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Rendering by MIR.
PROJECT INFO
Location: Jevnaker, Norway
Use: Museum
Site Area: Expanded Sculpture Park ≈ 145,000m2
Building Footprint: Over Land ≈ 200m2, Spanning water ≈ 90m
Total Floor Area:1,400m2
Status: Competition 1st Prize, Ongoing
Client: Kistefos Museum
Architect: BIG - Bjarke Ingels Group
Collaborators: AKT II (Structural Engineering), Max Fordham (Energy, Sustainability), Davis Langdon (Cost Estimates, Benchmarking), GCAM (Museum Planning Consultants), MIR (Renderings)
Partner-in-Charge: Bjarke Ingels, David Zahle
Project Leader (competition): Brian Yang
Team: Alina Tamosiunaite, Christian Dahl, Ryohei Koike, Balaj Alin Iulian, Marcelina Kolasinska, David Tao, Jan Magasanik, Tiina Juuti, Kamilla Heskje, Eva Seo Andersen, Finn Nørkjær, Andreas Klok Pedersen
PROJECT DATA
Name: KISTEFOS MUSEUM
Code: KIS
Date: 15/09/2015
Program: Culture
Status: In Progress
Size in m2: 1400
Project type: Invited Competition
Client: Kistefos Museum
Collaborators: AKT II, Max Fordham, Davis Langdon, GCAM, MIR
Location Text: Scandinavia
Location: (61.3426,19.4049)
Awards:
PROJECT TEAM
Partners in Charge: Bjarke Ingels, David Zahle
Project Leader: Brian Yang
Team members: Alina Tamosiunaite, Christian Dahl, Ryohei Koike, Balaj Alin Iulian, Marcelina Kolasinska, David Tao, Jan Magasanik, Tiina Juuti, Kamilla Heskje, Eva Seo Andersen, Finn Nørkjær, Andreas Klok Pedersen
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KISTEFOS MUSEUM SECURES FUNDING TO MOVE FORWARD
Financed by Christen Sveaas and his companies
The 1400 m2 museum, designed by BIG - Bjarke Ingels Group in collaboration with AKT II, Max Fordham, Davis Langdon, and GCAM, is the latest addition to Kistefos Sculpture Park—an industrial heritage site of significant national importance in Norway. The new building is expected to start construction in 2016 with estimated completion in 2019.
The new Kistefos Museum is located in the scenic sculpture park established in late 1990s, today home to works by internationally renowned contemporary artists including Anish Kapoor, Olafur Eliasson, Fernando Botero, Elmgreen & Dragset, Tony Cragg, Fabrizio Plessi, Claes Oldenburg and Coosje van Bruggen, Petroc Sesti, Marc Quinn, John Gerrard and Phillip King.
The park is built around a historical paper mill which has undergone extensive renovations in recent years, financed with contributions from Norway's Directorate of Cultural Heritage and A/S Kistefos Træsliberi.
The museum site is located on the River Randselva in Jevnaker, an hour northwest of Oslo. The property occupies both embankments of the river with an old bridge serving as the only crossing.
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Posted 20 October 2015
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PROJECT DESCRIPTION
The new Kistefos Museum is located in the scenic Kistefos Sculpture Park established in late 90s – today home to works by internationally renowned contemporary artists including Anish Kapoor, Olafur Eliasson, Fernando Bottero and Elmgreen & Dragset. The museum site is situated by the river Randselva in Jevnaker, just an hour north of Oslo. Built around a historical paper mill, the sculpture park occupies both embankments of the river, with an old bridge serving as the only crossing.
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“We were instantly fascinated by the dramatic landscape of Kistefos—the winding river, forested riverbanks and the steep topography. Our proposal for a new art museum in Kistefos acts like a second bridge in the sculpture park, forming a continuous loop across both riverbanks. The museum visit itself will be a bridge, not a goal—and the exhibits inside an interior extension of the promenade through the sculpture park. With the inhabited bridge, we stumbled upon our first experiment with social infrastructure—a building that serves as a bridge—or a cultural institution that serves as a piece of infrastructure.” Founding Partner, Bjarke Ingels
The warped geometry of the building volume merges the vertical and horizontal in a single motion, forming a fanning staircase inside. The staircase doubles as an informal seating area, as well as an ideal space for video projections, performance art, and other similar events. The skylight of the gallery morphs from being vertical along the eastern façade to horizontal at the top of the southern end of the building, creating a combination of sky-lit, side-lit and entirely dark galleries.
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Visitors enter the museum through a triple height space at the southern end of the building, where the information center, museum shop, and other facilities are located. From here, guests will have a clear view through the space to the other end of the museum, where a café lets guests enjoy snacks while taking in views of the historical pulp mill and surrounding landscape. In the summertime, the café service area spills onto the plateau just outside.
©BIG
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“The architecture of the art museum in Kistefos is an inhabited bridge—or a sculptural beam. As you experience it from various angles, you can’t help but see it as perhaps the biggest sculpture in the collection—the largest in the string of pearls.“ Partner in Charge, David Zahle
“Kistefos Art Museum is a raw and simple form that responds to the challenges of the landscape: building, sculpture, and infrastructure—all in one. Placed as an abstract shape in the landscape, the sculptural form is spanning between perfect geometry and specific bridge technology. On one side it’s a simple box—on the other it’s a huge warping sculpture”, Project Leader, Brian Yang
The façade is kept in refined, precisely articulated materials. The non-glazed portion is constructed of brushed stainless steel, while the glazing consists of large insulated glass panels with a reflective UV film to keep out all art-damaging light and 75% of the solar gain. Electrical solar shading will be integrated in the façade’s framing system to offer both translucent shading and complete darkness. By providing access to indirect daylight as well as light-sealed, artificially lit environments, different media and events (such as video installations, performances and museum-wide shows) are accommodated in the design.
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BIG’s proposal is conceived as a simple beam that spans the Randselva to connect the two edges of the site, becoming a second bridge for the Sculpture Park. A simple twist in the building’s volume allows the bridge to lift from the lower forested area towards the south, up to the hillside area in the north. This creates a series of interconnected spaces: a vertical stack of galleries for media, paintings, and sculpture to the south – and a horizontal, open gallery, ideal for sculptures and large installations to the north.
The warped geometry of the building volume merges the vertical and horizontal in a single motion, forming a fanning staircase inside. The staircase doubles as an informal seating area, as well as an ideal space for video projections, performance art, and other such events. The skylight of the gallery morphs from being vertical along the east façade to horizontal at the top of the southern end of the building, creating the combination of a sky-lit gallery, a side-lit gallery and a dark gallery.
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Visitors enter the museum through a triple height space at the southern end of the building, where the information center, museum shop, and other facilities are located. From here, guests will have a clear view through the space to the other end of the museum, where a cafe will let guests enjoy snacks while taking in views of the historical pulp mill and surrounding landscape. In the summertime, the cafe service area spills onto the plateau just outside.
The façade is kept in refined, precisely articulated materials. The non-glazed portion is constructed of brushed stainless steel, while the glazing consists of large insulated glass panels with a reflective UV film to keep out all art-damaging light and 75% of the solar gain. Electrical solar shading will be integrated in the façade’s framing system to offer both translucent shading and complete darkness. Providing access to indirect daylight as well as light-sealed, artificially lit environments, different media and events (such as video installations, museum-wide shows and performances) are accommodated in the design.
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