MONEY, TRADITION, AESTHETIC
3
money
Urban entrepreneurial policies have transformed urban spaces and landscapes, changing the social composition of urban centres. Oslo, Norway's capital, is attracting transnational companies and the creative class through architectural and urban design strategies. Tina Lam, city planner from A-Lab and debate committee representative from the Architectural Association in Oslo, explains that the Barcode was created to celebrate money and capitalism, aiming to appeal to the international market. An evident trend in other European capitals which Oslo would love to catch up to.
The Barcode project, a waterfront project designed by local and international architects, can be considered striking on a worldwide basis. It took a decade to complete and is specifically for banks, says Lam. However, several critics argue that the architects neglected social, cultural, and economic contexts while creating unique buildings, contributing to a just city. (Andersen and Røe, Per Gunnar 2016) The social divisions it has created within society are seen as problematic; whether or not you agree with the Barcode, it will certainly say something about you, as emphasised in The Worst Person In The World. (Trier 2021)
Flemming suggests that the Architecture Uprising are fine with modernist architecture, as long as it works in isolated neighborhoods like the Barcode. However, when there is a significant imbalance between modernism and traditional architecture, a visual architecture guide i.e. for façades, can help structures adapt to the environment. This raises questions about what constitutes a heritage asset and what does not, given that previous modern interventions have demolished buildings that would have been considered highly valuable today. It is a different matter, however, to define when something constitutes as traditional.
RÅDHUSGATA 25
STRØMSVEIEN 2-6, GALGEBERG, JORDAL SCHOOL
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Traditional
Although a guide could encourage architects to combine traditional and modern architecture to create harmonious designs that respect local environments, defining what should be included in a handbook is a challenge. Paul Oliver's “Encyclopedia of Vernacular Architecture of the World” demonstrates that tradition cannot be translated into a universal sentence, as each culture has its own identity and values. Hardy emphasises the importance of avoiding implementing styles like the British Empire, as it may not be appropriate nor has been appreciated by countries worldwide. Nevertheless, traditional architecture, according to Hardy, is not entirely autarkic and is influenced by various factors from abroad. It is not completely free from influences, such as cultural, artistic, political, or colonial influences.
Audun, far left, and Matthew Hardy, right, at the INTBAU Management Committee meeting in Sibiu, 2007.
Rome, on the day that INTBAU was founded, 8 February 2001. Left to right: Matthew Hardy, Victor Deupi, Petter Olsen, Robert Patzschke, Rüdiger Patzschke, Audun Engh, Robert Adam, Semion Mikhailovsky, Ben Bolgar.
The Norwegian documentary "Byen og Naturen" (1968) shows evidence of the local tradition of interacting with nature being mixed with international modern standards of living, highlighting the importance of understanding and incorporating elements of traditional architecture in different contexts.
aesthetic
However, as Hardy suggests that the cost of a facade is about 5% of the total, allowing for customisation, Lam emphasises the importance of solid infrastructure for the facade's support and benefits. Asserting, "You have to fix the infrastructure around, otherwise, it would be to put makeup on a dead body." Lam believes quality can solve the majority of problems, as people are naturally inclined to take good care of structures and stay in them longer if they meet certain standards. On the notion of whether or not a facade should consider the surrounding environment, "It is the eye of the beholder," Lam says.
"Darth Vader has landed incorrectly on St. Hanshaugen"
– Black iglo
– It appears Darth Vader has another gazebo under construction, this time in Geitmyrsveien, close to St. Hanshaugen
Geitmyra, or "the Darth Vader House" in Oslo, has faced criticism for its lack of environmental consideration. Despite this, it now gains significant promotion, with one of its 3-bedroom apartments selling for 17.9 million Norwegian Kroner. (Privatmegleren Ullevål 2023) However, Flemming argues that modern materials do not necessarily lead to revolutionary changes in architectural design, illustrating the difference between the movement's and practitioners' approach to design.
