三十年之后, Snøhetta重回挪威利勒哈默尔美术馆 |《FRAMED》摄影展览

利勒哈默尔美术馆，摄影：Jiri Havran

Lillehammer Art Museum, photo by Jiri Havran

挪威利勒哈默尔美术馆（Lillehammer Art Museum）是Snøhetta最早落成的文化项目之一。时隔多年之后，Snøhetta受委任为美术馆设计《FRAMED》摄影展览，深度探索美国20世纪的街头摄影。这场视觉之旅，年代跨度从1907年至2012年，呈现了纽约、洛杉矶、芝加哥和旧金山这些大都市的活力，同时也展示出美国摄影师的革命性视角，通过镜头捕捉了快速变革时代下的城市生活。《FRAMED》摄影展览于2024年10月19日开幕，展期至2025年4月20日。

Snøhetta revisits Lillehammer Art Museum, one of our earliest cultural projects, with the FRAMED exhibition — a visual journey through the American metropolis. FRAMED offers a comprehensive view of 20th-century American street photography and invites visitors to explore the vibrant cities of New York, Los Angeles, Chicago, and San Francisco. The collection, spanning from 1907 to 2012, showcases revolutionary perspectives from American photographers, capturing the essence of urban life during a period of rapid change. The exhibition opened 19 October 2024 and is shown until 20 April 2025.

《FAMED》展览，摄影：Calle Huth

FRAMED, photo by Calle Huth

展出的摄影作品由挪威储蓄银行基金会（Sparebankstiftelsen DNB）收藏，永久存放于利勒哈默尔美术馆和德拉门博物馆（Drammens Museum）。《FRAMED》摄影展览由利勒哈默尔美术馆、德拉门博物馆、nu威独立储蓄银行基金会、Snøhetta建筑、平面和数字设计团队共同合作。

The works are owned by Sparebankstiftelsen DNB, an independent Savings Bank Foundation, and the collection is now part of the permanent deposits at the Lillehammer Art Museum and Drammens Museum. The exhibition is a large collaboration between the Lillehammer Art Museum, Drammens Museum, Sparebankstiftelsen DNB, the curators Øivind Storm Bjerke, Svein Olav Hoff and Åsmund Thorkildsen, and Snøhetta's team of architects, graphic and digital designers.

利勒哈默尔美术馆

上 | 摄影：Mark Syke，下 | 摄影：利勒哈默尔美术馆

Lillehammer Art Museum

Above: photo by Mark Syke, Below: photo by Lillehammer Art Museum

《FRAMED》展览所位于的利勒哈默尔美术馆新馆对Snøhetta来说有着特殊的意义。1994年的冬季奥运会在挪威利勒哈默尔举办。当地市政府希望聚焦于当地的文化艺术，决定扩建由著名挪威建筑师Erling Viksjø设计、于1963年启用的利勒哈默尔美术馆。Snøhetta在冬季奥运会开幕前完成了扩建，巧妙地融合了不同的建筑语言。2016年，Snøhetta再次受委任负责美术馆的扩建改造项目，设计了连接新旧两馆的新空间——全新的Weidemannsalen展厅、两个剧院，并改造了利勒哈默尔电影院的室内空间。三十年之后的今天，Snøhetta重回美术馆，让这段首尾相连的旅程得以圆满。从《FRAMED》摄影展览的概念、主题、展陈设计，到平面和数字设计、宣传图册及展览书册设计，Snøhetta为美术馆注入了新的活力。

利勒哈默尔美术馆，摄影：Mark Syke

Lillehammer Art Museum, photos by Mark Syke

Making a full-circle movement, this exhibition is hosted in the extension of the Lillehammer Art Museum, a place of special significance to Snøhetta, being one of our first completed projects. For the Winter Olympics in Lillehammer in 1994, the city council decided to focus on the city's art and culture and expand the Lillehammer Art Museum, a building dating from 1963, designed by renowned Norwegian architect Erling Viksjø. In time for the Olympics, Snøhetta completed the extension in 1994 by constructing an independent building that sought to bridge the architectural language of the original buildings and contemporary formal expression. In 2016, a second Snøhetta-designed expansion connected the two existing institutions, adding the new exhibition hall Weidemannsalen to the Museum, two theaters, and an interior renovation to the Lillehammer Cinema. The FRAMED exhibition enables Snøhetta to bring the extension to life by developing the concept, name, exhibition architecture and design, graphic and digital design, catalog, and accompanying book.

