art museum and cultural quarter in kristiansand stage 1

PROGRAMME FOR PLANNING AND DESIGN COMPETITION ART MUSEUM AND CULTURAL QUARTER
IN KRISTIANSAND
STAGE 1
15 FEBRUARY 2016
Sørlandets Kunstmuseum Kanalbyen Eiendom AS Kristiansand municipality
TABLE OF CONTENTS
INVITATION TO TAKE PART
IN AN ARCHITECTURAL COMPETITION
The gift from Nicolai Tangen puts our city in the elite division of visual art!
Nicolai Tangen has offered Kristiansand an art collection comprising 1,100
Norwegian works, which he has collected over a period of 20 years. The 1,100
works constitute what experts have called the most important collection of
Norwegian art from the 1930s to the 1970s.
Kristiansand is the proud recipient of this gift.
INVITATION2
BACKGROUND4
Language
22
PURPOSE OF THE COMPETITION5
Competition schedule
22
General level – vision
5
Form of competition
22
Our vision is to create an art museum of high architectural quality and international
Objectives of the competition
5
Stage 1
22
importance.
AREA OF INFLUENCE6
Stage 2
23
COMPETITION AREA6
Organiser
23
HISTORY7
Submission and anonymity
23
heritage silo can do just that, in addition to creating a cutting-edge framework
Grain silo on Odderøya 10
Competition administrator
24
for a collection of early modernistic art.
Heritage value
11
Criteria for re-use
12
Access to competition programme
and other documents in digital format
24
Planning status
13
Questions regarding the competition
programme and appendices
24
A collection like this deserves – and needs – a unique building. We have high
expectations of this building. It must be suitable as an art arena, with exhibition
areas that communicate and highlight the unique qualities of the art collection.
And our expectations don’t stop there. The building that will house the collection
should also enhance the area and the city as a whole. The old prize-winning,
Kristiansand’s vision is to double the number of people living in the city centre.
The Kanalbyen area, beside the old Silo Quay, will house many new city residents.
The silo and its neighbour, Kilden Performing Arts Centre, will form an attractive
COMPETITION ASSIGNMENT
14
Right to participate
22
Prizes
24
14
Jury
24
The Tangen collection
14
Consultants to the Jury
24
Sørlandets Kunstmuseum
15
Jury’s report
24
Total space required for the new Art Musuem 15
Secretary of the Jury
25
Cultural school
15
Approval
25
Sørlandet Kunstmuseum, Kanalbyen Eiendom AS and Kristiansand municipality
Programme area
15
Anonymity
25
are jointly holding the competition. We look forward to receiving designs showing
Kanalbyen
16
Insurance for designs
25
how both the silo and the area around it can be transformed from a harbour area
Programme
16
Designs that deviate from the programme 25
Kilden
18
Copyright and ownership rights
Vest-Agder Museum
19
Exhibition and pubblication of the designs 25
ADJUDICATION CRITERIA
20
Situation after the competition
REQUIREMENTS REGARDING
SUBMITTED MATERIAL 20
APPENDIX 1, APPENDIX 227
TECHNICAL COMPETITION PROVISIONS 22
Sørlandets Kunstmuseum
and the Tangen Collection
In autumn 2015, the idea of co-locating the Tangen Collection and Sørlandets
Kunstmuseum (SKMU) was born. With the Cultural School, Ungdomskilden drama
link between Kanalbyen and the Kvadraturen city centre area.
group and a drama centre for young people near Kilden, this natural end point
on Kristiansand’s cultural axis can become a cultural powerhouse in the city.
into an area for art, culture and commerce.
Harald Furre
Mayor, Kristiansand municipality
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25
BACKGROUND
Nicolai Tangen has collected 20th century art for many years. The collection, which
comprises 1,100 works, is believed to be the biggest, widest, deepest and most important
collection of Norwegian art from the 1930s to the 1970s in private ownership.
PURPOSE OF THE COMPETITION
GENERAL LEVEL – VISION
To develop a planning concept for the area that creates an attractive link between
Kvadraturen and Kanalbyen.
Nicolai Tangen has set up a foundation, to which he is transferring ownership of certain
parts of the collection.The foundation will then bring the collection to Kristiansand, on
To create an art museum of high architectural quality that will be of international
condition that the city will provide suitable premises for it.
importance
The idea of using the heritage silo at Odderøya as a basis for a new joint art museum
for the Tangen Collection and Sørlandets Kunstmuseum (SKMU) was proposed by the
city’s political leaders in autumn 2015.The idea was to bring together SKMU, the Tangen
Collection, the Cultural School and a drama centre for young people in the same area
as Kilden, the city’s performing arts centre.
Silo Quay is a major urban development area on the island of Odderøya, adjacent to the
Kvadraturen city centre area of Kristiansand.The area is being developed by Kanalbyen
Eiendom AS, which is owned by the Port of Kristiansand and JB Ugland Eiendom.
Kanalbyen will be developed with 700 apartments and business premises over the course
of 12–15 years. Parts of this area fall within the competition area.According to the plan,
there is an important urban space between Kilden and the silo, and one of the aims of
this competition is to identify the potential of this area in terms of planning concept,
building volumes and options for functions that can be incorporated.
To this end, SKMU, Kanalbyen Eiendom AS and Kristiansand municipality are inviting
architects to participate in an open, international planning and design competition
(architectural competition).The competition is being run in accordance with the
regulations in the Norwegian Public Procurement Act of 16 July 1999, including the
relevant amendments, and the rules of this competition programme.
The competition will take place in two stages, of which Stage 1 is an open competition
OBJECTIVES OF THE COMPETITION
The aim of the competitive process is to come up with a design that:
• addresses the need for a complete and functional museum complex in a way
that is architecturally successful in its use of and interplay with all or parts
of the heritage silo.
• satisfactorily addresses the issue of how much of the silo should be preserved.
• responds to the town planning challenges and shows the development potential
of the area between the Kilden Performing Arts Centre and Kanalbyen.
