Architectural Press. pp. 45-57 – McHarg, Ian L. (1969) “Design with Nature”, John Wiley & Sons – Nash, Roderick F.: (1989) “The Rights of Nature: A History of Environmental Ethics”, University of Wisconsin Press – Ramberg, Ivar B., Bryhni, Inge., Nøttvedt, Arvid. (ed). (2013) “Landet blir til: Norges Geologi”, (2nd edition), Norsk Geologisk Forening. (Original published in 2006) p. 555 – Roede, Lars. (2016) “Historisk Atlas over Oslo: Gamle Kart Forteller”, Pax Forlag – Stahlschmidt, Per ; Nellemann, Vibeke Wainø. (2009) “Metoder til landskabsanalyse: kortlægning af stedets karakter og potentiale”, Forlaget Grønt Miljø – Sørensen, Asger. (2010) ‘Hermeneutik’, from: “Om videnskabelig viden - gier, ikker og ismer.”, Samfundslitteratur, Købenavhavn, pp. 184-194 – Tsing, Anna. (2015) “The Mushroom at the End of the World: On the Possibility of Life in Capitalist Ruins”, Princeton University Press – Zahavi, Dan. (2007) ‘Edmund Husserl. Hvordan verden træder frem’, from: Thau, Carsten. (ed) “Filosofi og arkitektur i det 20. århundrede.”, Kunstakadamiets arkitektskole, København, pp. 7-18

126

Reports – de Vibe, Ellen S.; Kolstø, Stein. (ed) (2008) “Fjordbyplanen”, Oslo Kommune, Plan- og bygningsetaten – Rinde, Eli. (ed). (2019) “Reetablering av biologisk mangfold i Oslos urbane sjøområder”, Norsk Institutt For Vannforskning Articles – Clement, Gilles. (2004) “The Third Landscape” Located 5th of September 2020 at http://www.gillesclement.com/art-454-tit-TheThird-Landscape – Constitution of the Kingdom of Norway as amended in 2018, “Article 112” , 17 May 1814, Located 15th September at https://www. refworld.org/docid/3ae6b4f94.html – Ellingsen, Morten. (2018) “Landskapsarkitektur over og under vann”, NMBU. Located 29th of March 2020 at https://www.nmbu.no/ aktuelt/node/34706 – Homer-Dixon, Thomas. (2020) “Coronavirus will change the world. It might also lead to a better future” The Globe and Mail. Located 22nd of August 2020 at https://www.theglobeandmail.com/opinion/article-the-coronavirus-is-a-collective-problem-that-requires-global/?utm_medium=Referrer:+Social+Network+/+Media&utm_campaign=Shared+Web+Article+Links – Peters, Glen. (2020) “Topforsker med optimistisk håb i mørket: Hvis vi spiller kortene rigtigt, kan corona-krisen vende klimakrisen”. Located 20th of August 2020 at https://videnskab.dk/kultur-samfund/topforsker-med-optimistisk-haab-i-moerket-hvis-vi-spiller-kortene-rigtigt-kan-corona – Bjerregaard, Trine Reitz.; Bredsdorff, Magnus.; Djursing, Thomas.; Mølsted, Henning. (2019) “Leder: Stop forureningen fra krydstogtskibene”. https://ing.dk/artikel/leder-stop-forureningen-krydstogtskibene-224009 Illustrations & photos – Ice skaters outside Akersneset by Wilhelm v. Hanno, 1873. Painting found on page 15 – Orthophoto of Oslo from Google earth, 2014. Image found on page 22 - 23 – Arial photo of inne Oslofjord, Chell Hill 2010. Image found on page 46 - 47 – Au bord du fjord de Christiania, Claude Monet, 1895. Found on page 70 – Arial photo of Akersneset 1, Harald Valderhaug, 2019. Found on page 76 - 77 – Arial photo of Akersneset 2, Harald Valderhaug, 2019. Found on page 82 – Arial photo of Nordhavnen in Copenhagen, Rasmus Hjortshøj, 2017. Found on page 116 - 117 – Arial photo of the harbour in Svendborg, unknown photographer. Found on page 120 - 121 – Arial photo of the harbour in Shanghai, unknown photographer. Image found on page 122 - 123

