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全新的Čoarvemátta文化与教育中心由Snøhetta与70°N建筑事务所和艺术家Joar Nango合作完成，设计从萨米遗产和传统建筑习俗中汲取灵感，该方案于2021年新萨米剧院和学校建筑竞赛中拔得头筹，并于近日正式落成。Čoarvemátta这个名字来自于萨米语中过的两个单词，这两个单词分别是“角”和“根”，代表了驯鹿鹿角最里面、最结实的部分。这个名字象征了不同的品质和力量，同时也代表了统一与团结，彰显了Čoarvemátta作为共享建筑的公共属性，建筑内容纳了Beaivváš萨米国家剧院、萨米高中，以及驯鹿放牧学校。
New cultural and educational hub Čoarvemátta draws inspiration from Sami heritage and traditional building customs Snøhetta, together with 70°N architecture and artist Joar Nango, delivered the winning proposal in the architectural competition for a new Sami theatre and school building in 2021. Now, the prominent building has been inaugurated. The name Čoarvemátta comes from the Sámi words for horn and root, after the innermost and strongest part of the reindeer antlers. This symbolizes different qualities and strengths and represents elements that unite, as Čoarvemátta will be a unifying force for the institutions that share the building: the Sami National Theatre Beaivváš and the Sami High School and Reindeer Herding School.
▼项目远观，viewing the project at distance © Lars Petter Pettersen
“我们很自豪能为这座备受期待的重要建筑做出贡献。剧院和驯鹿放牧学校的结合从建筑设计的角度来说非常有趣。将两种不相关的功能成功地连接在一起，证明了本项目体系结构的成功。该项目还展现出了极佳的资源利用方式，在传统萨米手工艺中有着一个非常重要的原则，那就是动物身上的一切都可以用来做点什么，比如皮肤、鼻孔以及在本项目中起到关键性象征元素的‘角’，”Snøhetta创始合伙人Kjetil Trædal Thorsen说。“驯鹿角的最里面部分也象征着不同的品质和力量，代表了团结，这也象征了我们希望Čoarvemátta能够成为共享建筑，并激发整个萨米社区的统一力量。”
“We are proud to have contributed to putting this long-awaited and important building in its place. A combined theater and reindeer herding school is a fun program to work with for an architect. It is a testament to good architecture that two really non-interoperable institutions are successfully connected. The project also provides exceptionally good use of resources, which also play a vital role in traditional Sami handicrafts, duodji, where it’s an important principle that everything from the animal can be used for something – the skin, the nostril – and the horn,” says Kjetil Trædal Thorsen, Snøhetta Founding Partner. “The innermost part of the reindeer horn also symbolizes different qualities and strengths and represents elements that unite, as we hope Čoarvemátta will be a unifying force for the institutions that share the building, and the Sami community at large.”
▼鸟瞰，aerial view of the project © Lars Petter Pettersen
▼场地顶视图，top view of the site © Lars Petter Pettersen
设计与建筑
Design and Architecture
本项目坐落于挪威最大、最北端的高原—— Finnmarksvidda中部的Kautokeino地区。建筑的四个立面都以不同的方式与周围的景观空间产生互动。建筑坐落在景观的低处，体量中没有任何尖锐的角度，而是以有机的形式与协调的比例与周围的山丘和高地相互呼应。南北两侧的倾斜屋顶最大限度地减弱了从远处看项目的视觉冲击，同时形成了从西南方向进入建筑的入口。
The new building is located in Kautokeino in the middle of Finnmarksvidda, Norway’s largest and northernmost plateau. All four of the building’s facades relate to the various landscape spaces that surround it in different ways. The building sits low in the landscape and has proportions that harmonize with the surrounding hills and heights with no sharp angles breaking with the organic forms. The sloping roof on two sides (north, south) minimizes the project’s height effect seen from a distance, and at the same time creates an entrance situation towards the access from the southwest.
▼建筑与景观，architecture and landscape © Lars Petter Pettersen
▼来自周围高原的巨石，boulders from the surrounding plateau © Lars Petter Pettersen
新共享空间呈现出树枝般的放射状，主入口和前厅位于平面的中心，为学校和剧院创造了理想的聚会场所。从这里开始，建筑主体向三个方向延伸 —— 剧院、工作室、教室和学校的行政部门各占据了一个侧翼。弯曲的线条、带有谷仓天窗的前厅、排烟孔，以及可见的木材承重木结构，这些元素的灵感来自萨米驯鹿放牧地区的典型木结构，如lávvu。
The new shared space has a branching shape, with a main entrance and vestibule located at its center, creating a gathering place for both the school’s and the theater’s users. From here, the building body stretches in three directions – with one wing each for the theatre, workshops and teaching rooms, and the school’s administration. The curved lines, the vestibule with skylights as from a reahpen, smoke hole, and the visible load-bearing timber structure in wood, are inspired by wooden structures typical of reindeer herding Sámi areas, such as the lávvu.