• creates an integrated area, with urban qualities.
• creates good access to the area both in front of and behind the Kilden Performing
Arts Centre.
• shows how the functions can be developed over time.
• takes the local climate into account (cf. wind studies).
• provides for activities from morning to evening.
• creates safe areas between Kvadraturen and Kanalbyen.
• brings the seafront and canal side to life.
• uses future-oriented systems to limit greenhouse gas emissions,
energy consumption and the environmental impact.
at a general level.The aim of Stage 1 is to identify options for using all or parts of the
heritage silo as part of a museum building. The response should also illustrate the
development potential of the entire competition area, where the town planning concept
will be central.Important factors here will be to illustrate options for attractive urban
spaces and the link between Kvadraturen and Kanalbyen. The jury will select 3–5
designs to progress to Stage 2.
Stage 2 is a restricted competition, which will focus on developing and refining the design
of the museum building and any other features or functions which the client would like
to be further studied.A separate programme will be prepared for Stage 2.
The competition programme has been prepared jointly by SKMU, Kanalbyen Eiendom
AS and Kristiansand municipality, with the assistance of the National Association of
Norwegian Architects (NAL).
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5
AREA OF INFLUENCE
COMPETITION AREA
The competition area is near the Kvadraturen city centre area of Kristiansand, and is the
The competition area is on the island of Odderøya, adjacent to the Kvadraturen city
end point of what has been defined in the plan for the area as the cultural axis.
centre area of Kristiansand. Odderøya is between the east and west harbours, and is an
The Kanalbyen area south of Kilden will be transformed over the course of 10–12 years
Arts Centre is right beside the sea on the west side of Odderøya. The competition area
from a port facility to a suburb of approximately 700 apartments and a minimum of
1,000 square metres of business premises.
important area for recreation, festivals, art and culture. The city’s new Kilden Performing
extends from the Kilden access area and into the first part of an urban development
area on the old Silo Quay, which has been given the name Kanalbyen. A central element
in the competition area is a heritage grain silo, parts of which date from 1935.
Lagmansholmen, west of the competition area, is currently used by the port, but is a
future area for urban development. A cruise ship quay will be built on the south side of
Lagmannsholmen.
Odderøya is an important area for art, culture and festivals.The Kilden Performing Arts
Centre was officially opened in 2012. The Vest-Agder Museum is currently creating a
museum harbour in Nodeviga (towards the east harbour). The festival area in the east
of the island has been an arena for festivals including the Quart Festival.
Storage building for Kilden
Fiskebrygga (Fisherman’s Wharf) is an area between Kvadraturen and Lagmannsholmen.
The Fish Market is one of the city’s tourist attractions, and the area has numerous
restaurants and is bustling with people in summer.
Main competition area
KVADRATUREN
SKMU
HISTORY
CULTURAL AXIS
In 1804, a quarantine station was built on Odderøya to serve Denmark, Norway and
Holstein. The property was transferred from the fortress department to the quarantine
department. The quarantine station on Odderøya was the largest in Northern Europe,
Fiskebrygga
Lagmannsholmen
and was in operation until 1914.
Museum
Odderøya also has many other interesting traces of military activity. In a defined
Kilden
geographical area, there are military fortifications from the Great Northern War
(1700–1721) and up to the Cold War era (1945–1991). Consequences of the fighting
after World War II (1939–1945) came to Norway on 9 April 1940 are still visible, and
Festival area
Kanalbyen
ODDERØYA
some of these are marked with information boards.
Odderøya has been closed to the public at times due to military activity. However, when
the area has been open, the island has been a popular area for walks and excursions.
Odderøya was last opened to the public on 23 June 1992 after Odderøya fort was closed
down. Odderøya was taken over by Kristiansand municipality, and large parts of the
island are outdoor recreation areas that are open to the public.
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7
GRAIN SILO ON ODDERØYA
Final design of grain
silo on Odderøya by
the architects Aasland
& Korsmo in 1934.
The history of the silo
and its heritage value
are described in detail
by the Cultural Heritage
Management Office in a
separate memorandum
(Appendix 3).
Photo: Statsarkivet i Kristiansand/dbva.no
The grain silo on Odderøya was built in 1935 and at that time consisted of 3x5 cylindrical
cells, a six-storey warehouse building at the front, facing the sea, and a stair/lift tower
with a gently sloping pitched roof that is one storey higher than the silos. In 1939, the
silos were extended to 3x10 cylindrical cells, and in 1953 the warehouse section was
extended to match the width of the silos behind it. Subsequent extensions and alterations
were made, the largest of these being the 1985 annex built in front of the stair/lift tower
to the north, and three tanks on the south side of the silo section (later demolished).
The first stage of the building was designed by the architectural firm Aasland & Korsmo,
with the company A/S Høyer-Ellefsen acting as the technical building consultant. The
architectural firm closed in 1936, which meant that A/S Høyer-Ellefsen was responsible
for extending the silo in 1939, with the company A/S Betongbygg producing the drawings
for the warehouse extension. These additions were built to the same design as the original
sections designed by the architects Aasland & Korsmo. The grain silo as it stood in 1953
thus forms the complete, finished building complex.
The complex was presented in the journal ‘Byggekunst’ in 1937, and the architectural
firm was awarded the prestigious A.C. Houens Fund’s certificate in 1939. The certificate
Odderøya Cultural Monuments. Map provided by Vest-Agder Museum.
8
from the Houens Fund is considered to be one of the highest distinctions in architecture
and building technique in Norway.
9
Second building stage
Photo: Statsarkivet i Kristiansand/dbva.no
First building fhase
from 1935
CRITERIA FOR RE-USE
Photo: Statsarkivet i Kristiansand/dbva.no
HERITAGE VALUE
It can safely be said that it is the building complex’s architectural and historic value,
representing the architectural style of industrial functionalism and innovative building
techniques, that must be considered to be the most important factor in any consideration
of the complex’s heritage value, and that must be the starting point for its future use. The
Giving the grain silo a new purpose must be regarded as an extremely positive move,
and an opportunity to safeguard parts or all of the complex. The 1985 extension on the
north side should be demolished. The complex has a pure, clear and simple expression,
and a structure that must be further refined, but for the same reasons, it is also a robust
industrial complex that is able to tolerate changes and additions. The crane that still
stands in front of the silo should be preserved.
building type was a modernist icon, and was praised by some of the founder members
of functionalism, including Walter Gropius and Le Corbusier.
