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