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Sankt Olavs Plass Analysis_Urban Preservation_Spring2020

Publication from AHO's Urban Preservation Course Spring 2020. It presents a study of the changing narrative of St Olav's Place in the Centre of Oslo, undertaken by an international consultancy team of students comprising - Eudine Blancardi, Félix Blanchard, Kostas Argyriou, Kristofer Mattsson and Julian Riise. The project started as a normal study with community engagement and installations on site and then owing to Corona Virus, the team had to rethink the project and complete the study as a virtual project. The team were assisted by course leader Tom Davies, Viksjø expert- Even Smith Wergeland, community artists- Kim Frydenlund Grane & Torgeir Stige, Byantikvaren's Marte Muan Sæther, Post-war construction expert- Barbara Ascher, Norberg Schulz expert- Beata Labuhn, and Oxford Archaeology's Ben Ford. There are plans to realise the different 'chairs' in the report as experiences at SOP, which you can do right now by taking the publication to site and trying it out yourself. Enjoy!

Publication from AHO's Urban Preservation Course Spring 2020. It presents a study of the changing narrative of St Olav's Place in the Centre of Oslo, undertaken by an international consultancy team of students comprising - Eudine Blancardi, Félix Blanchard, Kostas Argyriou, Kristofer Mattsson and Julian Riise. The project started as a normal study with community engagement and installations on site and then owing to Corona Virus, the team had to rethink the project and complete the study as a virtual project. The team were assisted by course leader Tom Davies, Viksjø expert- Even Smith Wergeland, community artists- Kim Frydenlund Grane & Torgeir Stige, Byantikvaren's Marte Muan Sæther, Post-war construction expert- Barbara Ascher, Norberg Schulz expert- Beata Labuhn, and Oxford Archaeology's Ben Ford. There are plans to realise the different 'chairs' in the report as experiences at SOP, which you can do right now by taking the publication to site and trying it out yourself. Enjoy!

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Urban preservation

Teacher: Tom Davies

Spring 2020

SANKT

OLAVS

PLASS

Kostas Argyriou

Eudine Blancardi

Félix Blanchard

Kristoffer Mattsson

Julian Riise


EDITO

«Dear reader and visitor...

Our work on Sankt Olavs Plass is about giving an account of our understanding

of the place, studied through the prism of urban preservation and

city heritage. Our research was accompanied by lectures which helped us

to organise our work and to find a focus for our project.

After a month of research, some interviews and several visits on site,

our attention was caught up by the set of stone-chairs surrounding the

square. These chairs became the setting for our narrative. Together they

form a whole ensemble directed towards and presenting the five buildings

forming the square but also surrounding the fountain that presides

over St Olavs Plass at the centre of the square. The chairs seem to

connect and tie together the various elements of St Olavs Plass increasing

the coherence of its public space. Taken individually, each chair frames a

view and a portion of the square that we decided would be a starting point

for our presentation. Indeed, we wanted to use this aspect of the public

space as a physical framing of our presentation. The chairs appeared to be

the perfect medium as the views they offer capture simultaneously parts

of the buildings, public space, traffic axis, stories, characters... presenting

many layers of history hidden in a single picture.

What this magazine tries to do, in using the views from six of the chairs,

is to provide an account -in a non-exhaustive way- of some of these

layers of history giving an overview of Sankt Olavs Plass’s evolution and

help people to bond with the place. We chose a collage technique of old

pictures and historical documents related to Sankt Olavs Plass to communicate

all these layers. Collage offers the possibility of overlapping different

stories while letting us see through the successions and connections

of events through time and space. We took the liberty of using notable

characters involved in Sankt Olavs Plass’s history as our narrators for each

chair as we thought it could make the story more thrilling. We hope this

eccentricity will be forgiven, and that you’ll enjoy your reading and visit!


INTRODUCTION

1800

1850

«As the Holiness whose name was given to this

place, let me give you the basics of Sankt Olavs

Plass’s founding...

Since the end of the 20th century, the dominating urban philosophy has

been to give the street back to pedestrians and also to reveal the city’s

heritage. In 2001, the Oslo Council held a competition to renew Sankt

Olavs Plass. The winners, ACK architects, proposed a shared space, unregulated

for cars to reduce traffic. This relates to much earlier origins for

Sankt Olavs Plass’ planning…

1900

1950

2020

2000

2001


INTRODUCTION

1800

«As the Holiness whose name was given to this

place, let me give you the basics of Sankt Olavs

Plass’s founding...

1841

1838

1850

Since the end of the 20th century, the dominating urban philosophy has

been to give the street back to pedestrians and also to reveal the city’s

heritage. In 2001, the Oslo Council held a competition to renew Sankt

Olavs Plass. The winners, ACK architects, proposed a shared space, unregulated

for cars to reduce traffic. This relates to much earlier origins for

Sankt Olavs Plass’ planning…

The Oslo Linstow’s Plan

In 1838, Linstow proposed a plan to connect the royal palace to the city.

The plan follows a Baroque urban design with the palace as a central

point. Within this St Olav’s gate forms a major diagonal axis leading from

the palace towards Hammersborg heights. The construction of the street

between the royal palace and Pilestredet Gate in 1841, was the first step of

this axis’s development.

1900

1950

2020

2000

2001


INTRODUCTION

1800

«As the Holiness whose name was given to this

place, let me give you the basics of Sankt Olavs

Plass’s founding...

1841

1859

1838

1850

1870

1890

1900

Since the end of the 20th century, the dominating urban philosophy has

been to give the street back to pedestrians and also to reveal the city’s

heritage. In 2001, the Oslo Council held a competition to renew Sankt

Olavs Plass. The winners, ACK architects, proposed a shared space, unregulated

for cars to reduce traffic. This relates to much earlier origins for

Sankt Olavs Plass’ planning…

The Oslo Linstow’s Plan

In 1838, Linstow proposed a plan to connect the royal palace to the city.

The plan follows a Baroque urban design with the palace as a central

point. Within this St Olav’s gate forms a major diagonal axis leading from

the palace towards Hammersborg heights. The construction of the street

between the royal palace and Pilestredet Gate in 1841, was the first step of

this axis’s development.

Georg Andreas Bull’s regulation plan for extension

In 1859, City Planner Georg Andreas Bull designed the star shaped plan

of St Olavs Plass, a reference to similar large-scale plans such as the “Place

de la Nation” in Paris. The surrounding neighbourhoods were organised

around the star’s branches. Construction work started in 1862 and Sankt

Olavs Gate was continued to St Olav’s Church.

From 1870 the area was parcelled up and sold to private owners from

the Middle Classes. Most of the plots were sold to Olaus Johnsen who

then sold and rented the properties. Later in 1890 the plots near Ullevålsveien

were divided between the diocese and the state.

1950

2020

2000

2001


INTRODUCTION

1800

«As the Holiness whose name was given to this

place, let me give you the basics of Sankt Olavs

Plass’s founding...

1841

1859

1939

1838

1850

1870

1890

1900

1950

Since the end of the 20th century, the dominating urban philosophy has

been to give the street back to pedestrians and also to reveal the city’s

heritage. In 2001, the Oslo Council held a competition to renew Sankt

Olavs Plass. The winners, ACK architects, proposed a shared space, unregulated

for cars to reduce traffic. This relates to much earlier origins for

Sankt Olavs Plass’ planning…

The Oslo Linstow’s Plan

In 1838, Linstow proposed a plan to connect the royal palace to the city.

The plan follows a Baroque urban design with the palace as a central

point. Within this St Olav’s gate forms a major diagonal axis leading from

the palace towards Hammersborg heights. The construction of the street

between the royal palace and Pilestredet Gate in 1841, was the first step of

this axis’s development.

Georg Andreas Bull’s regulation plan for extension

In 1859, City Planner Georg Andreas Bull designed the star shaped plan

of St Olavs Plass, a reference to similar large-scale plans such as the “Place

de la Nation” in Paris. The surrounding neighbourhoods were organised

around the star’s branches. Construction work started in 1862 and Sankt

Olavs Gate was continued to St Olav’s Church.

From 1870 the area was parcelled up and sold to private owners from

the Middle Classes. Most of the plots were sold to Olaus Johnsen who

then sold and rented the properties. Later in 1890 the plots near Ullevålsveien

were divided between the diocese and the state.

The Modernist period

In 1939, a new Apartment block was designed by architects Jarle Berg and

Antti Norrgren. This construction symbolizes the start of a functionalist

metamorphosis of Sankt Olavs Plass. These new buildings introduced

new principles from the modernist approach of

Architecture, where buildings are first

and foremost defined by their

purpose with less focus on

ornamentation. Typically white

simple façades are characteristic of

the Functionalist Movement.

2020

2000

2001


INTRODUCTION

1800

«As the Holiness whose name was given to this

place, let me give you the basics of Sankt Olavs

Plass’s founding...

1841

1859

1939

1950

2020

1838

1850

1870

1890

1900

1950

2000

2001

Since the end of the 20th century, the dominating urban philosophy has

been to give the street back to pedestrians and also to reveal the city’s

heritage. In 2001, the Oslo Council held a competition to renew Sankt

Olavs Plass. The winners, ACK architects, proposed a shared space, unregulated

for cars to reduce traffic. This relates to much earlier origins for

Sankt Olavs Plass’ planning…

The Oslo Linstow’s Plan

In 1838, Linstow proposed a plan to connect the royal palace to the city.

The plan follows a Baroque urban design with the palace as a central

point. Within this St Olav’s gate forms a major diagonal axis leading from

the palace towards Hammersborg heights. The construction of the street

between the royal palace and Pilestredet Gate in 1841, was the first step of

this axis’s development.

Georg Andreas Bull’s regulation plan for extension

In 1859, City Planner Georg Andreas Bull designed the star shaped plan

of St Olavs Plass, a reference to similar large-scale plans such as the “Place

de la Nation” in Paris. The surrounding neighbourhoods were organised

around the star’s branches. Construction work started in 1862 and Sankt

Olavs Gate was continued to St Olav’s Church.

From 1870 the area was parcelled up and sold to private owners from

the Middle Classes. Most of the plots were sold to Olaus Johnsen who

then sold and rented the properties. Later in 1890 the plots near Ullevålsveien

were divided between the diocese and the state.

The Modernist period

In 1939, a new Apartment block was designed by architects Jarle Berg and

Antti Norrgren. This construction symbolizes the start of a functionalist

metamorphosis of Sankt Olavs Plass. These new buildings introduced

new principles from the modernist approach of

Architecture, where buildings are first

and foremost defined by their

purpose with less focus on

ornamentation. Typically white

simple façades are characteristic of

the Functionalist Movement.

The Reign of Cars

From 1950, began what Norberg-

Schulz called the “Glittering city”.

This period embodies the reign and

priority of cars and infrastructure

over pedestrians and public space.

To allow better car circulation the

1868 Cupid fountain that stood in the

center of the square was taken down

and several trees were removed. The

architecture of that time is defined

by contrasts of high and low volumes

provided by theTeledirektoret

building and Domus Nova.