Complex as it is today
The grain silo on Odderøya was among the first in the country to be built as cylindrical
cells in reinforced concrete, using the slip forming technique. This technique was fast,
strong and economical, and its use continued when Norway began to build oil platforms
in concrete.
Slip forming technique
The grain silo was also listed as a heritage object in the Silo Quay zoning plan (2010
no 1082). It can also be said that it is the original building complex from 1935, with
the 1939 silo section extension and the 1953 warehouse extension, in other words the
complete silo complex with 3x10 silos, which is of architectural interest and should
be preserved. Structurally, the complex consists of three sections: the silos, the stair/
lift tower with pitched roof and the warehouse section. Later additions, such as the
annex on the north wall of the stair/lift tower, must be removed in order to display the
original architecture in its intended pure form.
If the competition participants feel that the current complex is too big and that it is
too unrealistic to retain all of it, it will be possible to propose retaining only parts of
it. The 1935 exterior of the complex is considered to have the greatest heritage value
10
Photo: Kanalbyen / Kjell Inge Søreide
11
g
Gangve
BG#11
c + 24,5
f_1A
Sentrumsformål
c + 37
c + 37 (30 %)
3 6,5 3,5
Torg
BG#1
was adopted by Kristiansand City Council on 16 September 2015.The silo itself is listed
f_T3
Utsnitt 1
c + 29,5
c + 24
Gangv
eg
BG#4
BG#2
12
f_2
ZONING PLAN FOR SILO QUAY
f_2B
The plan’s general provisions state that:
f_4
f_4B
3,5
2 6
Sentrumsformål
c + 24
c + 24 (15%)
c + 21 (35%)
c + 18 (resterende)
Section of applicable
zoning plan
BG#6
Friområde
g-og
f_G1
o_F2
24
Sentrumsformål
c + 29,5
c + 29,5 (20%)
c + 26,5 (60%)
c + 20,5 (resterende)
Gan
(Click on required plan and select ‘Vis i Webplan’ - in Norwegian only)
2
o_V Ferdsel
eg
3
o_H sykkelv
http://webhotel3.gisline.no/WebInnsyn_Kristiansand/Vis/Plantjeneste
c + 29,5 (40%)
c + 26,5 (40%)
c + 20,5 (resterende)
Sjølystveien
c + 24 (45%)
c + 21 (40%)
c + 18 (resterende)
The zoning plans and provisions can be downloaded at
Overview of
the categories of land
use in the area
Sentrumsformål
Sentrumsformål
northern part of the competition area.
H140_2
f_4C
BG
f_2A
Arts Centre for Southern Norway’ was adopted on 15 November 2006 and covers the
o_V7
#9
Torg
for protection in the plan adopted on 11 May 2011. The associated plan ‘Performing
c + 16
H140_1
10
x3
6
The zoning plan for Silo Quay (Kanalbyen) covers most of the competition area.The plan
c + 20,5
36
10x
BG#12
o_T2 c + 16
o_V1
Torg
2x20
4x30
o_T1
PLANNING STATUS
f_1B
Sentrumsformål
2x20
4x30
o_G2
Farleder
S1
o_G
Buildings,
o_H1 outside areas/urban spaces and public transport facilities shall be given an
BG#7
urban design of high architectural quality, the design ensuring that they interact both
5
BG#
aesthetically and functionally. Outdoor facilities shall be designed to ensure that they
transition well to the adjacent areas, both aesthetically and functionally.
f_4A
BG#
f_2C
Sentrumsformål
10
Sentrumsformål
c + 29,5
c + 24
o_F1
0
4x3
c + 29,5
(25%)
It is important that the landscapingc +fits
in well with the rest of
Odderøya.
The areas
zoned
24 (30%)
Friområde
c + 26,5 (55%)
c + 21 (40%)
Utsnitt 2
c + 20,5 (resterende)
+ 18a(resterende)
for city centre purposes shall be cof
clear green nature, in line with the principles of
location, design and size in the illustration
f_T4 plan dated 11 December 2014. The location
22 6
4
4x30
Torg
of buildings shall take into account the wind analysis
dated 1 October 2014.
BG#3
o_H2
13
BG#
c + 23,5
Ferdsel
o_TV1
Turveg
BG
All urban spaces and important connections in/through the planning area, including parks/
#8
o_B1
green structures, promenades, walking trails, public
squares and walkways in courtyards
en
o_F3
vei
lyst
Park/ Friluftsområde i
o_H4
Sjø
and street areas shall be universally accessible
and shall include
rest facilities.
sjø(badeplass/-område)
Friområde
o_V3
Friluftsområde i sjø
og vassdrag
c + 44
Sentrumsformål
3,2 6
3,2
BG#14
Utsnitt 3
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COMPETITION ASSIGNMENT
The primary function that must be addressed in the competition is a joint museum for
graphic works. It also contains key sculptures by some of the most interesting artists
Sørlandets Kunstmuseum (SKMU) and the Tangen Collection. An evaluation of the size of
from this period, including Aasa Texmon Rygh and Arnold Haukeland. In terms of
the part of the silo to be preserved will be an important element of the assignment. The
presentation and space requirements, it may be noted that most of the works are of a
competition design must also investigate the potential of the area for other functions,
moderate size. However, it is Nicolai Tangen’s intention to expand the collection both
such as a cultural school, hotel, housing, clubs and businesses. These are functions
in breadth and period. Since more modern art has a tendency to be bigger, this must
that should not be addressed in detail in the competition design. It must be possible to
be allowed for when planning the rooms and available wall space in the new museum.
complete the art museum even if other functions in the area are not developed.