▼入口车道与前院广场，entrance way and front court © Lars Petter Pettersen
▼有机的线条，organic lines of the building © Lars Petter Pettersen
▼前院，front court © Lars Petter Pettersen
“建筑的形态源于为剧院和学校创造统一体量的想法，希望能够以聚会场所将分布在周围的功能空间联系在一起。前厅的天窗，可见的支撑结构，以及向入口柔和倾斜的统一屋顶，这些元素都来源于萨米的传统建筑。”Snøhetta高级建筑师、Čoarvemátta项目负责人Bård Vaag Stangnes说道。
“The shape of the building springs from the idea of creating a unified volume for the theatre and the school, and of gathering the functions around a connection point – the meeting place. Elements have also been taken from Sami building traditions – the skylight in the vestibule, the visible supporting structure, and the unifying roof with its soft shape that opens towards the entrance,” says Bård Vaag Stangnes, Senior Architect in Snøhetta and Project Leader of Čoarvemátta.
▼灰空间，gray space © Lars Petter Pettersen
▼屋顶细部，details of the eaves © Lars Petter Pettersen
景观
Landscape
建筑呈分支状的侧翼自然形成了三处室外空间。朝南的一面构成了主入口和前院，其中前院成圆形，Arrán、火塘、坐凳和圆形剧场营造出亲切的空间氛围。构成坐凳的巨石取自于附近的高原，这个灵活的户外场所既可服务于学校，也可服务于剧院。前院露台中使用的Alta石板来自场地附近的采石场。
The branching shape of the building naturally forms three outdoor spaces. The one facing south constitutes the main entrance and a space in front of it. The forecourt is an intimate and circular space with arrán, a fire pit, sitting stones and an amphitheater. The sitting stones are taken from the plateau just outside, and this flexible room can be used by both school and theatre. The Alta slate used here comes from a quarry near the construction site.
▼顶视图，top views © Lars Petter Pettersen
▼近景鸟瞰，closer top views © Lars Petter Pettersen
▼火塘，fire pit © Lars Petter Pettersen
剧院翼楼另一侧的室外区域服务于学校的贸易工坊，同时也在视觉和物理上阻挡了Finnmarksvidda地区的主流风向和恶劣天气。建筑的北面规划有大片的驯鹿围栏，这些围栏与建筑内的驯鹿放牧部门直接相连，由当地专家建造。在东侧，高原以一种自然的方式与建筑相遇，建筑附近的自然地形与植被都被尽可能地保留了下来。
The outdoor area on the other side of the theatre wing is intended for the school’s building trade workshops and is shielded both visually and from the prevailing wind direction and harsh weather at Finnmarksvidda. North of the building, large areas have been set aside for reindeer fences, which are directly linked to the reindeer herding department inside the building and have been built by local experts. On the east side, the plateau meets the building in a natural way, and the terrain and vegetation have been preserved as close as possible to the building.
▼停车场，parking area © Lars Petter Pettersen
材料与色彩
Materials and color
建筑立面由木材制成，最外层采用了矿石松。巨大的屋顶面积为4930平方米，覆盖着34,000米的檀木条板。剧院山墙则采用了从已拆除的村镇小学中回收的Alta板岩。在前厅和走廊内部，抛光的混凝土地板营造出宛如室外空间的氛围，同时还融入了当地开采的石材，包括呈现出灰色和绿色不同色调的板岩和马西石英岩。
The façade of the building is made of standing wood clad in ore pine. The massive roof measures 4930 m2 and is clad with 34,000 meters of kebony. The Alta slate stone on the theatre’s gable wall has been reused from the village’s old primary school, which has been demolished. Inside the vestibule and corridors, the polished concrete floors mimic the ground outside the building, with elements of locally mined stone, including slate and masi quartzite, in various shades of grey and green.
