Čoarvemátta文化和教育中心/Snøhetta+70°N

Čoarvemátta文化和教育中心/Snøhetta+70°N arkitektur+Joar Nango
Čoarvemátta Cultural and Educational Hub / Snøhetta + 70°N arkitektur + Joar Nango

卓越的设计融合：这个项目展现了建筑设计的卓越性。将剧院和学校巧妙地结合在一起，不仅体现了建筑师的创新思维，更是对不同功能机构融合的成功尝试。建筑的设计充分考虑了当地的萨米文化和自然景观，从驯鹿角的象征意义到传统手工艺品的资源利用原则，都融入到了建筑的各个方面。其分支状的结构和独特的室内外空间设计，为使用者创造了丰富多样的体验场所。

可持续的建筑典范：该项目符合被动式房屋标准，在能源利用方面表现出色。通过地热井实现了高比例的能源自给自足，同时对施工过程中的土壤进行保护和再利用，体现了对环境的尊重和可持续发展的理念。此外，景观设计与建筑自然相接，恢复高原景观的策略为建筑与自然的和谐共生提供了范例。标牌和寻路设计以及委托艺术品的加入，进一步丰富了建筑的文化内涵。

建筑师提供的文字描述Snøhetta与70°N建筑和艺术家Joar Nango在2021年的萨米剧院和学校新建筑建筑竞赛中共同提交了获奖方案。现在，这座著名的建筑已经落成。Čoarvemátta这个名字来源于萨米语中角和根的意思，是驯鹿鹿角最里面、最强壮的部分。这象征着不同的品质和优势，代表了团结的元素，因为Čoarveta将成为共享该建筑的机构的统一力量：萨米人国家剧院Beaivváš和萨米人高中和驯鹿牧民学校。
Text description provided by the architects. 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.

Snøhetta创始合伙人Kjetil Trædal Thorsen说：“我们很自豪能为这座期待已久的重要建筑做出贡献。对于建筑师来说，剧院和驯鹿放牧学校相结合是一个有趣的项目。这证明了两个不可互操作的机构成功地连接在一起，这是一个良好的建筑。该项目还非常好地利用了资源，这在萨米传统手工艺品duodji中也起着至关重要的作用，在那里，动物的一切都可以用于某些东西——皮肤、鼻孔和角——这是一条重要的原则。”。“驯鹿角的最内层也象征着不同的品质和力量，代表着团结的元素，因为我们希望Čoarvemátta将成为共享该建筑的机构和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 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."

设计和建筑-新建筑位于挪威最大、最北端的高原Finnmarksvidda中部的Kautokeino。建筑的所有四个立面都与以不同方式围绕它的各种景观空间有关。该建筑位于景观中的较低位置，其比例与周围的山丘和高度相协调，没有与有机形式相冲突的锐角。两侧（北、南）的倾斜屋顶最大限度地减少了从远处看项目的高度效应，同时创造了从西南方向进入的入口情况。新的共享空间呈分支状，中央有一个主入口和门厅，为学校和剧院的用户创造了一个聚会场所。从这里开始，建筑主体向三个方向延伸——每个方向都有一个侧翼，分别用于剧院、工作室和教学室，以及学校的行政管理。曲线、带天窗的门厅（如reahpen）、烟洞、Design and Architecture - 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. 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, the 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. "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.

© Lars Petter Pettersen

材料和颜色-建筑的立面由覆盖着矿石松的立木制成。巨大的屋顶面积为4930平方米，覆盖着34000米的kebone。剧院山墙上的阿尔塔石板已被拆除的村庄旧小学重新使用。在门厅和走廊内，抛光的混凝土地板模仿了建筑外的地面，有各种灰色和绿色色调的当地开采的石头元素，包括板岩和masi石英岩。建筑的中心，围绕门厅、门厅和剧院大厅，涂上了温暖的红色色调。然后，离光源越远，配色方案就越冷，建筑两侧的每一端都有蓝色调。不同配色方案中的门、墙和地板之间的对比明显参考了萨米人对颜色的使用。这与建筑的外观形成了强烈的对比，一年中大部分时间都是白色的。
Materials and color - 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. 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.

© Lars Petter Pettersen

景观-建筑的分支形状自然形成了三个室外空间。朝南的一个构成了主入口和它前面的一个空间。前院是一个亲密的圆形空间，有arrán、一个火坑、坐石和一个圆形剧场。坐石取自外面的高原，这个灵活的房间可供学校和剧院使用。这里使用的阿尔塔板岩来自建筑工地附近的一个采石场。剧院翼另一侧的室外区域用于学校的建筑交易车间，在视觉上和芬马克斯维达的盛行风向和恶劣天气下都有遮挡。大楼以北，为驯鹿围栏留出了大片区域，围栏与大楼内的驯鹿放牧部门直接相连，由当地专家建造。东侧，高原与建筑自然相接，地形和植被尽可能靠近建筑保存。
Landscape - 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 the school and the theatre. The Alta slate used here comes from a quarry near the construction site. 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.

天然地暖-Čoarvemátta符合被动式房屋标准的要求，这意味着该建筑质量很高，室内气候良好，能耗极低。得益于在地下约250米处钻了40口地热井，该建筑在供暖和制冷方面实现了90%的能源自给自足。这些井提供两台热泵，既为建筑物供暖又制冷，而能量井的换热器则将多余的热量再次排放回去。在最寒冷的冬天，该系统会配备一台电锅炉。在整个施工现场，必须清除的土壤得到了保护，顶层被临时储存，随后被归还给建筑物周围的所有表面，这样种子库就完好无损了。恢复高原景观需要时间，但由于具有新根的新植物会阻止原始种子发芽，因此是允许的。在前院，NIBIO在芬马克收集的少量草籽已经播种，这是为了让前院更快地变绿。高级景观建筑师Thea Kvamme Hartmann说：“萨米文化没有将景观融入公园和城市空间的传统。当你走出拉夫沃时，你就直接进入了大自然——在景观中。”。“因此，该项目的大部分内容都是关于制定一项战略，说明如何在施工期结束后对该地区进行植被重建，并使高原恢复环绕建筑物。”
Natural ground heating - 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 for 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. Over the entire construction site, soil that has had to be removed has been preserved, and 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 the forecourt to turn green faster. "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."

标牌和寻路-Snøhetta还制定了标牌和寻道计划，该计划遵循项目的视觉性，并与建筑、室内和景观设计相辅相成。它主要是功能性的，但与建筑一样，它也微妙地提到了传统工艺和材料的使用。这些标志由粉末涂层钢和松木制成，包括排版和象形图在内的图形元素反映了建筑的线形。为了满足多语言（北方、南方、露勒萨米和博克马尔）的要求，图像学被广泛用于远距离可读性。委托艺术品-挪威国家公共空间艺术专业机构KORO负责Čoarveta的艺术品采购。新建筑共创作了六件新艺术品。经过一场闭门比赛，MáretÁnne Sara（生于1983年）受邀设计剧院的舞台幕布。Britta Marakatt Labba（生于1951年）是萨米最著名的当代艺术家之一，她创作了Miin Duoddarat/Our Plains刺绣作品，直接参考了剧院的历史。除了新作品外，萨米最著名和最有影响力的两位艺术家Aage Gaup（1943-2021）和Iver Jåks（1932-2007）的两件更大的现有艺术品也从旧校舍搬到了新校舍。
Signage and wayfinding - Snøhetta has 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. 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). Commissioned artworks - 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.