SØRLANDETS KUNSTMUSEUM
Competition participants are encouraged to investigate any potential within the
SKMU is the regional art museum for the Agder counties. The museum operates a wide
limitations of the zoning plan, but, if necessary, to challenge these limitations wherever
range of art-related activities, including administration, development, dissemination
this may improve the quality of the area, urban space or buildings (applies to sections
and research regarding its own collection of art and crafts. The museum also promotes
f-1A, f-1B, o-T2, o-T1 and o-G2). The zoned street o-V1 cannot be changed. The current
Norwegian and international contemporary art, crafts and art history through exhibitions,
plan will be used as a basis for issuing a framework permit for new housing in area f-2A.
touring exhibitions, events, activities, lectures, workshops and teaching projects. SKMU
For this reason, it will also not be possible to change the viewline from Odderøya over
Sørlandets Kunstmuseum is a foundation, created in 1995 by Kristiansand municipality,
new low-rise buildings in the f-1A, f-1B parts of the area and out over o-T2 and the canal.
Vest-Agder County Authority, Aust-Agder County Authority and Christianssands
Billedgalleri.
A town planning concept must be submitted, which shows:
SKMU is currently located in the old cathedral school in the centre of Kristiansand.
• good urban spaces.
• attractive and safe areas for cycling and walking.
TOTAL SPACE REQUIRED FOR THE NEW ART MUSEUM
• a good and attractive link between Kvadraturen and Kanalbyen.
The net area required for a joint art museum for SKMU and the Tangen Collection is
• good traffic management.
estimated to be 6,815 m2. For a detailed description and a breakdown of the space
• good connections to other functions on Odderøya, such as the Vest-Agder Museum
requirements, please refer to Appendix 1.
and festival area.
• good contact with the canal and sea.
• areas protected from wind and weather.
• good qualities for the area that does not have direct contact with the sea.
SØRLANDETS KUNSTMUSEUM
AND THE TANGEN COLLECTION
CULTURAL SCHOOL
The main task of the cultural school is to provide children and young people (aged 7–20)
with well-planned, comprehensive education in artistic subjects. The teaching is based
around the primary and lower secondary schools’ academic year, and takes place mainly
in afternoons and evenings. The cultural school currently provides regular programmes
in music (primarily instrumental/vocal teaching), visual arts, theatre, musicals and film/
THE TANGEN COLLECTION
animation.The cultural school currently has places for around 1,400 pupils and employs
Nicolai Tangen has collected 20th century art for many years, and has set up a foundation
roughly 50 people, or 31 full-time equivalents. The cultural school is also responsible
which will take over ownership of the relevant part of the collection.The foundation will
for the Cultural Rucksack in Kristiansand.t
then bring the collection to Kristiansand on condition that the city provides suitable
premises for it.
PROGRAMME AREA
The net area required for the cultural school is estimated to be 2,915 m2. For a detailed
The Tangen Collection is the biggest, widest and most important collection of Norwegian
breakdown of the space requirements, please refer to Appendix 2.
art from the 1930s to the 1970s in private ownership. The collection comprises 1,100
works by key artists from this period, including Gunnar S. Gundersen, Reidar Aulie, Johs.
Rian, Henrik Finne, Rolf Nesch, Anna-Eva Bergman, Ludvig Eikaas and Per Kleiva. As well
as paintings, the Tangen Collection contains a large number of important Norwegian
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KANALBYEN
The area south of Kilden – Silo Quay – is to be transformed into an area with
housing (about 700 units) and businesses. Most of the business premises
are clustered within the competition area, with additional business
premises ofminimum 1,000 m2 connected to the housing units (business,
café, service unit), and these areas are adjacent to public outdoor areas.
Kanalbyen’s architect, A-lab, writes in the planning description:
Kanalbyen’s architectural concept links three attractions that bring value
to the area: Odderøya, the harbour area and the inner canal area. The canal
area will be the city district’s inner water feature, with a reinterpretation of
the historic quayside integrated into the project to bring historic depth and
create new experience value for users of the area.
For a more detailed description, please refer to the attached planning
description and http://www.kanalbyen.no
As well as the art museum and cultural school, Kanalbyen Eiendom AS
would also like competition participants to shed light on the possibility of
also integrating other functions in the competition area. One important
task is to add quality to the parts of the area that are not directly adjacent
to the sea or canal.
PROGRAMME
A detailed programme has not been prepared for functions other than
the art museum and cultural school, but Kanalbyen Eiendom AS would
like to see options for a hotel (with 200 rooms) and/or apartments and/or
business premises.Participants are relatively free to illustrate options for
this part of the programme. It is important for the design to be flexible in
Illustration: A-lab
relation to function and pace of construction.
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17
KILDEN
The Kilden Performing Arts Centre was officially opened in 2012. It has won recognition
and awards for its architecture, acoustics and construction technique. Kilden is also
unique in Norway as an organisation: In 2011, the Kristiansand Symphony Orchestra,
Agder Regional Theatre and Opera Sør companies merged to form a single organisation
that efficiently shares resources and creates new performing art in the interface between
independent artistic departments. Audiences have embraced Kilden, both as a building
and as an artistic powerhouse in Southern Norway.
The architectural competition for a new performing arts centre for Southern Norway
was announced in 2004 and 95 participants from all over the world submitted designs.
On 14 February 2005, the winning design, drawn by the Finnish firm ALA Architects,
was adopted as the basis for the construction project.
The building’s most important expression is the architectural meeting between
artists and audience. The varied shapes of the auditoriums are clad in an undulating
timber façade. The imposing, abstract façade, clad in local oak, separates reality from
imagination. As they pass through it, the audience will move from the natural landscape
into the realm of art. This façade expresses not only the diversity of artistic performances
in the building, but also the power unleashed by the combination.
• A frequent-access warehouse is required, 600 square metres in size with a free height
Photo: Kilden
of 6.0 metres. Kilden has proposed that it be located north of the car park.