▼门厅，entrance hall © Lars Petter Pettersen
▼温暖的木制饰面，warm timber finishing © Lars Petter Pettersen
▼树枝型支柱与灯具，tree shaped pillar and light fixture © Lars Petter Pettersen
▼阶梯状地台，stepped terrace © Lars Petter Pettersen
▼天窗与暴露出来的结构，skylight and exposed structure © Lars Petter Pettersen
▼俯瞰门厅，overlooking the foyer © Lars Petter Pettersen
▼细部，details © Lars Petter Pettersen
▼二层走廊，upper floor circulation space © Lars Petter Pettersen
▼红色色调的空间与家具，red space and furniture © Lars Petter Pettersen
▼充满萨米风情的装饰物，Sami embellishment © Lars Petter Pettersen
建筑中心的门厅、前厅和剧院大厅，被漆成暖色调的红色。然后，离“光源”越远，配色就越冷，建筑两翼的两端都呈现出蓝色调。门、墙以及地板的不同配色方案参考了萨米人对颜色的使用。这些鲜明的色调与建筑外观形成了强烈的对比，在一年中大部分时间中，建筑的外观都呈现出单一的浅色色调。
The center of the building, around the foyer, vestibule and theater halls, is painted in warm, red shades. Then the color scheme becomes cooler the further away from the source you get, with bluish tones at each end of the building’s wings. Contrasts between door, wall and floor within the different color schemes have clear references to Sami use of color. This makes a strong contrast to the building’s exterior, which is clad in white for the most part of the year.
▼红色剧院前挺，red vestibule and theater halls © Lars Petter Pettersen
▼剧院，interior of the theater © Lars Petter Pettersen
▼卫生间，toilets © Lars Petter Pettersen
▼学校侧翼，the school wings of the building © Lars Petter Pettersen
▼蓝橙色调的门与走廊，blue-orange doors and corridors © Lars Petter Pettersen
自然地暖
Natural ground heating
Čoarvemátta到达了被动式建筑标准的要求，这意味着该建筑质量非常高，室内气候良好，能耗要求极低。由于在地下约250米深的地方钻了40口井，这座建筑的供暖和制冷能源自给自足率达到90%。两个热泵能够实现建筑的加热与冷却，而能源井的交换器也会将多余的热量再次排出。在最冷的冬季，该系统还配有一台电锅炉。
Čoarvemátta meets the requirements of the Passive house standard, which means that the building is of very high quality, with a good indoor climate and extremely low energy requirements. The building is 90% self-sufficient in energy to heating and cooling thanks to 40 geowells drilled about 250 meters into the ground. The wells supply two heat pumps that both heat and cool the building, while exchangers for the energy wells dump surplus heat back again. On the coldest winter days, the system is supplemented with an electric boiler.
▼教室，classroom © Lars Petter Pettersen
在施工过程中，工地中必须移除的土壤都被保存下来，土壤的表层也被暂时储存了起来，并在建筑落成后重新铺在场地上，因此土壤中的种子全部保存完整。新植物的生长与扎根会阻碍原有种子的发芽，因此恢复场地中的高原景观需要时间。在前院，项目团队已经播撒了少量NIBIO在芬兰马克收集的草籽，这样做是为了让场地更快地恢复生机。
Over the entire construction site, soil that has had to be removed has been preserved, the top layer has been temporarily stored, and subsequently returned to all surfaces around the building, so that the seed stocks are intact. Restoring the plateau landscape takes time but is allowed as new plants with new roots prevent the original seeds from germinating. On the forecourt, a small amount of grass seeds has been sown that NIBIO has collected in Finnmark, this has been done exceptionally to allow forecourt to turn green faster.
▼教室，classroom © Lars Petter Pettersen
“萨米文化没有将景观培育成公园和城市空间的传统。当你走出洞穴，你就直接置身于自然景观之中，”高级景观设计师Thea Kvamme Hartmann说。“因此，项目的大部分内容都涉及到开发一种策略，即如何在建设期结束后重新绿化该地区，并使高原重新环绕建筑。”
“The Sami culture has no tradition of cultivating landscapes into parks and urban spaces. When you step out of the lavvu, you are directly in nature – in the landscape,” says Thea Kvamme Hartmann, Senior Landscape Architect.”Much of the project has, therefore, been about creating a strategy for how the area can be revegetated and the plateau return to encircling the building after the construction period has ended.”