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127

APPENDIX A Construction drawing of the different quays at Akersneset Lie, Bente.; Brovold, Odd.; Hoel, Anne Trine.; Gundersen, Johnny.; Rekdal, Per Gilse.; Evensen, Inger Margrete. (2012) "Maritim kulturminneplan for Oslo havn", Oslo Havn KF

Vippetangen

Revierkaia

128

APPENDIX B Historic photos Lie, Bente.; Brovold, Odd.; Hoel, Anne Trine.; Gundersen, Johnny.; Rekdal, Per Gilse.; Evensen, Inger Margrete. (2012) "Maritim kulturminneplan for Oslo havn", Oslo Havn KF

Akershus slott og festning, 1865 Adolf Christian Moastue, Oslo Museum

Akershusstranda og Pipervika, 1915 Anders Beer Wilse, Oslo Museum

Havnemiljøet med kraner, Vippetangen mot Akershusstranda, 1962 E. N. Christiansen, Oslo Museum Oslo Touching the Water

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OSLO

130

APPENDIX

Høyvann med 50 års gjentaksintervall

Høyvann med 20 års gjentaksintervall

Høyvann med 10 års gjentaksintervall

233

219

208

Laveste astronomiske tidevann (LAT)

Lavvann med 1 års gjentaksintervall

Lavvann med 5 års gjentaksintervall

Lavvann med 20 års gjentaksintervall

Laveste observerte vannstand (1.3.2018)

-14

-25

-35

-43

Sjøkartnull (CD)

Normalnull 1954 (NN1954) Middel spring høyvann (MHWS) Middel høyvann (MHW) Middel nipp høyvann (MHWN) Normalnull 2000 (NN2000) Middelvann (1996-2014) (MSL1996-2014) Middel nipp lavvann (MLWN) Middel lavvann (MLW) Middel spring lavvann (MLWS)

85 84 80 77 69 66 56 52 49

Høyeste astronomiske tidevann (HAT)

102

Høyvann med 1 års gjentaksintervall

Høyvann med 100 års gjentaksintervall

243

173

Høyvann med 200 års gjentaksintervall

253

Høyvann med 5 års gjentaksintervall

Høyeste observerte vannstand (1914)

265

197

Høyvann med 1000 års gjentaksintervall

275

Høyder er i cm over Sjøkartnull som er nullnivå for dybder i sjøkart og høyder i tidevannstabellen.

-50

100

150

200

250

300

Nivåskisse med de viktigste vannstandsnivåene og ekstremverdier

20. september 2019

52 81 47 83 51 81 47 84 49 83 47 84

13 0005 0406

1309 1858 0140 0707 1413 2006 0240 0808 1512 2101 0334 0901 1606 2146 0424 0947 1656 2225 0511 1027 1743 2301 0555 1104 1826 2335 0637 1141 1908

1224 1948 0059 0801 1316 2029 0149 0845 1409 2112 0239 0931 1500 2156 0328 1020 1553 2244

27 0013 0718

Sø

Lø

Sø

19 0037 0601

Tid 16 0256 To 0953 1529 2231 17 0355 Fr 1055 1634 2332 0456 18 1202 Lø 1744

53 77 49 76 52 76 51 76 52 76 51 76 51 77 52 76 50 78 52 76

85 44 91 49 85 44 92 48 85 44 91 48 84 44 89 49 82 45 86 51 80 46 82 52 79 47 79 53 77 48 77

cm 48 85 48 84 46 87 48 84 45 89 49

1306 2021 0137 13 0838 To 1411 2112 14 0236 0934 Fr 1512 2208 0334 15 1035 Lø 1615 2310

12 0035 0746

3 0029 Ma 0603 1254 1845 4 0121 Ti 0659 1344 1940 5 0210 On 0751 1434 2026 6 0258 To 0837 1525 2107 7 0344 Fr 0918 1616 2144 0430 8 0955 Lø 1707 2219 9 0517 Sø 1029 1757 2255 0605 10 1103 Ma 1845 2337 11 0353 Ti 1152 1932

