SAMI CULTURAL CENTRE ARCHITECTURAL COMPETITION PROGRAMME 13 April 2008

contents

1. INVITATION TO THE COMPETITION 1.1 Competition Promoter, Nature and Purpose 1.2 Eligibility of Entrants 1.3 Prizes and Purchases 1.4 Competition Jury 1.5 Competition Programme Approval 1.6 Delivery of Competition Programme Documentation 1.7 Languages of the Competition 1.8 Conclusion of the Competition’s First Stage 1.9 Competition’s Second Stage

2. COMPETITION PROCEDURES 2.1 Programme Documentation 2.2 Questions Concerning the Competition 2.3 Results of Competition, Evaluation, Announcement of Winners and Exhibition of Prize-winning Entries 2.4 Follow-up Actions Resulting from Competition 2.5 Competition Entry Right of Use 2.6 Return of Competition Entries 2.7 Insurance of Competition Entries 2.8 Competition Rules

3. COMPETITION TASK 3.1 Sami Cultural Centre 3.2 Sami Cultural Tradition and Its Interpretation 3.3 Competition Area 3.4 Target Cost and Scope 3.5 Design Guidelines for the Sami Cultural Centre 3.6 Objectives of the Competition 3.7 Room Programme 3.8 Judging Criteria Used to Evaluate Competition Entries

4. INSTRUCTIONS FOR THE PREPARATION OF SUBMISSIONS 4.1 Required Documentation 4.2 Presentation of Entries 4.3 Entrant Anonymity 4.4 Submission of Entries

1 1. INVITATION TO THE COMPETITION

1.1 COMPETITION PROMOTER, States, and to citizens from those divided among the winning entries and NATURE AND PURPOSE countries that have concluded the GP purchases. Agreement with the European Union, ac- Senate Properties is organising a gen- cording to each country’s currently val- According to its competition rules, the eral two-stage architectural competi- id agreements and laws. At least one of Finnish Association of Architects will tion for the design of the Sami Cultural the members participating in the design charge 7% of all prize and purchase Centre to be built in Inari, Finland. team preparing the competition entry money. Prizes will be awarded through must be legally entitled to practice the the Finnish Association of Architects. Facilities for the Sami Parliament, the profession of architecture in his or her The Finnish Association of Architects Educational Center of Sami Area, Sami respective country. has applied for tax-exempt status for Library in Inari, Sami associations and the entire prize sum in 2008. common-use activities will be built in 1.3 PRIZES AND PURCHASES the Sami Cultural Centre. 1.4 COMPETITION JURY The total sum of money for prizes and The purpose of the architectural com- purchases will be EUR 100,000, distrib- Members of the Competition Jury: petition is to fi nd an architectonical- uted as follows: Senate Properties: ly high-level solution for the Sami - Managing Director Aulis Kohvakka, Cultural Centre that will be located in 1st Prize EUR 35,000 Chairman the village of Inari along the shore of 2nd Prize EUR 25,000 - Director Risto Rautiola, the Juutuanjoki River. 3rd Prize EUR 20,000 Deputy Chairman 2 purchases, each EUR 10,000 - Chief Architect Marjatta Erwe, The competition is being arranged in Architect SAFA two stages. The purpose of the 1st stage By unanimous decision, the Competition - Facilities Manager now being announced is to fi nd archi- Jury may revise these denominations Tanja Rytkönen-Romppanen, tectonic and functional concepts capa- according to the competition rules of Architect SAFA ble of further development; it is there- the Finnish Association of Architects - Budget Counsellor Pekka Pelkonen, fore an ideas competition. (SAFA). Ministry of Finance

Approximately 3-5 feasible entries will Entrants invited to the 2nd stage will each Sami Parliament: be invited in the 2nd stage, in which par- be given an equal share from a sum to- - Administrative Manager ticular attention will be paid to the de- talling EUR 75,000. Prizes and purchas- Juha Guttorm velopment of the entries’ functional es will be distributed at the conclusion - Member Pekka Aikio and economic characteristics. of the entire competition. Municipality of Inari: 1.2 ELIGIBILITY OF ENTRANTS By unanimous decision, the Competition - Technical Director Arto Leppälä Jury may decide not to organise the 2nd The competition is open to all citizens stage of the competition. In that case the Appointed by the Finnish Association from the European Union’s Member entire prize sum of EUR 175,000 will be of Architects: 2 - Professor Juhani Pallasmaa, proved this competition programme 15/08 of the European Community’s Architect SAFA and its appendices. offi cial bulletin according to the GP - Architect SAFA, Anssi Lassila agreement. 1.6 DELIVERY OF COMPETITION Expert advisors: PROGRAMME DOCUMENTATION 1.7 LANGUAGES OF THE COMPETITION - Counsellor of Construction Tuulikki Terho, The competition programme’s appen- The languages of the competition are Ministry of Education dices will be available as of 15 April Finnish and English. - Ministerial Counsellor 2008 from the following address: Mirja Kurkinen, Ministry of Justice 1.8 CONCLUSION OF THE - Professor Veli-Pekka Lehtola, Finnish Association of Architects COMPETITION’S FIRST STAGE Giellagas Institute, (SAFA) University of Oulu Runeberginkatu 5 The 1st stage of the competition will - Real Estate Manager FI-00100 Helsinki, Finland conclude 30 June 2008. Lasse Porsanger, Fax: +358 9 5844 4222 Senate Properties E-mail: kilpailut@safa.fi 1.9 COMPETITION’S SECOND STAGE

