![]() ![]() The historic buildings stand in direct contrast to the illuminated Light Hall that sits behind. The historic buildings in front of the museum received lighting that reflected original fixtures and locations reproduced from old images.” For the outdoor areas, the concept was to make this museum an integrated and natural part of the city by choosing solutions used in surrounding areas. “Three types of ceilings were chosen in the project: metal, textile and fixed these lighting concepts are used throughout the museum. “The light was placed where it was needed and with the shielding necessary to provide the experience that was desired, as well as the required light level for performing the task in the specific room,” Hjelmeset explained. Visual comfort, readability and luminance are the main elements both technical and aesthetic solutions are emphasised.”Īs part of this, Henning Larsen considered placement and luminaire types that would provide a balanced, homogenous lighting throughout. We wanted the lighting to emphasise the architecture and be a natural part of the environment. The lighting level in the area in front of exhibitions is therefore toned down according to this hierarchy. “The concept of the lighting was a balanced design with a focus on light quality and experience, with a luminance hierarchy. The same intentions were set for the lighting design – to be timeless and still relevant many years after the opening. Kathrine Hjelmeset, Senior Lighting Designer at Henning Larsen, explained the design concept: “Designed with the perspective of housing artworks for centuries, the museum is built with clean and robust materials that will age with dignity, like oak, bronze, and marble. Given the size and scope of the museum, the lighting design was split into two different teams, with Henning Larsen (formerly Rambøll) designing the architectural lighting for the exterior and outdoor spaces, as well as general lighting for the museum’s public spaces, offices, and cafeteria meanwhile Italian designer Massimo Iarussi designed the lighting for the 86 galleries and exhibition spaces. ![]() Made of backlit layers of glass and marble, the Light Hall is the largest backlit façade in Norway, and instantly helps make the new landmark museum stand out. Materials such as slate, limestone, glass, marble, bronze, and brass, as well as light and dark oak contribute to the radiance of the facility, which blends natural and artificial light to create a bright, welcoming aura.Ī melding of classical and contemporary architecture, one of the defining features of the exterior is the vast “Light Hall” that tops the building. ![]() The new National Museum spans 54,600sqm, with 10,000sqm of exhibition space. Opened in June of this year, Oslo’s National Museum showcases the full breadth and history of Norway with the largest and most valuable art collection in the country.īringing together extensive collections of classical, modern and contemporary Norwegian art, as well as architecture and design, the new museum has instantly become a landmark for Oslo, sitting on the scenic harbour of the Scandinavian city.ĭesigned by architect Klaus Schuwerk of Kleihues + Schuwerk, the museum was commissioned by Statsbygg, the Norwegian Directorate of Public Construction and Property, and merges four pre-existing museums – the Museum of Architecture, the Museum of Contemporary Art, the Museum of Decorative Arts and Design, and the National Gallery of Norway. Henning Larsen and Massimo Iarussi designed the architectural and exhibition lighting respectively, to showcase this grand collection. The newly-opened National Museum in Oslo highlights the history of Norway in the country’s largest art exhibition. ![]()
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