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Oslo Operahouse Building, Norway Architecture Images, Design, Info, Pictures
Opera House Oslo Building
Contemporary Norwegian Development design by Snøhetta Architects
16 Apr 2008
Operahouse Oslo
Opera, from west – picture : Statsbygg
Mies van der Rohe Award Winner, 2009
Norwegian Opera House : Architect's Description
The operahouse is the realisation of the winning competition entry. Four diagrams, which were part of the entry, explain the building's basic concept.
"The wave wall"
Opera and ballet are young artforms in Norway. These artforms evolve in an international setting . The Bjørvika peninsula is part of a harbour city, which is historically the meeting point with the rest of the world. The dividing line between the ground 'here' and the water 'there'is both a real and a symbolic threshold. This threshold is realised as a large wall on the line of the meeting between land and sea, Norway and the world, art and everyday life. This is the threshold where the public meet the art.
"The Factory"
A detailed brief was developed as a basis for the competition. Snøhetta proposed that the production facitities of the operahouse should be realised as a self contained, rationally planned 'factory'. This factory should be both functional and flexible during the planning phase as well as in later use. This flexibility has proved to be very important during the planning phase: a number of rooms and romm groups have been adjusted in collaboration with the end user. These changes have improved the buildings functionality without affecting the architecture.
"The Carpet"
The competition brief stated that the operahouse should be of high architectural quality and should be monumental in it's expression. One idea stood out as a legitimation of this monumentality: The concept of togetherness, joint ownership, easy and open access for all. To achieve a monumentality based on these notions we wished to make the opera accessible in the widest possible sense, by laying out a 'carpet' of horizontal and sloping surfaces on top of the building. This carpet has been given an articulated form, related to the cityscape. Monumentality is achieved through horizontal extension and not verticality.
The conceptual basis of the competition, and the final building, is a combination of these three elements – The wave wall, the factory and the carpet.
Entry area, big auditorium – photo : Nina Reistad
Norwegian Opera House : Urban situation
The operahouse is the first element in the planned transformation of this area of the city. In 2010 the heavy traffic beside the building will be moved into a tunnel under the fjord. Due to its size and aesthetic expression, the operahouse will stand apart from other buildings in the area. The marble clad roofscape forms a large public space in the landscape of the city and the fjord.
The public face of the operahouse faces west and north – while at the same time, the building's profile is clear from a great distance from the fjord to the south. Viewed from the Akershus castle and from the grid city the building creates a relationship between the fjord and the Ekerberg hill to the east. Seen from the central station and Chr. Fredriks sq. The opera catches the attention with a falling which frames the eastern edge of the view of the fjord and its islands.
The building connects city and fjord, urbanity and landscape.
To the East, the 'factory' is articulated and varied.
One can see the activities within the building: Ballet reheasal rooms at the upper levels, workshops at street level. The future connection to a living and animated new part of town will give a greater sense of urbanity.
"Open day", August 07 – photo : Snøhetta
Norwegian Opera House : Collaboration with artists
For Snøhetta, close collaboration with artists has always been an important part of building projects. As early as the competition stage, artist were invited in as collaborators, and the wished to continue this from the beginning of the design phase. Snøhetta have tried to avoid having artist apply 'decoration' to the architecture, preferring to allow for an open dialogue between artists, artisans and professionals with various approaches to important building elements. With the operahouse, the architect intended that both the large marble clad roofscape and the aluminium clad facades should be approached as collaborative endeavours.
An early collaboration was established for the sone roof with artists: Kristian Blystad, Kalle Grude og Jorunn Sannes. One year later, in accordance with the guidelines for state funding building projects, a committee for integrated artwork was established. This committee engaged the artists Astrid Løvaas og Kirsten Wagle to collaborate on the design of the metal cladding elements.
Inside the wooden wall – photo : Nina Reistad
Norwegian Opera House : Choice of materials
The materials, with their specific weight, colour, texture and temperature, have been vital to the design of the building. Snøhettas architecture is narative. It is the materials which form the defining elements of the spaces. It is the meeting of the materials which articulates the architecture through varied detail and precision.
In the operahouse, three main materials were specified as early as the competition entry: White stone for the 'carpet', timber for the 'wave wall', and metal for the 'factory'. During the continued work on the project, a fourth material, glass, which allows for the exposure of the underside of the 'carpet', has been given specific attention.
Big auditorium – photo : Snøhetta
After an international tender competition, th italian marble, La Facciata, was chosen. This is a stone which, in common with other marbles, retains its brilliance and colour even when wet. It has the necessary technical quality in terms of stabitity, density, and longevity. The producer, Campolonghi, has had the professional ability, capacity, and experience necessary for such a large and complex project.
The accessibble area of the 'carpet' is approx. 18,000 m2. Its detailed design has been important: the architect desired that it should not interfere with the general dorm of the building but that it simultaneously was articulated enough to be ineresting at close quarters.
Together with the artists several alternatives were proposed before a particular non repetitive pattern with integrated riased areas, special cuts, various surface textures, and specific details were designed to articulate the main geometry.
Oak has been chosen as the dominating material for both the 'wave wall' and the main auditorium.
For the wave wall it has a light and varied surface. Oak is used throughout for the floors, walls and ceilings. The wave wall has a complex organic geometri made up of joined cone shapes. It is also an important acoustic attenuator within the foyer space. To achieve these goals it is made up of smaller elements which can deal with the changing geometry and provide acoustic absorption.
Inside the auditorium oak has been chosen for a number of reasons: It is dense, easily formed, stable and tactile.
The oak has been treated with amonia to give a dark tone. Here too oak is used for floors, walls, and ceilings, as well as balcony fronts, and acoustic reflectors.