Tid 1 0417 Lø 1110 1647 2335 2 0509 Sø 1202 1745

44 79 41 79 43 80 42 79 41 81 44 78 41 83 45 78

78 47 84 48 79 46 85 46 80 45 85 45 80 43 85 44 79 43 83 45 78 42 82 45 78 41 81 45 77 40 80 45 78 40 80

cm 49 80 51 77 48 82 50

Lø

Sø

Lø

79 40 86 45 80 39 87 44 81 38 86 43 81 38 83 44 80 39 80 46 78 41 76 48 75 43 73 49 73 45 71 49 72 47 70

cm 40 84 46

Tid 1 0343 Sø 1032 1610 2258 2 0432 Ma 1123 1703 2352 3 0527 Ti 1218 1802

4 0046 On 0627 1313 1900 0139 5 0725 To 1407 1953 6 0228 Fr 0815 1500 2037 7 0316 0858 Lø 1553 2118 8 0406 Sø 0937 1647 2155 9 0458 1014 Ma 1738 2232 10 0550 Ti 1054 1827 2315 0042 49 11 0640 0743 71 On 1153 1300 48 1914 2007 70 0128 48 12 0018 0822 72 To 0730 1348 48 1258 2045 70 2001 0212 47 13 0119 0902 73 Fr 0821 1434 48 1357 2125 70 2051 0257 46 14 0217 0945 74 Lø 0915 1521 47 1455 2209 71 2146 15 0314 Sø 1015 1556 2248

1256 1849 0125 0658 1402 2001 0224 0804 1500 2051 0318 0857 1554 2132 0407 0942 1643 2209 0455 1021 1730 2244 0540 1058 1812 2319 0622 1133 1852 2357 0703 1214 1930

17 0018 0544

Tid 16 0435 Sø 1144 1727

Februar

39 77 38 74 38 78 39 73 38 79 41 73 37 80 42 73

76 41 81 41 77 39 82 40 78 37 81 39 78 36 81 39 77 35 79 39 76 35 78 39 76 35 77 39 76 36 76

Sø

Lø

1348 1947 0206 0800 1444 2034 0259 0851 1537 2115 0350 0935 1627 2155 0439 1017 1714 2233 0526 1055 1756 2312 0608 1133 1835 2351 0647 1210 1911

1249 1945 0109 0800 1328 2020 0148 0837 1409 2057 0229 0917 1451 2139 0313 1002 1537 2226 0402 1054 1628 2319

26 0030 0724

Sø

Lø

18 0108 0652

Tid 16 0416 Ma 1126 1707 2359 17 0529 Ti 1242 1837

Mars cm 45 76 46 72 44 78 44 74 43 79 43

47 68 46 66 47 69 46 66 46 69 45 67 45 71 44 68 44 72 43 70 42 74 42 72

78 35 82 40 80 34 81 40 80 34 78 41 78 36 75 43 76 39 72 45 73 42 69 46 71 44 68 47 69 46 66

cm 37 80 43 75 37 82 42

Sø

Lø

1248 1943 0105 0805 1342 2032 0200 0858 1437 2125 0256 0958 1535 2227 0359 1110 1643 2337 0516 1227 1811

10 0008 0715

2 0015 To 0601 1251 1826 0110 3 0702 Fr 1347 1923 4 0203 0755 Lø 1441 2012 5 0254 Sø 0841 1536 2056 6 0348 Ma 0923 1630 2137 7 0443 Ti 1007 1721 2219 8 0536 On 1056 1810 2309 9 0626 To 1152 1856

Tid 1 0458 On 1152 1725

38 76 37 72 38 77 39 71 37 77 41 71 37 77 42 72 36 77 43 75 36 78 42

74 38 77 39 76 36 79 38 77 33 79 37 77 32 79 37 77 32 78 37 76 32 76 38 75 34 75 38 75 36 73

cm 41 75 41

Tid

Sø

Lø

1233 1924 0051 0739 1306 1957 0127 0815 1343 2032 0206 0855 1423 2111 0250 0941 1507 2157 0339 1035 1557 2250 0434 1135 1654 2348

24 0017 0705

Sø

Lø

1329 1922 0143 0749 1424 2012 0237 0839 1517 2057 0331 0925 1608 2142 0423 1009 1656 2225 0510 1049 1739 2306 0553 1126 1817 2343 0630 1200 1852

