The extension of the National Gallery in Tullinløkka has been a matter of discussion for many years. The first competition for this space was in 1972. Lund & Slaatto's proposal was the one chosen although it was never built as it was not considered to be a political priority.
Sverre Fehn's proposal for Tullinløkka works as a link between the Historical Museum, the National Gallery and the University. These three buildings would remain in the site as dominant figures and would serve as entrances to the new building connected via bridges. Thus the proposal is designed as an autonomous building located in an open space in the city. This building inhabits the city but at the same time preserves public space and allows for different communication routes, both public and private to overlap.
The main circulation system consists of bridges that cross the new building on the upper level giving visitors an overview of the museum, and providing direct access to indoor exhibition areas, flexible spaces and restaurants. The bridge that connects the National Gallery to the Historical Museum is concave in order to offer a richer visual experience of the street life that unfolds within the museum. Therefore, raising communication to the upper plane, the street level is released, with easy descent to the magazine floor and parking.
INHABITING TULLINLØKKA
Location: Tullinløkka, Oslo.
GROUND FLOOR
FIRST FLOOR
SECTION A,B,C
SECTION D AND FACADES
Sverre Fehn had worked with ramps previously in several projects. For instance, in the Hedmark Museum, a boomerang-shaped ramp lifts you from the courtyard offering views over the remains of a medieval farm, giving access to the upper level. Other ramps are used in different ways through out the museum, both inside and outside, tchoregraphing a journey through the exhibit. Much in line with the modernist concept of Promenade d'Architecture.
HEDMARK MUSEUM
SKETCH FOR TULLINLOKKA'S RAMP
Sverre Fehn also makes use of the grid to establish a free plan between the three buildings. The grid of columns is 9 x 9m, although the column distance can be extended to 18 x 18m. This grid is continuous, yet it is interrupted in ground level by a diagonal path for public transit and an open amphi.
Sverre Fehn designed a flexible facade made of glass divided horizontally so that the lower part could be raised and lowered depending on the season and the use. At the same time, the interior of the museum does not have fixed walls. Instead, it operates with a light wall system organising the exhibition, to create large or small room units as needed. According to Sverre Fehn, non-directional structures offer better opportunities for peace and contemplation of the museum, while avoiding traditional situations in which artworks must be adapted to spaces.
The museum's need for exhibition in the outdoors is satisfied by a large terrace on the upper level. The roof has a vivid expression- it is made of domes with skylights that provide uniform lightning and equal exhibiting conditions throughout. Each dome is an independent structure that rests on four columns of concrete. During dark winter days the lights inside will seem luminous lanterns in the landscape.
SVERRE FEHN'S MODELS
Sverre Fehn had worked with free plan in other projects such as the competition of the Pompidou Centre in Paris 1971 and the library of the Bøler community Center.
CENTRE POMPIDOU
The temporary exhibitions are held in the lower theater as it has direct contact with the technical floor. The lecture hall is located following the same manner with direct contact to magazines and the administration. The lecture hall, the theater and the dressing rooms for the performers have direct entrances from the street, and could operate even if the museum remain closed.
The administration is linked to the old building by means of bridge crossings, forming a large office landscape. The library is kept in the National Gallery but it expands and gets a new entry in the first floor, while the old lecture hall could be used for library activities.
Study cells are placed on the top floor, these rooms have skylights and are located so that they provide an opportunity to study undisturbed space.
In the drawings, we can see how Sverre Fehn dealt carefully with all the spaces and the urban context. The project can be understood as a "go-gate" which forms a shortcut to Karl Johans street. Thus, without visiting the museum, one can walk through the building and have a brief exposure to the museum's activities that are aimed to the street and the public without being blocked by a vestibule or other intermediate traffic zones.
CONNECTIVITY, PUBLIC AND PRIVATE SPACES
BIBLIOGRAPHY:
-Sverre Fehn Samlede Arbeider
-Sverre Fehn The Pattern of thoughts per Olaf Fjeld.
-Fjeld/Sverre Fehn the thought of construction.
-Archive National Museum.
-Article: Kunst og Kultur 1-2005
BØLER COMMUNITY CENTER'S LIBRARY