Public restroom – photo : Snøhetta
An operahouse is designed and built to have a long lifespan. This means that a simple, modern metal cladding, such as we associate with factories and workshops, needs to be re-evaluated and redesigned.
After a consideration of aesthetics, longevity, maleability and the possibility to make very flat panel, aluminium wa chosen. To give the panels further quality, a collabarative process was begun with two artists.
The design team initially aimed for an industrial modulrity but that the panels themselve should have greater visual quality. The panels were punched with convex spherical segments and concave conical forms. The pattern was developed by the artists based on old weaving techniques.
In all, eight different panels were designed which give a constantly changing effect depending on the angle, intensity and colour of the light playing on them.
The high glass facade over the foyer has a dominant role in the views of the building from the south, west, and north. Early in the project it was realised that this glass faced was more important than previously assumed, both during the day and night when it would act as a lamp illuminating the external surfaces.
Orchestra rehearsal room – photo : Snøhetta
The glass façade is up to 15 meters high. It was the architects intention to design a glass construction with an absolute minimum og columns, framing, and stiffening in steel. The solution was to use glass fins where minimised steel fixings are sandwiched inside the laminates.
The requirements for the glass's stiffness increased due to the desire for large panels and slim joints where the panels meet.
Thick glass of this sort tends to be quite green rather than transparent. It was therefore decided that the façade of the operahouse would use low iron glass.
Ballett rehearsal room – photo : Snøhetta
Plan solution, general arrangement
The building is split in two by a corridor running north-south, the 'opera street'. To the west of this line are located all the public areas and stage areas. The eastern part of the building houses the production areas which are simpler in form and finish. Comprising 3 to 4 storeys above ground. There is also a basement level – U1 – below this part of the building. The sub stage area is a further 3 storeys deep.
Building site, spring – photo : Statsbygg
Norwegian Opera House : The building's western part
A marble clad plaza leads the visitors to the foyer and other public areas. A secondary entrance on the north façade gives firect access to the restaurant and foyer. To the south, the foyer opens up to the inner oslo fjord and views of Hovedøya island. To the west and north it is views of the city which dominate, while the auditoria lie to the east. There can be as many as 1900 audience members in the building. 1400 in the main auditorium, 400 in stage 2 and 150 in rehearsal room 1, which doubles as a black box theatre.
There is a brasserie to the south of the foyer, a restaurant to the north and several bars which can be run separately from the performances. Service functions such as education spaces, cloakrooms, toilets, information/ticketing desk and diverse smaller rooms are located around the foyer. From the foyer, at ground level, and from the public galleries, access is provided to the two main auditoria.
Exterior, night – photo : Erik Berg
The large stage area occupies a significant part of the building footprint. Here is the main stage (16m x16m) with an 11.8m deep substage, two side stages and two rear stages, as well as a scenery hall and store. There is a free height of minimum 9m throughout these areas. Storage for the backdops is located above the rear side stage. Finished scenery for several performances and acts can stand ready on the rear and side stages as well as below stage. In addition, the large rehearsal room is located in direct connection to the stage areas and can provide further scenery storage should this be necessary.
On top of the roof – photo : Erik Berg
The orchestra rehearsal room – an acoustically sensitive space – is also located in the western part of the building – at basement level. This hall is the orchestra's most important rehearsal space and can also be used for recording purposes. The requirement for variable acoustics is achieved by the use of adjustable panelling and drapes. The room can achieve similar acoustics to the main auditorium.
A passage from the foyer, along the southern façade, leads to rehearsal room 1 allowing it to be used as a public performance space.
The same area of the building at the upper levels houses sponsor lounges and a VIP room.
The big auditorium – photo : Nicolas Buisson
Norwegian Opera House : The building's eastern part
To the east of the 'opera street' are located all the production and administration areas; approx 1000 rooms of varying size and function. The opera street is the main communication artery for all the employees – almost 600 persons from more than 50 professions.
A large loading dock running east west splits the back of house area in two. Here also, the dimensions of the space are given by the size of scenery elements, up to 9m high.
To the north lie the 'hard workshops' where the scenery is made. Several professions have their workspaces here, carpenters, metalworkers, painters and decorators. The finished scenery is moved through the loading dock and directly into the rear stage area.
To the south lie all the other functions necessary to serve the needs of the dancers and singers: 'Soft workshops' with costume production, wigs, hats, gloves and make up areas. Also administration and changing rooms are located here.
A spaceous green courtyard is at the heart of this area on levels U1 and Ground.
Most of the changing rooms house 4 performers with all the necessary costume and make up for each show. The rooms are also intended to be a place for relaxing and concentrating and are therefore equipped with a day bed.
The opera and ballet departments have several large rehearsal rooms in this zone on levels 3 and 4. and it is possible to transport scenery from the loading dock to the rehearsal spaces on level 3 via an elevator with a clear height of 6m. The largest of the rehearsal rooms has a clear height of 9m and is as large as the main stage. This allows the dancers to practice a complete performance. All these spaces have walls with acoustic attenuation. There are also a number of small rehearsal rooms at palan 2.
Building period – – photo : Statsbygg
The wig makers, make up artists, and dressers are located closer to the stage at level 1 (ground). From here the artistes can access the stage areas at ground level or from the basement.
At level 2 there are msic archives, offices, and support functions for the orchestra as well as a health center and gym.
Level 3 houses the administration department with a large canteen wo the south with a terrace overlooking the fjord.
Building perid – photo : Statsbygg
Norwegian Opera House : The main auditorium
The main auditorium is a classic horseshoe theatre built for opera and ballet. It houses approx. 1370 visitors divided between stalls, perterre, and three balconies. Technical spaces occupies the area above balcony 3.
