Aesthetics of Participation: Atmosphere, Design, and Experience at the Oslo Opera House

Cover
Half Title
Series Page
Title Page
Copyright Page
Dedication
Table of Contents
List of Figures
Preface
Chapter 1: Introduction: The Oslo Opera House
	A social monument
	Tourists and locals
	An atmospheric lens
	The Nordic invitation to participate
	Immaterial architecture
	Notes
Chapter 2: Adopting an atmospheric lens
	Atmospheric perspectives: Böhme, Rancière, and Sloterdijk
	Thinking about atmospheres
	Building experience: architecture and atmosphere
	Coercive atmosphere
	Research atmospheres: methods and tools
	Withdrawing from atmosphere: taking photography seriously
	Pinholes and fuzzy
	Notes
Chapter 3: Transformative participation
	The road to Bjørvika
	The Fjord City
	Bjørvika and beyond
	Snøhetta
	A Nolli map
	Competition entry 04321
	The art
	A stone saga
	Rethinking participation: Arnstein’s ladder
	Notes
Chapter 4: Material participation
	From the city to the roof
	Marble: surfaces of the white carpet
	Whiteness
	Marble’s social and synaesthetic character
	Whiteness and a cleansing of the eye
	Whiteness and blur
	Designing ambiguity: the palace, whiteness, and a Norwegian sensibility to nature
	Notes
Chapter 5: Movement participation
	Architecture of the oblique
	Dwelling, tripping, inhabiting
	Life in the Norwegian open air
	Resonance, dissonance, and a good-natured elitism
	Notes
Chapter 6: Light participation
	Nordic light, Nordic architecture: from the roof to the foyer
	Daylight in the OOH
	Artificial light
	Transitions: liquid light
	From bubbles to foam
	Notes
Chapter 7: Art participation
	First Encounter with The other wall
	Democratic surfaces
	Democratic surrounds: The wall as weather machine
	Creative kitchens: process as art
	The wall through social media
	Selfies and mirror selfies
	The wall, dissensus, and a partitioning of the sensible
	Notes
Chapter 8: Conclusion: Exiting the social monument
Bibliography
Index