• Lappeenranta Theatre featured in Archdaily https://t.co/hL330gnwa0 via @archdaily #architecture #theatreTuesday, 08 December 2015
  • ALA_Architects: Check out #Kilden photos on instagram! http://t.co/NFVpxRHIWednesday, 19 September 2012
  • Our Theatre and Concert Hall Kilden presented on video, drawings and model in the exhibition New Forms in Wood at the Finnish Pavillion designed by Alvar Aalto.

  • ALA_Architects: #Kilden Performing Arts Centre, #Kristiansand, 2011 http://t.co/QpUA41H9Wednesday, 11 April 2012
  • Photo of the opening fireworks by Tore-André Baardsen

  • office xmas puzzle

  • Kilden has been awarded the Steel Structure of the Year prize by the Finnish Steel Structure Association.

  • ALA_Architects: Samuli will be presenting #Kilden at #Batimat 2011 on the 10th of November.Thursday, 10 November 2011
  • Juho & Tomi @ Kilden hand-over

  • cocktails @ SMS Arkitekter

  • ALA_Architects: The #Kilden Concert Hall brings the Norwegian Concrete Element Prize 2011 to ALA with SMS Architects.Monday, 19 September 2011
  • The foyer benches will be fit with white leather.

  • The new Kilden website gives a sneak preview.

  • Kilden i Feven.

    Wednesday, 31 August 2011
  • NRK filming Kilden, twice.

    Tuesday, 30 August 2011
  • Sculptors Finn Eirik Modahl and Arne Revheim. www.modahl.com www.gurulama.com

  • This 23 x 4,5 x 2 m polished steel sculpture by Finn Eirik Modahl and Arne Revheim will be installed on the rock face behind Kilden in October 2011. Javel!!

  • ALA_Architects: #Kilden building process & cover in Swiss #architecture magazine werk, bauen + wohnen http://www.wbw.ch/de/aktuelleMonday, 16 May 2011
  • ALA_Architects: ALA is designing a new multipurpose hall as an extention to the 60s architectural classic #Kuopio City #Theatre designed by Helmer Stenros.Wednesday, 20 April 2011
  • Coronium looking up from the mezzanine foyer

  • Audition for West Side Story

  • The Kilden 2nd floor foyer art installation "Coronium" by Claire Obussier and Vong Phaophanit was completed today.

  • ALA_Architects: Juho will be discussing the structural challenges of #Kilden at the #architecture #AHO school in Oslo today at 13!Thursday, 24 March 2011
  • Pekka checking out the installation of the east facade

  • Uplifting atmosphere

  • Detail of Josefine Lyche's wallpainting in progress

  • The concrete floor of the foyer is off...again!

  • Concert hall concrete element

  • partners in the Konsertsal

  • it is not allways easy. Electrical engineer depressed - and for a reason...

  • Kilden in progress article on arch daily, the worlds most visited architecture website.

    Tuesday, 01 March 2011
  • partners in Fruken Larsen

  • oak wall with 13 000 pieces; all individual and numbered...

  • BIM

  • sprinkler

  • Håndverkeren (the Craftsman)

  • pekka&sami @ KRS

  • competition entry panel 4

  • Kilden competitioner: Stavanger Konserthus; ALA visit to buildingsite jan.2011

  • "Psychoacoustics" is an important part of acoustical design of concert halls. It is defined more or less as follows:

    If a room is visually and atmospherically beautiful, the musicians feel good in it. When the musicians feel good (in a room), they play better, therefore contributing to the sound (i.e. acoustics) of the room.

    (...and I thought absolutely everyone would register this as architecture)

  • Architects' aurical tradition says that theatres are the most demanding building type. Concert halls are the second.

    To start an office with a project combining these two is one definition of youth.

    Friday, 07 January 2011
  • Agder Theatre summer stage.

  • Henna, thank you!

  • 12/2010

  • Juho & Niklas @ Kilden 12/2010

  • julelunsj 2010

  • PANDION over Norwegian fjords

  • Odd-Arne Moi, construction engineer

  • Beachvolley World Tour @ KRS

  • Herlig Land

  • 2nd foaje

  • charlies bar in KRS

  • ALA @ KRS

  • 11/2009

  • Auvo @ ALA-Norge office

  • testing materials....

