OSLO OPERA HOUSE COMPETITION mark shapiro
The competition called for the design of a facility for the Norwegian National Opera as well as an urban design strategy for the immediate context.
THE SITE
The site is located on the abandoned waterfront of Oslo. The existing elevated freeway to the north of the site is to be demolished and relocated in a tunnel under the harbor. A new surface boulevard will replace the freeway one block north of the site.
Half the site to the east is located on part of an existing dock. The western portion of the site is in the water. Foundation conditions are better on the eastern portion of the site. A park with an aquarium is to be located south of the site on the remaining portion of the existing dock.
THE PROGRAM
Performance spaces comprised: A 1400 seat traditional horseshoe shaped main auditorium with main, back, side and under stages. A flexible theater seating 400 and a publicly accessible rehearsal room of 324 square meters.
Other public areas included foyers, coat rooms, bars, a restaurant, hospitality rooms and and opera shop. Foyers were to allow the possibility of informal performance and exhibition. Extensive backstage areas included scenery and costume shops, dressing rooms and rehearsal spaces as well as administrative offices. A staff and performer=s canteen and Gymnasium were also included.APPROACH
1. The opera house and particularly its associated open space should create a significant relationship between the center of Oslo and the newly opened waterfront, with its views to the fjord and the natural landscape. The sequence of open spaces that link the train station square to the waterfront via the new opera square is as important as the opera house itself.
2. The ritual of attending the opera is as important as the performance. Therefore the visitor
=s experience is enhanced by introducing a series of proscenium-like frames to control views of the landscape and direct movement to and through the public areas of the building. This strategy enhances the anticipation of the user and creates an ambiguity as to who is Aon stage.@3. The new building should make reference to the maritime history and culture of Norway and the unique natural landscape and urban setting of Oslo.
4. There should be a clearly distinct, but permeable relationship, between the ceremonial public spaces of the foyers and large auditorium and the support spaces of the backstage that have an industrial character.
5. Materials and details should enhance the tradition of fine craftsmanship associated with Norwegian and Scandinavian culture.
URBAN STRATEGY
The building occupies the western portion of the site in order to minimize foundation costs, but more significantly, to define an Opera Square on the water
=s edge. At present, with the exception of the city hall, central Oslo is isolated from its waterfront. As with the City Hall, the new Opera Square and the opera house establish a second significant relationship between the city and the water.The building is conceived as a solid block of urban fabric that defines the Opera Square. The perimeter of the building is defined by a narrow band of rooms, with a consistent cornice. The block is then carved away and articulated to establish the specific identity of the opera house by revealing the internal spaces of the building as well as views to the landscape. The large auditorium, the rooftop amphitheater, the proscenium wall and the stage tower rise out of the block as sculptural elements that establish the identity of the opera house and evoke the maritime and industrial history of the waterfront.
The Opera Square is linked diagonally through a series of spaces, which include a new square north of the Palekai, the existing Christian Frederiks Plass, to Jernbanetorgat and the foot of Karl Johansgate. New development along Nyland Alle, as well as the proposed ferry building at Palekai, should have the same height as the cornice line of the opera house in order to clearly define, with the opera house, the two new squares. The southern edge of the Opera Square is open to views of the fjord, with its islands. The edge of the square is defined by the first of a series of proscenium-like frames. This
Aproscenium@ edge aligns with the northern edge of Radhusgate, reinforcing the relationship between the City Hall, the opera house and the ruins of old Christiana.
OPERA SQUARE
The opera square is a significant focus for central Oslo and a link to the water=s edge, with its framed view of the fjord and islands. The square provides an appropriate setting and arrival space for the opera house. The square accommodates public gatherings and outdoor performances. A large projection screen can be hung from the Aproscenium@ frame that defines the water=s edge. The ground plane is manipulated to provide a seating area within the larger space of the paved square. This feature is partially planted with grass and the lower portion can be flooded with water so that, as well as being a fountain in summer, it can accommodate ice skating in winter.
Projection and digital screens at the top of the opera house are also visible from the square and the city. Banners, advertising performances and other events, can be hung from the second proscenium-like frame to the east, that defines the entry to the building. A water taxi stop and commercial concession are located at the southeast corner of the square, as is the opera café and a restaurant. The northern and eastern edges of the square are defined by paired rows of trees.
ENTRY AND FOYERS
A second Aproscenium@ frame defines the eastern edge of the Opera Square. It is faced in cast white bronze and frames views into the glass enclosed foyer, thus putting the opera-goers Aon stage@. Entry to the outer lobby (concourse) is centered on the frame. The outer lobby accommodates the coatroom, box office and information counter, as well as providing access to the opera cafe. A large ramp and stair as well as elevators take the operagoer up to the piano nobile and foyer. One may also ascend directly via elevator to the rooftop amphitheater. Having reached the piano nobile the visitor is presented with the volume of the large auditorium against the backdrop of the proscenium wall, that divides front and back of house facilities. Stairs, balconies and an elevator allow access to upper level seating and boxes. One may also penetrate or go around the end of the proscenium wall to reach the small (experimental) theater and the public rehearsal room. These are conceived as part of the back-of-house facilities.
Framed views back to the opera square and the fjord can be enjoyed from the foyer and its terraces. An informal performance space lies between the foyer and an upper level courtyard.
LARGE AUDITORIUM
The large auditorium is a modern reinterpretation of traditional horseshoe opera houses, such as and Semper=s opera houses in Dresden and Vienna and Garnier=s Paris Opera. A highly refined inner liner is contained within a more Atechnological@ container. The liner and balcony fronts are made of finely crafted wood and are shaped and detailed in order to modify the acoustic environment of the auditorium and prevent the acoustic Ahot-spot@ that may result from the curved back wall of a horseshoe shaped theater.
