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how do you get close to a building how
do you get under the skin of a building
to me that is to do with for certain
types of intimacy and direct
relationships
there is no such thing as architecture
for the sake of architecture there is
only architecture for the sake of people
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when I got this job and I came here I
realized I wanted a nature into the play
you can't fight this nature so I just
wanted to be friends with the
surroundings and then we understood
let's call Snohetta and I was just like
the fourth is too far away from the
audience
should we just move the audience to
roads water and then they said well sold
it and then they brought the water to
the audience instead working in the
office environment in Norway the biggest
difference was that everyone's allowed
to be themselves what's unique here it's
that it very much is a flat structure
the first time I came into the office of
thought I thought I'll be an architect
this is where I want to be it's it seems
like it's a kind of realization of the
social democratic idea initially in the
mind of Norwegians snow advised mountain
it's really not a design and
architectural practice and this mountain
is is sort of gravity point of Norway so
if you put your finger up but where the
mountains is located the whole of Norway
would balance in weight I don't I don't
even know it like this is like a story
that I've been told
and then I've kind of like made it my
own but that's loud in snow as well so
it's okay the whole reason for why we're
chords not there is this philosophy of
that everyone can go to Smith but no one
can take Sneha with them so it's kind of
like this same philosophy about like
nature of no way where it's for everyone
it's not something that we I
there are someone owning this lake and
and also the surroundings they're an
owner private owner but everybody can
walk in this forests by keeping the
nature publicly accessible you also say
that you can own the ground but it
doesn't really only belong to you and
that is beautiful because that's how one
should look at earth and the earth
person
the same philosophy is also applied to
the way we approach our projects by the
Opera House the architecture allows
everyone to use him
you can sit lay down have your food you
can even you know people skate the
collective you can walk on it although
it doesn't belong to you legally so
intimacy in a moment generates ownership
of for instance now I'm sitting on this
chair so while I'm sitting on this chair
it's my turn but once I go away it's the
chair of the Opera the cultural
experience used to be only for the elite
though what we did by just being able to
use the building you are straightaway
more close to what happens on the stage
and the culture behind it
you become part of the Opera House even
though you don't necessarily have
visited any performances and the roof of
the Opera House is utilizing this right
of roaming you could say
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if you want to connect to something you
also have to be able to use it like the
wild reindeer pavilion it's part of a
series that we have called keyless
structures meaning places with Outlook
you can work in and out it's open you
don't have to ask anyone you just go and
that in itself is a virtue of openness
and inclusiveness that's when things are
starting to get equal and the funny
thing is we wanted
maybe people to take out their knives
and engrave certain messages in the word
but they don't so the larger public feel
that they should be taking care of it
now part of the discussions we were
having with Opera House and the
rightness of the Opera is that it will
be sprayed down by graffiti artists
nothing
at one piece
you you protect it because it's also
partially yours
the Norwegian nature is owned by
everyone once we come into NATO we get
kind of stripped from everything that we
are we become equals we're not defined
by our job or positions or cars or a
house
we are just humans
you