Since its opening in 1968, the Henie Onstad Kunstsenter has been one of Norway's most important cultural buildings. With its distinctive, expressive architecture, organically located among the landscape of Høvikodden, and with its dynamic use of materials such as glass, stone, natural concrete and copper, the building stirred international attention. When the two young Norwegian architects, Jon Eikvar and Svein Erik Engebretsen, won the Sonja Henie and Niels Onstad architecture competition in 1964, it was their very first architectural assignment. "We tried to embody the idea of a forum where the relationship between art forms could unfold and be experienced".

Henie Onstad Kunstsenter 

Aluminium ceiling advertisement in Byggenytt 31.08.1968

Raster ceiling advertisement in Byggenytt 31.08.1968

The Re-Store teaching unit offers new perspectives on the preservation, reuse and transformation of architectural heritage from the recent past, with a special focus on the provenance of building systems, components and materials. Taking an Experimental Preservation approach, the unit responds to the challenges of the climate crisis by renegotiating the way we understand, evaluate, and transform the built environment. Through MA studios and seminars, the unit aims to reinvigorate the discipline by challenging the prevailing ideas of authorship, origins and the integrity of the architectural monument. Engaged in a wide range of practices counting archival studies, value assessment methods, restoration techniques, survey practices, model building, drawing, writing and dissemination, the students are trained to participate in the contemporary discourse with a critical mindset and high design skills. Recent studios have focused on concrete, building systems, prefabrication, building components, petroleum and weather. Re-Store publications include the 

Former Re-Store faculty: Andreas Angelidakis, Thordis Arrhenius, Bård Helland, Amandine Kastler, Jorge Otero-Pailos, Andrea Pinochet, Kim Pløhn, Alena Rieger, Bryony Roberts, Ingrid Dobloug Roede, Erlend Skjeseth, Jørgen Tandberg, Kjetil Sæterdal, Léa-Catherine Szacka, Helle Bendixen Trier, Espen Vatn.

Re-Store

This seminar explores the full material provenance of the Henie Onstad Art Centre (HOK), located at Høvikodden in Bærum, including building materials, technical infrastructure, furniture, display systems, lighting, maintenance systems, as well as the thousands of art works that has been on display across the decades. By thorough investigations of the archives at HOK and at other locations, and through on-site surveys of the building, the students will excavate the sourcing, ownership history, production history, economy, usage and alteration records of the components, materials and artworks. By constructing an alternative history of the building,this seminar challenges the way we understand and value-assess buildings, and might change the way we transform them for the future. In addition, the seminar aims to provide scenarios for HOKs future development. 

Henie Onstad Art Centre was inaugurated in 1968 and designed by the young architects Jon Eikvar and Svein-Erik Engebretsen. It was radical of its time, both in terms of its curatorial ideas and its innovative architecture. Initiated and funded by the figure skater and Hollywood movie star Sonia Henie and her husband, the shipowner Niels Onstad, HOK represented a state-of-the-art cultural institution much inspired by Moderna Museet in Stockholm, Stedelijk Museum Amsterdam and Louisiana Museum of Modern Art outside of Copenhagen. Based on the personal relationships of HOK’s director Ole Henrik Moe with people like Pontus Hultén, Willem Sandberg and Knut W. Jensen, the new center aimed for a new definition of art, showcasing contemporary music, dance, performance, film and photography alongside paintings, drawings and sculpture, engaging its visitors in new ways. Eikvar and Engebretsen, recent graduates from 

 (later Oslo School of Architecture) and employees at Nils Holter’s studio, won the competition in 1965 with an innovative scheme influenced by ideas that was circulating at the time. The project development and the building process progressed in line with the radical museum concept, including experimentation with new materials, 1:1 mock-ups, «electronic» site-management and more. Since 1968, the building had been expanded, altered and restored several times, and the art center has gained reputation as one of the leading art institutions in Scandinavia.

Ceiling

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