• The current pick-up/drop-off point for car and bus passengers, beside the south wall
of Kilden, must remain where it is. This also applies to the taxi rank.
The Concert Hall, with its 1,180 seats, is one of the finest acoustic spaces in Scandinavia,
and is home to Kristiansand Symphony Orchestra. However, the Concert Hall is an equally
• Kilden requires 3 disabled parking spaces on the south side of Kilden, as close to the
foyer as possible.
good venue for rock concerts, and has welcomed guest artists from Norway and abroad.
•The prevailing wind direction in the area is south west, and on windy days, this
The Theatre and Opera Hall has seating for 672 spectators on three levels: front stalls,
represents a problem for people walking along the south and west façades (the
gallery and balcony. The hall can be converted into a standing concert venue, when its
seaward side).
capacity increases to 900 spectators.
• There is a natural potential for Kilden, the art museum and the cultural school to share
their facilities, and indoor or covered walkways between them should be illustrated.
The Multi-Purpose Auditorium has numerous unique seating options, and can function
as a classic black-box stage with its retractable amphitheatre and 220 seats.
The Small Auditorium is the smallest venue in Kilden, seating 100 people.
VEST-AGDER MUSEUM
East of the main building is a technical building that houses workshops and technical
Vest-Agder Museum is the biggest museum in Southern Norway. It is made up of ten
rooms. The street between the main building and the technical building is used for goods
branches located in different parts of the county. The museum’s central administration
deliveries and is designed to accommodate semi-trailers.
and specialist teams are based on Odderøya in Kristiansand. Work is also underway to
establish large-scale cultural history dissemination activity on the island. A museum
Kilden’s car park has 400 parking spaces and its main stairs are at the south, which
harbour is currently being created in Nodeviga, near the city centre. Here, the museum
means that the walkway between the car park and the foyer runs along the southern
organises a number of sea-related activities for children and adults, and has established
façade of the building.
a floating boat exhibition with classic plastic boats. Odderøya also has a long military
history and many historical defence monuments relating to this. Vest-Agder Museum is
Kilden has presented the following guidelines and suggestions regarding the competition:
now working with several other parties to enable them to be opened to the public. It is
•The access situation, including the design of Camilla Colletts Plass, should be
also working to establish a large and modern new museum building, which will present
illustrated.
•There is conflict between vehicle traffic and the pedestrian crossing at Sjølystveien
(beside the bridge). Kilden suggests that an underpass be constructed.
the history of Kristiansand and Agder. This building has been incorporated into the zoning
plan between Nodeviga and Kilden’s car park (section O11). A good link between the
competition area and the museum’s activities, particularly those in Nodeviga, as well
as the planned new museum building, should be regardedas important elements in the
competition designs.
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ADJUDICATION CRITERIA
The competition designs in Stage 1 will be thoroughly assessed, on the basis of the
following adjudication criteria (in non-prioritised order):
A. FEASIBILITY
• The potential for development and refinement within a realistic financial and zoning
framework.
B. OVERALL CONCEPT AND ARCHITECTURAL QUALITY
• Overall use of the competition area, including the distribution of area and functions.
• Architectural expression, volume composition and relationship to surroundings.
• Use of land, traffic, flow of people and logistics.
• Flexibility to develop in stages and conceptually robust in relation to later changes
in the building programme.
C. CONSIDERATION OF CULTURAL MONUMENTS
• Relationship with existing silo.
• Preservation of landscape characteristics and natural values.
D. EXHIBITION CONCEPT
• Overall concept for exhibition and dissemination.
• Flexibility, accessibility and compliance with the functional programme.
E. ENVIRONMENTAL SOLUTIONS
• Environmentally-friendly and durable solutions.
• Robustness of structures and choice of materials.
REQUIREMENTS REGARDING
SUBMITTED MATERIAL
The following material must be submitted in Stage 1 of the competition:
Up to six panels in A1 landscape format. The panels must contain sufficient information to
allow the jury to evaluate the proposed solutions on the basis of the adjudication criteria.
A scale line must be shown on all drawings. Section lines must be marked on the plan
drawings and clearly named. Entrances and access roads must be marked.
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SITE PLAN (1:500), SHOWING:
• The central part of the competition area.
• Building mass.
• Streets, public squares and outdoor areas.
• Access and goods delivery.
• Connection to surrounding areas.
FLOOR PLANS FOR THE MUSEUM COMPLEX/SILO, 1: 200, SHOWING:
• Organisation of main functions.
• Principles of circulation and security.
SECTION OF MUSEUM COMPLEX (1:200), SHOWING:
• Connection between silo and new buildings.
FLOOR PLANS FOR OTHER FUNCTIONS IN THE AREA (1:500):
• Schematic presentation of areas and functions.
SECTION AND FAÇADE ELEVATION (1:500):
• Façade elevation, which is considered important for describing the solution and/or
which indicates the connection to adjacent buildings.
PERSPECTIVE/PHOTO MONTAGE:
Two perspectives must be integrated into the attached photos:
Photo A Lagmannsholmen.
Photo B to be chosen by participant
There should preferably also be an illustration of what the ‘cultural square’ will look
like from Sjølystveien.
DESCRIPTION
Descriptions must be provided on the panels, containing the following information:
• Intentions and overall concept.
• Relationship to surrounding area.
• Traffic management.
• Development options and stepwise construction.
• Expansion options for the museum.
• Relationship with the silo’s heritage value.
• Materials and surfaces.
• Description of environmental ambitions.
BROCHURE
In addition to the A1 panels, an A3 brochure must also be submitted.The brochure must
only contain scaled-down panels and an overview of the site.Areas must be indicated as
usable areas (BRA, standing for ‘bruksareal’) in accordance with Norwegian Standard 3940.
The mounting sequence must be indicated. It is assumed that two panels will be
necessary, one above the other. The panels must be mounted on rigid boards (KAPA fix
or equivalent).The panels must contain the following:
ELECTRONIC FORMAT
A CD/DVD or memory stick must be submitted, labelled with the design’s slogan,
containing panels and brochure in PDF format.The design’s A1 panels and A3 brochure
should be submitted as two separate PDF files.