The orchestra pit is highly flexible and can be adjusted in height and area with the use of three separate lifts.
On each side of the stage are mobile towers which allow for adjustments in the proscenium width for ballet or opera without damaging the acoustics of the hall. Reverberation time is fine tuned using drapes along the rear walls and control rooms for sound and light are located to the back of the hall.
The form of the auditorium is based on several relationships: short distance between the audience and the performers, good sight lines, and, above all, excellent acoustics. The architectural intentions for a modern auditorium with traditional, acoustic musical performance have been developed in parallel with requirements for visual intimacy and acoustic excellence. In older opera halls acoustic attenuation was often achieved by using rich decorative, sculptural elements on most surfaces. In this case the requirements have been met with a clean, carved aesthetic using a modern formalistic language.
The requirement for a long reverberation time results in a room with a large volume. In this case the volume is increased by the use of a technical gallery which cantilevers out over the walls below, giving the hall a T shaped section. The main structure of the stone clad roof above is included in the volume of the hall rather than being hidden behind a false ceiling.
Building site, winter – photo : Statsbygg
Optimum acoustics have been achieved by the following methods:
We have, also as an aesthetic move, given the balcony fronts a geometry which changes relative to its location in the room and the acoustic function necessary in each location. At the sides the form reflects sound back down to the audience whilst at the rear it sends soungs in multiple direction to avoid focussing.
The oval ceiling reflector visually finishes the hall and also reflects sounds in very specific ways. The same principle is used as with the balcony fronts.
The rear walls at each level are made up of convex panels to avoid focussing and to spread sound evenly through the room.
The geometri of the interlying walls, main orchestra reflector, and the mobile towers are modulated to scatter sound around the space. Using timber staves of varying dimensions to modulate sound of different wavelengths.
All the surfaces are of relatively dense materials to avoid high frequency vibrations. Balcony fronts are 50mm solid oak where the rear wall panels are 100mm MDF with oak veneer.
Painting workshop – photo : Nina Reistad
The double curvature of the balcony fronts and oval ceiling ring are made of pre-fabrcated oak elements made of solid stave glued together, amonia treated and the routed from 3D computer drawings before oiling and polishing. The dark coluour is particularly suited to the theatre space and the oak gives a rich, warm, and intimate feel to the space.
The seats are designed to absorb as little sound as possible. Materials are dark timber and a specially design orange red fabric as a counterpoint. Text display screens are built into the seat backs so that the audience can individually choose to read the libretto in a number of languages.
The auditorium is illuminated by a snøhetta designed chandelier in the form of a shallow lens as well as inbuilt LED fittings in the cailigs and floor.
The chandelier
The chandelier, which is suspended inside the oval reflector, is an important element in the hall as performs several tasks. It is the auditoriums main source of illumination, using LED for the first time in such a setting. It weighs 8.5 metric tons and has a diameter of 7m. It is made up of 5800 hand cast glass crystals through which 800 LED lights shine. This bathes the room in a cool diffuse light. The whole chandelier can be lowered to the floor for maintenance.
It is also an important acoustic reflector. This explains the particular form which scatters and diffuses sound. The distance between the strips of crystals increases towards the stage to allow a greater amount of sound to pass through and therefore contribute to the reverberance of the space. It is placed forward of the centre in order to allow unhindered sightlines from the follow spot room on the rear of the oval reflector.
Finally it forms a visual closure to the hall itself to take attention away from the technical spaces and structure above.
The stage curtain
The stage curtain is also an important element in the auditorium. Together with the chandelier and seat fabric it is a contrast to the dark timber. It has been made by the american artist Pae White, following an international competition. She has worked with digital images of aluminium foil which reflects and adopts the colurs of the auditorium. These images are then transferred to a computer driven loom.
Stage 2
Stage 2 can, depending on the chosen seating configuration, house an audience of up to 400. It will be used by both opera and ballet, as well as for banquet functions, rock concerts, experimental performances and children's theatre. It is a multi use hall where the seats, which are on large wagons, can be repositioned in a number of different configurations. There are 2 large elevators which form an amphitheatre, orchestra pit and transport seating wagons for storage in the basement.
The area which is normally the stage is made up of removable floor elements. The auditium has no flytower but rather an extensive motorised pully system to hang and transport scenery, backdrops and acoustic reflectors when necessary. A 9m high sliding gate connects the stage area with the back stage zones and scenery stores. The reverberation time in the hall can be damped down for amplified performances.
The client required an auditorium with the flexibility of a black box but with an amount of architectural quality and identity. These to requirements are generally considered to be mutually exclusive, but after close discussions with the end user, a solution was found where of a black box has a high quality cotrasting, freestanding structure placed inside it.
This 'object' has rounded, high gloss, red paneling on the outside and a cooler metallic silver finish in towards the stage.
Four technical bridges span across the space at high level housing lighting and ventilation and forming an important visual and acoustic ceiling.
Between the columns, large, black painted doors and removable panels are used to adjust to different configurations. These panels have also been given acoustic consideration.
Norwegian Opera House : Interiors
The exterior of the operahouse becomes diffuse as night falls. The large timber 'wave wall' in the foyer is illuminated and the building takes on a completely different character. The interior becomes the façade. It shows how interdependent the interior and exterior of the building are.
The building's architectonic ideas and concepts have also been used in the buildings interiors. The task has included considerable interior planning based on the schedule of rooms, functions, colours, materials, and surface treatments, coordinating lighting schemes, technical instalations, built in furniture, wet rooms, kitchen solutions, elevator cars, fittings and fixtures.