16 0045 0646 To

April

48 68 46 66 48 67 46 66 47 68 46 67 46 68 45 68 44 70 45 70 42 71 44 72 40 73 43 74

cm 78 34 79 40 79 33 78 40 79 33 76 41 77 36 73 42 75 39 71 44 72 42 69 45 70 44 68 47 69 46 66

59°55' N 10°44' E

Månefasene er vist med følgende symboler: fullmåne , nymåne , voksende halvmåne , og avtagende halvmåne . Tidspunktene er gitt i norsk normaltid (UTC + 1 time). Sommertid fra siste søndag i mars til siste søndag i oktober. Da må tidene økes med 1 time. Høyder er gitt i cm over sjøkartnull.

1215 1951 14 0058 Ti 0451 1321 2041 15 0157 On 0855 1425 2134

82 53 87 56 82 52 88 54 82 51 89 53 82 51 88 52 81 51 88 52 81 51 86 52 80 50 85 52 79 49 84 52 79 48 83

cm 55 83 56 82 54 84 57 82 54 85 57

Januar

4 0021 Lø 0553 1251 1838 0112 5 0647 Sø 1340 1937 6 0202 Ma 0736 1426 2023 7 0249 Ti 0821 1512 2102 8 0335 On 0901 1558 2138 9 0419 0938 To 1645 2213 10 0501 Fr 1014 1732 2247 11 0543 Lø 1048 1818 2323 12 0626 Sø 1124 1904

Tid 1 0308 On 1004 1533 2234 2 0402 To 1100 1631 2328 3 0457 Fr 1157 1734

OSLO 2020 Tidspunkt og høyder for høy- og lavvann

APPENDIX C "Tidevannstabeller - For den norske kyst med Svalbard samt Dover", England, 83. årgang 2020, Kartverket.

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131

APPENDIX

78 36 1306 77 1850 43

49 70 48 69 50 69 49 69 49 69 49 70 47 69 49 71 45 70 49 73 43 72 48 75 41 75 47 77 39 78 45

Sø

79 37 1313 81 1834 43

31 0024 0618

Lø

Sø

Lø

1213 1903 0034 0720 1243 1934 0109 0757 1318 2008 0147 0839 1357 2048 0230 0926 1442 2133 0319 1020 1533 2226 0414 1118 1630 2324 0515 1216 1732

23 0003 0645

Sø

1332 1919 0145 15 0808 Ma 1426 2019

Sø

14 0046 0707

8 0042 Ma 0740 1309 1958 9 0133 Ti 0831 1357 2046 10 0226 On 0927 1449 2140 11 0325 To 1029 1546 2239 12 0432 Fr 1133 1652 2343 0551 13 1235 Lø 1807

Sø

Lø

Tid 0123 0718 1409 1932 0222 0814 1505 2027 0321 0908 1600 2120 0418 1000 1652 2212 0512 1049 1741 2302 0602 1136 1827 2352 0651 1222 1912

81 42 79 47 81 42 79 46

43 77 46 78 42 77 47 78 42 76 48 79 42 76 49 80 42 77 49 81 42 78 48

1250 1809 30 0105 Ti 0702 1350 1913

1219 1912 0049 0740 1254 1947 0127 0822 1334 2027 0210 0908 1420 2113 0259 0959 1511 2205 0352 1053 1607 2302 0451 1151 1707

29 0003 0555

Sø

Lø

Tid 0241 0859 1519 2111 0333 0943 1609 2158 0421 1022 1653 2238 0505 1054 1733 2313 0545 1122 1807 2344 0623 1149 1839

22 0015 0700

Sø

Lø

Juni cm 81 36 82 42 81 35 82 42 81 36 81 43 81 38 80 43 80 40 78 44 79 42 78 44 78 44 77