CONTENTS

1807

1800

Josephine’s chair gives you an immediate view of Sankt Olavs

Plass No.3 and Apoteket with Sankt Olav Church in the background.

We nammed it after Joséphine of Leuchtenberg (de

Beauharnais) who was the Queen of Sweden and Norway. She

was politically active during the reign of her spouse,acting as his

political adviserandactively participating in government affairs.

In 1856, she helped fund the construction of St. Olavs church.

JOSEPHINE CHAIR

1850

1876

1900

1950

2000


CONTENTS

1807

1800

Josephine’s chair gives you an immediate view of Sankt Olavs

Plass No.3 and Apoteket with Sankt Olav Church in the background.

We nammed it after Joséphine of Leuchtenberg (de

Beauharnais) who was the Queen of Sweden and Norway. She

was politically active during the reign of her spouse,acting as his

political adviserandactively participating in government affairs.

In 1856, she helped fund the construction of St. Olavs church.

JOSEPHINE CHAIR

1850

Sitting on Holter’s chair in front of the old Apotek, you will face

the Teledirektoratet Building (Telecommunications Administration

Building) built in 1963 by Nils Holter but also embrace the

view towards the City Hall. Nils Holter was a Norwegian modernist

architect. Apart from Universitets gata 2, he designed the

NRK buildings at Marienlyst and the Telegraph Building in Oslo.

1876

HOLTER CHAIR

1899

1900

1950

1995

2000


CONTENTS

1807

1800

Josephine’s chair gives you an immediate view of Sankt Olavs

Plass No.3 and Apoteket with Sankt Olav Church in the background.

We nammed it after Joséphine of Leuchtenberg (de

Beauharnais) who was the Queen of Sweden and Norway. She

was politically active during the reign of her spouse,acting as his

political adviserandactively participating in government affairs.

In 1856, she helped fund the construction of St. Olavs church.

JOSEPHINE CHAIR

1850

Sitting on Holter’s chair in front of the old Apotek, you will face

the Teledirektoratet Building (Telecommunications Administration

Building) built in 1963 by Nils Holter but also embrace the

view towards the City Hall. Nils Holter was a Norwegian modernist

architect. Apart from Universitets gata 2, he designed the

NRK buildings at Marienlyst and the Telegraph Building in Oslo.

1876

HOLTER CHAIR

1899

1900

1910

The Viksjø chair frames the incredible triangular concrete building

standing at Sankt Olavs Plass No.5 (1969). It is named after

the Norwegian architect ErlingViksjø, central modernist figure

of architecture. He is known for reinventing Norwegian tradition

through his use of textured concrete called Natur-betong.

He also designed the Government Quarter and the Y Block

(today threatened of demolition).

VIKSJØ CHAIR

1950

1971

1995

2000


CONTENTS

1807

1800

Josephine’s chair gives you an immediate view of Sankt Olavs

Plass No.3 and Apoteket with Sankt Olav Church in the background.

We nammed it after Joséphine of Leuchtenberg (de

Beauharnais) who was the Queen of Sweden and Norway. She

was politically active during the reign of her spouse,acting as his

political adviserandactively participating in government affairs.

In 1856, she helped fund the construction of St. Olavs church.

JOSEPHINE CHAIR

1850

1868

Sitting on Holter’s chair in front of the old Apotek, you will face

the Teledirektoratet Building (Telecommunications Administration

Building) built in 1963 by Nils Holter but also embrace the

view towards the City Hall. Nils Holter was a Norwegian modernist

architect. Apart from Universitets gata 2, he designed the

NRK buildings at Marienlyst and the Telegraph Building in Oslo.

1876

HOLTER CHAIR

1899

1900

1910

The Viksjø chair frames the incredible triangular concrete building

standing at Sankt Olavs Plass No.5 (1969). It is named after

the Norwegian architect ErlingViksjø, central modernist figure

of architecture. He is known for reinventing Norwegian tradition

through his use of textured concrete called Natur-betong.

He also designed the Government Quarter and the Y Block

(today threatened of demolition).

Cupido’s chair stands right next to Viksjø’s. It gives a global view

on the square and draws your attention onto the Lysfontene

standing in the middle. Cupido’s chair refers to the previous

fountain ornement which stood at St. Olavs Plass for nearly 80

years before he was removed by the city council in 1950. The

Cupido sculpture was casted in France in the middle of the 19th

century century. In classical mythology, Cupido represents the

god of desire, attraction and affection.

VIKSJØ CHAIR

CUPIDO CHAIR

1950

1950

1971

1995

2000


CONTENTS

1807

1800

Josephine’s chair gives you an immediate view of Sankt Olavs

Plass No.3 and Apoteket with Sankt Olav Church in the background.

We nammed it after Joséphine of Leuchtenberg (de

Beauharnais) who was the Queen of Sweden and Norway. She

was politically active during the reign of her spouse,acting as his

political adviserandactively participating in government affairs.

In 1856, she helped fund the construction of St. Olavs church.

JOSEPHINE CHAIR

1850

1868

Sitting on Holter’s chair in front of the old Apotek, you will face

the Teledirektoratet Building (Telecommunications Administration

Building) built in 1963 by Nils Holter but also embrace the

view towards the City Hall. Nils Holter was a Norwegian modernist

architect. Apart from Universitets gata 2, he designed the

NRK buildings at Marienlyst and the Telegraph Building in Oslo.

1876

HOLTER CHAIR

1899

1910

1900

1910

The Viksjø chair frames the incredible triangular concrete building

standing at Sankt Olavs Plass No.5 (1969). It is named after

the Norwegian architect ErlingViksjø, central modernist figure

of architecture. He is known for reinventing Norwegian tradition

through his use of textured concrete called Natur-betong.

He also designed the Government Quarter and the Y Block

(today threatened of demolition).

Cupido’s chair stands right next to Viksjø’s. It gives a global view

on the square and draws your attention onto the Lysfontene

standing in the middle. Cupido’s chair refers to the previous

fountain ornement which stood at St. Olavs Plass for nearly 80

years before he was removed by the city council in 1950. The

Cupido sculpture was casted in France in the middle of the 19th

century century. In classical mythology, Cupido represents the

god of desire, attraction and affection.

VIKSJØ CHAIR

CUPIDO CHAIR

1950

1971

1950

Leif Juster, father of the Edderkoppen theatre (The spider) will

tell you its story. So just sit on the chair in front of the Teledirektoratet

and look at that white modernist building located at St.

Olavs Plass number 1, with the old site of Rikshopitalet in the

background. Juster, Norwegian comedian, singer and actor,

founded the Edderkoppen in 1945 and worked as the Edderkoppen’s

director until 1966.

JUSTER CHAIR

1995

1995

2000


CONTENTS

1807

1800

Josephine’s chair gives you an immediate view of Sankt Olavs

Plass No.3 and Apoteket with Sankt Olav Church in the background.

We nammed it after Joséphine of Leuchtenberg (de

Beauharnais) who was the Queen of Sweden and Norway. She

was politically active during the reign of her spouse,acting as his

political adviserandactively participating in government affairs.

In 1856, she helped fund the construction of St. Olavs church.

JOSEPHINE CHAIR

1859

1850

1868

Sitting on Holter’s chair in front of the old Apotek, you will face

the Teledirektoratet Building (Telecommunications Administration

Building) built in 1963 by Nils Holter but also embrace the

view towards the City Hall. Nils Holter was a Norwegian modernist

architect. Apart from Universitets gata 2, he designed the

NRK buildings at Marienlyst and the Telegraph Building in Oslo.

1876

HOLTER CHAIR

1899

1910

1900

1910

The Viksjø chair frames the incredible triangular concrete building

standing at Sankt Olavs Plass No.5 (1969). It is named after

the Norwegian architect ErlingViksjø, central modernist figure

of architecture. He is known for reinventing Norwegian tradition

through his use of textured concrete called Natur-betong.

He also designed the Government Quarter and the Y Block

(today threatened of demolition).

VIKSJØ CHAIR

Cupido’s chair stands right next to Viksjø’s. It gives a global view

on the square and draws your attention onto the Lysfontene

standing in the middle. Cupido’s chair refers to the previous

fountain ornement which stood at St. Olavs Plass for nearly 80

years before he was removed by the city council in 1950. The

Cupido sculpture was casted in France in the middle of the 19th

century century. In classical mythology, Cupido represents the

god of desire, attraction and affection.

CUPIDO CHAIR

1950

1971

1950

1952

Leif Juster, father of the Edderkoppen theatre (The spider) will

tell you its story. So just sit on the chair in front of the Teledirektoratet

and look at that white modernist building located at St.

Olavs Plass number 1, with the old site of Rikshopitalet in the

background. Juster, Norwegian comedian, singer and actor,

founded the Edderkoppen in 1945 and worked as the Edderkoppen’s

director until 1966.

JUSTER CHAIR

1995

1995

2000

Jump from Juster’s chair to the next one where Knut Hamsun

will bring you back to the 19th century. He will tell you the story

of the Apotek building standing in front of you. From that chair

you will also be able to admire von Hanno’s work in Sankt Olavs

Gate. Hamsun was a Norwegian writer, considered one of the

founders of modern literature. In his novel “Sult” (Hunger) the

first-person protagonist meets Ylajali, a young woman who probably

lived on the second floor of St. Olavs Plass number 2.

HAMSUN CHAIR


JOSEPHINE CHAIR

1800

«My dear beloved friend. I am the Queen

Josephine...

Sit here with me and enjoy the view I had from my chambers. This place

means a lot to me and represents a lifetime of hard work and determination.

Don’t trust appearances and history, I might be under estimated, but

as queen and wife of King Oscar of Sweden and Norway, I had arguably

a lot of influence!

1850

1900

1950

2000

2020


JOSEPHINE CHAIR

1800

1850

1856

«My dear beloved friend. I am the Queen

Josephine...

Sit here with me and enjoy the view I had from my chambers. This place

means a lot to me and represents a lifetime of hard work and determination.

Don’t trust appearances and history, I might be under estimated, but

as queen and wife of King Oscar of Sweden and Norway, I had arguably

a lot of influence!

I was politically active and acted as the king’s trusted adviser. I also met a

lot of resistance being a Catholic in a Lutheran monarchy, but I woked

all my life to implement religious freedom in Norway. I led numerous

charitable institutions and fundraising actions to help developments of

churches such as Sankt Olav Church, which you can see here. This was

the first Catholic Church built in Norway after the reformation to the

design of architect Wilhelm von Hanno, in 1856. It creates a sight-line

connection from the royal palace to the church, which symbolises a renewed

relationship between the Crown and God, which Norway had not

seen since the end of the Viking age. It also allowed me to enjoy my days

in Oslo always being close to God.

1900

1950

2000

2020


JOSEPHINE CHAIR

1800

1850

1856

1870

1900

«My dear beloved friend. I am the Queen

Josephine...