It has also encompassed design and coordination of the end user equipment and loose furnishings.
Cooperation between the various architectural diciplines has been vital.
Norwegian Opera House : Interiors concept, public spaces
The experience of the buildings exterior clearly requires that the interiors be of equally high architectural quality.
On entering the building one is first lead in under the lowest part of the sloping roofscape. Where the ceiling falls to meet the floor.
This area is used for the public cloakroom where a copse of slim columns hold the visitors coats. Further out into the foyer, four volumes hold up the roof. The perforated, illuminated cladding of these is another example of integrated artwork. In this case by Olafur Eliasson. These white form house the public toilets. Moving out into the open space of the foyer one is below an expance of white, sloping cailing held up by angled white columns which meet in clusters at floor level.
The grand staicase is peeled out of the wooden wall and leads up to 3 galleries around the auditorium. Thus providing access to the upper levels of the hall.The interior of the wooden wall has an intimate feel in contrast to the open, white foyer.Dark light locks lead the audience into the heart of the building. The main auditorium.The feeling is of being inside a carved out piece of timber, or perhaps within a musical instrument.
Furnishings and equipment in the public areas
The interior, from cloakroom to auditorium can be described as a formalistic journey which takes the visitor from the open unknown to the enclosed and secure. The level of abstraction to be seen in the outer spaces ahs made it natural to minimise the number of recognisable builing elements and details.
At the same time it has been a clear aim that the furniture elements use the same design language as the building as a whole.
Larger elements such as bar counters, shop fittings, ticketting desk, and cafè interiors are either integrated in larger building forms or designed as free standing sculptural forms in white corian. These can be completely closed down when not in use.
The cloakroom and foyer are further furnished using simple seating forms and high tables made of steel plate coated with industrial rubberized black lacquer. Upholstery is with flat sheets of felt and sheep skin. Signage is made of the same black steel and white glass surfaces complete a number of the interior elements.
Furnishing of the production areas
These zones are designed around eronomics, functionality, and experience. The harde workshops are rational rooms where the logistics of mechanisation dominate the design. Wig and make-up workshops have been provided with specially designs workstation modules specific to the user's requirements. The costume department, which is a hectic space full of activity has been given solution specific to its complex logistics.
The three artforms; Ballet, opera, and orchestra all have their requirements for changing rooms fulfilled with standardised but purpose built furniture. However, the orchestra have larger, 10 man changing rooms with areas for unpacking instruments, rest, and changing prior to a performance, amd with shared access to toilets and showers. The Ballet, choir and soloists have smaller 4 or 6 man rooms with person specific places and showers shared with the neighbouring room.
For the ballet these rooms function as a home base in a day filled with training and rehearsals.
All the changing rooms are specially design with fitted, standardised furniture, make up tables, day beds and cupboards.
A great deal of work has gone into designing the rehearsal spaces for the different groups. These are important working spaces, with optimised acoustics, ventilation, and lighting. The intention has been to provide a great deal of spacial quality and the acoustic wall panelling in particular contributes to this.
Material use in the production areas.
The brief for these area specifies that they should be simple and inexpensive. This means that they are of general office quality with painted walls and linoleum flooring. This works well as a neutral background to the opera's colourful costumes and stage elements which enliven the spaces.
The colour palette is therefor quite simple and neutral.
The open courtyard forms a central reference point to the production areas and the corridors which encircle it are given a dark colour to make orientation easier.
The rehearsal rooms have different characters for ballet, opera and choir.. The ballet spaces are light and airy with views over the fjord to the south. Whilst the choir space is more introvert with daylight from a high clerestory window facing east. Enclosing the musical experience. Colours and materials have a warmer, darker hue.
Furniture and end user equipment
Even though the building is large, there is little loose furniture. We have attempted to to simplify and standardise the choice of furniture and relate it to the building's architectural design. A small number of quality furniture producers have been chosen and the pieces have a clean, contemporary design which is simultaneously classical enough to be timeless.
Norwegian Opera House : Landscaping
The opera's landscape comprises of the marble roof, additional marble clad areas, and the areas between the building and the surrounding streets. Access to the plaza and the main entrance is over a marble clad footbridge over the opera canal. The plaza forms a part of a public promenade and cycle lane which continues around the west and south sides of the building, and eventually coming to a planned bridge over the Aker river to the east.
Stone detail – photo : Snøhetta
As early as the competition entry, Snøhetta proposed that the roofscape should be openly accessible to the general public and that it should be clad with white stone. Today the building's defining feature is the characteristic geometry of the roof as it rises from the fjord and is laid out like a carpet over the public areas. An important move has been to introduce channels along the roof edges with ramps and steps. This allows the integration of regulation height balustrades with raising the line of the roof itself.
To achieve enough acoustic volume in the auditorium, the roof has been raised indepently inside the line of the balustrades. This has created a new viewing point from which the city and the fjord can be experienced. The roofs are mostly too steep for wheelchair use but access to the near flat, upper areas is prvided via a dedicated elevator.
Stone detail – photo : Snøhetta
The surface treatment of the stone, its pattern, cuts and lifts which create a shadow play, have been designed in close collaboration with the artists. The white marble is 'La Facciata' from the Carrara quaries in Italy. The north facede and all the stone cladding which is in contact with water is a norwegian granite called 'Ice Green'
Prototypes and tests at full scale were studied at the contractor's facitities before the final choices were made for colour nuance and surface texture. A running quality control regime has been implemented throughout the production process
Norwegian Opera House : Adjacent areas
During the building period it became clear that rapid and considerable settling of the ground level around the building would need to be addressed.