85 42 84 47 86 42 85 46

52 74 52 75 51 73 53 76 50 74 53 77 48 75 52 79 46 77 51 81 44 79 50 83 43 82 48

cm 81 42 79 47 80 43 78 48 79 44 78 49 78 46 77 51 76 49 76 52 75 51 75

1255 1827 14 0106 Ti 0754 1352 1946 15 0201 On 0842 1445 2043

13 0006 0630

7 0029 Ti 0727 1250 1940 0117 8 0815 On 1336 2026 9 0207 0904 To 1424 2115 10 0259 Fr 0956 1516 2207 11 0356 Lø 1052 1611 2305 12 0500 Sø 1153 1713

Sø

Lø

Tid 0208 0806 1449 2015 0309 0904 1545 2113 0407 0955 1638 2205 0501 1041 1727 2254 0552 1124 1812 2342 0640 1207 1856

85 50 81 53 86 49 82 52 86 47 83 52

47 81 52 83 47 79 53 83 48 79 53 84 49 79 53 84 49 79 53 84 50 80 53

1329 1854 0153 30 0759 To 1431 2003 31 0255 Fr 0857 1527 2102

1227 1924 0101 0758 1310 2006 0146 0842 1357 2052 0234 0930 1448 2142 0327 1022 1541 2238 0425 1120 1639 2340 0530 1224 1743

29 0047 0645

Sø

Lø

Tid 0251 0921 1533 2128 0339 0954 1618 2207 0425 1022 1658 2241 0510 1049 1735 2313 0554 1117 1810 2345 0635 1150 1846

22 0021 0716

Sø

Lø

Juli cm 87 41 86 46 88 42 86 46 87 43 85 47 86 45 85 47 84 48 84 47 82 50 83

93 49 89 50 95 48 91 49 95 47 92 49

54 81 56 83 52 81 56 84 51 82 55 86 50 83 53 88 50 84 52 90 50 85 51 92 50 87 51

cm 86 47 83 52 85 48 84 53 84 49 83 54 83 51 83 54 82 54 82 54 81 55 82

1302 1823 0104 13 0812 To 1355 1943 14 0155 Fr 0837 1442 2035 0244 15 0902 Lø 1526 2114

12 0010 0743

5 0011 On 0709 1228 1921 6 0056 To 0751 1311 2004 7 0141 Fr 0834 1357 2048 0228 8 0919 Lø 1443 2134 9 0316 Sø 1006 1530 2222 0407 10 1059 Ma 1620 2314 11 0506 Ti 1200 1715

Sø

Lø

Tid 0353 0944 1620 2154 0447 1026 1708 2242 0538 1106 1754 2327 0624 1146 1838

90 56 85 59 91 54 86 58 92 53 88 57 92 52 89 57

53 84 57 88 55 82 58 87 56 82 58 87 57 81 58 87 58 81 58 88 58 82 58 89 58 83 59

cm 94 48 92 49 92 51 91 50 89 53 90 52 86 56 89

Sø

Lø

1238 1941 0116 0812 1328 2027 0206 0858 1420 2117 0259 0950 1513 2212 0357 1049 1611 2315 0503 1156 1717

1306 1834 0135 0744 1408 1949 0237 0838 1503 2048 0334 0922 1556 2138 0428 1002 1645 2223

27 0026 0624

Sø

Lø

Tid 0335 0931 1610 2151 0427 1002 1652 2227 0517 1036 1734 2304 0602 1112 1815 2343 0645 1152 1857

21 0027 0728

Sø

August

99 55 93 53 100 54 95 52 100 53 97 51 98 54 97 52 95 56 96 54

55 87 57 91 55 87 56 92 55 87 55 94 55 87 54 96 56 88 54 97 56 90 54

cm 91 53 89 56 90 54 89 56 89 56 89 56 88 57 89 55 88 58 89

59°55' N 10°44' E

40 76 40 73 40 76 41 73 39 76 43 74 38 75 44 75 38 76 45 77 37 77 45

9 0000 Lø 0702 1236 1927 10 0053 Sø 0751 1326 2015 11 0146 Ma 0844 1417 2106 12 0241 Ti 0943 1512 2204 13 0343 On 1053 1615 2310 14 0459 1205 To 1734