The Secretary to the Competition Jury www.samediggi.fi / kilpailu and The competition’s second stage will be- is Architect Katriina Jauho la-Seitsa lo, www.samediggi.fi /competition gin 1 September 2008 and conclude 3 ISS Proko Oy. ISS Proko will prepare October 2008. the cost and scope calculations. The competition programme and its ap- pendices are free of charge. The com- The professional members of the Jury petition programme and its appendices according to SAFA’s competition rules can be ordered on a CD-ROM disc from are Marjatta Erwe, Tanja Rytkönen- the address of the Finnish Association Romppanen, Juhani Pallasmaa and of Architects shown above. Anssi Lassila. The competition programme, appendi- The Competition Jury also reserves ces, questions submitted by competi- the right to consult other experts as tors and the answers to them provid- it sees fi t. ed by the Competition Jury, a list of the coded pseudonyms received, and infor- 1.5 COMPETITION PROGRAMME mation about the competition’s results APPROVAL can be obtained free of charge from the above Internet addresses. The Competition Jury and the Competition Committee of the Finnish There has been an announcement of the Association of Architects have ap- competition’s organisation in issue No. 3 2. COMPETITION PROCEDURES

2.1 PROGRAMME DOCUMENTATION Reference in subject line: “Sami dress. The competition proposals will Cultural Centre” be displayed at the above-mentioned This competition programme, including Internet addresses as soon as possible the following appendices: Questions and the Competition when they have been received. 1. Map of Inari Jury’s answers will be posted at the 2. Excerpt from the map of the town competition’s Internet address on 2.4 FOLLOW-UP ACTIONS RESULTING plan ratifi ed 10 December 1987 15 May 2008 (See Section 1.6). FROM COMPETITION and boundary of competition area 3. Base map with surface level control 2.3 RESULTS OF COMPETITION, The Competition Jury will recommend information EVALUATION, ANNOUNCEMENT that the design commission be award- 4. Photographs of the competition area OF WINNERS AND EXHIBITION OF ed to the competition winner based on 5. Aerial photographs of the area PRIZE-WINNING ENTRIES the competition results. 6. “Sami Visual Landscapes, Construction and Form Language” The Competition Jury will attempt The design of the Sami Cultural Centre Veli-Pekka Lehtola, Giellagas Institute, to reach a decision within two will begin in early 2009 and construc- University of Oulu months following the conclusion of tion will begin during 2010. The plan- the competition’s 2nd Stage. ning will utilise product modelling and 2.2 QUESTIONS CONCERNING THE the designing language will be Finnish. COMPETITION All competition entries will be judged The chief designer responsible for the and divided into classes. Although implementation design shall have the Competitors may request clarifi cations every eff ort will be made to provide AA competency defi ned in Part A2, and additional information concerning written assessments for all compe- Section 4.2 of the Finnish Building the competition programme. Questions tition entries, the Competition Jury Regulations as well as suffi cient expe- shall be addressed to the Competition shall reserve the right to provide rience as a chief designer. Jury and shall be submitted in writing to only a limited number of written as- the Secretary of the Competition Jury by sessments if the number of submis- 2.5 COMPETITION ENTRY 30 April 2008 (postmark) to the following sions is exceptionally large. RIGHT OF USE address: Following the conclusion of the Prize-winning and purchased compe- Katriina Jauhola-Seitsalo competition, all competition en- tition entries will remain the property ISS Proko Oy tries will be exhibited publicly at of the Competition Promoter; the copy- Takomotie 8 the Sami Museum and Northern right will reside with the author of the FI-00380 Helsinki, Finland Lapland Nature Centre SIIDA in entry. The Competition Promoter and Envelopes should be marked: “Sami Inari. Immediately following the SAFA may use the competition entries Cultural Centre” conclusion of the competition, the for research and communications pur- competition results and the minutes poses only. or by E-mail: of the Competition Jury will be post- katriina.jauhola-seitsalo@iss.fi ed at the competition’s Internet ad- 4 3. COMPETITION TASK

