The proposal for the ANNO Domkirkeodden museum is not an isolated act. Within the ANNO open-air constellation, the architectural work is both the exhibition medium and the exhibited object. The intervention proposes a complement, both typological and programmatic, to what is already there.
The building is based on different readings and positions: That of a unitary and compact building preserving the landscape and visual continuity of the site, articulating at the same time two contrasting visions. That of a building whose large size carries within it an infrastructural value largely informed by the landscape and its icons. That of a flexible and evolving architecture, resolutely open to the desired future of the ANNO museum. The new museum captures the logics of footprint, volumetric identity and limits between content and container of its neighbouring icons, including the Hedmark Museum, by proposing an essential, primitive and situated response.
From the pyramid shaped constructions stretched out into the world, and without claiming a lot of resources from the nature the constructions have been a bare necessity of life for the people on the coast and inland. The coast and parts of the Norway is built on dry fish. The timber structure is not only a memory bank for the citizens, but also the fisheries meaning for the Norwegian society. Water has provided the resources the Norwegian nation and the welfare state is built on and that the future generation must harvest from.