利勒哈默尔美术馆，摄影：Mark Syke

Lillehammer Art Museum, photos by Mark Syke

Snøhetta创始合伙人Kjetil Trædal Thorsen表示：“宽敞挑高的展厅空间丰富了参观体验，同时也让我们能够充分利用整个空间，将艺术、建筑、平面和数字设计等不同领域融为一体。Snøhetta当年在扩建美术馆空间时，就是希望美术馆能够举办吸引、挑战和启发观众的多样化大型展览。而《FRAMED》正是我们当年所设想的展览，实现了我们设计这座美术馆的初衷。这次的展览项目就像是一段圆满的旅程。”

"The exhibition feels like a full-circle moment, as FRAMED is precisely the ambitious, large-scale exhibition for which the museum's space was conceived. The ample gallery space with the high ceiling adds to the visitor experience, and allows us to spread out and claim the whole space by combining several disciplines including art, architecture, graphic and digital design. Snøhetta's museum design was intended to host large exhibitions that would challenge, inspire, and engage audiences on a grand scale — both in size and typology — making FRAMED a perfect realization of that original intent", says Kjetil Trædal Thorsen, Snøhetta Founding Partner.

展览现场，摄影：Calle Huth

Installation views, photos by Calle Huth

《FRAMED》中的摄影师以独特的视角呈现出城市的多维性，包括Diane Arbus、Ed Ruscha、Richard Avedon、Berenice Abbott、Edward Weston、Dorothea Lange、William Eggleston等数位20世纪著名摄影师。从满怀希望的新移民、活泼好动的孩童、勤劳的工人、热恋的情侣，到四处漂泊的流浪者等等，茫茫大都市之中的日常与平凡，在镜头之下，描绘出城市生活的情感光谱。这些摄影师们，透过镜头深度探索了人们的日常生活，改变了摄影表达。他们的摄影作品至今仍能触动观众的心弦，对当代的城市生活进行反思。

展览现场，摄影：Calle Huth

Installation views, photos by Calle Huth

The photographers' innovative portrayal of urban complexity is at the heart of FRAMED. Through the lenses of renowned 20th-century photographers such as Diane Arbus, Ed Ruscha, Richard Avedon, Berenice Abbott, Edward Weston, Dorothea Lange, and William Eggleston, audiences witness diverse moments of city life — hopeful newcomers, playful children, laborers, lovers, and those adrift in the urban sprawl. The images capture the emotional spectrum of city life, framed by the beauty and grit of the metropolis. These pioneers revolutionized the field of photography, providing profound insights into the human condition through their lens. Their work continues to resonate with contemporary audiences, offering timeless reflections on urban life.

展览现场，摄影：Calle Huth

Installation views, photos by Calle Huth

利勒哈默尔美术馆馆长Nils Ohlsen博士表示：“《FRAMED》延续了美术馆自1991年以来举办摄影展览的传统。这个展览的意义也远超于此。对美术馆而言，最重要的是为观众带来高水准的馆藏和展览。《FRAMED》中的国家级摄影作品及展览设计，提升了美术馆的地位与形象，为美术馆开启了全新的篇章。”

“With FRAMED, Lillehammer Art Museum continues a tradition of photography exhibitions dating back to 1991. However, this exhibition holds much greater significance for us: it marks nothing less than the beginning of a new chapter in the history of our museum. After all, what more could a museum wish for its audience than a new, extensive, and high-caliber collection that is not only unique on a national level but also significantly expands the identity and profile of our museum, opening countless possibilities for the future? With the opening of FRAMED, that is precisely what is happening,”says Dr. Nils Ohlsen, Director at Lillehammer Art Museum.

展览现场，摄影：Calle Huth

Installation views, photos by Calle Huth

展览设计围绕“frame”展开（意为“帧”，“框架”，“裱框”等），从场地设计到视觉识别系统，以“frame”为物理和象征边界，聚焦于“语境”（context）和“边缘”（periphery）。“frame”贯穿整个展览，镜头下的城市定义了我们所见的一切，同时也暗示着镜头之外的种种。

展览现场，摄影：Calle Huth

Installation views, photos by Calle Huth

The central design concept for the exhibition is the "frame," which influences both the exhibition design and visual identity, serving as a physical and symbolic boundary, focusing on context and periphery. This theme permeates the exhibition, where city frames define what is seen and hint at what lies beyond.

"盥洗室"，摄影：Calle Huth

"Washroom", photos by Calle Huth

《FRAMED》展览所呈现的大都市氛围与利勒哈默尔的小镇气息迥然不同。为了弥合这种差异，Snøhetta设计了名为“washroom”（意为“盥洗室”）的过渡区域，在正式的展览体验之前，向观众们预告摄影作品的风格。这个过渡展厅内布有两个装置，共同引导观众在认知和情感上投入到展览氛围之中：影像装置利用灯光展现城市的脉搏，比如汽车在十字路口穿行和停靠的景象；另一个装置则以透明和反射为主题，展现了两者独立又彼此相融的暧昧关系。

The FRAMED exhibition contrasts with Lillehammer's small-town charm. To bridge this gap, Snøhetta designed a "washroom," a transition zone that prepares visitors for the experience, offering stylistic elements that they find in the pictures shown in the exhibition. One of them is a video installation using lights to communicate the city's pulse, such as cars driving and stopping at intersections. Another installation plays on the perception of transparency, reflection, and a combination of both. Together they guide visitors intellectually and emotionally into the exhibition's atmosphere.

