Mjøstårnet helped wooden architecture reach “new heights”
CategoriesSustainable News

Mjøstårnet helped wooden architecture reach “new heights”

Next in our Timber Revolution series is a profile of Mjøstårnet, an 85.4-metre-high tower in Brumunddal, Norway, that was one of the world’s first true timber skyscrapers.

The 18-storey mixed-use building was named world’s tallest timber building by the Council on Tall Buildings and Urban Habitat (CTBUH) when it was completed in March 2019, comfortably surpassing the 53-metre Brock Commons Tallwood House in Vancouver.

Architecture studio Voll Arkitekter believes that the milestone demonstrated what the future of sustainable architecture could look like.

Mjøstårnet next to a lake
Mjøstårnet is located along Norway’s lake Mjøsa

“Wood construction has gained a new renaissance and we are proud to be able to help wooden architecture reach new heights,” Voll Arkitekter partner Øystein Elgsaas told Dezeen.

“Mjøstårnet is not the blueprint of a tall timber building but a contributor to further sustainable development,” Elgsaas added.

“Sustainable-wise, the most important aspect of our building was to show that it is possible to build large, complex timber buildings, and in that fashion, inspire others to do the same.”

Facade of Mjøstårnet
The building is surrounded by abundant forestry

Located on the shore of Norway’s biggest lake, Mjøsa, which lends its name to the building, the 18-storey tower contains apartments, a hotel, office space and a restaurant.

It was built using two types of engineered wood: cross-laminated timber (CLT) and glue-laminated timber – also known as glulam. Because both kinds of wood are formed of layers of lamellas glued together crosswise, they are significantly stronger than standard wood.

The exterior of a timber building in snow
It was constructed with CLT and glulam. Photo by Øystein Elgsaas

Large glulam trusses made from light-coloured spruce wood support the structure along its facades as well as forming its internal columns and beams. Meanwhile, CLT was used to support the building’s three elevators and two staircases.

The structural mass timber was left exposed inside, making the tower quick to build. The groundwork for the project began in April 2017 and the first timber construction took place just six months later.

Voll Arkitekter's Mjøstårnet
The building is 85.4 metres tall. Photo by Øystein Elgsaas

The studio was particularly keen to use timber because of its sustainability credentials. Trees act as carbon sponges, absorbing atmospheric carbon which is then locked up in the wood and stored in the building.

Wood is also less carbon-intensive to manufacture, transport and construct than concrete, meaning that the production process has lower embodied carbon emissions. The embodied carbon from buildings made of steel and concrete amounts to 11 per cent of global carbon emissions.

The view from the top of Mjøstårnet
Glulam timber trusses support the structure

“Wood is a better option than concrete when it comes to the carbon storage in the material itself,” said Elgsaas.

“Where you traditionally need a large quarry to source the material for the concrete production, it leaves large scars in the environment that don’t ‘heal’ in the same way as a large area used for harvesting trees does,” he continued.

“A sustainably managed forest and harvesting of the trees would actually benefit the area’s biological diversity.”

Norwegian law requires forest owners to ensure harvested areas are “regenerated within three years”.

An interior staircase made from glulam timber
The timber was sourced from spruce and pine trees nearby. Photo by Øystein Elgsaas

Brumunddal’s proximity to a major forestry and wood processing hub meant that the materials for Mjøstårnet were sourced from nearby spruce and pine forests.

“The spruce used in the construction of the glulam elements, such as trusses, columns and beams, were sourced locally in the area of Ringsaker,” Elgsaas recalled.

“The timber is cut to standard board size planks at the local sawmill and then processed at Moelven, where they make the final glulam products used in the construction,” he added. “Moelven is just a fifteen minutes drive from Brumunddal.”

The interior of Mjøstårnet
Mjøstårnet houses an office, hotel and restaurant. Photo by Øystein Elgsaas

Scandinavia’s access to large woodlands gives it an abundance of local wood resources, fuelling a surge in architects turning to wood for projects in the region.

Among the notable tall timber projects in Nordic countries is Sweden’s Kajstaden Tall Timber Building by CF Møller Architects and Finland’s tallest wooden apartment block, Puukuokka, by OOPEAA.