Sit here with me and enjoy the view I had from my chambers. This place

means a lot to me and represents a lifetime of hard work and determination.

Don’t trust appearances and history, I might be under estimated, but

as queen and wife of King Oscar of Sweden and Norway, I had arguably

a lot of influence!

I was politically active and acted as the king’s trusted adviser. I also met a

lot of resistance being a Catholic in a Lutheran monarchy, but I woked

all my life to implement religious freedom in Norway. I led numerous

charitable institutions and fundraising actions to help developments of

churches such as Sankt Olav Church, which you can see here. This was

the first Catholic Church built in Norway after the reformation to the

design of architect Wilhelm von Hanno, in 1856. It creates a sight-line

connection from the royal palace to the church, which symbolises a renewed

relationship between the Crown and God, which Norway had not

seen since the end of the Viking age. It also allowed me to enjoy my days

in Oslo always being close to God.

Nr. 3 Sankt Olavs Plass, located on the right side, was built in 1870 by timber-master

P. Christensen and was the most anonymous of the original

buildings. Nonetheless, it has had a turbulent history.

1950

2000

2020


JOSEPHINE CHAIR

1800

1850

1856

1870

1900

«My dear beloved friend. I am the Queen

Josephine...

Sit here with me and enjoy the view I had from my chambers. This place

means a lot to me and represents a lifetime of hard work and determination.

Don’t trust appearances and history, I might be under estimated, but

as queen and wife of King Oscar of Sweden and Norway, I had arguably

a lot of influence!

I was politically active and acted as the king’s trusted adviser. I also met a

lot of resistance being a Catholic in a Lutheran monarchy, but I woked

all my life to implement religious freedom in Norway. I led numerous

charitable institutions and fundraising actions to help developments of

churches such as Sankt Olav Church, which you can see here. This was

the first Catholic Church built in Norway after the reformation to the

design of architect Wilhelm von Hanno, in 1856. It creates a sight-line

connection from the royal palace to the church, which symbolises a renewed

relationship between the Crown and God, which Norway had not

seen since the end of the Viking age. It also allowed me to enjoy my days

in Oslo always being close to God.

Nr. 3 Sankt Olavs Plass, located on the right side, was built in 1870 by timber-master

P. Christensen and was the most anonymous of the original

buildings. Nonetheless, it has had a turbulent history.

In 1938 a fire destroyed the building which was then replaced by the

offices of the Norwegian Machine Company, completed in 1940. The new

construction kept a wall facing the square but with the façade pushed

further back from the road, this announced the mid-20th road widening.

1938

1950

2000

2020


JOSEPHINE CHAIR

1800

1850

1856

1870

1900

1938 1940

1950

«My dear beloved friend. I am the Queen

Josephine...

Sit here with me and enjoy the view I had from my chambers. This place

means a lot to me and represents a lifetime of hard work and determination.

Don’t trust appearances and history, I might be under estimated, but

as queen and wife of King Oscar of Sweden and Norway, I had arguably

a lot of influence!

I was politically active and acted as the king’s trusted adviser. I also met a

lot of resistance being a Catholic in a Lutheran monarchy, but I woked

all my life to implement religious freedom in Norway. I led numerous

charitable institutions and fundraising actions to help developments of

churches such as Sankt Olav Church, which you can see here. This was

the first Catholic Church built in Norway after the reformation to the

design of architect Wilhelm von Hanno, in 1856. It creates a sight-line

connection from the royal palace to the church, which symbolises a renewed

relationship between the Crown and God, which Norway had not

seen since the end of the Viking age. It also allowed me to enjoy my days

in Oslo always being close to God.

Nr. 3 Sankt Olavs Plass, located on the right side, was built in 1870 by timber-master

P. Christensen and was the most anonymous of the original

buildings. Nonetheless, it has had a turbulent history.

In 1938 a fire destroyed the building which was then replaced by the

offices of the Norwegian Machine Company, completed in 1940. The new

construction kept a wall facing the square but with the façade pushed

further back from the road, this announced the mid-20th road widening.

The Melbye family-owned industrial production company moved into

the basement of St. Olavs Plass 3 in 1940. During the war they joined the

first Norwegian sabotage organisation. In addition to delaying Nazi

deliveries of goods, the father and son distributed

a large number of black-out curtains

for other Norwegian sabotage groups.

This was so the Nazis couldn’t look in

through windows.

2000

2020


JOSEPHINE CHAIR

1800

1850

1856

1870

1900

1938 1940

1950

«My dear beloved friend. I am the Queen

Josephine...

Sit here with me and enjoy the view I had from my chambers. This place

means a lot to me and represents a lifetime of hard work and determination.

Don’t trust appearances and history, I might be under estimated, but

as queen and wife of King Oscar of Sweden and Norway, I had arguably

a lot of influence!

I was politically active and acted as the king’s trusted adviser. I also met a

lot of resistance being a Catholic in a Lutheran monarchy, but I woked

all my life to implement religious freedom in Norway. I led numerous

charitable institutions and fundraising actions to help developments of

churches such as Sankt Olav Church, which you can see here. This was

the first Catholic Church built in Norway after the reformation to the

design of architect Wilhelm von Hanno, in 1856. It creates a sight-line

connection from the royal palace to the church, which symbolises a renewed

relationship between the Crown and God, which Norway had not

seen since the end of the Viking age. It also allowed me to enjoy my days

in Oslo always being close to God.

Nr. 3 Sankt Olavs Plass, located on the right side, was built in 1870 by timber-master

P. Christensen and was the most anonymous of the original

buildings. Nonetheless, it has had a turbulent history.

In 1938 a fire destroyed the building which was then replaced by the

offices of the Norwegian Machine Company, completed in 1940. The new

construction kept a wall facing the square but with the façade pushed

further back from the road, this announced the mid-20th road widening.

The Melbye family-owned industrial production company moved into

the basement of St. Olavs Plass 3 in 1940. During the war they joined the

first Norwegian sabotage organisation. In addition to delaying Nazi

deliveries of goods, the father and son distributed

a large number of black-out curtains

for other Norwegian sabotage groups.

This was so the Nazis couldn’t look in

through windows.

1960

2020

1980

2000

In the 1960s a radical movement began

trying to merge Christianity and

Gay people, and Kim Friele

(Karen-Christine Friele) was their

front figure. The movement was

originally named DNF-48 (Det

Norske Forbundetav 1948), later

changed to the ‘ÅpenKirkegruppe’

(the Open Church),

and today goes by the name ‘Fri’

(Free). In the 1980s they moved

into St. Olavs Gate 2 and held

their political, religious and

community meetings in the

Restaurant Teketopa.


HOLTER CHAIR

1800

« Hi ! Niels Holter, architect...

I designed the Teledirecktoratet building standing in front of you. Although

I am quite pleased with what I achieved here, the modernist urban

approach has been criticized for several decades. Some say that the

project neglects the urban coherence and the human scale of the square.

What do you think?

1850

1900

1950

2000

2020


HOLTER CHAIR

1800

« Hi ! Niels Holter, architect...

1850

I designed the Teledirecktoratet building standing in front of you. Although

I am quite pleased with what I achieved here, the modernist urban

approach has been criticized for several decades. Some say that the

project neglects the urban coherence and the human scale of the square.

What do you think?

Some people regret the loss of the older buildings that stood here. These

were two Neo-Baroque buildings of forming 3 and 3 and ½ floor rental

blocks from the 1870s. The ground-floors of these hosted several shops

over the years including a Buntmaker (leather shop) and a Tobacconist.

1870

1900

1950

2000

2020


HOLTER CHAIR

1800

« Hi ! Niels Holter, architect...

1850

1870

I designed the Teledirecktoratet building standing in front of you. Although

I am quite pleased with what I achieved here, the modernist urban

approach has been criticized for several decades. Some say that the

project neglects the urban coherence and the human scale of the square.

What do you think?

Some people regret the loss of the older buildings that stood here. These

were two Neo-Baroque buildings of forming 3 and 3 and ½ floor rental

blocks from the 1870s. The ground-floors of these hosted several shops

over the years including a Buntmaker (leather shop) and a Tobacconist.

St OlavsPlass’ star shape connects several important elements of Oslo,

taking in several remarkable buildings such as the royal palace. The star

design determined the overall layout for this part of the city. For example, I

bet you have noticed the skyline of the City Hall in the background. This

building with its own round public space, from 1950, seems the perfect

counterpart of St. Olavs Plass across the Universitetsgata axis.

1900

1950

1950

2000

2020


HOLTER CHAIR

1800

« Hi ! Niels Holter, architect...

1850

1870

1900

I designed the Teledirecktoratet building standing in front of you. Although

I am quite pleased with what I achieved here, the modernist urban

approach has been criticized for several decades. Some say that the

project neglects the urban coherence and the human scale of the square.

What do you think?

Some people regret the loss of the older buildings that stood here. These

were two Neo-Baroque buildings of forming 3 and 3 and ½ floor rental

blocks from the 1870s. The ground-floors of these hosted several shops

over the years including a Buntmaker (leather shop) and a Tobacconist.

St OlavsPlass’ star shape connects several important elements of Oslo,

taking in several remarkable buildings such as the royal palace. The star

design determined the overall layout for this part of the city. For example, I

bet you have noticed the skyline of the City Hall in the background. This

building with its own round public space, from 1950, seems the perfect

counterpart of St. Olavs Plass across the Universitetsgata axis.

The Teledirecktoratet building is now almost 60 years old. It was built in

1964 and hosted the offices of the National Telecommunications Authorities.

As you can see, the construction consists of two main parts:

a high-rise offering light and views over the city and a lower volume

towards Pilestredet providing the human-scale with a street façade and

shops. The building’s envelope is a glass façade which provides a sense

of openness. I had the privilege of designing other buildings in Oslo

including the Broadcasting house at Marienlyst built between 1938 and

1945 and later, in 1963, the Televerket’s installation building at Tollbugata

amongst others.

1950

1950

1964

2000

2020


HOLTER CHAIR

1800

« Hi ! Niels Holter, architect...

1850

1870

1900

I designed the Teledirecktoratet building standing in front of you. Although

I am quite pleased with what I achieved here, the modernist urban

approach has been criticized for several decades. Some say that the

project neglects the urban coherence and the human scale of the square.

What do you think?

Some people regret the loss of the older buildings that stood here. These

were two Neo-Baroque buildings of forming 3 and 3 and ½ floor rental

blocks from the 1870s. The ground-floors of these hosted several shops

over the years including a Buntmaker (leather shop) and a Tobacconist.

St OlavsPlass’ star shape connects several important elements of Oslo,

taking in several remarkable buildings such as the royal palace. The star

design determined the overall layout for this part of the city. For example, I

bet you have noticed the skyline of the City Hall in the background. This

building with its own round public space, from 1950, seems the perfect

counterpart of St. Olavs Plass across the Universitetsgata axis.

The Teledirecktoratet building is now almost 60 years old. It was built in

1964 and hosted the offices of the National Telecommunications Authorities.