2.6 RETURN OF COMPETITION ENTRIES 3.1 SAMI CULTURAL CENTRE performances. In terms of their content and spatial confi gurations, these over- Competition entries will not be re- The Sami are the European Union ar- lapping sub-functions will be mutually turned. A competitor will have the op- ea’s only indigenous people. There are supportive. portunity to request the return of his over 75,000 Sami; the area they in- or her competition materials at the habit stretches from central Norway The decision has been made to build conclusion of the exhibition accord- and Sweden, through the northern the cultural centre in the village of ing to the instructions provided on the part of Finland to the Kuola Peninsula. Inari, generally considered to be the Competition Promoter’s website. Approximately 9,000 Sami live in administrative and cultural centre for Finland; more that half of the Sami the Finnish Sami. Besides the Sami 2.7 INSURANCE OF COMPETITION speak a Sami language. Parliament, the Sami Museum and ENTRIES Northern Lapland Nature Centre SIIDA, The main purpose of the Sami Cultural the Educational Center of Sami Area and The Competition Promoter will not in- Centre will be to enhance the Samis’ the Finnish Broadcasting Company’s sure competition entries. ability to independently maintain and (YLE) Sami unit (Sami Radio) are also develop their culture, language and located in the village of Inari. Although 2.8 COMPETITION RULES community life, manage and nurture the Sami Cultural Centre will be de- their linguistic and cultural autonomy, signed as a part of this entity, duplicat- This competition programme and as well as support the development of ed functions will not be created; these the competition rules of the Finnish their living conditions. Improving the institutions and organisations will sup- Association of Architects (SAFA) (www. possibilities for disseminating and ob- port each other. safa.fi ) shall be followed this competi- taining information about the Sami as tion. an indigenous people will be another The Sami Cultural Centre’s many sub- objective of the cultural centre. functions will enhance the region’s at- tractiveness, inhibiting the tenden- The Sami Cultural Centre will symbol- cy of Sami youths to move away from ise the Finnish Samis’ autonomy as well their own home districts. Besides off er- as their vital and developing culture. ing educated Sami youths new employ- The cultural centre will be primarily in- ment possibilities, the cultural centre tended for the Samis’ own use, a place will also bring together Sami profes- for meetings and encounters, an inde- sionals from various fi elds, support- pendent activity centre conveying a ing their eff orts to act as trend-setters strong sense of the Sami identity. The for the Sami community, yet advancing cultural centre will be a Sami parlia- Sami society with a respect for tradi- ment house, a concentration of culture, tional values, self-awareness and exper- education and skill resources, as well tise. The project will also have positive as an events venue for various types of eff ects on the area’s employment, eco- meetings, music, cinema and theatre nomic vitality and social welfare. 5 Sami Parliament has also considered this necessary. dwellings with the wilderness. For the Sami, a building’s immediate environ- The Sami Parliament was established 3.2 SAMI CULTURAL TRADITION AND ment is an important extension of its in 1996, replacing the Sami Delegation ITS INTERPRETATION interior space. The Sami are used to ad- formed in 1973. The Sami Parliament is justing to varying weather conditions the autonomous body representing the The Sami Cultural Centre will be high- and seasonal fl uctuations. The rela- Sami in Finland. The Sami Parliament’s ly symbolic for the entire Sami com- tionship to the immediate surround- supreme power is exercised by its 21- munity. The main purpose of the build- ings also refl ects a certain “inviolabil- member General Assembly. These 21 ing will be to nurture the Sami culture ity” and open-endedness. representatives and 4 deputy repre- ‒ contemporary, vital and evolving, yet sentatives are chosen in elections held with a respect for tradition ‒ in a way The guiding concept for the building’s among the Sami every four years. that manifests itself in the building’s architecture, form language and interi- functions, architectonic character and ors should be the “ideology” ‒ centuries The Sami Parliament’s General selection of materials. The architecture old, passed from one generation to the Assembly elects a 7-member board should express the building’s role as a next, provenly durable and workable ‒ from among its members one term at a meeting place for culture, politics, ad- expressed in the Sami handicrafts tra- time. The Board acts under the jurisdic- ministration and education as well as ditions: Sámi Duodji. Over time, move- tion of the Sami Parliament’s General the Samis’ typical sense of community ment and a lifestyle that uses nature Assembly; its tasks are to assume re- and the comprehensiveness of their life- sparingly have shaped Sami handi- sponsibility for the Sami Parliament’s style. Providing practical, workable and crafts. It has been aptly described as political activities and manage the straightforward solutions appropriate practical art. What is essential is the preparations for its General Assembly. to their purposes is essential. seamless integration between aesthet- ics and practicality ‒ beauty serving The Educational Center of Sami Area The cultural centre should also con- the object’s functional purpose. vey the Samis’ sense of space. The Sami The task of the Educational Center of have generally not made a sharp dis- The building’s architecture and form Sami Area is to provide education pri- tinction between outdoor and indoor language should refl ect Sami musical marily to meet the needs of Sami areas, space. “Outside on the inside” thinking traditions and its age-old ways of ex- preserve and develop Sami culture, and is part of their traditions. The fells are pressing the community’s social rela- promote the production of Sami-lan- never far away from a Sami’s thoughts; tionships, sense of belonging, its hum- guage teaching materials. The institu- the building’s interiors should thus be ble and respectful relationship to the tion is state-owned and it is domiciled spacious and luminous, their connec- natural surroundings as well as the in the Municipality of Inari. tion with the natural surroundings di- background of shared experiences and rect and natural. history. Traditional Sami music artful- The Universities of Oulu and Lapland ly paints a picture of the Samis’ mental have decided to undertake co-oper- The starting point for a concept of the landscape that includes a relevant mes- ation with the Educational Center of Sami cultural environment is to con- sage for the Sami. (See also Appendix Sami Area; the Ministry of Education trast the familiar nature surrounding No. 6.) 6 3.3 COMPETITION AREA Bridge. The size of the site is approxi- ern side of the river is, except for a few mately 3.58 ha. scattered buildings, wilderness-like. A 3.31. Village of Inari gently sloping rapids begins at the cul- The Municipality of Inari’s objective is tural centre site. Large and dotted with islands, Lake to develop tourism in the area, and the Inari dominates the village of Inari’s municipality has acquired land in sev- Along the river are fresh heaths; along landscape. Approximately 460 of the eral locations, including a tract on the Kittiläntie they are somewhat dryer. In municipality’s 7,000 residents live north side of the Juutuanjoki River. The between is a built-up area. The river’s within the village’s boundaries. Passing goal will be to zone as much as 20,000 banks are steep, and the levelled hous- through is Highway E4 that functions ‒ 30,000 m2 for tourism-related activ- ing area is located a few metres high- as the village’s main thoroughfare. ities. As these building objectives de- er than the forested riverside. A gravel- velop, the Sami Cultural Centre will as- covered recreational path follows the Because 85% of Inari’s building stock sume a more centralised position as banks of the Juutuanjoki River. was destroyed in the Lapland War, most the functional centre of gravity shifts of the existing buildings date from the towards the north. The municipality’s Growing on the site of the cultur- period of post-war reconstruction. The plans are