展览入口，摄影：Calle Huth

Exhibition entrance, photo by Calle Huth

展览入口以发光的箭头标志，致敬城市街头常见的霓虹灯。一楼展厅，空间宽敞，布局灵感源自于网格状城市规划，以及贯穿其中的对角线设计。连接一楼与二楼的楼梯呈现对角线元素，从概念和物理空间上连接了上下两层的参观路线，加强了展览的整体性。

象征城市正交网格及对角线的楼梯，摄影：Calle Huth

A staircase representing city grids and diagonals, photos by Calle Huth

When entering the exhibition, the lighted arrow marking the entrance, is an homage to the neon signs characteristic of inner-city streets. The layout of the first-floor's large space is inspired by the typical city grids and diagonals running through it — here represented by a staircase, which also connects the first and second floors, tying the exhibition together in an uninterrupted sequence. 

“暗房”，摄影：Calle Huth

The "photo lab", photos by Calle Huth

二楼的展厅划分成三个区域，入口设计受到Ed Ruscha的作品启发，融入了美国地下铁路系统的元素。出口处则被塑造成一条由灯光映射而成红色通道。在都市体验之后，观众们穿过这个摄影冲洗暗房，重新回到利勒哈默尔小镇。

The second floor features three sequential spaces, including an entrance inspired by Ed Ruscha's work and elements evoking the American subway system. At the exhibition's end, visitors pass through a red-lit passage, reminiscent of a photo lab, before returning to Lillehammer, enriched by the big city experience.

展览现场，摄影：Calle Huth

Installation views, photos by Calle Huth

在城市生活中，字体排印与设计是城市环境的重要象征，既勾勒了城市形象和氛围，也传承了城市的历史、文化与愿景。它们不仅仅是指引方向的工具，更是城市的叙事者。标识符号定义了街道，使居民和游客对环境产生熟悉感，逐步体验和解读城市生活。在《FRAMED》展览中，字体排印的设计灵感源自美国城市的标识，特别是纽约。展墙文字及相关视觉设计，分别指向两个方向，如同由标识所指引的城市生活。

展览现场，摄影：Calle Huth

Installation views, photo by Calle Huth

The exhibition's visual identity draws inspiration from American city typography and signage, particularly New York. In city life, typography shapes the character of the urban landscape, contributing to its identity and atmosphere while also conveying the city's history, culture, and aspirations. In FRAMED, the typographic design is inspired by city signage — texts pointing in two directions, much like how city signs frame the urban living experience. Signage in big cities functions as a framework for experiencing and understanding city life — not only as directional guidance but also as a storytelling tool, framing streets and avenues with symbols that shape how residents and visitors perceive their surroundings.

教育空间，摄影：Calle Huth

The educational space, photos by Calle Huth

展览出口附近设有教育空间，墙上1:1的绘画还原了美国城市景观中的标志性元素，比如出租车和玩耍的孩童，以抽象的方式呼应摄影作品的主题。展览欢迎不同的观众群体，希望每个人都能沉浸于艺术、文化和历史之中，也期望通过教育空间吸引更多年轻观众。

展览衍生品 - 帆布袋、T恤，摄影：Calle Huth

FRAMED tote bag and T-shirt, photos by Calle Huth

An educational space at the end of the exhibition features a 1:1 scale hand-painted line drawing depicting iconic urban scenes from American cityscapes — like taxis and children playing — that echo the themes of the photographs in an abstract way. As the exhibition is open to everyone, the education room is designed to engage and attract younger audience and showcase that art, culture, and history can and should be available and exciting for all.

《Framed：美国城市影集1907–2012》，摄影：Calle Huth

Framed — American Urban Photography 1907–2012, photos by Calle Huth

《Framed：美国城市影集1907–2012》梳理了展览中的作品以及背后的策展理念。这些极具时代意义的摄影作品，以书籍的形式，成为了历史的见证。

The book Framed — American Urban Photography 1907–2012 will become a lasting testament to this historically significant event — for the collection and the exhibition itself. The coffee table book documents the works in the collection and the ideas and thinking behind the curatorial approach.

《Framed：美国城市影集1907–2012》，摄影：Calle Huth

Framed — American Urban Photography 1907–2012, photos by Calle Huth

Snøhetta资深设计师Henrik Haugan谈到：“我们感到很荣幸可以为展览设计一本书。展览总是有时限性的，但书籍却能让展览久存在某人家中。这也是书的意义——可以让未来一代有机会体验这个展览，就像我们通过摄影作品体验过去一样。”

"It is always a pleasure and a privilege to be given the opportunity to design a book to accompany an exhibition. Exhibitions in their original physical form have a limited lifespan. A book makes it last forever in someone's home – which is quite an extraordinary thought. It showcases the value of books, allowing coming generations to experience the exhibition like we experience the past through the photographs." says Henrik Haugan, Senior Designer at Snøhetta.

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