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INTRODUCTION
As the costly and spectacular modernist art of Edvard Munch has proliferated in space and recognition since the first opening of the artist's private home, critics have stated that "Munch's new museum is an unsightly, grey, industrial highrise. It is the museum's wonderful artwork that gives it its soul and warmth.” (Bjerke 2021) Stein Olav Henrichsen, the museum director, has even had to defend “Forget everything you know about museums. This is totally different.”(Wainwright 2021) The issue lies not in the bold exterior but in the strange curves, angles, and heights that can distract from the environment. For instance, Finn Graff's 2011 artwork, Munch på Tøyen!, illustrates the opposition to a new museum. Celebrated for its art, criticised for its architecture, these conflicting responses to dramatic architecture of art museums seem to reflect two deeper institutions about architecture in general: the tension between aesthetics and function, which is expected to complement one another in newer architecture. Nevertheless, this is not always the case, and in this thesis, I will approach these two institutions from a perspective I call “the balance of contrast ”. Celebrated for its art, criticised for its architecture, these conflicting responses to dramatic architecture of art museums seem to reflect two deeper institutions about architecture in general: it seems only natural to expect aesthetics and function to complement each other in architecture, yet, when one becomes more dominant than the other, it also seems natural to some to overlook functional defects if aesthetic qualities are outstanding. In this thesis, I will through a series of conversations analyse these two institutions by outlining a perspective I call “the balance of contrast”.
Edvard Munch, Self-Portrait, 1895
Edvard Munch, Skrik, 1893
The thesis will explore the relationship between architecture, cultural politics, space, history and resistance in late twentieth-century cities, using film. Despite architecture’s functional capacity to reproduce itself, it has been used by dominant institutions to communicate and legitimise power through promising images of quality and form. Architects have attempted to avoid the faults common to the polar positions on aesthetics and function, yet, they have been criticised for delivering bland results, insensitive to their local environments. According to the Architecture Uprising in Norway, Oslo is a prime example.
Article: "A scar on the face of Oslo",
(Bjerke 2021)
Article: "Rather classical than modern", (Lundgaard 2023)
“The Architectural Uprising is primarily a natural symptom of people feeling cut off from a meaningful discussion about what houses and cities should look like. That responsibility rests with architects and clients and in guidelines from public regulations and planning authorities.” (Eriksen 2023)
Oslo's oppositional plans have led to monotony and insensitivity to historical environments, clashing with contemporary developments. The Architectural Uprising has sparked debates about aesthetics and highlighted the power of the architectural elite in shaping cities, which suppresses traditional aesthetics. The movement demands people to have a vote for upcoming projects, to ensure diversity in the cityscape and meaningful discussions about building design, often depicted as classical buildings. Thomas Flemming, the leader of the Architecture Uprising in Norway, believes that people need authority to define what is beautiful and what is not. In 1998, the former Prince of Wales addressed the Royal Institute of British Architects at the Hampton Court gala, dismissing ABK's winning entry as a "monstrous carbuncle". The pendulum swung and movements calling for buildings based on classical and organic design principles were born.
The former Prince of Wales concluded: "In this 150th anniversary year, which provides an opportunity for a fresh look at the path ahead and in which by now you are probably regretting having asked me to take part, may I express the earnest hope that the next 150 years will see a new harmony between imagination and taste and in the relationship between the architects and the people of this country." (Pearman 2018)
The Architecture Uprising in Norway represents an ongoing protest against insensitive design, much like Finn Graff’s illustration recreated after Edvard Munch's iconic painting, The Scream. This opposition raises the following questions; in order to bring about real change, is it necessary for someone of authority to speak up about aesthetic preferences? Is it necessary for architects and developers to involve the public earlier in the process in order to achieve satisfactory results? And more specifically, are there methods of analytical and archival research that can challenge monotonous urban development and enhance a city’s historical landscape? The Munch Museum received the 'horror medal' as the nation's ugliest building through voting in the Architecture Uprising in 2021, and since architecture has been at crossroads with culture and socio-politics, and a prime area for political activism. His Majesty King Charles III has since his RIBA address, stressed on several occasions the importance of examining architectural contrasts anew. Through the use of archival footage and conversations conducted in 2023, this film attempts to demonstrate the value of historical research by exploring the complexity of aesthetics in the architectural discourse. Hopefully, it will spark discussions further.
In what follows, I review and critically analyse this issue through archival footage and historical events in order to gain a deeper understanding, namely, how deeply rooted and complex this issue is. Through the narration of four conversations in 2023, with a grassroots leader, a city planner, and architects of both the contemporary and the more classical approach, I attempt to shed light on why we have various perspectives on aesthetics, in the hope that this film can create a platform for dialogue and understanding, without taking a particular side. And since architecture lies at the intersection of culture and socio-politics, it occupies a privileged position for political activism, which can make impactful changes that outlive generations.
Illustration: Finn Graff; Munch på Tøyen! (2011)