still however in the schematic al centre are a few 200-300-year-old overall appearance of Inari’s current stage, and drawings are not available. wide-crowned pines; one of which is building stock is inconsistent and visu- a legally protected tree located on the ally confusing. East of Kittiläntie, the Inari harbour lo- Kiianpuisto side. Besides the protected cated at the delta in the Juutuanjoki tree, as many trees as possible should 3.32 Building site River is a signifi cant centre for plea- be retained because they grow slowly sure boats and fi shing. An annual fi sh- and the existing trees have become ac- The building site reserved for the Sami ing event held in July attracts a couple climated to the wear to which they are Cultural Centre is located in the centre of hundred boats. In the future as well, subjected in a populated area. of the village of Inari along the banks the intent will be to utilise the harbour of the Juutuanjoki River. The landscape area as a support base for house trail- Building stock of site and surroundings is dominated by Kortevaara in the west ers, boaters and snowmobilers. and Lake Inari in the east. The school building (1949) on the op- Site’s landscape characteristics posite side of the highway represents The site is bounded in the east by the village’s oldest building stock. Inarintie (Highway E4, the “Arctic The sparsely populated centre of the Diagonally across the river and bridge Corridor”), in the south by Kittiläntie village of Inari follows the alignment of is the Sami Museum and Northern and in the west by a park and housing the highway. The village is concentrat- Lapland Nature Centre SIIDA designed sites. The intersection of Inarintie and ed on the south side of the Juutuanjoki by Professor Juhani Pallasmaa. SIIDA Kittiläntie at the site’s southeastern River. The village centre’s current land- was opened to the public in 1998. corner is an important traffi c node; at mark and visual terminus is the school the northwest corner the state highway building on the opposite side of the The health building located on the site continues over the Juutuanjoki River highway. The landscape on the north- was constructed in 1946-49 and the 7 apartment building in poor condition 3.33 Zoning situation, town plan and lines for the wooded areas to be preserved is from the 1970s. The service build- building rights on both the Kittiläntie and river sides. ing on the sports fi eld dates from the 1960. The Municipality of Inari is com- The Northern Lapland Regional Plan In the town plan, the Juutuanjoki River is mitted to moving the sports fi eld’s ac- ratifi ed in 2007 does not supersede the marked: “part of area reserved for public tivities to another location. The health existing Master Plan or Town Plan, but pedestrian and cycle traffi c”. The area of building, day-care centre and apart- it should be taken into account when the Municipality of Inari is hundreds of ki- ment building will be demolished and they change. In the Regional Plan the lometres in length and contains a popular replacement functions will be built village of Inari is marked as a concen- network of snowmobiling routes; part of elsewhere. tration of Sami culture and administra- the riverfront area has been zoned for that tion as well as a development area for purpose. Site’s technical characteristics tourism supported by local culture. 3.4 TARGET COST AND SCOPE In 2002 an ecological survey was car- In the currently valid town plan the ried out for the village of Inari’s sur- site designated for the Sami Cultural A procurement plan made for the Sami roundings. The water surface of Lake Centre is a site area for general build- Cultural Centre was completed in the Inari will be regulated, but the eco- ings where a 6,000 m2 building no spring of 2007. The room programme’s logical survey indicated that the more than three storeys in height can area is 3,070 m2; the estimated room area Juutuanjoki River’s water level does be built. The amount is suffi cient for is 3,830 m2, the estimated gross fl oor area not fl uctuate signifi cantly at the vil- the building now being planned. The is 4,670 m2 and the estimated volume is lage’s location. necessary building rights will be ap- 20,550 m3. The target cost, based on the proximately 4,300 m2. 1/2008 price level, is EUR 11,000,000 The site has electrical, water sewage (VAT 0%). connection for the existing buildings, 3.34 Traffi c and parking but their conditions and capacities will 3.5 DESIGN GUIDELINES FOR THE SAMI be reassessed and built to meet the cul- The location of parking spaces is indic- CULTURAL CENTRE tural centre’s needs. ative. At least one parking space per 70 m2 should be built. The main connec- 3.51 General A soil investigation carried out on the tion to the site will be on the western site indicates that building conditions side from Pystykorvantie, but in the The building’s main spaces are the public are good and that buildings can be town plan for example, the approximate facilities ‒ congress, fi lm, the performance ground-supported directly on the bear- location of a vehicular connection has and multipurpose room, library and res- ing soil. Because radon appears in the been indicated along Kittiläntie for ser- taurant ‒ grouped around the multipur- area, the building will be equipped with vice traffi c or public traffi c taking place pose and services lobby. These spaces are radon piping. in connection with large-scale pub- the meeting places for ordinary Samis of lic events. The town plan has also des- all ages, lively places to foster the use of ignated a pedestrian and cycle route the Sami language and forge social con- along the riverfront as well as guide- tacts. The performance and multipur- 8 pose spaces are used for cultural activ- diction of the Sami Parliament. The are auxiliary functions and staff facili- ities and events organised by the Sami primary task of the language offi ce is ties serving its operations. The rooms Parliament, as teaching spaces by the to oversee the delivery of translations will be located in connection with the Educational Center of Sami Area, as well compliant with the Sami Language Act Sami Parliament’s administrative facil- as for meetings, congresses and celebra- to various public authorities and insti- ities, but in a diff erent access control tions. The facilities can also be rented to tutions, as well as assist them in the area that will facilitate their common outside users. procurement of Sami-language inter- use with, for example, the Educational preters. Center of Sami Area and the Sami as- Administrative and educational facilities sociations. The facilities reserved for will be grouped in their own areas, how- The task of the offi ce for educational project workers can also be rented to ever in such a way that the shared use of and teaching materials is to manage other building users or outside parties. the offi ce’s auxiliary spaces (copier and Sami education and teaching, as well as printout rooms, break rooms, and simi- matters concerning the production of State Provincial Offi ce of Lapland lar functions) will be convenient and nat- Sami-language educational materials. ural. Meeting rooms will be located in a The tasks of the State Provincial Offi ce conference centre. All organisations op- The general offi ce, language offi ce and of Lapland educational department’s ed- erating within the building will be able offi ce for educational and teaching ma- ucational inspector maintaining an offi ce to reserve the facilities; outside organi- terials are all part of the administra- in connection with the Sami Parliament’s sations or private individuals will also be tive facilities; the rooms should be lo- offi ce include the teaching of the Sami able to rent the meeting rooms. cated in close proximity to each other language in areas falling under the ju- and preferably in the same access con- risdiction of the State Provincial Offi ce Besides the Educational Center of Sami trol area. In the room programme, proj- of Lapland as well as matters related to Area, the Indigenous Film Centre and ect workers’ spaces, nearby conference the legal protection of elementary school Sami Children’s Cultural Centre will also areas and the offi ces’ nearby storage pupils and upper secondary school stu- utilise the media and music teaching fa- rooms are listed under the general of- dents in Sami areas. cilities. fi ce’s heading, but the spaces can be used by other units and the