As you can see, the construction consists of two main parts:

a high-rise offering light and views over the city and a lower volume

towards Pilestredet providing the human-scale with a street façade and

shops. The building’s envelope is a glass façade which provides a sense

of openness. I had the privilege of designing other buildings in Oslo

including the Broadcasting house at Marienlyst built between 1938 and

1945 and later, in 1963, the Televerket’s installation building at Tollbugata

amongst others.

1950

1950

1964

1971

The lower part of the building in front of you hosting the Post Office is

a later extension added in 1971. This building and its neighbour (Domus

Nova) both break the alignment of the original buildings around St

Olavs Plass. They leave more space to the streets which was intended to

provide fluid car traffic. They represent

a Modernist urbanism in contrast with

the earlier dense urban form of the

Neo-Baroque .

2000

2020


HOLTER CHAIR

1800

« Hi ! Niels Holter, architect...

1850

1870

1900

I designed the Teledirecktoratet building standing in front of you. Although

I am quite pleased with what I achieved here, the modernist urban

approach has been criticized for several decades. Some say that the

project neglects the urban coherence and the human scale of the square.

What do you think?

Some people regret the loss of the older buildings that stood here. These

were two Neo-Baroque buildings of forming 3 and 3 and ½ floor rental

blocks from the 1870s. The ground-floors of these hosted several shops

over the years including a Buntmaker (leather shop) and a Tobacconist.

St OlavsPlass’ star shape connects several important elements of Oslo,

taking in several remarkable buildings such as the royal palace. The star

design determined the overall layout for this part of the city. For example, I

bet you have noticed the skyline of the City Hall in the background. This

building with its own round public space, from 1950, seems the perfect

counterpart of St. Olavs Plass across the Universitetsgata axis.

The Teledirecktoratet building is now almost 60 years old. It was built in

1964 and hosted the offices of the National Telecommunications Authorities.

As you can see, the construction consists of two main parts:

a high-rise offering light and views over the city and a lower volume

towards Pilestredet providing the human-scale with a street façade and

shops. The building’s envelope is a glass façade which provides a sense

of openness. I had the privilege of designing other buildings in Oslo

including the Broadcasting house at Marienlyst built between 1938 and

1945 and later, in 1963, the Televerket’s installation building at Tollbugata

amongst others.

1950

1988

2020

1950

1964

1971

2000

The lower part of the building in front of you hosting the Post Office is

a later extension added in 1971. This building and its neighbour (Domus

Nova) both break the alignment of the original buildings around St

Olavs Plass. They leave more space to the streets which was intended to

provide fluid car traffic. They represent

a Modernist urbanism in contrast with

the earlier dense urban form of the

Neo-Baroque .

Funny story now! On November 2nd,

1988 the American student Robert Morris

unleashed the world’s first global «computer

virus». The virus spread rapidly from

machine to machine in the United States

and put out the internet of about

15,000 computers. Fortunately,

the virus did not reach Norway

thanks to Pål Spilling from the

Telecommunication

Administration building who

simply pulled out the internet

cable. At that time, it took only

one cable to connect Norway

to the American internet

network! Amazing right?


VIKSJØ CHAIR

1800

1850

«Hey! Do you know who I am?

My name is ErlingViksjø, I am an architect. Together with engineer Inge A.

Dahl, I designed Domus Nova which stands in front of you. The building

was completed in 1969 and hosted the Oslo Health Council (Helserådet)

for a long time. Today Domus Nova is called the St. Olav Quarter and is

occupied by the University of Oslo’s Faculty of Law. At the corner of No.

5 stands the 12.2 metre high sculpture Tetraeder (Tetrahedrons) built

in natural concrete and erected in 1969 by Spanish-Norwegian sculptor

Rámon Isern.

1900

1950

1969

2000

2020


VIKSJØ CHAIR

1800

«Hey! Do you know who I am?

1850

1850

My name is ErlingViksjø, I am an architect. Together with engineer Inge A.

Dahl, I designed Domus Nova which stands in front of you. The building

was completed in 1969 and hosted the Oslo Health Council (Helserådet)

for a long time. Today Domus Nova is called the St. Olav Quarter and is

occupied by the University of Oslo’s Faculty of Law. At the corner of No.

5 stands the 12.2 metre high sculpture Tetraeder (Tetrahedrons) built

in natural concrete and erected in 1969 by Spanish-Norwegian sculptor

Rámon Isern.

Look at the concrete of the building! Does it remind you of something? Y

blokka (Y Block) at the Government Quarter perhaps, yes exactly, I made

that too! I developed the Naturbetong technique together with Sverre

Jystad in 1950. The Naturbetong casting method consits of filling the

formwork with aggregates of different types of shingles and gravel. Then,

cement mortar is pressed into the formwork until all cavities between the

aggregates are filled. Once dry enough, the concrete is sandblasted until

the stones are clearly visible on the surface, which gives it this unique

texture, which you can also encounter in the Hotell 33 (Standard Telefonog

Kabelfabrik) and Bakkehaugen Church.

1900

1950

1969

2000

2020


VIKSJØ CHAIR

1800

«Hey! Do you know who I am?

1850

1899

1917

1850

1869

1900

1910

My name is ErlingViksjø, I am an architect. Together with engineer Inge A.

Dahl, I designed Domus Nova which stands in front of you. The building

was completed in 1969 and hosted the Oslo Health Council (Helserådet)

for a long time. Today Domus Nova is called the St. Olav Quarter and is

occupied by the University of Oslo’s Faculty of Law. At the corner of No.

5 stands the 12.2 metre high sculpture Tetraeder (Tetrahedrons) built

in natural concrete and erected in 1969 by Spanish-Norwegian sculptor

Rámon Isern.

Look at the concrete of the building! Does it remind you of something? Y

blokka (Y Block) at the Government Quarter perhaps, yes exactly, I made

that too! I developed the Naturbetong technique together with Sverre

Jystad in 1950. The Naturbetong casting method consits of filling the

formwork with aggregates of different types of shingles and gravel. Then,

cement mortar is pressed into the formwork until all cavities between the

aggregates are filled. Once dry enough, the concrete is sandblasted until

the stones are clearly visible on the surface, which gives it this unique

texture, which you can also encounter in the Hotell 33 (Standard Telefonog

Kabelfabrik) and Bakkehaugen Church.

Before Domus Nova, a school in new roman style designed by the architect

Van Hanno stood here from 1869 to 1965. This was Gjertsen’s

school, who occupied the building until 1899. From then the building

hosted the War School (1899- 1910) and later the Seamen’s School Sjømansskolen

(1910-17). The Oslo Health Council took up residence from

1917 to 1965 in the building until its demolition.

1950

1965

1969

2000

2020


VIKSJØ CHAIR

1800

«Hey! Do you know who I am?

1850

1899

1917

1938

1850

1863

1869

1900

1910

1944

1950

My name is ErlingViksjø, I am an architect. Together with engineer Inge A.

Dahl, I designed Domus Nova which stands in front of you. The building

was completed in 1969 and hosted the Oslo Health Council (Helserådet)

for a long time. Today Domus Nova is called the St. Olav Quarter and is

occupied by the University of Oslo’s Faculty of Law. At the corner of No.

5 stands the 12.2 metre high sculpture Tetraeder (Tetrahedrons) built

in natural concrete and erected in 1969 by Spanish-Norwegian sculptor

Rámon Isern.

Look at the concrete of the building! Does it remind you of something? Y

blokka (Y Block) at the Government Quarter perhaps, yes exactly, I made

that too! I developed the Naturbetong technique together with Sverre

Jystad in 1950. The Naturbetong casting method consits of filling the

formwork with aggregates of different types of shingles and gravel. Then,

cement mortar is pressed into the formwork until all cavities between the

aggregates are filled. Once dry enough, the concrete is sandblasted until

the stones are clearly visible on the surface, which gives it this unique

texture, which you can also encounter in the Hotell 33 (Standard Telefonog

Kabelfabrik) and Bakkehaugen Church.

Before Domus Nova, a school in new roman style designed by the architect

Van Hanno stood here from 1869 to 1965. This was Gjertsen’s

school, who occupied the building until 1899. From then the building

hosted the War School (1899- 1910) and later the Seamen’s School Sjømansskolen

(1910-17). The Oslo Health Council took up residence from

1917 to 1965 in the building until its demolition.

Among Gjertsens School’s attendees, some were destined to a notable

future. Theodor Frølich was nominated for the Nobel Prize in medicine in

1938 for his groundbreaking work on Vitamin C. Also famous, was artist

Edvard Munch (1863-1944)! He used to live at Pilestredet Gate 28 and

studied at Gjertsen School together with his great friend,

architect Henrik Bull.

1965

1969

2000

2020


VIKSJØ CHAIR

1800

«Hey! Do you know who I am?

1850

1899

1917

1938

1943

1850

1863

1869

1900

1910

1944

1950

1965

1969

My name is ErlingViksjø, I am an architect. Together with engineer Inge A.

Dahl, I designed Domus Nova which stands in front of you. The building

was completed in 1969 and hosted the Oslo Health Council (Helserådet)

for a long time. Today Domus Nova is called the St. Olav Quarter and is

occupied by the University of Oslo’s Faculty of Law. At the corner of No.

5 stands the 12.2 metre high sculpture Tetraeder (Tetrahedrons) built

in natural concrete and erected in 1969 by Spanish-Norwegian sculptor

Rámon Isern.

Look at the concrete of the building! Does it remind you of something? Y

blokka (Y Block) at the Government Quarter perhaps, yes exactly, I made

that too! I developed the Naturbetong technique together with Sverre

Jystad in 1950. The Naturbetong casting method consits of filling the

formwork with aggregates of different types of shingles and gravel. Then,

cement mortar is pressed into the formwork until all cavities between the

aggregates are filled. Once dry enough, the concrete is sandblasted until

the stones are clearly visible on the surface, which gives it this unique

texture, which you can also encounter in the Hotell 33 (Standard Telefonog

Kabelfabrik) and Bakkehaugen Church.

Before Domus Nova, a school in new roman style designed by the architect

Van Hanno stood here from 1869 to 1965. This was Gjertsen’s

school, who occupied the building until 1899. From then the building

hosted the War School (1899- 1910) and later the Seamen’s School Sjømansskolen

(1910-17). The Oslo Health Council took up residence from

1917 to 1965 in the building until its demolition.

Among Gjertsens School’s attendees, some were destined to a notable

future. Theodor Frølich was nominated for the Nobel Prize in medicine in

1938 for his groundbreaking work on Vitamin C. Also famous, was artist

Edvard Munch (1863-1944)! He used to live at Pilestredet Gate 28 and

studied at Gjertsen School together with his great friend,

architect Henrik Bull.

