Munch Museum | estudio Herreros

The future Munch Museum is not just a facility for the safeguarding and dissemination of a fundamental piece of heritage of the history and character of Norwegian culture. This is a unique opportunity to develop a contemporary concept of a museum with a transcendental urban role and a historic responsibility as a cohesive element of the community, not only of Oslo but of the entire nation. Its ascending shape connects the public space covered by the lobby that houses recreational, commercial, cultural and restoration uses, with the terraces/observatory/club of the rooftop, offering in parallel the discovery of the work of Edvard Munch and the different historical strata of the city of Oslo. This gesture of conceiving the communication system as a public space/ascending viewpoint is the essence of the heterodox character involved in developing a vertical museum. But there is more on this journey: the public discovers other types of rooms, dining areas, administrative units, the library or the educational center that speak of a programmatic complexity that surpasses the conventional idea of ​​the museum as a set of rooms that are visited and a series of invisible rooms from which the institution is supposed to be managed.

The facades, finished in perforated aluminum with different degrees of transparency, offer an enigmatic and evanescent perception of the building that reacts to the mild stimuli of the Oslo climate, offering very different images depending on the moment.

The building responds to the requirements involved in the energy use and environmental sensitivity demanded by the Norwegian public through a holistic conception in which structure, facilities and construction operate collaboratively under the Passive House concept that is based on aspirations such as lightness, sustainability, recyclability and maintenance. An implementation that seeks to present Norway as a country focused on experimentation and innovation has allowed the construction process to be an event in itself. The new Munch Museum will be a dynamic arts center, with different audiences (experts, schoolchildren, tourists, art lovers) that are expected to come regularly, attracted by a program with a variety of formats.

1st Prize. International competition by CV selection

ARCHITECTS :

estudio Herreros. Juan Herreros – Jens Richter

CLIENT:

Oslo Kommune, Kultur- og idrettsbygg

PROJECT DIRECTOR:

Gonzalo Rivas

PROJECT TEAM:

Beatriz Salinas, Carlos Canella, Andrea Molina, Paola Simone, Carlos Ramos, Iván Guerrero, Ana Torrecilla, Alberto Sánchez, María Franco, Raúl García, Frank Müller, Víctor Lacima, Carmen Antón, Ramón Bermúdez, Margarita Martínez, Luis Berríos-Negrón, Spencer Leaf, Verónica Meléndez, Xavier Robledo, Ricardo Robustini, Paula Vega

LOCAL ARCHITECT:

LPO Arkitekter

AREA:
26.300m2

CONSULTANTS:

General Engineering: Kulturplan Bjørvika: Multiconsult | Hjellnes Consult | Brekke & Strand Akustikk. Engineering (competition): IDOM. Facades (preliminary project): ARUP. Facades (project): Bollinger + Grohmann. Sustainability: Asplan Viak. ICT: Rambøll Norge. Safety: COWI. Landscape (competition): Thorbjörn Andersson

AWARDS:

-German Design Awards 2020. Special Mention. Architecture Category

-XI BEAU 2011. Urban Project Category

-NAN Prize 2012. Best International Project

PHOTOGRAPHS:

Adrià Goula, Tove Lauluten, Ivar Kvaal

[ES]
El futuro Munch Museum no es solo un equipamiento para la salvaguarda y difusión de un patrimonio fundamental de la historia y el carácter de la cultura noruega. Nos encontramos ante una oportunidad única para desarrollar un concepto contemporáneo de museo nutrido de un trascendental rol urbano y una responsabilidad histórica como elemento cohesivo de la comunidad no solo de Oslo sino de toda la nación. Su recorrido ascendente conecta el espacio público cubierto del vestíbulo que aloja usos lúdicos, comerciales, culturales y de restauración, con las terrazas/observatorio/club de la cubierta, ofreciendo en paralelo el descubrimiento de la obra de Edvard Munch y los diferentes estratos históricos de la ciudad de Oslo. Este gesto de concebir el sistema de comunicaciones como un espacio público/mirador ascendente es la esencia del carácter heterodoxo que supone desarrollar un museo en vertical. Pero hay más, en este recorrido, el público descubre otro tipo de estancias, salas de restauración, dependencias administrativas, la biblioteca o el centro educativo que hablan de una complejidad programática que supera la idea convencional del museo como un conjunto de salas que se visitan y una serie de estancias invisibles en las que se supone que se maneja la institución. Las fachadas, terminadas en aluminio perforado con diferentes grados de trasparencia, ofrecen una percepción enigmática y evanescente del edificio que reacciona a los leves estímulos del clima de Oslo ofreciendo imágenes muy diferentes según el momento. El edificio responde a le exigente implicación en los aspectos energéticos y de sensibilidad medioambiental que demanda el público noruego mediante una concepción holística en la que estructura, instalaciones y construcción operan colaborativamente bajo el concepto.