▼教室，classroom © Lars Petter Pettersen
标识和寻路
Signage and wayfinding
Snøhetta还为本项目设计了标识和寻路系统，设计遵循了项目的整体视觉美学，并与建筑、室内和景观设计相辅相成。标识和寻路主要是功能性的，但就像建筑一样，其设计也以巧妙的方式参考了萨米传统工艺和材料的使用。
Snøhetta has also also made the signage and wayfinding program that follows the project’s visuality and works complementary to architecture, interior, and landscape design. It is primarily functional, but like the building, it also has subtle references to traditional craftsmanship and use of materials.
▼更衣室标识，sign for the dressing room © Lars Petter Pettersen
标识中的图形元素由排版字体和象形文字组成，实体由粉末涂层钢和松木制成，与建筑的美学和谐一致。图像学被广泛应用于远距离可读性，以满足多语言使用的要求，包括南北方地方语言, Lule Sámi语, 以及Bokmål语。
The signs are made of powder-coated steel and pine, and the graphic elements, including typography and pictograms, mirror the building’s alignment. Iconography is used extensively for readability at a distance to meet the requirements for multilingualism (Northern, Southern, Lule Sámi, and Bokmål).
▼标识设计，VI design © Lars Petter Pettersen
委托作品
Commissioned artworks
挪威国家公共空间艺术专业机构KORO负责了Čoarvemátta的艺术采购，携手艺术家为这座新建筑创作了六件新艺术品。在内部竞赛后，Máret Ánne Sara（出生于1983年）被邀请设计剧院的舞台幕布，而Sápmi最著名的当代艺术家之一Britta Marakatt-Labba（生于1951年）则被邀请为建筑的公共休息室创作了刺绣作品Miin Duoddarat / Our Plains，该作品灵感来源于剧院的历史。
KORO, the Norwegian state’s professional body for art in public spaces, has been responsible for the art procurement of Čoarvemátta. A total of six new works of art have been created for the new building. After a closed competition, Máret Ánne Sara (b. 1983) was invited to design the theatre’s stage curtain. Britta Marakatt-Labba (b. 1951) is one of Sápmi’s most renowned contemporary artists, and has created the embroidery Miin Duoddarat / Our Plains, with direct references to the history of the theatre for the building’s common room.
▼剧院细部，details of the theater © Lars Petter Pettersen
▼Máret Ánne Sara设计的剧院舞台幕布，the theatre’s stage curtain © Lars Petter Pettersen
▼剧院细部，details of the theater © Lars Petter Pettersen
▼艺术品细部，details of the art works © Lars Petter Pettersen
除了这些新作品外，Sápmi最著名和最有影响力的两位艺术家Aage Gaup（1943-2021）以及 Iver Jåks（1932–2007）的两件大型现有艺术作品也从旧校舍搬到了新楼。
In addition to the new works, two larger, existing works of art by two of Sápmi’s most famous and influential artists, Aage Gaup (1943–2021) and Iver Jåks (1932–2007), have been moved from the old school building to the new building.
▼装置艺术作品。art installation © Lars Petter Pettersen
▼鹿角装置艺术作品，antler installation © Lars Petter Pettersen
FACTS
· Shared building for the Sami National Theatre Beaivváš, and the Sami Upper Secondary School and Reindeer Herding School
· Location: Kautokeino/Guovdageaidnu, Norway
· Size: 7200 m2
· Typology: Cultural and educational building
· Status: Completed
· Timeline: 2020-2024
· Čoarvemátta meets the requirements for the designation Passive house according to the standard NS3701
· Client: Statsbygg
· Architecture, Interior Architecture, Landscape Architecture and Graphic design: Snøhetta
· Entrepreneur: Econor
· Collaborating partner, architect: 70°N arkitektur
· Collaborating partner, architect/artist: Joar Nango
· Art acquisition: KORO, curator: Monica Milch Gebhardt
· Artists: Máret Ánne Sara, Laila Mari Brandsfjell, Fredrik Prost
Ellen Berit Dalbakk/Rámavuol Elle Bigge, Merethe Ella Márjá Kuhmunen, Elle Valkeapää, Britta Marakatt-Labba, Iver Jåks, Aage Gaup.
· Consulting Building Engineer: Skanska Teknikk
· Consulting Engineer, HVAC: Multiconsult
· Consulting Engineer, Electrical: Heiberg og Tveter
· Consulting Engineer, Acoustics: Brekke & Strand
· Consulting Engineer, Fire: Fokus rådgiving
· Consulting Engineer, Water: COWI
Photos: Lars Petter Pettersen