15 0017 0626

77 35 79 40 78 33 80 39 78 32 80 38 77 32 78 39 77 34 77 40 76 36 75 40 76 38 73

2 0046 Lø 0640 1331 1857 3 0141 Sø 0736 1426 1951 4 0237 0826 Ma 1521 2040 5 0334 Ti 0914 1615 2127 6 0430 On 1004 1706 2216 7 0523 1055 To 1755 2307 8 0613 Fr 1146 1841

Lø

cm 79 35 77 42 79 36 76 42 78 38 75 43 76 40 74 45 74 43 73 47 73 45 71 48 71 47 70

Tid 0117 0731 1400 1948 0213 0824 1454 2040 0309 0913 1546 2129 0402 0958 1635 2214 0450 1038 1719 2255 0533 1113 1757 2331 0610 1144 1831

Mai

cm 37 76 41

Tid 1 0538 Fr 1235 1757

OSLO 2020 Tidspunkt og høyder for høy- og lavvann

1248 1821 0101 0700 1339 1927 0155 0751 1427 2017 0248 0833 1514 2100 0342 0912 1603 2140

94 59 90 62 95 58 92 60 96 57 94 58 96 56 95 56 96 56 94 56

62 84 63 89 63 83 63 89 64 83 63 90 63 83 63 91 63 84 63 92 62 85 63 93 61 87 63

Sø

Lø

1254 2000 0138 0828 1349 2050 0231 0919 1445 2145 0328 1018 1543 2249 0431 1126 1650

57 90 57 97 58 90 57 98 59 89 56 99 60 90 56 99 60 92 57

cm 95 57 94 56 93 58 94 56 92 58 95 57 91 58 96

1238 1812 0114 0711 1340 1930 0214 0806 1435 2028 0309 0851 1528 2116 0402 0932 1619 2201 0452 1011 1708 2243

96 56 101 59 99 54 100 58 100 54 98 59 99 55 95 60 97 58 91 63 95 61

Sø

Lø

Sø

Lø

cm 88 65 93 64 86 66 91

Oktober Tid 16 0451 Fr 0943 1707 2228 17 0540 1016 Lø 1757 2320 0001 66 18 0627 0655 84 Sø 1100 1209 67 1845 1910 90 0039 67 19 0016 0731 84 Ma 0713 1249 67 1219 1946 90 1933 0117 67 20 0110 0806 84 Ti 0801 1328 67 1319 2021 90 2024 0155 66 21 0203 0842 84 On 0851 1408 66 1417 2059 91 2119 0236 65 22 0258 0921 86 To 0947 1451 66 1516 2141 92 2222 0319 64 23 0357 1005 87 Fr 1053 1538 65 1623 2228 93 2336 0406 62 24 0508 1056 90 Lø 1205 1631 64 1744 2323 95 0500 61 25 0046 1152 92 Sø 0625 1731 62 1309 1904 0021 96 26 0146 0558 60 Ma 0726 1247 95 1405 1836 59 2003 0117 98 27 0240 0656 58 Ti 0815 1339 97 1500 1932 57 2053 0211 98 28 0333 0745 57 On 0900 1429 98 1553 2019 55 2138 0304 98 29 0423 0829 56 To 0941 1520 98 1643 2101 54 2220 0358 97 30 0509 0908 56 Fr 1021 1614 97 1727 2143 55 2258 31 0549 Lø 1057 1806 2333

Tid 1 0537 To 1051 1752 2323 2 0618 Fr 1130 1833

100 10 25 0003 0550 60

Sø

20 0044 0741

Lø

Tid 0436 0949 1653 2219 0526 1026 1741 2301 0612 1105 1827 2351 0656 1157 1913

97 61 98 56 97 60 99 56 94 60 98 58 92 61 96 61 89 63 94 64 86 65 92 66 84 66 90 67

