A compact, windowless mausoleum built by the artist Emanuel Vigeland (the brother of Gustav Vigeland who built the massive Vigeland Scuplture Park) that he called Tomba Emmanuelle and intended as both a museum and his burial chamber. Construction began in the 1920s and Vigeland later had the hall’s windows filled with brick so the space would become a sealed, church-like chamber; after his death the building opened to the public as a museum.
Once you step inside, you are plunged into near-total darkness. As your eyes adjust, a massive 800-square-meter fresco called Vita (Life) emerges on the walls, depicting hundreds of naked figures in various stages of life, death, and reproduction. The interior is defined by dense figurative painting and sculptural groups that probe birth, love and death in a style that draws on Art Nouveau, Italian Renaissance models and symbolist imagery. The painted surface totals roughly 800 square metres and the room’s waxed floor and plastered vault produce unusually long reverberation times for a space of this scale, a quality that has attracted experimental musicians as well as art visitors. The artist’s ashes rest in an egg-shaped urn placed in a niche above the low entrance door, an installation detail that shapes how visitors leave the hall.