*노르웨이 뷰포인트 플랫폼 [ Carl-Viggo Hølmebakk ] Sohlbergplassen Viewpoint

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노르웨이 아름다운 자연풍경을 담는 캔버스, 이제 그 캔버스를 대신할 뷰포인트 플랫폼이 새롭게 건립된다. 나즈막한 언덕위, 아름다운 풍경이 펼쳐지는 장소는 노르웨이를 대표하는 화가 하랄 솔베르크에게 영감을 제공하는 장소이자 이곳을 방문하는 여행객들에게는 정적인 자연속 드라마틱한 공간적 체험을 이끄는 스페셜 스페이스로 제공된다. 유기적이며 다이나믹한 곡선형태의 플랫폼은 기존 수목들의 자생적인 배치를 최대한 존중하며 그들의 바운더리와 산책로 및 전망대를 위한 인공적인 구조물의 관계속에서 형성된다. -나무들의 바운더리;동심원은 오버랩되며 연속적인 곡선으로 콘크리트를 이용, 구현된다,- 또한 플랫폼 하부 -경사지를 따라 구축된 평평한 바닥은 자연스레 공중으로 부터 띄어지며 하부에 영구음영지역을 생성하게 된다.- 에 위치한 어린나무들을 위해 콘크리트 바닥에는 다양한 크기의 오프닝을 디자인, 영구음영 지역 속으로 자연광을 유입한다. 플랫폼은 그렇게 자연과의 공존을 통해 성장하는 장소생성과 자연 속 일부분으로써 우리의 자리를 설명한다.


reviewed by SJ, 오사


The Norwegian painter Harald Sohlberg (1869-1935) stayed in the Rondane mountain area for several years to do studies for his most famous work, Winter Night in the Mountains. The motif was a summation of sketches from several standpoints. The most recognisable position was close to where the viewpoint platform is built today.




Architects: Carl-Viggo Hølmebakk
Location: , Norway
Photographs: Courtesy of Carl-Viggo Hølmebakk

Structural Engineer: Terje Orlien (preliminary plan), Kristoffer Apeland (main plan)
Collaborator: Christine Petersen


The dark silhouette of pine trees in the foreground is a significant quality of the painting, framing the almost luminescent winter landscape. Also today the site has a certain dynamic quality, between the densely growing pine trees on the hill side and the distant mountains. This relation became the starting point for the geometry and the structure of the platform.

Several tests were executed by placing a ladder up against the tree trunks, trying to find the best views and interesting spaces between the trees. After the trees and topography were digitally registered, the form of the platform could be defined precisely in such a way that no trees had to be cut. It was also crucial to find a foundation system that would not destroy any roots. The ground in the area was frost-free at 2.7 meters – any traditional foundation would imply substantial excavation, and cut down of most of the trees.

In early stages of the project, the platform had a somewhat flexible construction made in steel. The pillars would have “snowshoes” resting on the ground, allowing the structure to move along with the frost heave. Load tests on a 3D-model were done by the structural engineer, and showed that the curved beams would collapse when strained by snow and movements in the ground. The structure was then changed to concrete, and a torsion stiff connection between the curved beams and the floor plane could be established.

The beam along the periphery of the platform also works as a railing. The beam rests on thin steel core pillars, drilled to rock, some places more than 12 meters below the ground. The rectangular openings in the floor allow rain and sunlight to get down to the terrain. A staircase leads to the space underneath the platform and further down the hill to the lake.

The floor has a hardly noticeable tilt outwards (0.3 meters) giving a slight feeling of being pulled towards the view. The movement between the pine trees, from the road towards the beautiful mountain motif, became an architectural answer to the artist’s interpretation – already evident in the painting.



from  archdaily


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