{"id":22401,"date":"2026-05-18T13:32:44","date_gmt":"2026-05-18T11:32:44","guid":{"rendered":"https:\/\/khr.dk\/?p=22401"},"modified":"2026-05-20T16:28:57","modified_gmt":"2026-05-20T14:28:57","slug":"the-art-in-the-glass-blocks","status":"publish","type":"post","link":"https:\/\/khr.dk\/en\/kunsten-i-glasblokkene\/","title":{"rendered":"The art at Glasblokkene hospital"},"content":{"rendered":"

1. Can you briefly introduce yourself and your role in the Glass Blocks art project?<\/h3>\n\n\n\n

My name is J\u00f8rgen Blitzner; I am a visual artist and curator, having graduated from the Bergen Academy of Art and Design in 1985 (now the University of Bergen, Department of Art). Since then, I have served as a guest lecturer and external examiner at the same institution. I have experience of a number of self-initiated site-specific projects in public spaces.<\/p>\n\n\n\n

I have worked with architects and urban planners in multidisciplinary teams on the development of urban spaces and have led several art projects in public building projects.<\/p>\n\n\n\n

I was head of the art committee for Glass Blocks <\/a>at Haukeland University Hospital in Bergen from 2011 to 2024.<\/p>\n\n\n\n

2. What was the overall ambition for the role of art in the Glass Blocks?<\/h3>\n\n\n\n

The art was intended to reflect the values underpinning the plans for the hospital building. It was intended to engage in dialogue with the architecture, its style and its objectives.<\/p>\n\n\n\n

The plans for the new hospital placed particular emphasis on children\u2019s specific needs and rights. The art was intended to engage with children and young people within their own world of experience, their understanding of the world, and their level of reflection. At the same time, the art was to take into account the users\u2019 life situations and be capable of providing immediate sensory experiences whilst also fostering recognition and reflection.<\/p>\n\n\n\n

\n
\"Colour
Colour Cloud by Miriam Sleeman and Thomas Sloan_Photo by \u00d8ystein Klakegg for KORO<\/figcaption><\/figure>\n\n\n\n
\"As
Like Little Ones by Hakon-Anton-Fageras<\/figcaption><\/figure>\n<\/figure>\n\n\n\n

The Arts Committee wanted children\u2019s encounters with art to give them confidence in their own experiences and reflections, broaden their perception of reality and stimulate their own creative impulses.<\/p>\n\n\n\n

The vision was concretised in four principles:<\/p>\n\n\n\n

    \n
  1. Art must engage with users\u2019 lived experiences, their understanding of the world and their capacity for reflection<\/li>\n\n\n\n
  2. Art should focus on diverse sensory experiences<\/li>\n\n\n\n
  3. The art must be of a high international standard<\/li>\n\n\n\n
  4. Art must engage in dialogue with architecture, its form and its objectives<\/li>\n<\/ol>\n\n\n\n

    3. What is required of a public client to work strategically with art in a construction project?<\/h3>\n\n\n\n

    The significance and placement of art must be clearly defined in an art plan drawn up by an art committee in which the client is both represented and actively involved.<\/p>\n\n\n\n

    A successful art programme depends on cooperation between all parties throughout the project. In the Glasblokkene project, the art committee consisted of eight members: the client, architects, users and two artists\/art consultants.<\/p>\n\n\n\n

    A shared understanding of what you want to achieve \u2013 and how to go about it \u2013 provides a solid foundation for a successful outcome. At the same time, it is important to have a clear budget to work within.<\/p>\n\n\n\n

    4. How did you approach the project, and how were the artists and works selected?<\/h3>\n\n\n\n

    The Art Committee began its work in autumn 2011, when Glasblokkene was still just a large hole in the ground. We met about once a month.<\/p>\n\n\n\n

    One of the first things we did was to define the roles within the art committee. Many members of the group were used to making decisions and leading processes, so we needed to get to know one another and establish a clear framework for our work.<\/p>\n\n\n\n