According to Elgsaas, the timber industry has changed since Mjøstårnet was built and public scepticism over the potential of timber for tall buildings has subsided.

“The focus on the environment and the benefits of using wood has changed dramatically since we began our project back in 2015,” he said.

“People have discovered the possibility and benefits of using different building materials and that there is no longer a predetermined solution to what a larger and more complex building could be made from.”

A bedroom interior by Voll Arkitekter
All of the timber was processed in nearby Moelven

Although the studio was committed to using timber, the material did not come without its issues. The inherent lightness of timber proved tricky for the architects because the top of the building was prone to shifting in the wind.

“Peak accelerations due to wind on the top floor of Mjøstårnet is on the limit of what is acceptable for residential buildings,” said Elgsaas.

“The acceleration in the movement is quicker than in a heavier building of steel and concrete and if not kept within the required levels, it could lead to nausea.”

A tall mass-timber building beside a lake
Voll Arkitekter believes the building pushed the limits of timber construction

Architects create composite buildings – wood-concrete-hybrid structures or timber frames with concrete cores to avoid this problem. However, Voll Arkitekter decided to incorporate concrete within Mjøstårnet’s floors to give it the necessary sturdiness and weight.

“We increased the weight on the upper floors: floors 12 to 18 are 300 millimetre-thick concrete made of a precast element at the bottom and an in-situ layer of topping concrete,” Elgsaas explained.

“Replacing wood flooring with concrete flooring on the upper floors meant that the building would be heavier towards the top and that would slow down the acceleration in the movement of the building when affected by wind forces.”

Mjøstårnet at sunset
The studio hopes it encourages more sustainable building creation

In 2022, Mjøstårnet was overtaken as the world’s tallest timber building by Ascent, an 86.6-metre-tall tower in Wisconsin, which was designed by Korb + Associates Architects.

An all-timber building is classified as such by the CTBUH if both the main vertical or lateral structural elements and the floor are constructed from timber.

Ascent is unlikely to hold the top spot for long, as a 100-metre-tall housing block in Switzerland timber building by Danish studio Schmidt Hammer Lassen is set to become the world’s tallest when it completes in 2026.

The photography is by Ricardo Foto unless stated otherwise.


Timber Revolution logo
Illustration by Yo Hosoyamada

Timber Revolution

This article is part of Dezeen’s Timber Revolution series, which explores the potential of mass timber and asks whether going back to wood as our primary construction material can lead the world to a more sustainable future.

Reference

Daring Design at Dizzying Heights on Norway’s Scenic Routes
CategoriesArchitecture

Daring Design at Dizzying Heights on Norway’s Scenic Routes

Browse the Architizer Jobs Board and apply for architecture and design positions at some of the world’s best firms. Click here to sign up for our Jobs Newsletter. 

Good trails guide you through different landscapes while minimizing the impact of tourism on the environment. Trails also build connections between humans and nature. It is about view framing/directing, and infrastructure designs that cope with people’s needs and environmental factors. Providing the right amount of information for visitors to learn about the cultural and natural history of the site is part of the infrastructure as well.

This story takes you through a trail of great scenery and beautiful architecture, introducing Ryfylke, one of the 18 Norwegian Scenic Routes developed by the Norwegian Public Roads Administration. Along the route of 260km, there are 8 structures by different architects. Including installation, viewing platform, footbridge and museum, these structures become part of the scenery with their clean forms that are not disrupting the natural landscape.


Høllesli by Lie Øyen Arkitekter (2020)

Høllesli

Viewpoint at Høllesli ©Frid-Jorunn Stabell.

Starting from the south end of the route, the Høllesli viewpoint is a continuous concrete platform that cuts through the rock. The cuts are shaped into neat slopes and are sprayed with concrete to improve their stability. The concrete spray also gives the slopes a color similar to that of the platform, making them transition between the artificial and natural.

The platform provides safe access to an open view of Lysefjorden. Zig-zagging along the steep terrain, the sharp-edge platform extends two steps further down. It forms an artificial terrain that leads visitors towards the great fjord.


