Snøhetta作品 | Čoarvemátta文化教育中心

Čoarvemátta文化教育中心，摄影：Lars Petter Pettersen

Čoarvemátta, photo by Lars Petter Pettersen

2021年，Snøhetta与70°N建筑事务所、艺术家Joar Nango合作，赢得了萨米剧院及学校的建筑设计竞赛。今年8月，这座名为Čoarvemátta的文化教育中心正式落成并投入使用。

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.

影像：OiOiOi

Video by OiOiOi

萨米人是传统上使用萨米语的土著民族，居住在萨普米地区，如今包括挪威、瑞典、芬兰和俄罗斯科拉半岛的大部分北部地区。“Čoarvemátta”一词源自萨米语中的“čoarvi” （意为“角”）与“mátta”（意为“根”），代表驯鹿鹿角最坚硬的深处部分，象征着不同特质与优点的凝聚合一。Čoarvemátta文化教育中心由Beaivváš萨米国家剧院（Sami National Theatre Beaivváš）、萨米高中与驯鹿牧业学校（Sami High School and Reindeer Herding School）共用，是凝聚两个文化机构的重要载体。

The Sámi are the traditionally Sámi-speaking Indigenous peoples inhabiting the region of Sápmi, which today encompasses large northern parts of Norway, Sweden, Finland, and of the Kola Peninsula in Russia. 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.

Kjetil Trædal Thorsen，影像：OiOiOi

Kjetil Trædal Thorsen, video by OiOiOi

Snøhetta创始合伙人Kjetil Trædal Thorsen谈到：“把剧院和驯鹿牧业学校放在同一栋建筑里，是有趣的建筑实践。Čoarvemátta成功地把原本毫不相关的两个文化机构连接起来。建筑空间的“物尽其用”呼应了萨米duodji传统手工艺文化的特点——无论毛皮、鼻孔，还是角，动物的所有身体部位都有其用途。”

"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 Sámi 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. 

Čoarvemátta文化教育中心所在的凯于图凯努（Kautokeino）位于挪威面积最大、最北部的芬马克高原（Finnmarksvidda）中部。建筑四个立面以不同方式呼应周围环境的自然景观。低矮的建筑融入环境之中，比例与四周地貌相协调，呈现出不见尖角的有机自然形态。坡屋顶向南北两侧倾斜，从视觉上弱化了建筑的高度，同时也构造出建筑的西南方出入口。

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.

空间平面呈枝叉状，中央位置设有主入口和前厅，是学校及剧院的聚集场所。入口空间沿三个方向延伸成三个侧翼，分别成为剧院、工作坊和教学室，以及学校行政楼。建筑的弧形线条、前厅里如烟囱般的天窗，以及显而易见的承重木结构，设计灵感都来自于萨米驯鹿放牧地区的传统木结构，例如lávvu帐篷。

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.

Čoarvemátta建筑设计，影像：OiOiOi

Čoarvemátta's architectural design, video by OiOiOi

Snøhetta资深建筑师Bård Vaag Stangnes表示：“我们希望这个空间可以把剧院和学校聚集到一起。自然而然，我们就想到了围绕作为连接点的聚集场所，来衍生和分配空间。”

"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. " says Bård Vaag Stangnes, Senior Architect at Snøhetta and Project Leader of Čoarvemátta.

建筑幕墙由松木（ore pine）包覆的木板构成，面积达4,930平方米的巨型屋顶则铺上34,000平方米的kebony木板。

The façade of the building is made of standing wood clad in ore pine. The massive roof measures 4,930 m2 and is clad with 34,000 meters of kebony. 

剧院空间处的山墙使用了从村庄里废弃学校回收的Alta石板。在前厅和走廊处，抛光混凝土地面的使用呼应了建筑室外的地面，并融入了板岩和马西石英岩等在当地开采的石材，呈现出不同的灰与绿。

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.

Čoarvemátta文化教育中心的中心位置呈暖红色——围绕门厅、前厅和剧院大厅。

The center of the building, around the foyer, vestibule and theater halls, is painted in warm, red shades. 