The building’s facade facing Pilestredet was severely

damaged during the Second World War. On April

20, 1943, Hitler’s birthday, the building, then

Oslo Labor Office’s premises, was subjected to

a sabotage campaign carried out by Asbjørn

Sunde and four members of the Osvald group

(a Norwegian sabotage organisation, originally a

branch of the Wollweber League, a subsidiary to

the NKVD). From a truck parked nearby, they

threw Molotov cocktails and dynamite through

the windows, leaving the office space completely

destroyed by the explosions and the fire that

followed.

2000

2020


VIKSJØ CHAIR

1800

«Hey! Do you know who I am?

1850

1899

1917

1937

1938

1943

1965

2020

1850

1863

1869

1882

1900

1910

1944

1950

1965

1969

2000

My name is ErlingViksjø, I am an architect. Together with engineer Inge A.

Dahl, I designed Domus Nova which stands in front of you. The building

was completed in 1969 and hosted the Oslo Health Council (Helserådet)

for a long time. Today Domus Nova is called the St. Olav Quarter and is

occupied by the University of Oslo’s Faculty of Law. At the corner of No.

5 stands the 12.2 metre high sculpture Tetraeder (Tetrahedrons) built

in natural concrete and erected in 1969 by Spanish-Norwegian sculptor

Rámon Isern.

Look at the concrete of the building! Does it remind you of something? Y

blokka (Y Block) at the Government Quarter perhaps, yes exactly, I made

that too! I developed the Naturbetong technique together with Sverre

Jystad in 1950. The Naturbetong casting method consits of filling the

formwork with aggregates of different types of shingles and gravel. Then,

cement mortar is pressed into the formwork until all cavities between the

aggregates are filled. Once dry enough, the concrete is sandblasted until

the stones are clearly visible on the surface, which gives it this unique

texture, which you can also encounter in the Hotell 33 (Standard Telefonog

Kabelfabrik) and Bakkehaugen Church.

Before Domus Nova, a school in new roman style designed by the architect

Van Hanno stood here from 1869 to 1965. This was Gjertsen’s

school, who occupied the building until 1899. From then the building

hosted the War School (1899- 1910) and later the Seamen’s School Sjømansskolen

(1910-17). The Oslo Health Council took up residence from

1917 to 1965 in the building until its demolition.

Among Gjertsens School’s attendees, some were destined to a notable

future. Theodor Frølich was nominated for the Nobel Prize in medicine in

1938 for his groundbreaking work on Vitamin C. Also famous, was artist

Edvard Munch (1863-1944)! He used to live at Pilestredet Gate 28 and

studied at Gjertsen School together with his great friend,

architect Henrik Bull.

The building’s facade facing Pilestredet was severely

damaged during the Second World War. On April

20, 1943, Hitler’s birthday, the building, then

Oslo Labor Office’s premises, was subjected to

a sabotage campaign carried out by Asbjørn

Sunde and four members of the Osvald group

(a Norwegian sabotage organisation, originally a

branch of the Wollweber League, a subsidiary to

the NKVD). From a truck parked nearby, they

threw Molotov cocktails and dynamite through

the windows, leaving the office space completely

destroyed by the explosions and the fire that

followed.

In 1882, W. von Hanno built an extension building

between Universitetsgata and Pilestredet

gate. This building held Kunstindustrimuseet

(The Art and Industry and Museum )(1892–

1904), which then moved to the top of St Olav’s

Gate, the Art Association (1904–37) comprising

Amaldus Nielsen’s Collection of Paintings

until the school was fully demolished in 1965.


CUPIDO CHAIR

1800

1850

«It’s Cupido, who better than me to tell you

the story of this fountain...

What you are used to see every day taking centre stage of the square is

the «Lysfontene» (traduced «light fountain»). This 17 metre tall sparkling

sculpture was designed by Sven Påhlsson. It was inaugurated in 2009 by

Princess Märtha Louise, one year after the rehabilitation’s project of Sankt

Olavs Plass led by ACK Arkitekter. As you’ll notice the renovation consists

of a new pavement of light granite defining the historical extent of the

square (a pentagon) and the black central ring, marking the ghost of the

fountain that stood here 150 years ago. But let’s go back to the past and

let me tell you more about it...

1900

1950

2020

2000

2009


CUPIDO CHAIR

1800

1850

«It’s Cupido, who better than me to tell you

the story of this fountain...

What you are used to see every day taking centre stage of the square is

the «Lysfontene» (traduced «light fountain»). This 17 metre tall sparkling

sculpture was designed by Sven Påhlsson. It was inaugurated in 2009 by

Princess Märtha Louise, one year after the rehabilitation’s project of Sankt

Olavs Plass led by ACK Arkitekter. As you’ll notice the renovation consists

of a new pavement of light granite defining the historical extent of the

square (a pentagon) and the black central ring, marking the ghost of the

fountain that stood here 150 years ago. But let’s go back to the past and

let me tell you more about it...

1868

The original fountain was set up in 1868 at the same time as the fountain

at Youngstorget and Grev Wedels Plass. It had a circular basin of polished

stone and a cupid sculpture (that’s me!) probably cast in France, which

was leading Europe and Scandinavia in iron-casting at the time. During

the following years some vandalism episodes happened and my arm was

ripped of twice, but deep down people loved me, I know it for sure!

1900

1950

2020

2000

2009


CUPIDO CHAIR

1800

1850

«It’s Cupido, who better than me to tell you

the story of this fountain...

What you are used to see every day taking centre stage of the square is

the «Lysfontene» (traduced «light fountain»). This 17 metre tall sparkling

sculpture was designed by Sven Påhlsson. It was inaugurated in 2009 by

Princess Märtha Louise, one year after the rehabilitation’s project of Sankt

Olavs Plass led by ACK Arkitekter. As you’ll notice the renovation consists

of a new pavement of light granite defining the historical extent of the

square (a pentagon) and the black central ring, marking the ghost of the

fountain that stood here 150 years ago. But let’s go back to the past and

let me tell you more about it...

1868

The original fountain was set up in 1868 at the same time as the fountain

at Youngstorget and Grev Wedels Plass. It had a circular basin of polished

stone and a cupid sculpture (that’s me!) probably cast in France, which

was leading Europe and Scandinavia in iron-casting at the time. During

the following years some vandalism episodes happened and my arm was

ripped of twice, but deep down people loved me, I know it for sure!

1900

The head of the Oslo Council explained in 1950 that they had repaired the

fountain and altered it. Sadly, I was taken down by the Water and Sewer

Department later in the 50’s and stored in a warehouse. Thus I was replaced

by a jet of water which shot up in the air! Which was less popular,

of course.

1950

1950

2020

2000

2009


CUPIDO CHAIR

1800

1850

«It’s Cupido, who better than me to tell you

the story of this fountain...

What you are used to see every day taking centre stage of the square is

the «Lysfontene» (traduced «light fountain»). This 17 metre tall sparkling

sculpture was designed by Sven Påhlsson. It was inaugurated in 2009 by

Princess Märtha Louise, one year after the rehabilitation’s project of Sankt

Olavs Plass led by ACK Arkitekter. As you’ll notice the renovation consists

of a new pavement of light granite defining the historical extent of the

square (a pentagon) and the black central ring, marking the ghost of the

fountain that stood here 150 years ago. But let’s go back to the past and

let me tell you more about it...

1868

The original fountain was set up in 1868 at the same time as the fountain

at Youngstorget and Grev Wedels Plass. It had a circular basin of polished

stone and a cupid sculpture (that’s me!) probably cast in France, which

was leading Europe and Scandinavia in iron-casting at the time. During

the following years some vandalism episodes happened and my arm was

ripped of twice, but deep down people loved me, I know it for sure!

1900

The head of the Oslo Council explained in 1950 that they had repaired the

fountain and altered it. Sadly, I was taken down by the Water and Sewer

Department later in the 50’s and stored in a warehouse. Thus I was replaced

by a jet of water which shot up in the air! Which was less popular,

of course.

From 1956, the press reports that the numerous departments in the

Council wanted the full fountain removed. Indeed, the Road and City

Head wanted to close Munchs Gate, the police were concerned the

fountain would draw children over a busy road and the Council architect

found it too damaged to be repaired.

1950

1950

1956

2020

2000

2009


CUPIDO CHAIR

1800

1850

«It’s Cupido, who better than me to tell you

the story of this fountain...

What you are used to see every day taking centre stage of the square is

the «Lysfontene» (traduced «light fountain»). This 17 metre tall sparkling

sculpture was designed by Sven Påhlsson. It was inaugurated in 2009 by

Princess Märtha Louise, one year after the rehabilitation’s project of Sankt

Olavs Plass led by ACK Arkitekter. As you’ll notice the renovation consists

of a new pavement of light granite defining the historical extent of the

square (a pentagon) and the black central ring, marking the ghost of the

fountain that stood here 150 years ago. But let’s go back to the past and

let me tell you more about it...

1868

The original fountain was set up in 1868 at the same time as the fountain

at Youngstorget and Grev Wedels Plass. It had a circular basin of polished

stone and a cupid sculpture (that’s me!) probably cast in France, which

was leading Europe and Scandinavia in iron-casting at the time. During

the following years some vandalism episodes happened and my arm was

ripped of twice, but deep down people loved me, I know it for sure!

1950

1900

1950

1956

1957

The head of the Oslo Council explained in 1950 that they had repaired the

fountain and altered it. Sadly, I was taken down by the Water and Sewer

Department later in the 50’s and stored in a warehouse. Thus I was replaced

by a jet of water which shot up in the air! Which was less popular,

of course.

From 1956, the press reports that the numerous departments in the

Council wanted the full fountain removed. Indeed, the Road and City

Head wanted to close Munchs Gate, the police were concerned the

fountain would draw children over a busy road and the Council architect

found it too damaged to be repaired.

When the Council leader agreed a new regulation plan for Sankt

OlavsPlass with traffic lights the fountain’s fate was sealed by a plan to

move it to the south side of the square, which in

the end did nothappen. The fountain was finally

remove in 1957 as St Olavs Plass was slowly

dismantled to the benefit of automobiles.

The trees which ringed the square were removed;

some in the gloom and dark of the

night to the approbation of resident

Carl von Hanno and architect Arno

Berg. The others were uprooted later

until only the two in front of Apoteket

(No. 2) remained.

2020

2000

2009


CUPIDO CHAIR

1800

1850

«It’s Cupido, who better than me to tell you

the story of this fountain...

What you are used to see every day taking centre stage of the square is

the «Lysfontene» (traduced «light fountain»). This 17 metre tall sparkling

sculpture was designed by Sven Påhlsson. It was inaugurated in 2009 by

Princess Märtha Louise, one year after the rehabilitation’s project of Sankt

Olavs Plass led by ACK Arkitekter. As you’ll notice the renovation consists

of a new pavement of light granite defining the historical extent of the

square (a pentagon) and the black central ring, marking the ghost of the

fountain that stood here 150 years ago. But let’s go back to the past and

let me tell you more about it...