Large areas of gravel which is designed to take local vehicular traffic have been laid around the building footprint. This is easy to adjust as the ground sinks relative to the building which is founded on the bedrock. Trees are planted in the gravel areas, and a zone of street furniture is located along the pavement line with cycle parking, benches and specially designed streetlamps in stainless steel.
The pavements are of asphalt with black granite edges and larger areas of granite paving wto highlight the entrances to the restaurant, opera street, and stage entrance. The dark grey colur palette is a clear contrast to the light stone and aluminium of the building itself within a cool monochrome language.
Landscaping of the surrounding areas has been designed in collaboration between Snøhetta and Bjørvika Infrastructure who have been responsible for the planning of the street around the operahouse.
The courtyard is a garden in the middel of the production area of the building. Surrounded by facades of black glass, aluminium and timber and open to the sky. There is direct access to the courtyard from ground and basement levels while the upper levels experience it as a green lung deep inside the building. In front of the sound insulated rehearsal rooms at basement level, vegetation has been planted to form a screen. The floor of the courtyard is a composition of timber dekking, white marble, and green areas. A marble cladd stair connects the two levels. Grasses, climbing plants and perennials are planted around clusters of cables reaching up to the upper levels and providing shade to the facades.
Norwegian Opera House images / information from Snøhetta
Oslo Operahouse architects : Snøhetta
Oslo Operahouse building : main page
Location: Oslo, Norway
Norwegian Architecture
Contemporary Norwegian Architecture
Norwegian Architecture Designs – chronological list
Oslo Architecture Walking Tours
Norwegian Buildings by Snøhetta
Oslo Opera House Building : Background information
Key Building designed by Snøhetta
Buildings in the area
Comments / photos for the Oslo Operahouse Architecture page welcome


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More: 5 Common Pre-Race Nutrition Blunders
Caffeine and Health
In moderation, caffeine consumption does not cause any health problems. In fact, a daily cup of joe is good for you. The health benefits of coffee come from its caffeine content and its unique blend of antioxidants. According to Harvard Medical School, "Studies show that the risk for type two diabetes is lower among regular coffee drinkers than among those who don't drink it. Also, coffee may reduce the risk of developing gallstones, discourage the development of colon cancer, improve cognitive function, reduce the risk of liver damage in people at high risk for liver disease, and reduce the risk of Parkinson's disease."
However, heavy caffeine use can cause or exacerbate problems ranging from headache to insomnia, and it is possible to become physically dependent on the drug. Caffeine is especially harmful when used as a means to stimulate artificial wakefulness or energy in those suffering from conditions such as chronic fatigue. So if you do like caffeine, limit yourself to one mug of coffee or green tea in the morning. Those who rely on regular "caffeine injections" throughout the day are well advised to cut back.
Caffeine and Sports Drinks
A new alternative to taking a single large dose of caffeine prior to racing is to consume a caffeinated sports drink throughout races. In a recent study, conducted at the University of Birmingham in England, researchers looked at the effect of caffeine on exogenous carbohydrate oxidation (i.e. the rate at which carbs consumed in a supplement are burned) during exercise. Cyclists received either a six percent glucose solution, a six percent glucose solution plus caffeine, or plain water during a two-hour indoor cycling test. Researchers used indirect calorimetry to measure the amounts and proportions of fat and carbohydrate oxidized during the test.
They found that the rate of exogenous carbohydrate oxidation was 26 percent higher in the cyclists receiving carbs with caffeine than in those receiving carbs without caffeine. The study's authors concluded that caffeine may have increased the rate of glucose absorption in the intestine, providing fuel to the working muscles more quickly. The likely effect on performance is the ability to work harder for a longer period of time without becoming fatigued.
Another recent study looked at the effects of consuming a caffeinated sports drink on performance in a warm environment. Sixteen highly trained cyclists completed three trials. Subjects cycled for 135 minutes, alternating between 60 percent and 75 percent VO2max every 15 minutes for the first 120 minutes, followed by a 15-minute performance ride. In one trial they consumed flavored water; in another, a conventional carbohydrate sports drink; and in another, a caffeinated sports drink.
The cyclists completed 15 percent to 23 percent more work during the caffeine trial than in the other two trials. Ratings of perceived exertion were lower with the caffeinated sports drink than with the placebo and the conventional sports drink. After cycling, maximal strength loss was found to be two-thirds less for the caffeinated drink than for the other beverages.
This new research suggests that using a caffeinated sports drink may be the best way to go in races.
More: What You Need to Know About Runner Hydration
Sign up for your next race.

subset: commoncrawl


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IMTS gets off to a rousing start
Huge crowds, optimism greet international gathering in Chicago.
The 2012 International Manufacturing Technology Show (IMTS) landed in Chicago Monday morning with bright skies and bright optimism for global manufacturing. The five-day event is expected to attract a record crowd of more than 82,000 attendees at a time when manufacturing's impact on the U.S. and global economy never has been greater. (Sept. 12 update: Registrants exceeded 95,700, according to event organizers.)
Acting U.S. Commerce Secretary Dr. Rebecca Blank joined Association for Manufacturing Technology (AMT) president Douglas Woods in opening the biennial show at Chicago's McCormick Place. More than 1.2 million sq. ft. of exhibit space will feature the latest technology in machine tools, CNC machine and a growing emphasis on automation in manufacturing.
CFE Media and Hannover Messe will co-sponsor the first Industrial Automation North America (IANA) pavilion at IMTS, and CFE Media is producing the 2012 Global Automation and Manufacturing Summit on Wednesday and Thursday, Sept. 12 and 13. Keynote speakers at the summit, sponsored by Beckhoff, Molex, SAP and Infor, will include Billy Taylor of the Goodyear Tire and Rubber Co. and Karen Kurek of McGladrey on Wednesday. Woods will deliver the keynote speech on Thursday.
