The development of the monumental art of building calls for substantial resources, and given its long history of poverty it is no surprise to find that Norway has a relatively poor architectural history. For four hundred years, Norway was governed from Denmark, resulting in a limited number of private and public grand buildings erected by an economic upper class. However, the country has made several notable contributions to the discipline.

Easy access to high-quality timber has given Norway a tradition of building in wood that stretches far back in time. Evidence of the earliest Norwegian architecture may be found at Viking burial sites such as the Raknehaugen site in Romerike (400-600 CE), the largest of its kind in northern Europe. The Viking era also saw the appearance of the characteristic wooden long-houses, reconstructions of which dating from the 7th and 8th centuries are exhibited at Borg in Lofoten. Today, too, many of Norway’s most interesting new buildings are made of wood, reflecting the strong appeal that this material continues to hold for Norwegian designers and builders.

Only in the Middle Ages did Norwegians begin to build in stone, a tradition introduced along with Christianity. Examples of early stone church architecture include the Cathedrals in Bergen and Stavanger, Mary’s Church and the Cross Church in Bergen and Old Aker Church in Oslo, all erected during the 12th century. Most prominent of all is the Nidaros Cathedral in Trondheim, which was finished in 1320 and incorporates examples of the various phases in architectural development from Romanesque to Gothic styles. Medieval stone church architecture is also represented by the various monasteries constructed during the Middle Ages throughout the southern region of Norway, most notably the Archbishop’s residence in Trondheim. There are but few medieval fortresses in Norway, the only example being the Akershus fortress in Oslo built by King Håkon V.

In the early Middle Ages many communities throughout northern Europe erected wooden churches on posts buried in the ground. In Norway, these constructions were ultimately refined into the exceptional stave churches known today. There are 28 well-preserved stave churches in the country while practically none remain in the rest of Europe. These religious structures comprise Norway’s most important contribution to world architectural history. The Stave Church at Urnes (12th century) has been placed on UNESCO’s World Heritage List. The general technique of notched log buildings became very advanced in Norway, and there has been much geographical variation. Traditional Norwegian farms consisted of numerous wooden buildings of assorted sizes, each with a specific function. These buildings are clustered together in different ways in different parts of the country.

The foremost building erected after the era of the Black Death was the imposing 16th-century Rosenkrantz tower of Bergen. In the following century the Baroque style was also represented in Norway’s only remaining two manors, those at Rosendal and Austrått. During the same period some of the old churches were redecorated with beautifully carved altarpieces and portals.

The 18th century brought an increase in population and prosperity, and as the larger cities grew in size, town planning became more sophisticated. This was the era of the large patrician house, typified by Mrs. Schøller’s impressive habitation in Trondheim, now known as Stiftsgården. Ecclesiastical architecture from the same period was also notable and included the new church in Bergen and the Røros and Kongsberg churches.

Following the 1814 declaration of an independent Norwegian state (in union with Sweden) architecture became increasingly influenced by European trends, leading to the construction of new neo classicist- style buildings such as the Royal Palace in Oslo. The Norwegian architect of the time, Christian H. Grosch, would set his mark on the capital. He designed the oldest parts of the University of Oslo, the Oslo Stock Exchange, the former Central Bank of Norway and numerous other Oslo buildings as well as nearly 70 churches around the country.

The increase in the urban population called for new, large buildings capable of housing many families. The development of the Vika district of Oslo, particularly Victoria Terrace, is a good example of Norwegian urbanisation during this period.

After the secession from Sweden in 1905, Norwegian architects were on the outlook for a true Norwegian character and great efforts were made to create a national style of construction. Examples include the restaurant Frognerseteren, Holmenkollen Sanitorium and the new Holmenkollen Park Hotel, where contemporary techniques were merged with ornaments and woodcarving principles from the Viking Era. The dragon and animal ornaments (as seen in the development of craft and design) became popular.

During the 19th century Norwegian architects were primarily educated abroad, mainly in Sweden and Germany, but this situation changed in 1911 when National Association of Norwegian Architects was established and an Architecture Department was initiated at the Norwegian Polytechnic in Trondheim. The first graduates from this course were the first to take up the heritage of European classicist trends after World War I had compromised nationalistic ideals in all of the European states. Haugesund Town Hall and the Norwegian Credit Bank are buildings representative of this period. Subsequent constructions originated the transition to functionalism, as architecture became a question of practicality and simplicity and not just a decorative matter. These principles also paved the way to the post-World War II era in which most of the construction work was incorporated into the rebuilding of the country. After the war the main aim was to create new and improved homes, and many towns were extensively re-organised. In Oslo the principal aim was to have an open city landscape with many ‘green lungs’, ie parks and playgrounds. The underground transportation developed during this era was unique for a relatively small European city.

The post-war era also produced architects of international standard. In 1956 and 1962 Sverre Fehn (b1924) designed two exhibition pavilions in Venice and Brussels and Arne Korsmo (1900-1968) also influenced Norwegian architectural style with his poetic modernism. The architecture of the 1960s and 1970s was influenced primarily by efforts to improve and modernise old principles and by the search for a style that was both rational and expressive. Various techniques and styles were developed and Norwegian architects experimented with all sorts of material. A significant commodity from this period was the use of glass over climate controlled zones, used by Niels Torp (b1940). in the Scandinavian Airlines headquarters in Stockholm and the British Airways headquarters in London. Another important project is the climate-controlled glass structure (Lund & Slaatto, 1998). protecting the ruins of the medieval cathedral St. Halvard in Hamar. Visitors perceive this impressive glass enclosure as a sacred building in itself. Norway's expertise in building with timber materials has also been carried to a high state of perfection in the Hamar Olympia Hall.

In 1989, the small Norwegian architecture firm Snøhetta won an historic competition to design a new Library of Alexandria. This was the most important international competition ever won by a Norwegian firm. Completed in 2001, the library has been hailed as a landmark by international architecture journals. Later, Snøhetta consolidated its global position by winning the competition to design the New Opera House in Oslo. The opera will be situated in Bjørvika, a central waterfront district of the capital now undergoing renewal. Other parts of the harbour in central Oslo are undergoing planning for new housing and downtown-style development.

One of the biggest architectural events of recent years was the opening of Oslo’s new international airport at Gardermoen. The wood, stone and glass terminal building (Aviaplan, 1999) has a simple, open design and sophisticated detailing.

During the 1990’s, a new generation of talented young architects has emerged and is gaining recognition both at home and abroad.

The list of noteworthy younger architects includes: Ivar Lunde and Morten Løvseth for their Norwegian Petroleum Museum in Stavanger (1999) and Tønsberg Library (1992); Kristin Jarmund for the Norwegian Metrology and Accreditation Service headquarters in Kjeller (1997) and Gulskogen School in Drammen (2001); Lund Hagem for the Norwegian Crop Research Institute’s facility in Ullensvang (1999); Stein Halvorsen and Christian Sundby for the Sámediggi (Sami Parliament) building in Karasjok (2000); Jarmund and Vigsnes for the Kvitøy Coastal Control building (1999); Reiulf Ramstad for Østfold University College in Halden (2004); Carl-Viggo Hølmebakk for the mortuary at Asker Crematorium (2000) and Jan Olav Jensen and Børre Skodvin for Mortensrud Church (2001) in Oslo.