“Who knows how dancers will want to express themselves in 2094,” says Tarald Lundevall, the architect behind Norway’s prodigious cultural center with a long-term vision, the Oslo Opera House. Our second part of Wim Wenders’ architectural film project Cathedrals of Culture sees Norwegian documentary filmmaker Margreth Olin follow dancer Camilla Spidsoe Cohen through the back corridors and on to the stage for Cygne, Daniel Proietto's interpretation of Mikhail Fokine's The Dying Swan.

“Their surroundings should be contemporary but relaxed and open to all sorts of future situations,” explains Lundevall, who led this project for Snøhetta architects. A futuristic vision for public integration, the space not only allows anyone to walk—or even skateboard—across its roof, but also encourages them to observes the inner workings through crystal-clear, glacial walls.

The Italian Carrara marble and white granite landmark has offered a stage to the world’s leading singers, dancers and musicians since its opening in 2008.  “You can see dancers rehearsing and the costume-makers, stage-painters and carpenters working,” continues Lundevall. “All this when you are passing by on the street.”

Dean Kissick contributes to the Guardian, i-D, and Love.