    We spent the first year developing the art plan. We went on study trips to places such as Rikshospitalet and A-Hus in Oslo, St. Olavs Hospital in Trondheim and Great Ormond Street Hospital in London to see how others had incorporated art into hospital buildings.<\/p>\n\n\n\n

    We decided quite early on that we would rather have a few well-defined projects than lots of small ones.<\/p>\n\n\n\n

    \n
    \"Inverse
    Invers XI, XII, XII by Petter Heps\u00f8<\/figcaption><\/figure>\n\n\n\n
    \"Equestrian
    Equestrian frieze by Frans Widerberg from 1967 - restored and repositioned<\/figcaption><\/figure>\n<\/figure>\n\n\n\n

    The artists were selected either through direct commissions or competitions. In the case of direct commissions, art consultants proposed a number of artists, who were then assessed by the art selection committee. For larger projects, we held competitions open to artists from all over the world. Selected proposals were exhibited anonymously so that both users and the art committee could view them before a decision was made.<\/p>\n\n\n\n

    5. How did the collaboration with the artists, architects and client work?<\/h3>\n\n\n\n

    It worked brilliantly. I experienced great mutual trust and commitment among everyone involved in the art committee.<\/p>\n\n\n\n

    During the pandemic, we faced major challenges in terms of logistics and progress, and the artists, architects and client were all deeply involved and readily available to resolve any issues that arose along the way.<\/p>\n\n\n\n

    6. In practical terms, how have you gone about making art relevant to children and young people as users?<\/h3>\n\n\n\n

    We had many fruitful discussions on this very topic. Older children and young people often approach art in a more adult way, whereas younger children tend to experience art through their emotions and senses rather than through an intellectual approach.<\/p>\n\n\n\n

    Among other things, we held meetings with the Youth Council \u2013 a group of young people who were, or had been, patients at the hospital. They provided clear and valuable input, which we took into account in our planning.<\/p>\n\n\n\n

    The Art Committee emphasised that the art should create varied sensory experiences and encourage participation. Children are often stimulated more through participation than through mere observation, which is why we sought artistic expressions that would encourage interaction and play.<\/p>\n\n\n\n

    At the same time, it was important that the art maintained a high artistic standard and engaged in a dialogue with the architecture, the materials and the scale of the site.<\/p>\n\n\n\n

    7. Can you point to a work in the Glass Blocks where the interplay between art and location is particularly successful?<\/h3>\n\n\n\n

    It\u2019s a difficult choice, because several of the works interact very effectively with the venue.<\/p>\n\n\n\n

    Edith Lundebrekkes\u201c sculptures \u201dFibonacci\u201c, \u201dSinus\u201c and \u201dKorpus\u201d in the forecourt invite visitors to interact and play. <\/p>\n\n\n\n

    \n
    \"Edith-Lundbrekke-Fibonacci-KORO\u00a9Photo-Pal-Hoff\"
    Fibonacci by Edith Lundbrekke<\/figcaption><\/figure>\n\n\n\n
    \"Edith-Lundbrekke-Sinus-KORO\u00a9Photo-Pal-Hoff\"
    Sinius by Edith Lundbrekke<\/figcaption><\/figure>\n<\/figure>\n\n\n\n

    The German art collective Inges Idee has created the work \u201cNice to see you\u201d, which, with its comic-book style, strikes a balance between humour and warmth for young users.<\/p>\n\n\n\n

    \n
    \"Nice
    Nice to See You by Inges Idee<\/figcaption><\/figure>\n\n\n\n
    \"Nice
    Nice to See You by Inges Idee<\/figcaption><\/figure>\n<\/figure>\n\n\n\n

    I would also like to highlight the 11 \u2018Pearls\u2019 by Mari R\u00f8ysamb and Ole Ros\u00e9n, which are scattered throughout the six gardens between the buildings. The sculptures are designed to be actively used, and I have often seen children climbing through them or gazing at their reflections in the surfaces.<\/p>\n\n\n\n