而离中心位置越远的空间，颜色越趋冷调，三个侧翼空间的最远处一端都采用了蓝色调。

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. 

萨米人对色彩的应用特色也体现在设计之中——不同色调的空间里，门、墙和地面呈反差配色。全年大部分时间被白雪覆盖的室外空间，与色彩鲜明的室内空间形成强烈对比。

Contrasts between door, wall and floor within the different color schemes have clear references to Sámi 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.

枝叉状的建筑形态自然划分出三个室外空间。朝南侧是主入口和前广场。灵活的户外空间散发温馨气息，设有篝火坑、石头座椅，以及圆形露天剧场，供学校和剧院共同使用。这里所使用的Alta石板则来自附近的采石场，而石头则取自不远处的高原。

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.

剧院另一侧的户外空间供学校的贸易工作坊所使用。这个空间较为隐蔽，也能遮挡盛行风，可抵御芬马克高原的严酷天气。建筑北侧的一大片空间被划为驯鹿围栏区，由当地专家建造，紧邻室内的驯鹿牧业系。建筑东侧与高原自然衔接，尽可能保留了原有的地形和植被。

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.

Čoarvemátta文化教育中心达到了“被动式建筑”的标准。这意味着建筑质量非常高，可以提供良好的室内气候，能耗极低。建筑配置了40个井深约250米的地热井，在供暖制冷方面的能源自给率高达90%。地热井通过两台热泵为建筑供暖和制冷，并利用换热器将余热回收再利用。在冬季最寒冷的时候，系统会使用电锅炉辅助供暖。

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.

Snøhetta保留了施工期间原本必须被移除的土壤，将表层土壤暂存一段时间后，重新铺在建筑四周，确保场地的原生种子完好无损。新植物长根会阻碍原有的种子发芽，所以要恢复高原原来的面貌，虽然可行，但需要时间。为了更快地长出绿草，前广场破例地播撒了少量在芬马克收集得来的NIBIO草籽。

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.

Čoarvemátta景观建筑，影像：OiOiOi

Čoarvemátta's landscape architecture, video by OiOiOi

Snøhetta资深景观建筑师Thea Kvamme Hartmann说到：“萨米文化中并没有把土地培育成公园或城市空间的传统。当你从lávvu帐篷走出外面，大自然就映入眼帘，直接置身于自然环境之中。所以在这个项目里，我们需要确保这片土地在建设结束后能够再次长出植物，使高原能够围绕新建筑重生。”

"The Sámi culture has no tradition of cultivating landscapes into parks and urban spaces. When you step out of the lávvu, 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."

Snøhetta打造的导向标识设计遵循整体视觉美学，与建筑、室内和景观设计相辅相成。导向标识设计以功能性主导，但与建筑设计一样，低调地呼应传统工艺和传统材料的运用。

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.

Čoarvemátta平面设计，影像：OiOiOi

Čoarvemátta's graphic design, video by OiOiOi

指示牌以喷涂钢材和松木制成，字体和图案等平面设计元素则与建筑保持一致。标识设计广泛应用图像，使人们在远距离也能轻松读懂，以满足Čoarvemátta文化教育中心需要多语言（北部方言、南部方言、Lule萨米语和Bokmål语）的要求。

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).

艺术作品《The Bird of the Flying Shaman》，Aage Gaup, 1988

The Bird of the Flying Shaman, Aage Gaup, 1988

挪威国家公共空间艺术专业机构KORO负责为Čoarvemátta文化教育中心的艺术品采购，委任艺术家为Čoarvemátta创作了六件全新的艺术品。Máret Ánne Sara（生于 1983年）获邀设计剧场的舞台幕布，而萨普米（Sápmi）最著名的当代艺术家之一Britta Marakatt-Labba（生于1951年）则从剧院历史中汲取灵感，为Čoarvemátta的公共空间创作了名为《Miin Duoddarat / Our Plains》的刺绣作品。除了特别创作的新作品以外，学校将两件大型艺术作品从旧址搬到了Čoarvemátta文化教育中心。两件作品分别出自萨普米最知名的艺术家Aage Gaup（1943–2021）和Iver Jåks（1932–2007）之手。

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. 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.

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