storage Workspace for this offi cial will be re- 3.52 Sami Parliament rooms divided appropriately. served in close proximity to the Sami Parliament’s common-use facilities. General offi ce, Sami language offi ce, offi ce The offi ce for educational and teaching for educational and teaching materials materials’ book storeroom and packing Northern Finland Centre of Excellence on The Sami Parliament’s Chairman directs department can also be placed in a lo- Social Welfare’s Sami Unit, Indigenous the Sami Parliament’s political activities gistically sensible location adjacent to Film Centre, Sami Music Centre, Sami and represents the Sami Parliament in the common-use spaces. Cultural Centre national and international connections. A separate Sami language offi ce charged Sami Parliament’s shared facilities The Northern Finland Centre of with the implementation of the Sami Excellence on Social Welfare’s Sami Language Act operates under the juris- The Sami Parliament’s shared facilities Unit operating in Lapland functions ad- 9 ministratively under the jurisdiction of The Sami Children’s Cultural Centre’s rium and possibly in other spaces. A the Sami Parliament in connection with target group includes children and maximum of 8 interpreters is needed the general offi ce and is part of the na- youths under the age of 18. The activi- and interpreters’ booths shall be por- tional centre of excellence network. Its ties will be implemented with, for exam- table. The Educational Center of Sami particular task is to take into account ple, clubs, fi eld trips, camps and work- Area organises training for interpret- the needs of the Sami-language popu- shops. The art forms include drawing, ers. Interpreting may also be required lation. fi lm, recitation, dance and handicrafts, for virtual instruction and in video con- as well as drama and music. ferencing situations. The Indigenous Film Centre Skábma was founded in Inari to produce TV The units’ offi ces will be located in close Meeting rooms will be arranged as a and fi lm programming to meet the proximity to the Sami Parliament’s gen- separate unit that will allow their use re- needs of the Sami and other indigenous eral facilities. The performance, pub- gardless of the cultural centre facilities’ peoples. The centre supports Sami fi lm, lic and shared facilities located in the opening hours, and as a separate ac- TV and media companies by, for exam- building will support the units’ activi- cess control area that can also be rent- ple, arranging fi nancing and resourc- ties. Co-operation will also be carried ed to outside parties. The rooms should es, functioning as an auxiliary produc- out with, for example, the Educational be linked to the building’s public lobby er and providing marketing assistance. Center of Sami Area. (restaurant services, public access to the Its tasks also include the maintenance parliament hall). The sauna suite can be of an archive and data bank system, Assembly and meeting rooms located separately from the other meet- the planning of fi lmmaking education ing rooms, in which case opening hours in co-operation with schools and col- The Sami Parliament’s highest deci- diff ering from the other meeting rooms leges, as well as the organisation of the sion-making body, the 21-member or views from the facilities can possibly Skábmagovat fi lm festival. Parliamentary General Assembly, holds be better taken into account. 4-5 sessions per year. The Parliament The Sami Music Centre currently being hall shall be designed as a dignifi ed Archive and storage facilities established will operate jointly with space that also takes the needs of the the Educational Center of Sami Area. media into account. Parliamentary ses- Archive facilities will be designed for The centre’s employees can function as sions are also open to the public. The the Sami Parliament’s own use. The assistant pedagogues in teaching situa- parliament hall can also be used for design of the terminal archive should tions and guide teachers charged with other separately considered activities comply with archive regulations. If nec- similar tasks. The centre will also share such as, for example, a conference lo- essary the terminal library can be di- its expertise on Sami music with var- cation for other indigenous peoples’ vided into separate sections with lock- ious educational institutions outside organisations, in which case the inter- able shelves or partition walls, allowing the Sami area. The centre develops and preting possibilities can be utilised. a portion of the space to be rented, for plans the Ijahis Idja Indigenous Peoples’ example, to meet the needs of the Sami Music Festival held each year in May in Besides the parliament hall, the ar- associations. The part of the terminal Inari. Currently the Sami Music Centre rangement of interpreting services archive containing election materials does not have its own offi ces. should also be possible in the audito- shall be a separately lockable room. 10 The terminal archive can be located by and common-use facilities. The ing continuously. Co-operation with, separately from the Sami Parliament’s Sami Parliament’s shared facilities will for example, the University of Oulu’s administration facilities. be used as auxiliary staff and offi ce Giellagas Institute, the University rooms. of Lapland and the Sami University Storage facilities will be designed in College at Kautokeino is already brisk connection with the Sami Parliament’s 3.54 The Educational Center of and it will intensify in the future. facilities. Sami Area One of the tasks of the Educational 3.53 Sami associations Teaching and research facilities Center of Sami Area is to promote the production of Sami-language teaching SámiSoster ry The Educational Center of Sami Area’s materials. The Sami Cultural Centre’s media programme teaches fi lm and TV multifaceted publication activities will SámiSoster ry ‒ the association for the work. Besides basic vocational training, be education and research-oriented. Sami social services and health sectors the current emphasis is on further and ‒ follows the Samis’ societal status by supplementary education leading to a Media and music are already being ex- infl uencing legislation, government vocational degree. ploited in Sami-language instruction and the implementation of fi nancing and cultural education. The elements according to domestic law and interna- The Educational Center of Sami Area of storytelling, scriptwriting, the devel- tional agreements. Besides undertak- will be linked to teacher education ac- opment of ideas as well as the presen- ing initiatives and issuing statements, tivities related to Sami music. One the tation of fi lms and their analysis are the association also arranges Sami-lan- objectives will be to train the practitio- being applied in language and cultural guage services in the social services ners of traditional Sami music as mu- education as well as in fi lm and media and health fi elds. sic teachers. Sami music courses of instruction. various types and lengths will also be Sámi Duodji arranged for music professionals and 3.54 Sami Library in Inari Sami youth. Sámi Duodji ry ‒ the association for Sami The Sami Library in Inari links the ac- handicrafts, is a developer and promot- Language instruction tivities of the municipal branch li- er of the Sami handicrafts tradition. Its brary located in the village with the activities include the sales of the associ- The Educational Center of Sami Area Educational Center of Sami Area’s stu- ation’s products, the organisation of ex- teaches the Sami language at several dent library. The Sami Library com- hibitions and courses, as well as educa- diff erent levels and for many kinds of bines traditional service activities with tional work with children and youth. groups. Additionally the school’s voca- the production and dissemination of tional basic degree and adult education digital materials. Besides the associations’ offi ces, sales courses contain, for example, instruc- display space will also be reserved for tion in the Finnish, English and Swedish The Sami Library also functions as a the Sámi Duodji Association. The ex- languages. The need for Russian-lan- daily meeting place for the municipal- hibition area will be linked to the lob- guage instruction in the area is grow- ity’s residents, for its part promoting 11 the active use of the Sami language. ings and events, the multipurpose lob- Approximately 300 seats are