    \n
    \"Pearls
    Pearls by Mari R\u00f8ysamb and Ole Ros\u00e9n<\/figcaption><\/figure>\n\n\n\n
    \"Pearls
    Pearls by Mari R\u00f8ysamb and Ole Ros\u00e9n<\/figcaption><\/figure>\n<\/figure>\n\n\n\n
    \"Pearls<\/figure>\n\n\n\n

    But if I had to single out one piece, it would have to be Ida C. Helland-Hansen\u2019s floor works \u201cOnce upon a time\u2026\u201d and \u201cThe Bridge of Whispers\u201d. Here, images and shapes are incorporated into the floors as intarsia. The motifs are based on fairy tales and invite play, interpretation and interaction.
    Both children and staff love these floors. They serve as landmarks and as little discoveries within the large buildings.<\/p>\n\n\n\n

    \n
    \"The
    The shower bridges by Ida Carolyn Helland-Hansen<\/figcaption><\/figure>\n\n\n\n
    \"The
    The shower bridges by Ida Carolyn Helland-Hansen<\/figcaption><\/figure>\n<\/figure>\n\n\n\n


    8. What were the biggest challenges in the project \u2013 and how did you deal with them?<\/h3>\n\n\n\n

    Right from the start, we established fixed procedures for information and communication between contractors, architects, artists and the project management team.<\/p>\n\n\n\n

    The building site was cramped, so good logistics were essential. The foundations for the sculptures had to be poured at specific times, the glasswork had to be delivered in line with the progress of the fa\u00e7ade work, and we needed access to construction cranes at certain stages of the build.<\/p>\n\n\n\n

    In the middle of the process, the pandemic struck, creating considerable uncertainty regarding transport, costs and progress. It was therefore crucial that everyone involved had an understanding of each other\u2019s work and maintained close, ongoing communication.<\/p>\n\n\n\n

    It was also a great help that the art project was incorporated into the construction project\u2019s digital 3D model with the assistance of the architects and site manager.<\/p>\n\n\n\n

    9. What do you consider to be the most important value that art can bring to public buildings such as hospitals and schools?<\/h3>\n\n\n\n

    Art has an inestimable value in public spaces.<\/p>\n\n\n\n

    We must remember that patients are not just sick \u2013 they are, first and foremost, people with the same needs as everyone else.<\/p>\n\n\n\n

    Art in public spaces serves as a marker of identity. It says something about who we are, where we are, and where we are going. This applies to all public spaces.<\/p>\n\n\n\n

    \n
    \"Anne-Knutsdatter-Wille-ToE-Theories-of-All_Photo
    The Theory of Everything by Anne K. Wille<\/figcaption><\/figure>\n\n\n\n
    \"Children<\/figure>\n<\/figure>\n\n\n\n


    10. What is your best advice for public sector clients who would like to engage more actively with art but don\u2019t know where to start?<\/h3>\n\n\n\n

    Set up a committee with a clear mandate and a clear budget.<\/p>\n\n\n\n

    It is important that the committee engages with those who will be experiencing the art. In Norway, very few people visit art exhibitions regularly, and so contemporary art can seem alien to many.<\/p>\n\n\n\n

    That is why it is essential that we talk to one another and listen. In a sense, art is playing on away ground in the public sphere \u2013 the public sphere belongs to everyone.<\/p>\n\n\n\n

    Whilst working on the Glass Blocks project, I gave countless presentations and held meetings with various user groups, during which I outlined the Art Committee\u2019s ideas and processes. We received a great deal of valuable feedback.<\/p>\n\n\n\n

    Even when some people were sceptical about art or certain artistic expressions, they felt that their views were being heard. This made it easier to accept the art \u2013 even when one did not necessarily agree with it.<\/p>\n\n\n\n

    Time is a key factor. Listen and communicate.<\/p>\n\n\n\n

    \n
    \"Wave
    Wave Flower and Interwoven Ribbons by Hilde Hauan-Johnsen<\/figcaption><\/figure>\n\n\n\n
    \"Wave
    Wave, Flower and Interwoven Ribbons by Hilde Hauan-Johnsen<\/figcaption><\/figure>\n<\/figure>\n\n\n\n

