ABSTRACT
In addition to their design and management skills, the architects of twentieth century town hall buildings appeared to require an unusual degree of tenacity, diplomacy and insensitivity to criticism, as they steered their projects through the difficult waters of political decision-making and media debate. In September 1939, the Second World War commenced, with Norway confirming its neutrality. Following the end of the war and the country’s occupation, the town hall became a new symbol and focus for national pride, not just for the citizens of Oslo but for all Norwegians and the final furnishing and decoration of the town hall was seen as an opportunity for the country’s artists, craftsmen and designers to celebrate their skills and freedom. In Oslo, Arnstein Arneberg and Magnus Poulsson were largely successful and the Classical sequence of spaces, which lead, on axis, from the city to the sea, between their twin towers, and through the civic heart of their building, works extremely well.