needed; a by unifi es the building’s public areas; portion of these will be separate chairs For local residents, the Sami Library is around it are concentrated the library, that can be connected. Space should a space that reinforces their sense of restaurant, auditorium and multipur- be allocated for the portable interpret- community. Nowadays approximately pose hall. Besides serving as an exhibi- ers’ booths as well as the technical re- 50 customers visit the Inari branch li- tion space, the lobby will also function sources required for transmitting the brary daily. The library and its comput- as an audience foyer for the events ar- proceedings to the Nordic countries. er terminals are particularly important ranged in the auditorium and multipur- A built-in mixing console will be locat- for students, but other residents also use pose hall. For large-scale public events, ed in the seating area. Diff erent types the facilities to search for information. the lobby’s coatroom area can be aug- of events require acoustical fl exibility Because the library’s opening hours can mented with portable coatracks. from the hall. A white screen is required diff er from the building’s other opening for fi lm presentations and it should be hours, its placement near the entrance The placement of the property con- possible to darken the space. and information desk is recommended. trol room in connection with the lobby During the day, newspaper-reading ac- combines the information and caretak- Between events the stage will func- tivities can also be extended to the lobby er services with the property’s supervi- tion as a rehearsal space for concerts side. The municipality’s main library in sion and security service. and performances. The stage is a tradi- Ivalo has book storage facilities. Because tional wood-fl oored performance space a bookmobile operating between the Auditorium, multipurpose and with a backstage area, curtain, as well town centres delivers reserved books performance spaces as lighting and scenery tracks. The au- twice a week, extensive book storage fa- ditorium’s stage area should be linked cilities are unnecessary in Inari. The auditorium is of central importance to the multipurpose hall that also func- in the arranging of cultural, conference tions, for example, as press room and Space at the library will be reserved for and training events attended by Sami scenery workshop. the Educational Center of Sami Area’s visitors arriving from diff erent parts student library, space for research ac- of Finland as well as the entire Nordic The multipurpose hall is used in me- tivities such as university co-operation area. Events and celebrations for 80- dia education, free-form study and as a and other study work, as well as for the 600 participants will be arranged in traditional teaching space. Exhibitions, Sami music department’s music listening the auditorium, lobby and multipur- small-scale trade fairs and experimental points. The Center for Saami Educational pose hall on approximately 60-70 days theatre performances can be arranged Material will be located in connection per year. The Educational Center of in the multipurpose hall, which can with the library. Sami Area also uses the space. also be rented for private occasions. In terms of its surfaces the multipurpose 3.55 Common-use facilities The spatial design of the auditorium hall should be an austere “rough” space must take its multi-functional require- providing a high degree of fl exibility. Lobby and public areas ments into account; the hall must ac- The multipurpose hall’s audio equip- commodate lectures, fi lm screenings, ment will be portable. Shaped to suit various types of happen- concerts and theatrical performances. 12 The storages of the auditorium and The positioning of the storage room Air-raid shelters multipurpose hall will be divided ap- should ensure that the unloading of propriately during the design stage. goods and their transfer to users takes An S1-class air-raid shelter will be built Stored in these rooms will be, for ex- place easily and fl exibly. The place- on the site; in peacetime it can function, ample, speakers’ podiums, extra chairs ment of a waste yard facilitating up-to- for example, as a staff area or storage and portable audio equipment; devices date waste sorting should also take the room, not however as the terminal ar- will also be serviced. For the convey- safety and workability of waste man- chive. The facilities located in the air- ance of scenery and other items, the agement traffi c into consideration. raid shelter are specifi ed in the Room stage and multipurpose hall require a Programme. separate entrance with a loading door Besides the heated storage space re- and yard. quired for the property’s management, 3.56 Yard areas and parking unheated storage space is also required Dressing washing and break rooms for such items as the tools and equip- Yard areas and integration with ment used to maintain yard areas. surroundings During events these spaces can be used by performers, at other times by Restaurant The Sami Cultural Centre should form the building’s personnel who use, for a focal point for the village and a work- example, the shower facilities serving Restaurant operations are important able pair with SIIDA as well as the those coming to work by bicycle. The with respect to the organisation of school building that nowadays domi- facilities should have a good connec- meetings and congress events; the res- nates the village streetscape. tion to the performers’ foyer and the taurant is also used as a cafeteria for multipurpose hall. Break rooms, be- the building’s personnel and students. The design of the yard areas should be sides being used for fi rst aid in connec- Approximately 65 people will be work- carried out with a certain informality tion with events, can also be used as, ing in the building. The design of the that respects traditions and the natural for example, a room for an occupation- kitchen should allow for its possible ex- setting and suits the environment. It is al health nurse. pansion. hoped that the placement of the build- ing on the site will unify the now frag- Building’s service facilities The kitchen will be dimensioned as a mentary village streetscape. When de- kitchen for food preparation. During signing the yard areas, competitors The building’s service unit is responsi- the day, the dining area can expand to should also take local conditions into ble for the marketing, sales and book- the lobby side, but it should be possible account. These include the dark and ing of the public facilities. It also man- to close the connection in the evening snowy winter that aff ects, among other ages the organisation of events and and on weekends; for that reason the things, exterior lighting and the yard’s conferences, as well as the building’s restaurant requires a separate entrance service traffi c arrangements, as well as technical, information and caretak- and its’ own customer toilets. The kitch- the short growing season, the result of er services. The facilities should be lo- en’s waste and goods loading facilities which, for example, newly planted trees cated appropriately from the logistical should be placed where they will not attain their full height only after many standpoint. disturb the building’s other functions. years. For that reason existing trees 13 should be retained whenever possible. parking area will not be dimensioned ness of the Sami cultural identity, the on the basis of large single events. In essence of which should be clearly Space in the yard should be reserved these situations parking will be organ- recognisable in the interiors as well. for the construction of a possible per- ised with special arrangements that ex- The building should also convey the formance area; its placement must take ploit the available parking spaces in the personality traits traditionally attribut- the future expansion directions of the immediate surroundings and street- ed to the Sami national character: mod- building or buildings into account. side parking. Parking arrangements esty, taciturnity, reserved and respect- can also be agreed upon with the Sami ful of nature. (See Section 3.2) An “arctic park” featuring plants indig- Museum and Northern Lapland Nature enous to arctic areas will also be imple- Centre SIIDA that has parking spaces 3.62 Environmental and life cycle mented on the site. for almost 70 cars and 8 busses. objectives

