![opera house opera house](https://www.gannett-cdn.com/-mm-/83643faa6704f6ac929d35b6d8ecc32ce4c2ed1c/c=0-217-2126-1416/local/-/media/USATODAY/USATODAY/2014/04/03//1396546964005-MOSCOW.jpg)
The upper plane is lifted on the opposite diagonal to accommodate the programmatic volume and to create an exterior plane that both arches down to the City and the sea at the same time as it peels upwards to meet the sea and the sky. These entrances are linked in a continuous public space, flowing around the Opera house and out into the public plaza. Two of these corners are lifted to form an entrance from the city and an entrance from the sea. The four corners of the building connect the city and the cultural landmark to the sea. The upper embraces the sky and the Opera is created within the interplay of these surfaces, where the earth touches the sky and the mountains touch the sea. The lower arching curve bridges the site and anchors the project in the ground. The geometry of the building consists of two opposing curves. The slight bending of the surfaces in Snøhetta's design are the bars of the trigrams slightly deformed to touch and meet each other in a subtle manner. The classical trigrams of these elements both describe this site exceptionally well, whilst they refer to the historical and philosophical relationships that are of great importance to Korean culture. The basis for the lay-out refers to Kun (Heaven) meeting Kon (Earth) which again meet Kam (Water). The form of the Busan Opera house is derived from its own context and culture. Some of the functions, especially its one level and horizontal functional layout is based on Snøhettas experience of designing easy flow and communications within such a building. The Busan Opera house relies on our current experience of contemporary opera buildings, including the interactive attraction of an open and inviting typology. The Opera in Busan is a place to meet, a place to be together in our common cultural context. The Opera house can become the most essential cultural expression that we have in our developed urban societies. We set increasingly stronger demands to the institution it is no longer just a passive playground for the elite but can become interactive, democratic, giving as much as it takes, responding to our ambitions and expectations. The Opera today not only represents our cultural identity, much more than that, it is there to form, shape and create our growing cultural awareness and manifestation. Here's some more detailed information from Snøhetta: Read about the Oslo Opera House by Snøhetta in our earlier story or see all our stories about Snøhetta.