OVERALL SITE PLAN (1:5000), SHOWING:
• Town planning situation.
EXHIBITION
For exhibition and online presentation, the submitted panels in PDF format will be used.
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TECHNICAL COMPETITION
PROVISIONS
main concept that addresses the task of illustrating the area’s potential for functions
additional to the art museum. The solution presented should be aesthetically
pleasing and functional, and should interact with the existing adjacent buildings,
safeguarding the antiquarian value of the silo building.
The proposals should pay particular attention to the connections between the
buildings, outdoor spaces and future urban development areas and other functions on
The planning and design competition will be held in accordance with Chapter 23 of
Odderøya.
the Regulations relating to Public Procurement, and the following provisions:
The proposals should provide for good overall project economics and effective use of
spaces.
RIGHT TO PARTICIPATE
The planning and design competition is open to architects with approved
STAGE 2
qualifications equivalent to a Master’s in architecture (or sivilarkitekt) and landscape
For selected participants, Stage 2 will comprise a parallel study of the museum
architects with qualifications equivalent to a Master’s in landscape architecture.
complex and any other functions that the client considers that it would be interesting
It will be the tenderer’s responsibility to document that any foreign degree is
to examine in this stage.
equivalent to this level. The Norwegian architecture and landscape architecture study
Part of the reason why the competition is being divided into two stages is because the
programme, the Master’s degree in architecture and the Master’s degree in landscape
client wishes to use the first stage to illustrate how the silo’s new use could activate
architecture are in accordance with the EU’s Professional Qualifications Directive.
a potential for other functions in the area.
Tenderers must be able to document the above qualifications in any negotiations for
For Stage 2, a more detailed competition programme will be prepared, with more
the planning and design contract.
detailed requirements regarding the material to be submitted.
LANGUAGE
ORGANISER
The language of the competition and contract is Norwegian. In Stage 1 of the
The competition is being organised jointly by Sørlandet Kunstmuseum, Kanalbyen
competition, Danish and Swedish will also be accepted.
Eiendom AS and Kristiansand municipality.
The competition programme, including appendices 1 and 2 will be available
in Norwegian and English versions. Other appendices will only be available
SUBMISSION AND ANONYMITY
in Norwegian. In any disputes about the interpretation of the contents of the
The competition design should be delivered or sent to:
competition programme, the Norwegian text will supersede the English. Any
National Association of Norwegian Architects,
competition designs that do not fulfil the language requirement may be rejected.
Josefinesgate 34
NO-0351 Oslo.
Deadline for submission is 12 May 2016 at 15:00.
COMPETITION SCHEDULE
Start of planning and design competition:
15 February 2016
Inspection of site:
8 March 2016, at 12:00
The material must be suitably packaged, marked with ‘Kunstmuseum og
Deadline for questions: 22 March 2016
kulturkvartal i Kristiansand’ (Art museum and cultural quarter in Kristiansand) and
Deadline for submissions, Stage 1: 12 May 2016, at 15:00
the proposal’s slogan (the entry ID code).
Jury evaluation, Stage 1:
May–June 2016
A name slip with contact address, telephone number and email address should be
Selection of participants for Stage 2:
September 2016
placed in a neutral, sealed and opaque envelope and enclosed with the competition
Adjudication of designs:
September–November 2016
design. The envelope must only be marked with ‘Kunstmuseum og kulturkvartal i
Selection of winner(s) after Stage 2:
December 2016
Kristiansand’ and the design’s slogan.
A submission will be deemed to have met the deadline if it has been delivered directly
The jury’s evaluation may be delayed if there are a large number of competitors, or in
to the National Association of Norwegian Architects (NAL) within the deadline, or if
the event of circumstances beyond the control of the client.
it can be documented that it was handed over for delivery by the postal service or
by a professional courier company within the same deadline. It is the participant’s
FORM OF COMPETITION
responsibility to choose a mode of delivery that ensures that the design is received by
The competition will be held as a planning and design competition in two stages, of
NAL within a maximum of five days after the deadline.
which Stage 1 is open and Stage 2 is restricted. Both stages of the competition are
Any participants submitting their design from abroad must ensure that the recipient
anonymous. Selected participants (minimum 3, maximum 5) from Stage 1 will be
is not charged any fees or duties in relation to the shipment. It is recommended that
invited to participate in the next stage of the competition.
‘NCV’ (no commercial value) be written in the value box on the shipping document.
Competition designs will not be returned, but an announcement will be made when
STAGE 1
The available competition programme applies to Stage 1, in which the aim is to find a
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competitors will be able to collect non-prizewinning entries. Prizewinning entries,
projects selected for Stage 2 and purchased projects will be retained.
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COMPETITION ADMINISTRATOR
APPROVAL
The work of the competition administrator will be performed by the specialist
The technical provisions of the competition have been approved by NAL. By
department of the National Association of Norwegian Architects, and the contact
submitting a competition design, competitors are deemed have accepted the
person will be architect (sivilarkitekt) Per Rygh MNAL.
programme and the terms and conditions of the competition.
Email: [email protected] – Tel.: +47 23 33 25 00
ANONYMITY
ACCESS TO COMPETITION PROGRAMME AND OTHER DOCUMENTS IN
The competition is based on the submission and judging of anonymised proposals,
DIGITAL FORMAT
in accordance with the rules in Chapter 23 of the Regulations relating to Public
The competition will be announced on Doffin and TED on 15 February 2016.
Procurement. The submitter of a proposal is obliged to ensure the complete anonymity
The competition programme, maps and other competition documentation will be
of the design submitted, until the jury’s decision in the competition has been made and
available for downloading from www.kunstsilo.no by 22 February 2016
announced. Participants should be particularly careful to ensure that digital files do not
at the latest.
contain any electronic trails that may reveal the identity of the competitor.
