The Allmannajuvet project is located along the Storelva River, between Sauda and the village of Hellandsbygda. It is part of the Ryfylke route, a scenic drive from the coastal city of Stavanger to the mountain ski resort of Røldal. This site is one of 18 marked tourist routes established by the Norwegian Public Roads Administration to promote tourism in remote areas. These routes showcase Norway’s breathtaking coastlines and waterfalls, with various designers commissioned to create stop points along the way, including viewing platforms, picnic areas, and bridges.
Preserved by Tragedy, Marked by Time
“Once upon a time, one early morning, a miner kissed his bride-to-be goodbye before leaving for work. He was dressed in his black suit—a quiet sign of the dangers of his line. That day, tragedy struck, and he met his fate deep within the mine. Decades later, his body was found, perfectly preserved in ferrous vitriol—untouched by decay, as beautiful as the day he died.”
This story mirrors the harsh realities of the early mining industry: draining labor, constant risk, and the clash between life and death itself, leaving an indelible imprint on the mining landscape.
The zinc mining industry, which began in 1881, has left a significant mark on the area. The ore extraction process was both labor-intensive and hazardous, involving the carving of tunnels into the mountains and transporting the ore to the cliffside. From there, the ore was carried to Sauda using packhorses and further ahead for processing. However, by 1899, high extraction costs and falling zinc prices rendered the mine unprofitable, leading to its closure. Over time, nature slowly took over the site, covering much of what was once a bustling mining operation. However, the trail of the industry remained, providing a window into the hardships and daily lives of those who worked there more than a century ago.
Patching: Time and Terrain
Peter Zumthor was commissioned to design one of the structures, embracing its rich past and unique landscape. Zumthor’s approach was to ensure that the building feels inherent to its surroundings, blending seamlessly with the existing environment. By layering contemporary design over the site’s silent memories, he has created a mosaic where history and modernity coexist. This fusion reflected a timeless quality, where architecture remains relevant and meaningful, bridging the past, present, and future while addressing contemporary needs.
To ensure the building does not dominate the existing landscape and maintains a harmonious connection with its surroundings, the installation consists of four separate structures which are distributed across the site. The distribution of the buildings helps to create a cohesive relationship between architecture and environment, allowing the site to retain its character and presence without feeling overpowered by the structures.
Sculpture in Dialogue with Nature
The four structures—a museum building, a café, parking facilities, and restrooms—are thoughtfully positioned along a trail that follows the historic paths shaped by nature and later outlined by Zumthor. This ensures that functional needs are met while blending with the natural surroundings. The trail and its structures create a narrative connection to the miners’ stories and their way of life, allowing visitors to engage with both the physical landscape and its historical significance.
The structures are sharp, rectangular volumes with smooth black exteriors that integrate seamlessly into their surroundings. They appear almost weightless, elevated on slender timber that supports the entire structure above, emphasizing precision and elegance. The monochromatic walls lend the structures a monolithic presence, while the timber frames introduce a natural warmth that softens their otherwise imposing forms. Long, horizontal windows puncture the façades, creating a sense of equilibrium while offering glimpses of the interior without disrupting the visual harmony of the design
Prefabrication, Precision and Poetics
Peter Zumthor’s meticulous attention to materiality and detail is what makes this simple structure so elegant and sophisticated. The structures were prefabricated in Saudasjøen and assembled on-site, ensuring precision in their construction. The exterior support system comprises creosote-filled laminated wood, providing durability and a robust framework. The walls are constructed from 18mm plywood sheets combined with jute burlap, coated with a German acrylic material (PMMA), resulting in a smooth, black finish. This timber structure also runs across the structure and holds up the corrugated zinc roof that covers all the structures.
Inside, the walls of the cafe and the museum are painted in dark hues, mimicking the atmosphere of a mine and giving the visitor an immersive experience. The long, horizontal windows are thoughtfully designed to align with each structure’s purpose, offering balanced natural light and framing views of the landscape. The museum is also home to mining equipment which are displayed in black display nices. The angular walls and ceiling are a reference to the cuts made in the stone landscape to extract the ore.
The parking facility is constructed with natural stone from Hardanger, with stones transported from Jondal to Sauda. The visible corner of the wall stands approximately 18 meters tall and is firmly anchored three meters into the riverbed, showcasing the meticulous engineering involved. The service building hangs from the side of the stone wall and is supported by the same timber framework.
“The things I can see and feel in the landscape are physical and real, no matter how mute, hidden and mysterious they might appear at first.”
When we describe something as timeless, we acknowledge its enduring relevance and appeal, untouched by passing trends or changing eras. These structures stand as timeless entities, embodying a dialogue between the past, present, and future. Zumthor seamlessly fuses historical narratives with contemporary needs, serving as a testament to thoughtful design that respects history and site while addressing modern functionality and aesthetics.
References:
- Books
Zumthor P, Lending M(2017) . A feeling of History. Scheidegger Und Spiess Ag Verlag
- Websites
Thisispaper (2020) Allmannajuvet Zinc Mine museum by Peter Zumthor [online]. (Last updated 25 Aug 2020). Available at:https://www.thisispaper.com/mag/allmannajuvet-zinc-mine-museum-peter-zumthor
The Architectural Review (2017).Allmannajuvet Zinc Mine Museum in Norway by Peter Zumthor: ‘The progeny of an artist-architect’ [online]. (Last updated 17 Jan 2017). Available at: https://www.architectural-review.com/buildings/allmannajuvet-zinc-mine-museum-in-norway-by-peter-zumthor-the-progeny-of-an-artist-architect
The ArchDaily(2017).The Noble Simplicity of Peter Zumthor’s Allmannajuvet Zinc Mine Museum.[online]. (Last updated 22 Jan 2017) Available at: https://www.archdaily.com/803691/the-noble-simplicity-of-peter-zumthors-allmannajuvet-zinc-mine-museum
The ArchDaily(2016).Allmannajuvet Zinc Mine Museum / Peter Zumthor. [online]. (Last updated 29 Sep 2016) Available at: https://www.archdaily.com/796345/allmannajuvet-zinc-mine-museum-peter-zumthor
