13.5.2011

The New Holmenkollen Ski Jump: A Perfomative Project in Oslo, Norway

El diseño tiene como objetivo unificar los diversos elementos presentes en una pista de salto de esquí en una única expresión formal. En lugar de tener una serie de pabellones dispersos en el lugar, hemos logrado combinarlos en un solo organismo. Las cabinas de los jueces y comentaristas, la familia real y las personalidades, las pantallas de viento, las circulaciones, el vestíbulo, la entrada a la arena y el propio escenario, el salón para los esquiadores y entrenadores, la tienda de recuerdos, el acceso al actual museo, la plaza superior para el público, todo está contenido en la rampa de salto. La simplicidad de la solución resultante mejora la experiencia de los espectadores y le da un enfoque claro a los esquiadores. La rampa de salto de esquí, revestida en aluminio y vidrio, se eleva 58 metros con un impresionante voladizo de 69 metros. En lo alto de la rampa se ubica la plataforma desde donde los visitantes pueden disfrutar de algunas de las más impresionantes vistas de Oslo y el fiordo.

145 years ago the first Norwegian took off from a hill, catapulting himself to the sky, creating a sport that would spread all over the world and captivate millions.
Today Oslo remains the undisputed capital of ski jumping, having had annual competitions at Holmenkollen since 1892, served the Olympics in 1952 and hosted several world championships.
The Holmenkollen site has been the cradle of evolution in ski jumping and the facility was revisited and improved more than twenty times. Its building history represents a form of record or architectural fossil of the discipline’s progress.
As the city of Oslo will host the 2011 world championships, the facilities required a renovation beyond what the existing structures could manage.
Our submission won the international open competition held in 2007 against 104 proposals to redesign the jumping tower and the 40,000 seats arena.
Beyond fulfilling the discipline’s requirements our project proposes two aspects we believe have led to its completion:

Symbiotic relationship between architecture and experience
The design aims at unifying the various elements present in a ski jump into one single expression, shape and action. Rather than having a series of dispersed pavilions on site, we’ve managed to combine them into one organism. The judges booths, the commentators, the trainers, the royal family, the VIPs, the wind screens, the circulations, the lobby, the entrance to the arena and the arena itself, the lounge for the skiers, the shop of souvenirs, the access to the existing museum, the viewing public square at the very top, EVERYTHING, is contained into the shape of the jump in a symbiosis of programs and experiences giving the jump a harmonic contextual relationship to the surrounding landscape.
The resulting simplicity of the solution improves the experience of the spectators and the focus of the skiers. There’s an impressive feeling of intimacy at Holmenkollen: both audience and jumpers are enclosed in the arms of the skijump in a form of an architectural embrace.

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Iconographic dialogue between structure and city
Looking at the Olympic models of Barcelona, Sydney and Munich, architecture was at the forefront of redefining how the city was perceived. We believe that the Holmenkollen ski jump could liberate Oslo from regional perceptions and help leverage a more international status. The ski jump also invigorates the capital with an icon, adding to the city’s collection of exemplary civic buildings like the new opera house and reinforcing the city’s wave of regeneration.

There is another crucial aspect to this iconographic issue that our project emphasizes: from its strategic position, at the highest peak over the city, the structure offers the most breathtaking views of Oslo, the fjord and the region beyond. We have designed a public square, on top of the jump, literally a plaza, to let visitors experience Oslo from this exceptional vantage point. It’s a new form of public space, using an unlikely architectural form as its host — allowing for a dialogue between the city and its inhabitants.

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