1868

The original fountain was set up in 1868 at the same time as the fountain

at Youngstorget and Grev Wedels Plass. It had a circular basin of polished

stone and a cupid sculpture (that’s me!) probably cast in France, which

was leading Europe and Scandinavia in iron-casting at the time. During

the following years some vandalism episodes happened and my arm was

ripped of twice, but deep down people loved me, I know it for sure!

1950

1995

2020

1900

1950

1956

1957

2000

2009

The head of the Oslo Council explained in 1950 that they had repaired the

fountain and altered it. Sadly, I was taken down by the Water and Sewer

Department later in the 50’s and stored in a warehouse. Thus I was replaced

by a jet of water which shot up in the air! Which was less popular,

of course.

From 1956, the press reports that the numerous departments in the

Council wanted the full fountain removed. Indeed, the Road and City

Head wanted to close Munchs Gate, the police were concerned the

fountain would draw children over a busy road and the Council architect

found it too damaged to be repaired.

When the Council leader agreed a new regulation plan for Sankt

OlavsPlass with traffic lights the fountain’s fate was sealed by a plan to

move it to the south side of the square, which in

the end did nothappen. The fountain was finally

remove in 1957 as St Olavs Plass was slowly

dismantled to the benefit of automobiles.

The trees which ringed the square were removed;

some in the gloom and dark of the

night to the approbation of resident

Carl von Hanno and architect Arno

Berg. The others were uprooted later

until only the two in front of Apoteket

(No. 2) remained.

When it stood at St Olavs Plass, he fountain

called “Cupido” was a landmark within the

local cityscape. In his 1995 essay «Bader i

fontenen på. St. Olavs plass» (Bathing in

the Fountain at St Olavs Plass ) Norwegian

architect Christian Norberg Schulz

describes how he and his classmates

would bathe in the fountain during

the end of the second world war.


CUPIDO CHAIR

« Were there trees in the middle?

(it was a fountain similar to the

one in Sehesteds plass) that would

be better than this one. »

1800

1850

«It’s Cupido, who better than me to tell you

the story of this fountain...

What you are used to see every day taking centre stage of the square is

the «Lysfontene» (traduced «light fountain»). This 17 metre tall sparkling

sculpture was designed by Sven Påhlsson. It was inaugurated in 2009 by

Princess Märtha Louise, one year after the rehabilitation’s project of Sankt

Olavs Plass led by ACK Arkitekter. As you’ll notice the renovation consists

of a new pavement of light granite defining the historical extent of the

square (a pentagon) and the black central ring, marking the ghost of the

fountain that stood here 150 years ago. But let’s go back to the past and

let me tell you more about it...

1868

The original fountain was set up in 1868 at the same time as the fountain

at Youngstorget and Grev Wedels Plass. It had a circular basin of polished

stone and a cupid sculpture (that’s me!) probably cast in France, which

was leading Europe and Scandinavia in iron-casting at the time. During

the following years some vandalism episodes happened and my arm was

ripped of twice, but deep down people loved me, I know it for sure!

« It looks like aluminium foil. I really

don’t like it. It doesn’t make any

sense. »

1900

The head of the Oslo Council explained in 1950 that they had repaired the

fountain and altered it. Sadly, I was taken down by the Water and Sewer

Department later in the 50’s and stored in a warehouse. Thus I was replaced

by a jet of water which shot up in the air! Which was less popular,

of course.

From 1956, the press reports that the numerous departments in the

Council wanted the full fountain removed. Indeed, the Road and City

Head wanted to close Munchs Gate, the police were concerned the

fountain would draw children over a busy road and the Council architect

found it too damaged to be repaired.

1950

1950

1956

1957

When the Council leader agreed a new regulation plan for Sankt

OlavsPlass with traffic lights the fountain’s fate was sealed by a plan to

move it to the south side of the square, which in

the end did nothappen. The fountain was finally

remove in 1957 as St Olavs Plass was slowly

dismantled to the benefit of automobiles.

The trees which ringed the square were removed;

some in the gloom and dark of the

night to the approbation of resident

Carl von Hanno and architect Arno

Berg. The others were uprooted later

until only the two in front of Apoteket

(No. 2) remained.

« I have grown to like it over time.

Some people are nostalgic about

the old statue that used to be

here, I didn’t live here when the

statue was there tho. »

1995

2020

2000

2009

2020

When it stood at St Olavs Plass, he fountain

called “Cupido” was a landmark within the

local cityscape. In his 1995 essay «Bader i

fontenen på. St. Olavs plass» (Bathing in

the Fountain at St Olavs Plass ) Norwegian

architect Christian Norberg Schulz

describes how he and his classmates

would bathe in the fountain during

the end of the second world war.

And you, what’s your opinion

about my succesor?


JUSTER CHAIR

1800

« Welcome Ladies and Gentlemen! ...

My name is Leif Juster, and I am a Norwegian actor, singer, comedian and

theatre manager. I am Norway’s undisputed cabaret king and spider’s

(Edderkoppen’s) father.

1850

1900

1950

2000

2020


JUSTER CHAIR

1800

« Welcome Ladies and Gentlemen! ...

1850

1860

My name is Leif Juster, and I am a Norwegian actor, singer, comedian and

theatre manager. I am Norway’s undisputed cabaret king and spider’s

(Edderkoppen’s) father.

Originally, the planner of St Olav’s Plass, City architect Georg Andreas

Bull’s residence was located here. This villa was built in 1860 after Bull’s

design. It was demolished in the 1930s and replaced by the functionalist

building which stands here today. This new building hosted apartment

houses and was designed by the architects Jarle Berg and Antti Norrgren.

1900

1930

1950

2000

2020


JUSTER CHAIR

1800

« Welcome Ladies and Gentlemen! ...

1850

1860

My name is Leif Juster, and I am a Norwegian actor, singer, comedian and

theatre manager. I am Norway’s undisputed cabaret king and spider’s

(Edderkoppen’s) father.

Originally, the planner of St Olav’s Plass, City architect Georg Andreas

Bull’s residence was located here. This villa was built in 1860 after Bull’s

design. It was demolished in the 1930s and replaced by the functionalist

building which stands here today. This new building hosted apartment

houses and was designed by the architects Jarle Berg and Antti Norrgren.

Check out the corner of St. Olavs place 1. The Gildevangen Kaffistove

og Delikatesseforretning were both located here for a couple of years in

1941 and 1942. From 1943, Kaffistove moved to St. Olavs place 3, whilst

the Delicatessen business continued in St. Olavs place 1.

1900

1930

1943

1941

1950

2000

2020


JUSTER CHAIR

1800

« Welcome Ladies and Gentlemen! ...

1850

1860

1900

My name is Leif Juster, and I am a Norwegian actor, singer, comedian and

theatre manager. I am Norway’s undisputed cabaret king and spider’s

(Edderkoppen’s) father.

Originally, the planner of St Olav’s Plass, City architect Georg Andreas

Bull’s residence was located here. This villa was built in 1860 after Bull’s

design. It was demolished in the 1930s and replaced by the functionalist

building which stands here today. This new building hosted apartment

houses and was designed by the architects Jarle Berg and Antti Norrgren.

Check out the corner of St. Olavs place 1. The Gildevangen Kaffistove

og Delikatesseforretning were both located here for a couple of years in

1941 and 1942. From 1943, Kaffistove moved to St. Olavs place 3, whilst

the Delicatessen business continued in St. Olavs place 1.

I got my big break at Scala in 1935 in the autumn show «We have the honour»

and in 1937 I joined the Chat Noir at Klingenberggata 5.

During the war, when I was the revue actor’s trustee in the Actors’ Association,

I spent a few months at Grini prison. This followed the actor strike

in May 1941 when we refused to present material by the Nazis. In autumn

1942, the first Revue Theater Edderkoppen was born in the Søilen Teater

at Keysers gate, south of St Olavs Plass. We moved to St Olavs Plass into

larger premises in 1945.

1930

1943

1937

1941

1950

2000

2020


JUSTER CHAIR

1800

« Welcome Ladies and Gentlemen! ...

1850

1860

1900

My name is Leif Juster, and I am a Norwegian actor, singer, comedian and

theatre manager. I am Norway’s undisputed cabaret king and spider’s

(Edderkoppen’s) father.

Originally, the planner of St Olav’s Plass, City architect Georg Andreas

Bull’s residence was located here. This villa was built in 1860 after Bull’s

design. It was demolished in the 1930s and replaced by the functionalist

building which stands here today. This new building hosted apartment

houses and was designed by the architects Jarle Berg and Antti Norrgren.

Check out the corner of St. Olavs place 1. The Gildevangen Kaffistove

og Delikatesseforretning were both located here for a couple of years in

1941 and 1942. From 1943, Kaffistove moved to St. Olavs place 3, whilst

the Delicatessen business continued in St. Olavs place 1.

I got my big break at Scala in 1935 in the autumn show «We have the honour»

and in 1937 I joined the Chat Noir at Klingenberggata 5.

During the war, when I was the revue actor’s trustee in the Actors’ Association,

I spent a few months at Grini prison. This followed the actor strike

in May 1941 when we refused to present material by the Nazis. In autumn

1942, the first Revue Theater Edderkoppen was born in the Søilen Teater

at Keysers gate, south of St Olavs Plass. We moved to St Olavs Plass into

larger premises in 1945.

1930

1942

1943

1937

1941

1950

If you check the page to the left you’ll see an advert for the Edderkoppen.

Sissel Lie, daughter of the first UN Secretary General, Trygve

Lie, like many other women, made several photo albums during the World

War II documenting the everyday life within the women’s army corps.

Sissel evacuated to the UK with her family early in the war, and on July 24,

1942, the exile government established military

service to all Norwegian women abroad.

Lie was enrolled in the Norwegian Army

Women’s Corps on August 5 of the

same year.

2000

2020


JUSTER CHAIR

1800

« Welcome Ladies and Gentlemen! ...

1850

1860

1900

My name is Leif Juster, and I am a Norwegian actor, singer, comedian and

theatre manager. I am Norway’s undisputed cabaret king and spider’s

(Edderkoppen’s) father.

Originally, the planner of St Olav’s Plass, City architect Georg Andreas

Bull’s residence was located here. This villa was built in 1860 after Bull’s

design. It was demolished in the 1930s and replaced by the functionalist

building which stands here today. This new building hosted apartment

houses and was designed by the architects Jarle Berg and Antti Norrgren.

Check out the corner of St. Olavs place 1. The Gildevangen Kaffistove

og Delikatesseforretning were both located here for a couple of years in

1941 and 1942. From 1943, Kaffistove moved to St. Olavs place 3, whilst

the Delicatessen business continued in St. Olavs place 1.

I got my big break at Scala in 1935 in the autumn show «We have the honour»

and in 1937 I joined the Chat Noir at Klingenberggata 5.

During the war, when I was the revue actor’s trustee in the Actors’ Association,

I spent a few months at Grini prison. This followed the actor strike

in May 1941 when we refused to present material by the Nazis. In autumn

1942, the first Revue Theater Edderkoppen was born in the Søilen Teater

at Keysers gate, south of St Olavs Plass. We moved to St Olavs Plass into

larger premises in 1945.