The traditional chandelier is reinterpreted as a lighting, acoustic and technical device. Its shape, as well as having acoustic properties, recalls the shape and construction of Viking ships. Translucent panels are held between the ribs and may be repositioned in order to Atune@ the acoustic environment of the auditorium. The chandelier may also be angled, raised and lowered. In this way the upper seating balcony may be cut off from the auditorium, when needed, and the acoustic volume of the auditorium can be modified. The chandelier, with its glowing underside, will be lowered as the audience enters the auditorium and raised just prior to the start of a performance, in the manner of the traditional opera house chandelier.
A thick proscenium wall divides the auditorium from the stage. This exaggerated proscenium wall is carved away to reveal the opening, forestage and orchestra pit. The angled and curved cut through the wall provides early acoustic reflection from the stage and orchestra pit. The Avesica piscis@, or the zone of interaction between performer and audience, lies within the cut through the thickness of the proscenium wall, dramatizing the framed view into the artificial world of the opera performance.
SMALL AUDITORIUM AND PUBLIC REHEARSAL ROOM
Because of their experimental and flexible nature, the small auditorium and the publicly accessible rehearsal room are located in the zone behind the main proscenium wall. This evokes the idea of the audience penetrating into the world of the backstage. The small auditorium is conceived as a highly serviced stage. It has a flexible floor to accommodate as many seating and performance configurations as possible and is directly linked to the side stage of the large auditorium.
REHEARSAL ROOMS
Orchestra rehearsal rooms are located in the lower part of the building near the orchestra pit and orchestra wardrobes. Opera and ballet rehearsal rooms are located in the upper part of the building at the same level as the other wardrobes. The upper level rehearsal rooms are lit from above by north roof monitors. Each rehearsal room has an independent acoustic liner and ballet floor where required.
PERFORMER
=S AREASOrchestra wardrobes are located at grade, near the orchestra pit. All other wardrobes are located at the main rehearsal level and are one floor below the costume workshops. Stairs and elevators provide connections to stage level. All wardrobe and changing rooms occupy a narrow zone at the edge of the building, allowing natural light and ventilation.
The canteen enjoys a privileged position overlooking the proposed park to the south. It is located at the main rehearsal level and has a south facing outdoor terrace. The gymnasium and medical facilities are directly above and also look into the terrace.
WORKSHOPS
Costume workshops are located in a narrow band along the edge of the building and are located just above the rehearsal and main wardrobe level. The large scenery workshops are at stage level. Large areas of glazing light these workshops as well as giving the public an opportunity to see into the world of the backstage from the north and east.
ADMINISTRATION
Administrative offices are located on the top floor in a narrow band at the periphery of the building, thus affording all offices with light, ventilation and view.
CIRCULATION AND TRANSPORTATION
Delivery trucks enter the building at grade and maneuver under the main foyer. Two hydraulic lifts raise the trailers of large trucks to stage level where the large workshops are located. The lifts can also lower the trailers to the under stage areas.
Backstage circulation is organized around a major spine that lies between the stage areas and the large workshops. A glass block floor at the rehearsal level allows light to penetrate through the building.
OUTDOOR PERFORMANCE
Outdoor performance areas with large digital and conventional projection screens are located in the opera square and in a rooftop amphitheater. The rooftop amphitheater can be seen from and can see back to the square and the city. This continues the theme of ambiguity regarding the relationship between performer and audience. The informal performance area in the foyer may also open into an upper level courtyard.
STRUCTURAL SYSTEMS
The building footprint is consolidated on the eastern portion of the site in order to minimize foundation costs. The different architectural elements of the building are each given an appropriate structural system. A closely spaced column grid supports the narrow band of spaces on the north and east edges. A larger column grid supports the large workshops and rehearsal rooms. The structure of the fixed footprint of the stage tower, main proscenium wall and theater are independent of the rest of the structure. Backstage areas could employ either a steel or reinforced concrete framing system. Foyers are structured with a widely spaced reinforced concrete column grid. The proscenium frame along the southern edge of the site is supported by a post-tensioned reinforced concrete beam.
MECHANICAL SYSTEMS
The heating, ventilation and cooling system is zoned so as to accommodate the very different needs of the diverse program elements. District heating should be used, if it is available. Cooling should be produced by using the fjord as a heat sink. When the weather permits, the narrow band of spaces at the periphery of the building, as well as the sky-lit rehearsal rooms can be naturally ventilated. The foyer glazing should also have operable elements to allow natural ventilation when the weather permits.
Mechanical and fan rooms, as well as boilers and heat exchangers, if they are required, are provided in the basement as well as in the thickened and extended proscenium wall.MATERIALS
The north, east and part of the south facades are clad in red Norwegian granite. Horizontal coursing is consistent, but vertical joints are randomly spaced. This allows smaller windows to be placed where needed without interrupting the continuity of the major wall surfaces. The major areas of glazing are metal framed and developed as a diaphanous skin. Fritted glass is employed in the upper areas of the west and south facing glass to control solar heat gain. The stage tower and proscenium wall are clad in metal enamel panels. The entry frame is clad in cast bronze panels. Exposed columns and the proscenium-like frame on the southern building edge are exposed reinforced concrete. Foyer floors are Norwegian slate. The outer surface of the large auditorium is polished reinforced concrete. The inner liner of the main auditorium is finely crafted wood paneling which is perforated in various locations to vary its acoustic properties. The acoustic chandelier in the auditorium has a steel structure with translucent glass acoustic reflectors.