  • 10/2009

  • samarbeidspartner Sandsmark and first k-sal elements

  • Styreleder Hannevik & Mette-Maarit

  • ground stone, Mette-Maarit & Frode

  • site 8/2009

  • p-hus

  • 4/2009

  • the hotel

  • p-hus site

  • tutu 1st prize model

  • Mette-Maarit & Juho

  • ALA-crew @ Gardemoen

  • hotel room view to the site

  • project meeting number 47 out of 200; prosjekteringsleder Einar Bögwald at the end of the table

  • first mock-up 2007

  • first site - activities may 2007

  • Kjevik, Kristiansand airport

  • first time at the site feb.2005


  • a glimpse into the process

  • Astronomical Applications Dept. / U.S. Naval Observatory / Washington, DC 20392-5420
    KRISTIANSAND E  8 00, N58 10
    Altitude and Azimuth of the Sun                                              
    Oct 1,2006

    Zone:  1h East of Greenwich
    Altitude    Azimuth (E of N)
    06:00       -5.0        87.9
    08:00       10.5       113.7
    10:00       22.8       142.2
    12:00       28.5       175.0
    14:00       25.3       208.5
    16:00       14.5       238.2
    18:00        0.1       264.5
    19:00       -8.4       277.3

    Tuesday, 21 December 2010
  • Antti working with TUTU competition entry

  • samuli; TUTU competition entry section at the laptop screen

  • Janne 11/2004

  • Juho 11/2004



    Our times are taking sculptural abstraction of a regular building perhaps further than ever. Still, each creation, be they “blobs”, “algorithmic designs”, “piles”, “potato chips”, etc. is a reorganization of a few elemental building parts. The catalog of these parts has remained the same ever since our ancestors had THE idea of human history: switch from finding shelter to building it.


    Wall is the defining building part for human beings. Whereas most terrestrial animals still focus on the ground we decided to stand up 3.000.000 years ago. This makes the wall a natural building part for us. We literally shift focus from floors to walls during the first years of our life. Most people can read floor plans to figure out the space illustrated in them, but have trouble understanding sections projecting floors, ceilings and roofs.

    In most climates the roof is a more important element as weather protection. Still, the sociological value of the wall – its ability to define space – makes it a strong candidate for the title of the most important building part.

    Walls provide feeling of security and safety. But on the other side of this, isn’t there disconnection or captivity? The Great Wall is said to be the one single structure visible to from the moon. What kind of message are we sending out there? What do walls actually do?


    The most famous wall in recent history is the Berlin Wall (1961-1989). It embodied separation. The barrier wall of the West Bank between Israel and Palestine is carrying on with the same tradition. In the nearby Jerusalem the Western Wall proves that walls can function as unifiers in addition to being mere tools to keep evil out. As the Western Wall is also significant to the Muslim faith, and subject of battle between these cultures, it also proves the fact that walls are never just simple black or white.

    Even the Berlin wall became, with time, a tool of communication. Through ornamentation to posters and graffiti, wall paintings are the oldest existing form of sending messages over time. Wall paintings bring us thoughts from our forefathers 30.000 years back. Talk about connecting.

    As most of us nowadays live in cities it’s notable that walls, more than anything, define our space and frame our view of the world. According to how walls in an urban scale are placed, they frame vistas underlining either opportunities and hope, or limitations and oppression.

    Some of us head to Wall Street to redefine our finances. Meanwhile climbing walls, squash court walls, walls of sound, etc. are used to keep our bodies active and our minds alive.


    During the 20th century modernist architecture attended to get rid of the wall. It was made non-load-bearing and transparent, aiming to blur the border between inside and outside. Architecture figuratively reflected the trauma of political separation and unwanted boundaries.

    We are now entering the time after ultimate transparency. The idea of exposing everything is being killed by trends like reality-tv, that just take it all too far. In architectural sense, we are learning that transparency without distraction was a dream, and that nonexistence is not reality (these ideas may be achievable somewhere else, like in the virtual realm…never mind a few firewalls…). So we are in the process of defining new goals for an ideal world – and an ideal wall. Lately ecological needs are – conveniently – supporting this awaited re-definition.

    All and all: Walls keep us safe. A borderline means not only a place to separate but also a place to meet. There is no reason to put walls down… just a good reason to think of doors and windows.