Parking spaces and parking 75 parking spaces ‒ 45 equipped with Solution’s effect on running costs and car heater plugs for the building’s per- maintenance expenses Approximately 65 persons ‒ some of sonnel ‒ will be designed. Parking spac- whom will be working in the build- es for three busses will be provided. A The building should aim at achieving ing project-specifi cally or part-time ‒ covered bicycle stand, preferably locat- energy effi ciency. Northern climatic will be employed at the Sami Cultural ed near the staff facilities or students’ conditions (cold winter, solar radiation Centre. Most of the staff will get around pedestrian routes, will also be required. in the spring and summer, wind condi- by car. Parking spaces are also need- Vehicular paths will be designed to be tions, snow) must be taken into account ed for the Educational Center of Sami fl exible and safe, also in connection with in the design. The competitor must con- Area and the library’s students and large-scale events; service traffi c should ceive and present the building’s energy customers. pose no danger to pedestrians. conservation principles. Factors aff ect- ing the service lives and maintenance A bookmobile from the main library in 3.6 OBJECTIVES OF THE COMPETITION costs of materials and structures must Ivalo visits Inari twice a week, deliver- also be considered in the design. ing reserved books to the Inari library’s 3.61 Architectonic and cultural objectives branch offi ce. Parking spaces for buses Flexibility are also necessary for certain types of The Sami building tradition is small- events arranged at the cultural centre scale with very little in the way of pub- Flexibility shall also take into account or for tourists. lic buildings. That being the case, ex- the long-term fl exibility of the building pressing the Sami culture in with a itself as well as its facilities. The build- Large-scale congresses and celebra- contemporary public building requires ing’s expansion potential should also tions attended by as many as several architectonic interpretation. be indicated in the competition entry. hundred people will also be organised Flexibility should be planned for de- at the cultural centre. However from Physically as well as functionally, the partmental confi gurations as well as the standpoint of the overall attractive- cultural centre’s architecture and form room divisions. ness of the site, the cultural centre’s language should express the unique- 14 Sustainable construction objectives

