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The architecture of Norway has evolved in response to changing economic conditions, technological advances, demographic fluctuations and cultural shifts. While outside architectural influences are apparent in much of Norwegian architecture, they have often been adapted to meet Norwegian climatic conditions, including: harsh winters, high winds and, in coastal areas, salt spray.
Vernacular architecture in Norway [1] covers about 4,000 years of archeological, literary, and preserved structures. Within the history of Norwegian architecture , vernacular traditions form a distinct and pervasive influence that persists to this day.
Download as PDF; Printable version; ... Norwegian urban planners ... (1 C, 2 P) Pages in category "Architecture in Norway" The following 17 pages are in this category ...
The strap-work paneling showcases Viking tradition along with the carvings in the walls displaying fighting animals. The decorations are an essential connection between the pre-Christian Nordic traditions and the later Christianity of the Middle ages as well as representing the artistic style of Scandinavian culture. [5]
The Architecture Museum was established by the Norwegian Architects National Association in 1975 and became a part of the National Museum 1 July 2003. The building on Kongens Gate 4 was in use up until March 2005. The museum renamed the National Museum – Architecture, opened in 2008 at a new location, Bankplassen 3 in Oslo.
Mark Z. Danielewski quotes Norberg-Schulz on page 74 of his novel House of Leaves, and then again on pages 170–71 (in the second edition). [citation needed]The Onion, a fictional and satirical "newspaper", has featured Ask the Concept of Phenomenology in Architecture as developed by Christian Norberg-Schulz, a parody of an advice column.
The foremost sources of inspiration for the Dragestil style were the Viking and medieval art and architecture of Scandinavia. It had roots in the preservation of stave churches and the recent excavation of historic relics such as the Tune, Gokstad and Oseberg ships.
The church combines the influences of Celtic art, Viking traditions, and Romanesque architecture. The woodwork, originating from the previous church, depicts interlaced, fighting animals, and thus links the pre-Christian Nordic culture and the Christianity of the medieval ages. [8] Bryggen: Vestland: 1979 59; iii (cultural)