58 90 57 99 59 90 57 99 60 90 57 98 61 91 57 98 62 93 58 97 62 96 57

cm 95 57 97 55 93 57 97 57 91 57 98

Tid 16 0601 Ma 1041 1821 2352 67 17 0648 2 0005 0658 82 Ma Ti 1149 1208 68 1910 1913 88 0039 67 3 18 0044 Ti 0731 83 On 0735 1246 67 1251 1947 88 2000 0115 66 19 0135 4 0804 84 0824 On To 1328 66 1349 2024 89 2054 0155 64 5 0842 85 20 0227 To Fr 0918 1412 65 1448 2106 90 2155 63 21 0324 6 0238 Fr 0925 87 Lø 1020 1500 63 1553 2155 91 2304 62 22 0426 7 0325 1014 90 Lø Sø 1129 1553 62 1708 2251 92 0418 61 8 23 0011 Sø 1110 92 Ma 0536 1652 60 1235 2350 94 1828 59 24 0112 9 0516 1208 95 0643 Ma Ti 1755 57 1336 1935 0047 96 10 0614 57 25 0207 Ti On 0740 1303 97 1433 1854 55 2030 97 26 0300 11 0141 On 0708 55 To 0829 1357 98 1527 1946 53 2118 97 27 0351 12 0234 0755 54 0914 To Fr 1450 99 1616 2034 53 2159 0328 95 0437 13 0838 54 28 0952 Fr Lø 1546 98 1658 2121 53 2234 93 29 0518 14 0422 0917 54 Lø Sø 1026 1640 98 1735 2209 54 2303 0513 91 0553 15 0954 54 30 1055 Sø Ma 1732 97 1809 2300 55 2331

cm 83 67 89

November Tid 1 0625 Sø 1132 1840

91 60 94 58 91 59 95 58 89 59 95 59 87 59 94 61 85 60 92 62 84 61 90 63 82 63 88 64 81 64 87 64

58 88 56 96 59 89 56 94 60 90 56 93 61 91 57 92 61 93 58

cm 89 55 97 57 88 56 97

9 0019 On 0543 1238 1823 0114 10 0639 To 1335 1921 11 0209 Fr 0731 1431 2016 12 0305 0819 Lø 1527 2108 13 0359 Sø 0905 1621 2157 14 0450 0950 Ma 1713 2244 15 0539 Ti 1037 1803 2331

2 0001 On 0656 1204 1917 0036 3 0729 To 1248 1957 0117 4 0807 Fr 1336 2041 5 0202 Lø 0852 1426 2130 6 0252 Sø 0943 1521 2225 7 0347 1040 Ma 1620 2322 8 0444 Ti 1139 1722

Tid 1 0625 Ti 1126 1842

92 53 94 52 93 51 96 51 93 50 97 51 91 50 96 51 90 50 96 51 88 50 95 53 86 51 93 54

64 81 63 85 63 82 62 85 62 83 60 86 61 85 59 87 59 87 57 89 57 89 56 91 55 92 54

cm 80 64 86

Sø

Lø

1224 1941 0106 0759 1321 2033 0158 0851 1419 2129 0252 0949 1521 2228 0351 1053 1627 2331 0453 1200 1742

1304 1901 0130 0703 1403 2007 0225 0759 1455 2057 0315 0846 1542 2135 0401 0925 1623 2206 0442 0957 1701 2232 0517 1026 1738 2257 0549 1056 1815 2326 0622 1129 1854

23 0032 0559

Sø

Lø

17 0018 0711

84 55 89 58 83 54 90 58 83 54 90 57 82 54 89 57 81 55 87 57 80 56 85 58 79 57 84 58 78 57 83 58 78 56 82

55 85 51 90 56 85 52 88 57 86 53 87 57 86 55 85 57 87 57 84 56 88 58

cm 85 51 On 1852 92

16 0625 1128

Tid

Desember

59°55' N 10°44' E

Sø

Lø

11 0006 0558

4 0030 Fr 0724 1243 1938 0111 5 0803 Lø 1325 2018 6 0153 Sø 0842 1407 2058 7 0236 0922 Ma 1449 2139 8 0320 Ti 1006 1533 2223 9 0406 On 1056 1621 2312 0458 10 1152 To 1716

cm 91 59 94 57 88 61 92 59 86 63 90

September Tid 1 0517 Ti 1041 1732 2306 2 0603 On 1120 1816 2348 0645 3 1201 To 1858

OSLO 2020 Tidspunkt og høyder for høy- og lavvann

“Det var i den tid jeg gikk omkring og sultet i Kristiania, denne forunderlige by som ingen forlater før han har fått merker av den” Sult, 1890 Knud Hamsun

Illustration plan 1 : 2 000