QUESTIONS REGARDING THE COMPETITION PROGRAMME
INSURANCE FOR DESIGNS
AND APPENDICES
The designs are not insured by the promoter. It is assumed that competitors will
Questions regarding the competition programme (and its appendices) may be sent
keep copies of any material they submit. No compensation will be payable for any
to the competition administrator by 22 March 2016. Responses to questions will be
damage caused to submitted material.
posted on the competition’s website www.kunstsilo.no by 4 April 2016
at the latest.
DESIGNS THAT DEVIATE FROM THE PROGRAMME
Designs may be excluded from adjudication
PRIZES
• if they are not submitted on time
The total amount of prize money available for Stage 1 is NOK 1,200,000.
• if they have breached the anonymity requirement
The jury is free to distribute the prize money at its discretion. The jury will be able to
• if they deviate significantly from the requirements for submitted material
make ‘purchases’ and award ’honourable mentions’.
The detailed work performed in Stage 2 will be remunerated by fixed fees of NOK
COPYRIGHT AND OWNERSHIP RIGHTS
200,000 per participant.
Sørlandet Kunstmuseum, Kanalbyen Eiendom AS and Kristiansand municipality
will have ownership rights to any of the prizewinning or purchased designs, and are
JURY
entitled to use ideas and elements of any of the prizewinning or purchased designs in
The designs will be assessed by a jury chaired by the mayor of Kristiansand, Harald
any future work on the competition area.
Furre. The other members of the jury will be announced at kunstsilo.no. The National
With regard to the design of the art gallery, this usage right only passes to the
Association of Norwegian Architects will appoint two of the jury members.
promoters if they have awarded the subsequent contract to one of the prizewinning
competitors in Stage 2, preferably the winner.
CONSULTANTS TO THE JURY
With regard to the ideas put forward in Stage 1 of the competition in terms of the
If necessary, the jury is permitted to use consultants for specialist subtopics.
competition area’s form and content, the promoters are free to award the contract to
any of the participants, regardless of whether the jury has awarded them a prize or
JURY’S REPORT
purchased their design.
When the jury has concluded its work, it will prepare a report containing the
The participants retain the copyrights to their designs.
following:
• Overview of all proposals received.
EXHIBITION AND PUBLICATION OF THE DESIGNS.
• Any decisions to exclude proposals from the evaluation, and the reasons for this.
All approved designs will be exhibited as part of the adjudication and prize-giving
• A general critique that describes the collective experiences of the jury and its
process, and as part of the subsequent planning process. The prizewinning and
conclusions.
• Detailed critiques of the prizewinning designs, and any other designs that the jury
wishes to highlight.
purchased designs and any designs with honourable mentions will be published
in NAL’s journal ‘Norske arkitektkonkurranser’ after the end of Stage 2 and the
competition as a whole.
• An explanation for the reasons behind the distribution of the prize money.
• Recommendations regarding the choice of participants for Stage 2.
SITUATION AFTER THE COMPETITION
This competition is a project competition, but the promoter cannot undertake to
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SECRETARY TO THE JURY
continue working with the results of the competition.
The work of the secretary to the jury will be performed by the specialist department
It is the promoter’s intention that the authors of the design that is chosen as the
of the National Association of Norwegian Architects, and the contact person will be
winner after Stage 2 will be awarded the planning and design contract for the art
architect (sivilarkitekt) Gisle Nataas MNAL.
museum. The scope of the contract will be established in negotiations between the
winner and the client.
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APPENDICES
APPENDIX 1: Schedule of rooms and functions – art museum
APPENDIX 2: Schedule of rooms and functions – cultural school
Other appendices may be downloaded from kunstsilo.no
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EXHIBITION AREAS
Exhibition areas are described both for the NT Collection and SKMU’s exhibition
activities. The areas must be connected to each other, but they should be perceived as
APPENDIX 1A
ART MUSEUM
GENERAL CONCEPT FOR
EXHIBITION AND DISSEMINATION
two separate, defined exhibition areas.
A minimum of 200 m2 of the SKMU exhibition area must have a ceiling height of 6 m
net, with a minimum ceiling height of 4 m in the remainder of the area. In the areas with
high ceilings, the floors must have a load-bearing capacity that enables heavy sculpture
exhibitions weighing 1,000 kg per m2 to be displayed. The load-bearing capacity of the
rest of the halls must be suitable for general heavy exhibition activities.
The exhibition areas should be divided into rooms of varying sizes, and it must be
LOGISTICS AND ACCESS
possible to divide large spaces into smaller spaces, and vice versa. The rooms should
In order to put on exhibitions, the museum regularly receives shipments in large lorries
be rectangular/square. The architecture in the exhibition areas should be low-key and
– on special occasions in trailers. This must therefore be taken into consideration when
neutral, thereby allowing the art to play the main role in the rooms.
planning access facilities for the museum. For security reasons, it would be preferable
to have a screened loading/unloading area. It must also be possible to transport art
The layout of each exhibition area or how the different rooms relate to each other, is an
internally within the building in such a way that it does not collide with members of the
important means of creating good narratives and connections. From the public’s point
public. This is also partly for security reasons.
of view, this must allow for an easy-to-navigate flow of movement, preferably with
facilities for rests or views en route.
There must be safe and efficient methods of contact and transport between the storage
areas, areas for the temporary storage of transported items and exhibition areas. Lift
The exhibition areas must be designed to satisfy the security requirements necessary
facilities for the transport of artworks must be designed with a load-bearing capacity
for loans from national and international museum institutions.
of at least 1,500 kg and a size of 2.5 x 6 x 4 m.
FLEXIBILITY AND ACCESSIBILITY
Storage areas have been described for the NT Collection and SKMU collection
Flexibility in terms of varying room sizes is important. Good flexibility is achieved by
respectively. These facilities should be adjacent to each other, since logistics and access
having an assortment of different room types available. This means smaller, more
to these areas are connected. Areas for intermediate storage, acclimatisation and
intimate rooms, and also big rooms.
unpacking of transported items will be shared by all the storage areas.