    At KHR, we develop holistic solutions in which architecture, art and wayfinding work together to enhance functionality, wayfinding and the user experience. If you\u2019d like to hear more about our experience with the Glasblokkene project or similar projects, please feel free to contact the architect Caroline Tjern\u00e5s<\/a>.<\/em><\/p>\n\n\n\n

    \n
    \"Children
    Children as heroes - Heroes as Children Anne Knutsdatter Wille<\/figcaption><\/figure>\n<\/figure>\n\n\n\n

    Thanks to KORO <\/a>For the use of photographs. Photographer: P\u00e5l Hoff. <\/p>","protected":false},"excerpt":{"rendered":"

    How do you integrate art into a large public building project - and how can art be actively used to support the project's vision and the experience of the place? In the Glass Blocks at Haukeland University Hospital, art was developed in close collaboration between artists, client, users and architects. In this interview, visual artist and curator J\u00f8rgen Blitzner shares his experiences from working on the art project - from the first decisions and collaborations to the concrete works that have now become part of everyday life at the hospital.<\/p>","protected":false},"author":4,"featured_media":22400,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_seopress_titles_title":"","_seopress_titles_desc":"","_seopress_robots_index":"","_seopress_robots_follow":"","_seopress_robots_imageindex":"","_seopress_robots_snippet":"","_seopress_robots_primary_cat":"","_seopress_robots_breadcrumbs":"","_seopress_robots_freeze_modified_date":"","_seopress_robots_custom_modified_date":"","_seopress_robots_canonical":"","_seopress_social_fb_title":"","_seopress_social_fb_desc":"","_seopress_social_fb_img":"","_seopress_social_fb_img_attachment_id":0,"_seopress_social_fb_img_width":0,"_seopress_social_fb_img_height":0,"_seopress_social_twitter_title":"","_seopress_social_twitter_desc":"","_seopress_social_twitter_img":"","_seopress_social_twitter_img_attachment_id":0,"_seopress_social_twitter_img_width":0,"_seopress_social_twitter_img_height":0,"_seopress_redirections_value":"","_seopress_redirections_enabled":"","_seopress_redirections_enabled_regex":"","_seopress_redirections_logged_status":"","_seopress_redirections_param":"","_seopress_redirections_type":0,"_seopress_analysis_target_kw":"","_seopress_news_disabled":"","_seopress_video_disabled":"","_seopress_video":[],"_seopress_pro_schemas_manual":[],"_seopress_pro_rich_snippets_disable_all":"","_seopress_pro_rich_snippets_disable":[],"_seopress_pro_schemas":[],"footnotes":""},"categories":[1],"tags":[],"class_list":["post-22401","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-uncategorized"],"acf":[],"_links":{"self":[{"href":"https:\/\/khr.dk\/en\/wp-json\/wp\/v2\/posts\/22401","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/khr.dk\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/khr.dk\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/khr.dk\/en\/wp-json\/wp\/v2\/users\/4"}],"replies":[{"embeddable":true,"href":"https:\/\/khr.dk\/en\/wp-json\/wp\/v2\/comments?post=22401"}],"version-history":[{"count":13,"href":"https:\/\/khr.dk\/en\/wp-json\/wp\/v2\/posts\/22401\/revisions"}],"predecessor-version":[{"id":22420,"href":"https:\/\/khr.dk\/en\/wp-json\/wp\/v2\/posts\/22401\/revisions\/22420"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/khr.dk\/en\/wp-json\/wp\/v2\/media\/22400"}],"wp:attachment":[{"href":"https:\/\/khr.dk\/en\/wp-json\/wp\/v2\/media?parent=22401"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/khr.dk\/en\/wp-json\/wp\/v2\/categories?post=22401"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/khr.dk\/en\/wp-json\/wp\/v2\/tags?post=22401"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}