Lovra

Viewpoint at Lovra ©Foto Per Kollstad / Statens vegvesen.

The viewpoint of Lovra was always missed until a simple architectural intervention called attention to the overlooked and under-appreciated site. The simple addition of metal benches and tables on top of the old concrete blocks on the site called attention to the rest area/viewpoint, which is a little off the road, making it more visible.


Ropeid by Jensen & Skodvin Arkitektkontor and KAP – Kontor for Arkitektur og Plan (2004 and 2021)

Ropeid

Inside the ferry waiting room ©Foto Helge Stikbakke / Statens vegvesen.

Ropeid

Furniture made of recycled plastic ©Frid-Jorunn Stabell.

In 2004, Jensen & Skodvin Arkitektkontor designed a fully glazed ferry waiting room on the peninsula Ropeid. The building has floor-to-ceiling fenestration, inviting the view of fjords and mountains into the waiting room while sheltering waiting passengers from the elements.

A second intervention in 2021 saw the addition of several mushroom-like structures to the shore. These yellow “mushrooms” of varying height and proportion form three clusters where some can function as tables and others as seats. Those structures that are neither table nor seat become street lamps when they are lit from under the cap.


Ostasteidn by KAP – Kontor for Arkitektur og Plan, 2018

Ostasteidn

Resting area at Ostasteidn ©Foto Frid-Jorunn Stabell / Statens vegvesen.

Ostasteidn

The viewpoint at Ostasteidn ©Foto Lars Grimsby / Statens vegvesen.

This resting point extends from the road towards another fjord. A staggeringly tall concrete structure houses the washrooms. The top of the structure splits into three branches, each has a skylight.

The walkway connects the service building with the viewpoint on the other side of the site. Visitors can enjoy the attractive view of Sandsfjorden from the designated area. The walkway is made of fiberglass grating that allows grass to breathe and grow from underneath.


Høse bridge connects the town of Sand to a vast woodland on the other side of the Suldalslågen river. The straight bridge stands on steel beams and is textured with weathering steel, giving it a brownish-orange looking. It offers a view over the river that differs from the scenery received on the banks.

Both solid steel panels and mesh, as well as vertical and diagonal steel members, create patterns both on the outside and inside of the bridge. Sunlight penetrates the perforations on the mesh panels, leaving rhythmic shadows inside the crossing area. The bridge is lit from the inside during the night, giving the structure a glowing appearance from the exterior. The bridge culminates with a concrete pavilion that can shelter small groups of visitors on the woodland side.


Svandalsfossen by Haga & Grov AS Sivilarkitekter MNAL and Helge Schjelderup Arkitektkontoret Schjelderup & Gram (2006)

Svandalsfossen stairs ©Foto Per Kollstad / Statens vegvesen.

Both Svandalsfossen stairs and Høse bru echo the industrial history of their site with weathering steel. The rough surface and earthy color make the stairs a nice band of decoration up the terrain. With 540 steps in total, the stairs vertically link the low/riverside level, the middle/road level, and the top-level, where the Svandalsfossen waterfall is close at hand.


Allmannajuvet by Atelier Peter Zumthor & Partner (2016)

zinc mine

Allmannajuvet Zinc Mine Museum ©Foto Fredrik Fløgstad / Statens vegvesen.

Inside the museum ©Foto Fredrik Fløgstad /Statens vegvesen.

The project by Peter Zumthor consists of a carpark, walkways and three buildings along the route walked by the miners between 1881 and 1899. The buildings — a café, a museum and a service building — are of similar languages; they all rely on a timber frame supporting system to stand on the steep, rocky terrain. A dark grey box stays within each supporting system and a tile roof floats on top.

The buildings are painted dark on the inside as well. Views of the Allmannajuvet enter the interior space through limited openings, creating a serene atmosphere that is slightly isolated from the outside.

Both café and museum are open to tourists every summer. The museum documents the hard life and work of the zinc miners, while the café offers visitors local foods and a place to rest. The café functions as a community space for the locals when not in service time.

Browse the Architizer Jobs Board and apply for architecture and design positions at some of the world’s best firms. Click here to sign up for our Jobs Newsletter. 

Reference