Flexibility is related to the usage aspect. It is also achieved by having rooms that can be
Access for visitors must be welcoming and must clearly designate functions. It must be
used for different types of art, i.e. traditional objects such as paintings and sculptures,
easy for people to find their way around the entrance area and the rest of the museum.
but also technically/technologically challenging installations. Systems for suitable
It must be possible for both drivers and pedestrians to read the access instructions.
technical equipment should therefore also be built into walls, floors and ceilings.
The museum’s visitors will be made up of all age groups, from nursery school children
Flexibility is a requirement both in areas for permanent collections as well as temporary
to pensioners. They will arrive at the museum in different ways and at different times.
exhibitions. For SKMU, the exhibition spaces currently used displaying collections and
A living, future-oriented museum will receive visitors throughout the day, and it will also
displaying temporary exhibitions are roughly equal.
host events in the evenings.
One of the museum’s priorities is to be able to offer visitors a variety of exciting
Bus arrivals will also service Kilden. An ideal place for the café is in the foyer, but it must
experiences at different times of the day.
be possible for the two facilities to operate independently of each other.
The museum’s social mission has been specified by the Ministry of Culture and includes
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A link between the lecture hall/auditorium and the foyer and café, using modern AV
generating its own income through activity and visibility in the public sphere. The
equipment, may be beneficial for the museum’s dissemination events and events
museum’s public areas and exhibition areas must also be available for commercial
organised by external parties who wish to use the museum. The café, auditorium and
events. It would therefore be practical to create some zones in various places that can
foyer may be defined as a separate zone. This also applies to the museum shop in the
be defined and closed off if necessary. Ideal locations for this would be the café or foyer,
entrance/foyer area.
and individual parts of the exhibitions.
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APPENDIX 1B
ART MUSEUM
SCHEDULE OF ROOMS AND
FUNCTIONS
The table describes the art museum’s net square meterage requirements, for both the
Sørlandet Kunstmuseum and the Nicolai Tangen Collection (NT Collection). Space must
also be allowed for technical rooms, communication spaces and structural spaces.
02.2 Shared meeting rooms:
165
Meeting rooms for administrative staff – varying sizes
60
This schedule must only be considered as a guide for the conceptual design. The
Dining room for staff with kitchen facilities
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proposals in Stage 1 of the competition are not expected to be detailed to this level.
Auditorium with option to show videos
70
Room for AV equipment
10
m
2
50
PRIMARY FUNCTIONS
5675
Specialist library, possibly also public library
15
01.1 Exhibition activities:
4400
Archive for frequently used files
15
1000
Archive for files in long-term storage, store for office functions
20
01
Area to introduce the collection Area to display the NT Collection
1700
Area for temporary exhibitions
1000
02.4 Museum shop – public access – café facilities:
465
Area for temporary exhibitions from the NT Collection
500
Museum shop, including stock room
100
Area for touring exhibitions 100
Foyer – ticket sales and information
100
Museum café for the public
100
Area for functions involving the public – break area –
reading room related to the exhibition area
50
Public area with toilets and cloakrooms
50
Storage related to the exhibition area
50
Events area close to food stores/kitchen
100
Food storage facility for external events in the museum
15
01.2Administration of the collection: 1100
500
Stores – own collection
Stores – NT Collection; stores may be amalgamated & divided
by function
03
300
75
SECONDARY FUNCTIONS:
260
03.1 Technical operations/waste management:
190
Technical room
150
Store for technical room
20
Waste room
20
Store-related work – unpacking – acclimatisation – pre-storage
Conservation work etc. – small conservation workshop for smaller
works in-house, 1-2 workstations
150
Office space in store for collection registration work 25
Store for transport cases and packing material
50
03.2 Building services/cleaning services:
70
Workshop with store 50
Cleaning centre – space for cleaning machinery, stores, etc.
20
01.3 Teaching activities:
30
02.3 Library, archive:
175
Teaching for children and young people – rendezvous point
50
Area for workshop activities relating to guided tours
50
Teaching room relating to the reception of school groups
75
TOTAL SQUARE METRES
02
CROSS-DISCIPLINARY/SHARED FUNCTIONS:
880
02.1 Administration and shared services:
200
Offices – 18 workstations
150
Photocopy room – room for technical services – IT room
15
Break area for informal meetings – receiving visitors
15
Personnel area with toilets and cloakrooms
20
6815
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APPENDIX 2
CULTURAL SCHOOL
SCHEDULE OF ROOMS AND
FUNCTIONS
The table below describes the net square meterage. Space must also be allowed for
technical rooms, communication spaces and structural spaces.
This schedule must only be considered as a guide for the conceptual design. The
proposals in Stage 1 of the competition are not expected to be detailed to this level.
m2
m2
CULTURAL SCHOOL
NUMBER TOTAL
06
Concert hall
600
880
Acoustic concert hall
1
250
Teaching rooms 21
20
420
Rhythmic concert hall
1
250
Teaching rooms 4
30
120
Stores
150
01
Music
Group rooms
4
Combination/ensemble room
1
50
50
07
Midilab. Recording/studio
1
55
55
Reception
Storerooms
3 85
250 100
Administration
Offices
275
140
40
1115 165
Adapted cloakroom
1
15
15
02
Theatre
400
Conference room
1
20
20
Black box
1
160
160
Photocopier room
1
20
20
Rehearsal room
1
70
70
Archive
115
Cloakrooms with showers
2
30
60
Front room
1
15
15
TOTAL SQUARE METRES
Sewing room
1
25
25
Stores
235
15
2915
70
03
Dance
Dance studio
1
100
100
04
Visual arts
370
Workshops
290 180
Film workshop
1
60
60
Teacher’s workstation
1
20
20
Furnace room
1
20
20
Corrosives room
1
15
15
Stores
2 75
32
05
Common areas
Staff room
1
290
80
Teacher’s workstation
1
60
Reception hall
1
150
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Photo: Kanalbyen / Kjell Inge Søreide
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www.kunstsilo.no