    Tuesday, 02 February 2010
  • "The logic of an unusual architecture" by Panu Lehtovuori

    Text Extract from ARK, The Finnish Architectural Review 2/2005

    The results of the international architectural competition for the Kristiansand theatre and concert hall in Norway were announced in February 2005. The winning entry in the competition, which had raised worldwide interest, was by the finnish architect's office ALA (Juho Grönholm, Antti Lassila, Janne Teräsvirta and Samuli Woolston) with their proposal called "Tutu".

    "Tutu" refers, of course, to the ballerina's dress. ALA's "Tutu" is in its functionality as tempting as a dancer's dress. It does not fall into either of Robert Venturi's categories, namely a duck or a decorated shed, but neither does it repeat recent trends. It's not a 'blob' or minimalism, but mixes the pack of modern architecture to produce something new.

    The core of the scheme is the almost industrial-production chain of theatrical productions and other performances. ALA has optimised the logistics of several users. The row of theatre spaces set together side by side has been dressed in a huge slanting wooden curtain that follows their form. This slanting surface, going for the European record for projections, encloses within its envelope the foyer, a monumental staircase and the park-and-ride traffic area adjacent to the harbour.

    Rem Koolhaas' notion of "bigness" offers some keys to the design concept. The interior - the theatre spaces and extensive backstage facilities - are a separate aspect and project from the outside, a free wooden surface and folded copper envelope. ALA's approach is not purist, but the result is nevertheless simple and understandable. The appearance of 'Tutu', imprinted in the mind in milliseconds, is the result of analytical architectural work, not a preconcieved image. That is why it is so original.

    The next stage of the planning has already began, and in 2010 a very interesting "experience machine" will open on the south tip of the fjord country."

  • The first meeting with the client: 08:00 "sharp": on the morning after the prize ceremonies in Kristiansand.

    Three Norwegians sit opposite to us. All have their hands clasped on the table. We all notice, but can't relax enought to comment, as it's the first >100M€ grossing deal for us (...it's the first ANY deal for us).

    Only after we're out of the room we ask each other: What the **ck's with the identical rings?

    Wednesday, 02 February 2005

Kilden Performing Arts Centre

Kilden, a theater and concert hall in Kristiansand, Norway, has brought together all the city's performing arts institutions. Kristiansand Symphony Orchestra now has a concert hall accommodating 1,200 attendees. The regional Agder Theater is performing in a theater with a capacity of 750, that can be transformed to accommodate opera performances by the local ensemble Opera South. In addition, there is a stage for experimental theater and a multi-purpose hall with a level floor.

Kilden produces experiences. The way the concert, theater and multi-purpose halls are serviced efficiently and without interference forms the core of its architecture. The monumental abstract form of the wall made of local oak separates reality from fantasy. Passing through, the audience will move from natural landscape to the realm of performing arts. This wall made of wedged CNC milled solid planks is not only a disguised theatrical effect but a concrete tactile artifact, which also improves the acoustics of the foyer. The infinite blackness of the other facades emphasizes the spectacle of the foyer.

The project was executed according to original design, and within the given time frame and budget. ALA is currently working on the expansion of the venue.

Name: Kilden Performing Arts Centre

Type: Competition, 2005, 1st prize, open since January 2012

Status: Built

Program: 24,600m2: concert hall with 1,200 seats, theater/opera hall with 750 seats, multi-purpose hall, small theater hall, offices, workshops, rehearsal spaces, car park for 400 cars.

Location: Kristiansand, Norway

Client: Teater og Konserthus for Sørlandet IKS

Team: ALA Architects in collaboration with SMS Arkitekter. ALA: Juho Grönholm, Antti Nousjoki, Janne Teräsvirta, Samuli Woolston with Niklas Mahlberg (project architect at construction phase), Pekka Sivula, Pauliina Rossi, Julia Hertell, Pauliina Skyttä, Sami Mikonheimo, Jani Koivula,Auvo Lindroos, Aleksi Niemeläinen, Erling Sommerfeldt, Tomi Henttinen, Harri Ahokas, Anniina Koskela. SMS: Erik Sandsmark, Wenche Aabel, Jan Tørres B. Grønningsæter, Eirin Zachariassen, Hanne Alnes. Ext: Birger Grönholm (theater expertise), Julle Oksanen (lighting concept) & Klaus Stolt (scale models).