Check in throughout the week via social media for news, events and insights from the 2012 IMTS Show. You can follow CFE Media's coverage of IMTS at:
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Ultimate Beauty – Lexus reveals the LC Convertible Concept
• Open-top concept suggests future direction of the Lexus LC flagship coupe
• Dynamic design positions the concept as a halo model for the Lexus brand
• Continuation of the Lexus tradition of creating customer-focused designs
Lexus reveals an open-top concept version of its LC flagship, describing it as an aspirational halo vehicle for the luxury lifestyle brand's entire vehicle line-up.
The new LC Convertible Concept is an artful reflection of the athletic proportions of the LC coupe.
Chief designer Tadao Mori said a production version of the concept would be exhilarating in many different ways. "You would see its dynamic lines as you approach, hear its engine when you started it up and feel everything around you once on the road. It would engage the senses in a way that is unique and exciting every time you got behind the wheel" he said.
The design goal for the stunning open-air roadster was the expression of 'ultimate beauty'.
"This concept takes the unmistakable design of the LC coupe and re-imagines it as a future convertible. It blends all the best aspects of the original coupe with the dynamic design of an open-air convertible".
The concept is an emphatic demonstration that the Lexus design team has been exploring the brand's evolution since the LC coupe, which debuted in Detroit two years ago, while revealing the Lexus brand's new sense of creative ambition.
Every line of the LC Convertible Concept was drawn to evoke an emotional response – from the rake of the windscreen to the smooth contours of the bootlid that houses the convertible top. The dynamic shape evolved naturally from the original LC design, yet stands on its own with a unique identity. It blends uniquely Japanese aesthetics with the promise of sensory satisfaction that only a convertible can provide.
More than just a grand tourer, the strong exterior lines of the long, low and lean LC Convertible Concept re-inforce its performance pedigree. Its short overhangs, 22-inch wheels and wide stance are all reminders of its performance potential. The LC Convertible Concept offers drivers and passengers the allure of a cabin that caters to every need, reflecting the Lexus tradition of customer-focused design.
From the comfort of its tailored seats to the feel of every switch and button, everything about this LC is crafted to make even the most common trip feel like an occasion.
Source: Lexus
Images: Supplied


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[The President's remarks were joined in progress.]
The President. ——Texas. We haven't been back since the war began on September the 11th, and we're delighted to be home. I am also honored to be hosting Vladimir Putin tomorrow. He's going to start off in Houston, and then he's going to come over to Crawford, Texas. He has a—he's been a great—about how to improve our relations, about how to cooperate more—wide variety of issues, and we will continue the dialog tomorrow. I can't wait for him to get to see Texas.
I made the decision that we'd have formal things in Washington—we'd have formal meetings in Washington, but it's also very important for him to get to see the finest State of all 50, in my judgment. He'll also get a taste of rural life here in Texas. He'll get to see Houston, and he's also going to get to come to Crawford. And it's going to be such an honor for us to receive him here.
We're making great progress on the war. I have great confidence in the ability of the U.S. military, but I've even got greater confidence in the people of our country. We're united; we're strong; we're determined; and we will prevail. We're going to win this war. And we're glad to be home and looking forward to spending time here.
Humanitarian Aid Workers
Q. Mr. President, what about the two girls that are being detained in Afghanistan? What do you think about their current situation?
The President. Well, we're working. I know one of them is from this area.
Q. I think from Baylor?
The President. Yes. And we have made it clear to the Taliban that we expect them to be treated humanely. I hope they listen to our request. We're obviously very concerned about their safety. Our military is very aware that they're in that part of the world, and we are doing everything we can—gathering—to make sure they stay out of harm's way. It's up to the Taliban, however, to protect them. We expect them to do so.
Visit of Russian President
Q. Mr. President, how important is this meeting tomorrow?
The President. Well, it's a continuation of a series of meetings I've had with him. I met with him in Slovenia and then Shanghai, and of course, today we had a long series of meetings, announced some major initiatives.
One initiative I announced is something I campaigned on. I said that we would— in order to get rid of the vestiges of the past—would reduce our nuclear arsenal, our offensive weapons, of nuclear warheads to a level commensurate with keeping the peace and at the same time signaling loud and clear that we need a new relationship with Russia. And I did that. We're also going to talk about missile defense, the ABM Treaty.
He has got some concerns about getting rid of the ABM Treaty. I've listened very carefully to him, but I've made the case to him that we need to move beyond the vestiges of the past in order to address the true threats facing our nation and his nation, and that is the ability of some terrorist nation to end up with a weapon of mass destruction, which could hold each of us hostage and/or cause serious harm to our people.
Q. Mr. President——
The President. Well, we're going to be riding John Deere Gators. They're a little more compassionate than some horses. We're going to have a barbecue tomorrow night. A local resident, David Sibley, is coming and his wife, Pam. We've got a friend of ours from Buffalo Gap, Texas, who will be cooking the barbecue. Laura has ordered up a swing band.
And then Thursday morning we'll go for a—down, boy—that's Barney, by the way. [Laughter]
Mrs. Bush. And this is Spot.
The President. And Spot.
And we'll go for a couple of nice, long walks. The best diplomacy starts with getting to know each other. And I want him to know my values, and I want to know his values. I want him to see things. One of the interesting things that happened in Slovenia—I said to him as we were walking to the press conference, I said, "I understand you've got two daughters." He said, "Yes." I said, "Who did you name your daughters after?" He said, "My mother and my mother-in-law." So did I. [Laughter]
So there's a lot we can find with these world leaders that you've got in common with them, if you just spend some time listening. So we'll have a good stay.
