Chapter
1. Introduction: The Oslo Opera House

A social monument

Tourists and locals

An atmospheric lens

The Nordic invitation to participate

Immaterial architecture

Chapter
2. Adopting an atmospheric lens

Atmospheric perspectives: Böhme, Rancière, and Sloterdijk

Thinking about atmospheres

Building experience: architecture and atmosphere

Coercive atmosphere

Research atmosphere: methods and tools

Withdrawing from atmosphere: taking photography seriously

Pinholes and fuzzy

Chapter
3. Transformative participation

The road to Bjørvika

The Fjord City

Bjørvika and beyond

Snøhetta

A Nolli map

Competition entry 04321

The art

A stone saga

Rethinking participation: Arnstein’s ladder

Chapter
4. Material participation

From the city to the roof

Marble: surfaces of the white carpet

Whiteness

Marble’s social and synaesthetic character

Whiteness and a cleansing of the eye

Whiteness and blur

Designing ambiguity: the palace, whiteness, and a Norwegian sensibility to nature

Chapter
5. Movement participation

Architecture of the oblique

Dwelling, tripping, inhabiting

Life in the Norwegian open air

Resonance, dissonance, and a good-natured elitism

Chapter
6. Light participation

Nordic light, Nordic architecture: from the roof to the foyer

Daylight in the OOH

Artificial light

Transitions: liquid light

From bubbles to foam

Chapter
7. Art participation

First encounter with the The other wall

Democratic surfaces

Democratic surrounds: The wall as weather machine

Creative kitchens: process as art

The wall through social media

Selfies and mirror selfies

The wall, dissensus, and a partitioning of the sensible

Chapter 8 Conclusion: Exiting the social monument

Bibliography