1930

1942

1943

1966

1937

1941

1945

1950

If you check the page to the left you’ll see an advert for the Edderkoppen.

Sissel Lie, daughter of the first UN Secretary General, Trygve

Lie, like many other women, made several photo albums during the World

War II documenting the everyday life within the women’s army corps.

Sissel evacuated to the UK with her family early in the war, and on July 24,

1942, the exile government established military

service to all Norwegian women abroad.

Lie was enrolled in the Norwegian Army

Women’s Corps on August 5 of the

same year.

After the war ended in 1945, I moved

my EdderkoppenTheater to the new

venue on St. Olavs Plass where it ran it

until it sadly went bankrupt in 1966.

At the theatre’s best, in addition to

the theatrical plays, we show cased

dancing and various other events. I

wasn’t considered the Cabaret King

of Norway without good reason you

know!!

2000

2020


JUSTER CHAIR

1800

« Welcome Ladies and Gentlemen! ...

1850

1860

1900

My name is Leif Juster, and I am a Norwegian actor, singer, comedian and

theatre manager. I am Norway’s undisputed cabaret king and spider’s

(Edderkoppen’s) father.

Originally, the planner of St Olav’s Plass, City architect Georg Andreas

Bull’s residence was located here. This villa was built in 1860 after Bull’s

design. It was demolished in the 1930s and replaced by the functionalist

building which stands here today. This new building hosted apartment

houses and was designed by the architects Jarle Berg and Antti Norrgren.

Check out the corner of St. Olavs place 1. The Gildevangen Kaffistove

og Delikatesseforretning were both located here for a couple of years in

1941 and 1942. From 1943, Kaffistove moved to St. Olavs place 3, whilst

the Delicatessen business continued in St. Olavs place 1.

I got my big break at Scala in 1935 in the autumn show «We have the honour»

and in 1937 I joined the Chat Noir at Klingenberggata 5.

During the war, when I was the revue actor’s trustee in the Actors’ Association,

I spent a few months at Grini prison. This followed the actor strike

in May 1941 when we refused to present material by the Nazis. In autumn

1942, the first Revue Theater Edderkoppen was born in the Søilen Teater

at Keysers gate, south of St Olavs Plass. We moved to St Olavs Plass into

larger premises in 1945.

1930

1942

1943

1966

2020

1937

1941

1945

1950

1999

2000

If you check the page to the left you’ll see an advert for the Edderkoppen.

Sissel Lie, daughter of the first UN Secretary General, Trygve

Lie, like many other women, made several photo albums during the World

War II documenting the everyday life within the women’s army corps.

Sissel evacuated to the UK with her family early in the war, and on July 24,

1942, the exile government established military

service to all Norwegian women abroad.

Lie was enrolled in the Norwegian Army

Women’s Corps on August 5 of the

same year.

After the war ended in 1945, I moved

my EdderkoppenTheater to the new

venue on St. Olavs Plass where it ran it

until it sadly went bankrupt in 1966.

At the theatre’s best, in addition to

the theatrical plays, we show cased

dancing and various other events. I

wasn’t considered the Cabaret King

of Norway without good reason you

know!!

After bankruptcy, someone else

bought the theatre and renamed

it ABC Theatre. A terrible explosion

destroyed the building

the night of Christmas Eve in

1999. After this, the property was

bought by Scandic Hotels and

the theatre was renamed Edderkoppen

again.


HAMSUN CHAIR

1800

« Knut Hamsun, writer, nice to meet you!

Today there are restaurants, café and architecture offices in St. Olavs

Plass no. 2 which is now the only remaining 19th-century building at St

Olavs Plass. It has experienced many changes! For example, in the 1950’s

the stucco of the facade was removed by the City Council to simplify

repairs. Let’s turn the page together to see that!

1850

1900

1950

2000

2020


HAMSUN CHAIR

1800

« Knut Hamsun, writer, nice to meet you!

Today there are restaurants, café and architecture offices in St. Olavs

Plass no. 2 which is now the only remaining 19th-century building at St

Olavs Plass. It has experienced many changes! For example, in the 1950’s

the stucco of the facade was removed by the City Council to simplify

repairs. Let’s turn the page together to see that!

1872

1850

1856

Meyer and Heftye, in 1856, were the first owners of most plots of what was

called Meyerløkka. They wanted the area to be of a high social status, so

contracts were updated prohibiting the construction of workers housing

and noisy and smelly activities. However, it seems that most nobles (with

some exceptions such as the noble Fritz Wedel-Jarlsberg), chose to

settle elsewhere like in Homansbyen and other areas around the Palace.

Large parts of what was then called Meyerløkka thus received a middleclass

population. St Olav Plass 2, is a good example of the type of

buildings developed here at that time. It was designed by the architect W.

von Hanno in 1872 and on each floor had two generous apartments.

1900

1950

2000

2020


HAMSUN CHAIR

1800

1826

« Knut Hamsun, writer, nice to meet you!

Today there are restaurants, café and architecture offices in St. Olavs

Plass no. 2 which is now the only remaining 19th-century building at St

Olavs Plass. It has experienced many changes! For example, in the 1950’s

the stucco of the facade was removed by the City Council to simplify

repairs. Let’s turn the page together to see that!

1872

1850

1856

1882

1900

Meyer and Heftye, in 1856, were the first owners of most plots of what was

called Meyerløkka. They wanted the area to be of a high social status, so

contracts were updated prohibiting the construction of workers housing

and noisy and smelly activities. However, it seems that most nobles (with

some exceptions such as the noble Fritz Wedel-Jarlsberg), chose to

settle elsewhere like in Homansbyen and other areas around the Palace.

Large parts of what was then called Meyerløkka thus received a middleclass

population. St Olav Plass 2, is a good example of the type of

buildings developed here at that time. It was designed by the architect W.

von Hanno in 1872 and on each floor had two generous apartments.

Wilhelm von Hanno (1826-1882) was one of the most important and

prolific architects in 19th century Norway. He designed many buildings in

the neighbourhood such as the Kunstindustrimuseet (Art and Industry

Museum),Gjertsen’s school and many of the apartment blocks in the surrounding

neighbourhoods. He privately helped fund St. Olavs gate No.

3, 7, 9 and 21a tenements, and lived for a while in No. 7. A versatile man,

Von Hanno was also responsible for the design of Norway’s posthorn

postage stamps.

1950

2000

2020


HAMSUN CHAIR

1800

1826

« Knut Hamsun, writer, nice to meet you!

Today there are restaurants, café and architecture offices in St. Olavs

Plass no. 2 which is now the only remaining 19th-century building at St

Olavs Plass. It has experienced many changes! For example, in the 1950’s

the stucco of the facade was removed by the City Council to simplify

repairs. Let’s turn the page together to see that!

1872

1892

1850

1856

1882

1900

Meyer and Heftye, in 1856, were the first owners of most plots of what was

called Meyerløkka. They wanted the area to be of a high social status, so

contracts were updated prohibiting the construction of workers housing

and noisy and smelly activities. However, it seems that most nobles (with

some exceptions such as the noble Fritz Wedel-Jarlsberg), chose to

settle elsewhere like in Homansbyen and other areas around the Palace.

Large parts of what was then called Meyerløkka thus received a middleclass

population. St Olav Plass 2, is a good example of the type of

buildings developed here at that time. It was designed by the architect W.

von Hanno in 1872 and on each floor had two generous apartments.

Wilhelm von Hanno (1826-1882) was one of the most important and

prolific architects in 19th century Norway. He designed many buildings in

the neighbourhood such as the Kunstindustrimuseet (Art and Industry

Museum),Gjertsen’s school and many of the apartment blocks in the surrounding

neighbourhoods. He privately helped fund St. Olavs gate No.

3, 7, 9 and 21a tenements, and lived for a while in No. 7. A versatile man,

Von Hanno was also responsible for the design of Norway’s posthorn

postage stamps.

Just before the turn of the century in 1892, St. Olavs place 2 was taken

over by the National Hospital, which had previously rented apartments

for its doctors there. Its pharmacy occupied the ground-floor, which

remained until 1983, whilst the upper floors were apartments for doctors.

The restaurant Tekehtopa opened in 1997 on the ground floor, using this

reversed name in honour of the original Apoteket. A legend tells that Leonard

Cohen used to come here in the morning for coffee when he was in

Oslo.

1950

1983

1997

2000

2020


HAMSUN CHAIR

1800

« Knut Hamsun, writer, nice to meet you!

Today there are restaurants, café and architecture offices in St. Olavs

Plass no. 2 which is now the only remaining 19th-century building at St

1826 Olavs Plass. It has experienced many changes! For example, in the 1950’s

the stucco of the facade was removed by the City Council to simplify

repairs. Let’s turn the page together to see that!

Meyer and Heftye, in 1856, were the first owners of most plots of what was

called Meyerløkka. They wanted the area to be of a high social status, so

contracts were updated prohibiting the construction of workers housing

and noisy and smelly activities. However, it seems that most nobles (with

1850

some exceptions such as the noble Fritz Wedel-Jarlsberg), chose to

settle elsewhere like in Homansbyen and other areas around the Palace.

1856

Large parts of what was then called Meyerløkka thus received a middleclass

population. St Olav Plass 2, is a good example of the type of

buildings developed here at that time. It was designed by the architect W.

von Hanno in 1872 and on each floor had two generous apartments.

1872

Wilhelm von Hanno (1826-1882) was one of the most important and

prolific architects in 19th century Norway. He designed many buildings in

the neighbourhood such as the Kunstindustrimuseet (Art and Industry

1882

Museum),Gjertsen’s school and many of the apartment blocks in the surrounding

neighbourhoods. He privately helped fund St. Olavs gate No.

1892 1890 3, 7, 9 and 21a tenements, and lived for a while in No. 7. A versatile man,

Von Hanno was also responsible for the design of Norway’s posthorn

1900 postage stamps.

1983

1950

Just before the turn of the century in 1892, St. Olavs place 2 was taken

over by the National Hospital, which had previously rented apartments

for its doctors there. Its pharmacy occupied the ground-floor, which

remained until 1983, whilst the upper floors were apartments for doctors.

The restaurant Tekehtopa opened in 1997 on the ground floor, using this

reversed name in honour of the original Apoteket. A legend tells that Leonard

Cohen used to come here in the morning for coffee when he was in

Oslo.

The character Ylajali from my novel Hunger (1890) lived on the 2nd floor

of the building. Some say that Nathalie, the daughter of Olaus Johnson

(who bought plots from Meyer and Heftye and developed this part of

the neighbourhood) inspired this character. The Johnsen’s lived on the

second floor where the balcony was, and where Ylajali appears at the

window in the novel whilst the main character leans

against the Cupido statue. Alternately, others suggest

that the painter Ida Wedel-Jarlsberg is also a

possible candidate. She often visited her brother

Fritz here, who lived on the second floor. I will let you

form your own opinion on the question... My legacy is

such that Sankt Olavs Plass almost changed its name

to Knut Hamsun’s Plass in 2009. Can you believe it?