Q. Mr. President, is this going to be a breakthrough weekend?
The President. Pardon me?
Q. Is this going to be a breakthrough weekend?
The President. I don't think there's a particular moment where things—where a relationship breaks through. Obviously, it takes a while. It takes a while to build up the trust necessary for him to know that I intend to keep my word when I say I'm going to do something and vice versa.
It is very important for both of us to convince some parties in our countries that we should no longer harbor suspicions about each other. I will continue to make the case that it is in our nations' interest that Russia and the United States enter into a wide variety of agreements—offensive weapons, talk about the ABM, work on counterproliferation, work on counterterrorism measures. He's been very helpful, by the way, in our efforts in Afghanistan. It's a new day in a relationship that when I was growing up and when we were both growing up was one based upon hostility, mistrust, and anger. And now it's the exact opposite. We're finding ways to find areas where we can work together for the benefit of both of our countries.
Listen, thank you all very much. It's great to see some familiar faces——
Q. Will you be showing Mr. Putin some Texas dance steps, Mr. President? You'll be showing him some Texas dance steps out there, I'm sure.
The President. You know from following me as the Governor, I can cut a pretty mean rug. [Laughter]
NOTE: The President spoke at 5:15 p.m. on the tarmac at the Texas State Technical College Waco airport. In his remarks, he referred to President Vladimir Putin of Russia and his daughters, Katya and Masha; humanitarian aid workers Heather Mercer and Dayna Curry of the United States; and Texas State Senator David Sibley and his wife, Pam. The transcript released by the Office of the Press Secretary did not include the President's opening remarks. A tape was not available for verification of the content of these remarks.
George W. Bush, Remarks on Arrival in Waco, Texas, and an Exchange With Reporters Online by Gerhard Peters and John T. Woolley, The American Presidency Project https://www.presidency.ucsb.edu/node/216485


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Although it is obviously not possible to turn the clock back entirely, we can take many steps now to ensure that not only do we slow down the aging process, but we can also reverse many of the signs of aging that we may presently be experiencing.
The biggest key in the fight against aging is of course our diet and nutrition. The old adage, "you are what you eat" is absolutely true! It is impossible to expect to be healthy and vital if we are not eating the nutrients we need to keep our bodies performing at its best.
I truly believe that the increase in lifestyle diseases that we are presently seeing is in great part due to poor diets and junk food. It is very important to try to increase the amount of whole foods that we eat and decrease the amount of processed foods that we eat.
Processed foods have almost no nutrients left in them … they are considered "empty calories". But even worse than that, the preservatives, additives and chemicals that are in these processed foods interfere with many bodily functions including hormones. These chemical toxins are called "xenoestrogens" and they often trigger a condition called "Estrogen Dominance".
What is Estrogen Dominance? Simply explained, it is when the ratio of Estrogen and Progesterone get out of whack and you have higher levels of estrogen, compared to progesterone. There are many things in our modern society that contribute to this imbalance including birth control pills, caffeine, alcohol and xenoestrogens (which are caused by external toxins and pollutants like detergents, pesticides, plastics etc.), as well as impaired liver function and even stress!
The hormonal imbalances caused by Estrogen Dominance have many negative effects on the body and can make you feel a lot older by triggering many symptoms like poor memory, "foggy brain", weight gain and difficulty losing weight, increased facial hair, decreased sex drive, vaginal dryness, darkened skin pigmentation, water retention and much, much more. Estrogen Dominance also increases the risk of many lifestyle diseases like cancer, fibrocystic breasts, breast cancer, Polycystic Ovarian Syndrome and much more.
Estrogen Dominance is much more common than people think, thanks to the world we live in. And it is happening to women at younger and younger ages, even to women in their twenties or thirties! So how do you combat estrogen dominance? One of the most important changes you can make is losing weight if you are overweight, since this triggers a vicious cycle of hormonal imbalances and weight gain, especially in the abdominal area.
But of course, how you lose weight is just as important, if not more, than just losing weight. If you lose weight following unhealthy weight loss diets, you could be unbalancing your hormones even more. The better method is to lose weight in a slow, steady fashion by eating healthy, nutritious food and NOT starving yourself.
Click here for more information on 6 Steps on How to Pick the Perfect Website Hosting for your Business needs. Or click here if you're looking for information on Best Teikametrics Review 2022– Eating a healthy diet decreases free radical production through proper nutrition, which is a powerful anti-aging technique, as well as decreasing the risk of developing different types of cancer
Eating healthy also helps to promote anti-aging by lowering cholesterol and triglycerides to healthy levels
– When you follow a healthy diet and do not skip meals or starve yourself, you actually speed up your metabolism and increase fat burning capabilities. Dieting is one of the best ways of slowing down your metabolism, which of course makes losing weight very difficult. Yo-yo dieting is a good example of this. Each time you lose weight and gain it back, you are slowing down your metabolism so that each subsequent diet gets harder and harder to lose weight.
– It is also possible to make a few simple changes to your diet so that the food you eat stabilises your blood sugar levels and reduces insulin and improves insulin resistance … ultimately decreasing the risk of Diabetes. And did you know that Insulin is a major culprit in weight gain?
– And here is a very powerful anti-aging secret: eating a healthy, balanced diet supports your liver! If your liver works better, your body detoxifies more efficiently, which improves all areas of your health (including cellulite reduction the natural way), as well as supporting your immune system which is of course very important for good health
And not only do unhealthy diets unbalance your hormones, one thing that many people don't think about when they decide to lose weight following unhealthy fast weight loss diets: the faster you lose weight, the bigger the chances that you will be left with loose, sagging skin! A healthy eating program decreases the chances of having loose, sagging skin, because you lose weight in a slow, steady way, which gives your body a chance to firm up your skin. There are also many foods you can eat that promote healthy, firm skin tone. (The "Diet Free … At Last!" Weight Loss Program teaches which foods promote anti-aging and also which foods you can eat to help to improve skin tone and prevent loose, sagging skin.)