Collaborators: WSP Multiconsult AS (structural engineering), Arup Acoustics (concert hall acoustics), Brekke Strand Acoustics (acoustics), Sweco Grøner (mechanical engineering), Cowi (electrical engineering), TPC (theater technical engineering)


Kilden, Kristiansandin teatteri- ja konserttitalo, kokoaa kaupungin esittävän taiteen laitokset saman katon alle. Sinfoniaorkesteri käyttää 1200 paikkaista konserttisalia, kaupungin oma Agder Teater esiintyy 700 paikkaisessa teatterisalissa. Teatterisali muuttaa tarvittaessa muotoaan oopperasaliksi paikallista oopperaryhmää varten. Lisäksi talossa on teatterisali kokeellisille esityksille, sekä tasalattiainen monikäyttösali.

Kilden tuottaa elämyksiä. Arkkitehtuurin ydin on salien optimaalisessa toiminnallisuudessa toisistaan riippumatta. Paikallisesta tammesta rakennetun monumentaalinen puujulkisivu erottaa todellisuuden fantasian maailmasta. Läpäistyään tämän aaltoilevan pinnan yleisö astuu esittävien taiteiden maailmaan. Seinä ilmaisee talon toimijoiden ja esitysten monipuolisuutta samalla kun se antaa vaikuttavan kuvan niiden yhteisestä voimasta.

Millintarkoista yksilöllisen muotoisista lankuista rakennettu pinta ei ole lavaste vaan konkreettinen kappale, joka jakaa suuren aulan intiimeihin osatiloihin, sekä optimoi aulan akustisesti. Muiden ulkoseinien musta hahmottomuus korostaa aulatilan spektaakkelia.

Nimi: Teatteri- ja konserttitalo.Kilden

Laji: Kilpailuvoitto 2005, avattu 2012

Tilanne: Rakennettu

Ohjelma: 24.600 m2: Konserttisali 1200 paikkaa, Teatteri- ja Oopperasali 750 paikkaa, monikäyttösali ja pieni sali, toimistoja, pajatilaa, harjoitustilaa ja pysäköintilaitos 400 autolle

Sijainti: Kristiansand, Norja

Asiakas: Teater og Konserthus for Sørlandet IKS

Työryhmä: ALA ja paikallinen yhteistyökumppani SMS Arkitekter. ALA: Juho Grönholm, Antti Nousjoki, Janne Teräsvirta, Samuli Woolston sekä Niklas Mahlberg (työmaavaiheen vastaava), Pekka Sivula, Julia Hertell, Pauliina Rossi, Pauliina Skyttä, Sami Mikonheimo, Jani Koivula,Auvo Lindroos, Aleksi Niemeläinen, Erling Sommerfeldt, Tomi Henttinen, Harri Ahokas, Anniina Koskela. SMS: Erik Sandsmark, Wenche Aabel, Jan Tørres B. Grønningsæter, Eirin Zachariassen, Hanne Alnes. Lisäksi: Birger Grönholm (kilpailuvaiheen teatteritekniikka), Julle Oksanen (valaistuskonsepti) & Klaus Stolt (pienoismallit).

Yhteistyökumppanit: WSP Multiconsult AS (rakennesuunnittelu), Arup Acoustics (saliakustiikka), Brekke Strand Acoustics (akustinen suunnittelu), Sweco Grøner (LVI), Cowi (sähkösuunnittelu), TPC (teatteritekniikka)


Kilden Teater och Konserthus har visat sig ha en mycket positiv effekt på Kristiansand och hela regionens kulturella identitet. Detta förstärks av Kildens arkitektoniska uttryck som är direkt igenkännbart och unikt, starkt förankrad i sitt produktiva innehåll och hamnens kontext.

Kilden är en byggnad för upplevelse. Dess kärna ligger i hur konsert-, teater- och flerbrukssalarna är organiserade. Med sammanhängande serviceutrymmen kan en gemensam produktionsutrustning tillgodoses på ett effektivt sätt för alla salar. Stödfunktioner ligger öster om salarna och foajéer mot väster.

Det främsta arkitektoniska uttrycket är mötet mellan artist och publik. Salarnas varierande form omsveps av en böljande trävägg, klädd med lokal ek. Den monumentala väggen separerar verklighet från fantasi. Publiken som passerar igenom förflyttas från det naturliga landskapet till konstens rike.

Väggen, som är gjord av kilformade brädor, är inte bara en teatralisk förklädnad. Dess taktila element förbättrar akustiken samt hänvisar till 1600-talets export av ek som hade sin bas i denna hamn. De svarta industriella fasaderna som klär serviceutrymmena bidrar till att understryka foajéns spektakulära böljande vägg.

