37A09 | Museo di arte contemporanea
Oslo Norvegia
Museo Nazionale della Norvegia
2009
Progetto di concorso internazionale
Davide Ruzzon
Veronica Boraso, Valentina Vettorato, Francesco Telandro
Euro
112.000.000
Concept guide is based on a simple idea: a lobby as a square able to include the library rooms. Around this functions cluster the knowledge produced by these experiences lets visitors directly appreciate products from different fields of art. After a sort of initiation rite, people can choose a more proper approach to both traditional and contemporary art. The main principle is based on the distinction between a contemplative feeling and a sympathizing experience: the former being a silent meeting with beauty, the latter a direct way to 'feeling with' as the literary translation from Latin suggests. Actually, cum-patire means not only suffer but also share with someone. In this case our concept introduces the possibility that the aesthetic perception of a contemporary art works gives consciousness of the real world. Similarly, traditional art pieces are placed within the horizontal basement and illuminated by several skylights above the roof. Differently, contemporary art works are exhibited under the basement, within a volume faced to the city and a more complex space condition. The most important aim of the proposal is to avoid a museum bogged down in the idea to house only luxury collections of great pieces of art. Like all big cities, Oslo should take part in Hope Factory: only a vivid, chaotic and dynamic center can pursue this ambitious target. A center where pedagogic value and research live together.
Through existing buildings it has been possible to obtain a geometric reference system: using the fronts faced the sea and the Dronnig Mauda gate a 120 meters simple square was fixed on the ground as museum volumes boundary. On the centre, exactly at the diagonals crossing, library was placed. From the ground to the roof a large exhibition ramp has been designed around the library core: in the space center a big column, containing two big lifts and the security stairs, reveals its presence.
On the rear of the plot, where the terrain rises up, a large slab links the museum first floor plaza with adjacent streets. In this way a reserved restricted entry is obtained for the museum employees, directly from Dronnig Mauda gate to the administration offices planned at the first floor.
Naturally, the basement emphasizes the horizontal line: its shape is compact, above all the sides faced the city. Toward the fiord, the horizontal volume reduces its presence, as if searching a dialogue with the preexisting buildings. In the centre of the basement the memory of the pre-existing tree-lined circle crops up again: a geometric-shaped arch, like a razor, empties out the solid mass, thus creating plaza connected with the gardens located on the rear, towards the Dronning Mauda Gate and Dokkeveien streets.
Under the base, a multifaceted crystal looks onto the city. Double-skin glass faces in a double meaning: from the inside you cannot see directly the natural, urban landscape; from outside you cannot clearly see along glass walls human movements behind: you can see only shadows. Actually only art cavern inside you can see reality, but not within a direct vision, only diagonally. Such double condition requests a dramatic limits box transformation: sections of opaque glass walls leave the external box boundaries to a more internal position. This moving back permits a crosswise view trough lateral float transparent glasses windows.
Another meaning revealed by this double-skin glasses box became evident in the dark, without sunlight. In this latitude both the artificial and the natural light assume a special character. In Oslo the reversed Plato cavern myth could be well expressed by a luminous lamp, an ever-burning knowledge fire, useful to remind everybody the meaning life infinite research, which is only possible with art aid.