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Automatic backups with one-click restore.
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Profit from Total Encryption Today.
DigiCert and The SSL Store™ are rolling out the new, game-changing Encryption Everywhere™ program. The goal is simple: to encrypt the entire internet. Right now just 3% of all websites are encrypted. Soon it will be 100%. Where will you fit in?
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These entry-level certificates will be a bare bones encryption-only certificate and completely hassle-free thanks to a new fully automated certificate issuance process. And DigiCert NEW lightning-quick REST API and DNS-validation will help to support high volumes and the automated issuance process.
DigiCert and The SSL Store™ will do this by offering complimentary single-domain DV certificates – no frills, just industry–standard SSL/TLS encryption from the market leader – that you can include with every domain you're hosting. Now every site can easily deploy standard encryption at no cost to the site owner or you—the hosting company.
This complete program is also intuitively designed to help your entire customer-base walk up the value-chain into the more appropriate higher–value certificates, depending on their business type and needs.
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To put it another way, you're going from 3–5% to 100%. Supporting that growth is going to be difficult to manage, so we have some tricks up our sleeve specifically designed to help you succeed.
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The Encryption Everywhere™ program allows you to bundle in complimentary SSL with all of your hosting packages—not to mention the proven tools and resources to place customers into paid certs.
We're all aware of places like Let's Encrypt and Amazon Web Services – so why not align your offerings with those companies as well? We're thinking you'll certainly want to stay competitive with Amazon.
And this isn't some overly ambitious goal, either. Encryption of the entire internet is going to happen. From the non-profit initiative Let's Encrypt offering the most basic free 90–day DV certificates to the giant push from the browser community to completely phase out HTTP in favor of HTTPS–the landscape of the internet is changing.
The Encryption Everywhere™ charge is being advanced by the most trusted brand in web security, DigiCert. Few companies have the reach and the resources to pull this off, but DigiCert can. And thanks to their deep partnership with us – and hopefully you – they will.
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Think about it, your potential SSL customer–base will increase from the depths of 3–5% of your hosted sites to where every site you host now utilizes SSL. To put it in real world terms, if you can upgrade a mere 1% of them with our proven tactics and techniques, it will more than double your SSL unit sales. Yes, double! And 1% is conservative, we think it will be more like 5–10% with our knowledge and know-how.
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text:
Flexilight Original Book Light (Mummy)
Flexilight is our flagship booklight. Over a million pieces sold worldwide, with sales continually increasing to make this one of our continuing best-sellers. it is without doubt the world's thinnest and most versatile booklight, so slender it doubles as bookmark.
Here is why you will love it:
- Lightweight: the flexilight is flexible and positionable, able to bend forwards at any angle, so you can position the quality led (and its whopping 8 lumens of light) anywhere you want it. Ready to save your page straight out of the box. Batteries included.
- Stylish bookmark - this booklight is so thin that when you're done reading just pop it into your book and use it as a bookmark. Though it's slender you can't miss it, with those stripy, dotty, flowery, and wordy designs. Save your page with over 19 designs to choose from.
- Bedtime readers – perfect for reading snugs and bedtime stories. The ultra bright permanent led light helps you and the kids enjoy night-time reading in a cosy environment.
- Giftware association gift of the year – chosen for its innovative design and versatility, this is the perfect christmas or birthday gift!
- Sleek & powerful – 8 lumens of powerful led light, 2 high quality cr2016 batteries included, 20+ fun & stylish designs.
* Product size: 3 cm x 1 cm x 14.1 cm / 1.18'' x 0.39'' x 5.55''


text:
17 Aug 2023
"Forgive Everyone Everything"
Podcast: Play in new window | Download
Then Peter came and said to him, 'Lord, if another member of the church sins against me, how often should I forgive? As many as seven times?' Jesus said to him, 'Not seven times, but, I tell you, seventy-seven times.
'For this reason the kingdom of heaven may be compared to a king who wished to settle accounts with his slaves. When he began the reckoning, one who owed him ten thousand talents was brought to him; and, as he could not pay, his lord ordered him to be sold, together with his wife and children and all his possessions, and payment to be made. So the slave fell on his knees before him, saying, "Have patience with me, and I will pay you everything." And out of pity for him, the lord of that slave released him and forgave him the debt. But that same slave, as he went out, came upon one of his fellow-slaves who owed him a hundred denarii; and seizing him by the throat, he said, "Pay what you owe." Then his fellow-slave fell down and pleaded with him, "Have patience with me, and I will pay you." But he refused; then he went and threw him into prison until he should pay the debt. When his fellow-slaves saw what had happened, they were greatly distressed, and they went and reported to their lord all that had taken place. Then his lord summoned him and said to him, "You wicked slave! I forgave you all that debt because you pleaded with me. Should you not have had mercy on your fellow-slave, as I had mercy on you?" And in anger his lord handed him over to be tortured until he should pay his entire debt. So my heavenly Father will also do to every one of you, if you do not forgive your brother or sister from your heart.'
When Jesus had finished saying these things, he left Galilee and went to the region of Judea beyond the Jordan.
Scripture passage from the New Revised Standard Version Bible: Catholic Edition, copyright 1989, 1993, Division of Christian Education of the National Council of the Churches of Christ in the United States of America. Used by permission. All rights reserved.