Namn: Kilden Teater- och Konserthus

Typ: Tävling, 1. pris, 2005

Status: Byggd

Program: Teater- och konserthus

Läge: Kristiansand, Norge

Kund: Teater och Konserthus for Sørlandet IKS

Team: ALA Architects: Juho Grönholm, Antti Nousjoki, Janne Teräsvirta, Samuli Woolston med Niklas Mahlberg (projekt arkitekt i byggfasen) och Pekka Sivula, Julia Hertell, Pauliina Rossi, Pauliina Skyttä, Sami Mikonheimo, Jani Koivula, Auvo Lindroos, Aleksi Niemeläinen, Erling Sommerfeldt, Tomi Henttinen, Harri Ahokas, Anniina Koskela. SMS Arkitekter: Erik Sandsmark, Wenche Aabel, Jan Tørres B. Grønningsæter, Eirin Zachariassen, Hanne Alnes. med: Birger Grönholm (teaterteknik i tävlingsfasen), Julle Oksanen (belysning) & Klaus Stolt (model).

Partner: WSP Multiconsult AS (byggnadsingenjör), Arup Acoustics (akustik, konsert hall), Brekke Strand Acoustics (akustik), Sweco Grøner (maskinteknisk ingenjör), Cowi (elektroteknik), TPC (teater teknisk ingengör)


Kilden Teater- og Konserthus har vist seg å ha en stor innvirkning på den kulturelle identiteten til byen Kristiansand og til hele regionen. Dette understøttes av det arkitektoniske uttrykket som er umiddelbart gjenkjennelig og unikt, fast forankret i sitt produktive innhold og havnens kontekst.

Kilden produserer opplevelse. Arkitekturens kjerne er måten konsert-, teater- og multifunksjonelle saler er organisert på. Hallene er organisert i henhold til funksjon, med servicearealer som tillater felles produksjonsutstyr å betjene alle saler effektivt og uten forstyrrelser. Støtteområder ligger øst for hallene, foajeen i vest.

Bygningens viktigste uttrykk er det arkitektoniske møtet mellom artister og publikum. Salenes varierende form er dekket av en bølgende trevegg. Den monumentale og abstrakte veggen, kledd med lokal eik, skiller virkelighet fra fantasi. Publikum vil idét de passerer igjennom, bevege seg fra det naturlige landskapet til kunstens rike. Denne veggen uttrykker både mangfoldet av kunstneriske prestasjoner i bygningen og kraften som kombinasjonen utløser. Veggen, som er laget av kileformede bord, er ikke bare en forkledd teatralsk effekt, men et konkret taktilt element som forbedrer akustikken og samtidig refererer til 1600-tallets eksport av eik med base i denne havnen. De industrielle sorte fasader i støttearealene er med på å understreke foajéens spektakulære bølgevegg.

Navn: Kilden

Typ: Konkurranse 1. premie, 2005

Status: Bygget

Program: Teater og konserthus

Tomt: Kristiansand

Oppdragsgiver: Teater og Konserthus for Sørlandet IKS

Teamet: Juho Grönholm, Antti Nousjoki, Janne Teräsvirta og Samuli Woolston med Niklas Mahlberg (prosjekt arkitekt i byggefase), Pekka Sivula, Julia Hertell, Pauliina Rossi, Pauliina Skyttä, Sami Mikonheimo, Jani Koivula,Auvo Lindroos, Aleksi Niemeläinen, Erling Sommerfeldt, Tomi Henttinen, Harri Ahokas og Anniina Koskela SMS: Erik Sandsmark, Wenche Aabel, Jan Tørres B. Grønningsæter, Eirin Zachariassen og Hanne Alnes I tillegg: Birger Grönholm (teatteriteknik i konkurransefase), Julle Oksanen (belysning) og Klaus Stolt (modell)

Partnere: WSP Multiconsult AS (bygningsingeniør), Arup Acoustics (akustisk, konsertsal), Brekke Strand Akustikk (akustikk), Sweco Grøner (maskinteknikk), COWI (elektroteknikk), TPC (teatertekniskingeniør)

photo by Tuomas Uusheimo
Rendered (6 images)
Photos (37 images)
Drawings (3 images)
Model photos (4 images)
Diagrams (6 images)