1997

2000

2020


HAMSUN CHAIR

«The fountain yes, the lovely cupid fountain, my

childhood longing and delight, what became of

it?- now cars drive round a naked place, cobbles

have been replaced by asphalt, the old houses by

modern buildings.. yet still my childhood home No.

2 stand there.»

1800

1826

1850

1856

1872

1882

1892 1890

1900

« Knut Hamsun, writer, nice to meet you!

Today there are restaurants, café and architecture offices in St. Olavs

Plass no. 2 which is now the only remaining 19th-century building at St

Olavs Plass. It has experienced many changes! For example, in the 1950’s

the stucco of the facade was removed by the City Council to simplify

repairs. Let’s turn the page together to see that!

Meyer and Heftye, in 1856, were the first owners of most plots of what was

called Meyerløkka. They wanted the area to be of a high social status, so

contracts were updated prohibiting the construction of workers housing

and noisy and smelly activities. However, it seems that most nobles (with

some exceptions such as the noble Fritz Wedel-Jarlsberg), chose to

settle elsewhere like in Homansbyen and other areas around the Palace.

Large parts of what was then called Meyerløkka thus received a middleclass

population. St Olav Plass 2, is a good example of the type of

buildings developed here at that time. It was designed by the architect W.

von Hanno in 1872 and on each floor had two generous apartments.

Wilhelm von Hanno (1826-1882) was one of the most important and

prolific architects in 19th century Norway. He designed many buildings in

the neighbourhood such as the Kunstindustrimuseet (Art and Industry

Museum),Gjertsen’s school and many of the apartment blocks in the surrounding

neighbourhoods. He privately helped fund St. Olavs gate No.

3, 7, 9 and 21a tenements, and lived for a while in No. 7. A versatile man,

Von Hanno was also responsible for the design of Norway’s posthorn

postage stamps.

1983

1994

2020

1919

1950

1997

2000

Just before the turn of the century in 1892, St. Olavs place 2 was taken

over by the National Hospital, which had previously rented apartments

for its doctors there. Its pharmacy occupied the ground-floor, which

remained until 1983, whilst the upper floors were apartments for doctors.

The restaurant Tekehtopa opened in 1997 on the ground floor, using this

reversed name in honour of the original Apoteket. A legend tells that Leonard

Cohen used to come here in the morning for coffee when he was in

Oslo.

The character Ylajali from my novel Hunger (1890) lived on the 2nd floor

of the building. Some say that Nathalie, the daughter of Olaus Johnson

(who bought plots from Meyer and Heftye and developed this part of

the neighbourhood) inspired this character. The Johnsen’s lived on the

second floor where the balcony was, and where Ylajali appears at the

window in the novel whilst the main character leans

against the Cupido statue. Alternately, others suggest

that the painter Ida Wedel-Jarlsberg is also a

possible candidate. She often visited her brother

Fritz here, who lived on the second floor. I will let you

form your own opinion on the question... My legacy is

such that Sankt Olavs Plass almost changed its name

to Knut Hamsun’s Plass in 2009. Can you believe it?

Also, the Norwegian writer and actress Gerd

Høs (daughter of reserve doctor Herman

Fleischer Høst who worked at Rikshospitalet in

1919) wrote of her childhood and relationship

to the beautiful cupid fountain in «Cupid and

the old pharmacy» in 1994. She also wrote the

biography of my daughter Ellinor. Such a small

world, don’t you think?»


CONCLUSION

« To conclude...

This research taught us a lot about Sankt Olavs Plass. What appeared

to be just a common neighbourhood square turned out to be a place of

major importance in the development of the city and its axis, weighed

down with history.

Our research work revealed to us that St. Olavs Plass has been the scene

of many cultural, artistic, and literary events. While some have built a

complete life around Sankt Olavs Plass and others have only crossed it

for a second, the result is the creation of a common shared history made

of several personal experiences and testimony. Men and women, old and

young, notable or in the shadows all contributed to build on the foundations

of Sankt OlavsPlass. This place, which went through many evolutions

and changes, still bears discreet marks of its past which can reveal a

rich historical heritage.

Beyond Sankt OlavsPlass, this really enriching work allowed us to catch

glimpses of the large extent of Oslo’sheritage. As architecture students

we realised that the story of a place is not only related to its architecture

but rather to important characters, fragments of lives, stories and anecdotes

which contribute to a place’s evolution in time and space. All fields

of study could be involved when starting such researches. This course

showed us the important connections of events of history and their

consequences in determining the spaces of the city.

We also learnt a lot in terms of communication and expression of ideas.

Looking for the right way to share a knowledge helps to select and clarify

its content in order to make it as broadly understandable as possible. It

was a really interesting process finding a matching pictorial and written

expression which would express our research. All we can hope for is that

we have created an exciting product that helps Oslo’s residents to learn

more about their environment.

In the end, we realised the importanceof knowledge of a City’s heritage

to being able tofully experience that city, allowing us to understand its

richness and the value of urban preservation for the legacy of future

generations. »


BIBLIOGRAPHY

TEXTS SOURCES:

Lectures:

- Even Smith Wergeland – Erling Viksjø

- Marte Muan Sæther – Byantikvaren

- Kim Frydenburg Grane & Torgeir Stige – Community engagement, art and installations

- Barbara Ascher – Post-war construction in Oslo

- Beata Labuhn – Christian Norberg-Schulz crying into the fountain

- Eva Birgitte Storrusten – Reclaim Women’s space, a garden at Hurumzi Square, Zanzibar

- Ben Ford – Heritage and Community

Books and articles:

-1995, Jan Carlsen, Norberg-Schulz bader i fontenen på St. Olavs plass, Et essay om

stedsminner, byforvandling, og byggekunsten i våre hjerter, Pax Forlag, Oslo -1992, Harriet

Flaaten, Hva nå med St. Olavs Plass?, Foreningen Oslo

-1996 Nr.1 Byminner: Arkitektenes gate. -2011 Tobias, Tidsskrift for oslohistorie fra Oslo

byarkiv, Oslo byarkiv, Oslo (The development of Oslo in broad strokes)

- Lars Roede: Stjerneplassen. I Byminner,1-2010, s. 12-27. Om plassens historie frem til

lysfontenen

- Creating Ordinary Places: Slow Cities in a Fast World, Paul L. Knox

- Time to Destroy An Archaeology of Supermodernity; Alfredo González‐ Ruibal. Current

Anthropology, Vol. 49, No. 2 (April 2008), pp. 247-279

- Erling Viksjøs høyblokk: Et Gesamtkunstwerk? Berit Griebenow, 2014

- Fundamenteringsforhold ved Telegrafverkets nye administrasjonsbygg i OsloNavn: Eide,

Ove Eggestad, Å.Eide, OveEide, Ove; Publisert: Oslo: Norges geotekniske institutt, 1963

- Documentation from Byantikvaren

Exhibition:

- Oslo Folks Museum: Living in the City (exhibition in the Apartment Building) - The

Growing city and St. Olavs Plass

Digital sources:

- Norsk Biografisk leksikon

https://snl.no/

https://nbl.snl.no/

- Oslo Byleksikon

https://oslobyleksikon.no

- General information about Sankt Olavs Plass; No.1, No.2, No.3, No.4, No.5; neighbor

streets; local famous characters

https://lokalhistoriewiki.no/wiki/

https://www.wikipedia.org/

http://www.artemisia.no/arc/historisk/oslo/

https://www.nb.no/

https://www.kongehuset.no/

http://kulturminnesok.no

https://edderkoppenscene.no/historie/

- Information about Sankt Olavs Plass renovation

https://www.arkitektur.no/st-olavs-plass?tid=158202

-Biography about characters

https://www.preusmuseum.no/

http://www.lydmagi.no/person/3239-leif-juster.html

- Planinsyn documentation:

Drawings for Domus Nova

https://innsyn.pbe.oslo.kommune.no/saksinnsyn/casedet.asp?caseno=196400735

Contemporary plan for Unversitetsgata 2

https://innsyn.pbe.oslo.kommune.no/saksinnsyn/casedet.asp?caseno=201809804

Regulations for the whole area in the 60s Regulering av Francis Haugerups gate, St. Olavs

Gate, Nordahl Bruns Gate M.FL. Oslo

https://innsyn.pbe.oslo.kommune.no/saksinnsyn/casedet.asp?caseno=195801423&rplan=1

- More about the Åpen Kirkegruppe


BIBLIOGRAPHY

ILLUSTRATIONS SOURCES:

- Archives pictures from Digital Museum

https://digitaltmuseum.no/

https://digitaltmuseum.no/search/?q=Olavs%20plass&sv=table&o=0&n=80

- Norwegian archives pictures from Nasjonalbiblioteket

www.nb.no

- Archives pictures from Oslobilder

http://oslobilder.no/

http://oslobilder.no/search?searchstring=%22fontener%22

- Complementary pictures

https://www.oslo.kommune.no/OBA/

https://images.google.com/

VIDEO SOURCES:

- Video archive of fire at Sankt Olavs Plass

https://digitaltmuseum.no/021118477616/branden-pa-st-olavs-plass

- Kim Friele interview

https://mediasite.nb.no/Mediasite/Showcase/arrangementsarkiv/Presentation/45992c-

476bec4e55ab9867ee7c05a5a51d

MAPS SOURCES:

- Maps of Oslo/Christiana from 1794, 1830, 1843, 1860, 1881, 1887, 1891, 1900, 1921, 1936,

1938, 1940, 1958

https://www.oslo.kommune.no/OBA/kart/

- Gul liste - Byantikvaren i Oslo

http://riksantikvaren.maps.arcgis.com/apps/webappviewer/index.html?id=545b8e-

996b6e4e1fbcb65f69299a7167

- Planinsyn

https://od2.pbe.oslo.kommune.no/kart/#596941,6642882,7

- Miljøstatus kart

https://miljoatlas.miljodirektoratet.no/MAKartWeb/KlientFull.htm

- Applications for contemporary situation. St. Olavs Plass, Mindre reguleringsendring, Plan

og bygningsetaten vedtak.

https://innsyn.pbe.oslo.kommune.no/saksinnsyn/casedet.asp?caseno=200409004&rplan=1

https://innsyn.pbe.oslo.kommune.no/saksinnsyn/casedet.asp?caseno=200607137

- Google Earth and Maps for birdeye views

https://www.google.com/maps

https://www.google.com/intl/fr/earth/

- Eyebird pictures from 1937, 1947, 1956, 1971, 1984, 1997, 2001, 2004, 2007, 2008, 2009,

2010, 2011, 2012, 2013, 2014, 2015, 2016

https://kart.1881.no/

- Historic maps

https://kartverket.no/Kart/Historiske-kart/Historiske-kart-galleri/?fylkesnr=3&seriekortbeskrivelse

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