Sustainable construction is always lo- cal and takes local conditions into ac- count. The local quality and durabili- ty of building materials, as well as the building’s serviceability and reparabil- ity, will be primary considerations in the competition.

3.63 Functionality

Multi-use is one of the building’s pri- mary functional goals; common use spaces should be designed to function together and simultaneously. Outdoor space should be designed as the con- tinuation of the interior.

3.64 Economic objectives

Economy is one of the competition’s goals; the project must remain within the given target cost. The proposal’s economic feasibility is one of the judg- ing criteria for the competition’s fi rst stage. Scope and cost calculations will be carried out for the fi rst stage’s best competition entries.

Competitors invited to the competi- tion’s 2nd stage will be given the op- portunity to develop their proposals functionally and economically. Entry- specifi c development guidelines will be given to competitors.

15 m2 3070 1095 total. persons 40 20111 11 11 20 11 10 11 20 20 11 10 10 280 11 20 10 11 10 Conference space in room 10 1 10 1 10 1 10 2 Conference space in room 10 1 10 10 10 1 10 10 2 10 10 10 10 20 persons dim/pers. rms. á m2 m² m² 14 1 1 1 1 0 1 1 1 0 0 1 1 now 2010 ce of ce Secretaries airs Secretary Chairman’s Secretary Administration Manager Administration Manager’s Secretary Chairman’s Special Advisor Legal Secretary Cultural Secretary Social and Health Services Secretary Secretary Environmental Communications and International Aff Secretary of Finance Offi SAMI CULTURAL CENTRE SAMI CULTURAL Room programme 15 May 2007 Chairman Includes State Provincial Offi Lapland’s facilities ce PROJECT TOTAL SAMI PARLIAMENT General offi 3.7 ROOM PROGRAMME ROOM 3.7 16 reproof cabinets y ce waste receptacles erent units. 3 fi erent unit, also election workers and 1 safe (next to election room). workers’ 7 74 10 70121 1 Diff 2 10 1 10 10 10 115 20 10 550 1 11 10 1 10 4 10 10 1 1 140 10 10 Access-controlled room 5 3 1 1 1 2 1 1 0 0 ce Secretary ce Secretary 1 1 10 10 Packing/ dispatch departmentPacking/ storagesBook and AV 1 20 1 20 40 40 In building’s logistics centre Next to packing/ dispatch department Local storeroomsEducational Materials Secretaries Offi Exhibition and presentation space 40 Inari SamiTranslator, 1 Skolt SamiTranslator, Language Protection Secretary 15Offi Divided into diff 15 1 In connection with librar 1 1EDP room 1 10 10 10 10 1 10 10 telephone switchboard Server, Project Workers Education Secretary Northern Sami Translator, Project workers fax and letterform storageCopier, Reference libraryEDP Planner 3 1 20 3 20 10 1 30 20 Incl. mailboxes, offi 20 e.g. Sami Music Centre Local conference rooms 1 20 20 ce ce for Offi Educational and Materials Teaching Language Offi general Parliament’s facilities 17 ooths and equipment representative materials, portable sound oor, equipment, videoconferencing capability 345 10 Divided F/M; locker and makeup areas 115 1220 12 15355 15 23 10 20 Fireproof cabinet in room 3115 101 30 1 10 10 1 1 1 1 1 1 1 1 lms, unheated 1 10 10 toilets ces ce ce Storage for fi Storage for materials, heatedStorage 1 15 15 1 5 5 Cleaning closet 2 EDP equipment roomCoatroomBreak roomStaff Presenter 1Offi 10 10 1 1Offi 3 25 3 25Offi Incl. Kitchenette assembly hallSami Parliament 1 150 150 fl Level Space allocation for interpreters 8 2 16 8 portable interpreters' b ce of Lapland State Provincial Offi Centre of N.F. Excellence Indigenous Film Centre Sami Children's Cultural Centre Assembly and conference rooms 18 metres erent persons ssary ting participants only m2 60 80 2 persons 6 440 31 3240 12 10 10 30 2 10 10 20 2 2 1 2 2 replace 1 35 35 Incl. kitchenette cial's room 1 15 15 2 workstations, lockable cabinets for diff ce space, project workers ce space ce space Offi Meeting rooms' toiletsDressing roomMeeting room, 15 personsMeeting rooms, 10 personsElected offi Meeting room with fi Kitchenette + storage cabinetsDressing room roomWashing SaunaSauna's toilets 1 1 1 30 20 10 30 5 20 1Storage room, Sami Parliament 5 5 WC Incl. inva Videoconferencing capability Videoconferencing capability 5 1 1 14 10 14 1 1 10 30 8 30 8 Divided into sections if nece Sound control roomWaiting area / meeting rooms' foyer 1 20 1 20 5 5 Incl. coatracks for mee archiveTerminal Offi Offi 1 30 30 EI120, approx. 400 shelf- Sliding shelves, Archive and storage Archive rooms SAMI ASSOCIATIONS SámiSoster ry Sámi Duodji ry 19 e in 2 parts ation, visual connection m2 teaching Language, culture, AV 375 5 5 12525 persons 12 12 375 1 1 10 10 In connection with EDP facilities Sami Parliament's 1 toilets ces ce 2 2 2 1 10 20 20 20 Cleaning closet 2 Outdoor coats, students' lockersStudents' toilets WC Inva Staff 1 5 5 5 Offi Offi Group work room / teaching areaTheory classroomTheory classroom, EDP / media instruction Language / EDP classroom 4Language studioStudio 1Sound control room booth, dubbing areaVocalists' 3 15Editing 15StoragesMusic education storage 1 1EDP Planner 42 Self-study / small groups 25 42 25 1 1 30 1 divisibl instruction Virtual possibility, 6 30 25 1 6 1 25 60 Suitable for language degrees 1 15 60 1 With studio rooms, sound insul 15 30 Sound insulation 30 30 30 Free height minimum 4.5m, sound insulation instruments and similar Traditional Used also by Indigenous Film Centre EDUCATIONAL EDUCATIONAL CENTER OF SAMI AREA and Teaching research 20 by periodical reading area + similar m2 m2 205 1315 290 11515 persons persons 2 22 1 17 17 205 material Incl. shelf for reserved 4 1 ce (15 m2) in toilets 1 3 3 workspaces ce) Staff Adults departmentChildren and youth departmentLoan deskEDP workstations and reading placesPeriodicals 1 1 38 1 38 65 2 65 10 1 10 Incl. reading places 2,5 10 5 Incl. reading places 10 Reading places expand to lob Incl. 2 EDP points for browsing materials Student libraryResearcher facilitiesSami Music LibraryExhibition space for Sami Parliament's educational materials offi connection with library (see education and teaching materials offi 1 1 7 35 35 7 15 Incl. Students' reading places Incl. Listening places Property control room and information caretaker Staff Multipurpose and service area (lobby) 1 200 200 exhibition, Lobby, INARI SAMI LIBRARY INARI Library facilities COMMON-USE FACILITIES Lobby and public spaces 21 e hall enery workshop, lms + similar ail performances, fi , connection to books' mailing rst aid equipment press room, constructed exhibitions, freeform teaching space, portable audio equipment 655 60 35 15 m2/men + 20 m2/ women 4 125 Projector booth mixing technology, AV StageMultipurpose hall 1 1 10 10 1 10 10 1 140 140 100 Fixed area in hall, protective guardr Sound insulated 100 "Rough space": multi-camera imaging, sc Incl. stage's rear areas, connection to multipurpos Multipurpose hall, storage foyerPerformers' foyer's toiletsPerformers' Stage's storages *) 1 20 1 20 1 30 30 5 40 40 Connection to dressing rooms Coatrooms toilets Public WCChild care room and Inva Film, performance and congress hall 1 1 30 10 300 30 300 Sloped seating, music In connection with lobby Dressing rooms *) and toilets *)Washrooms Break roomSami House service unit's workspacesProperty Manager's roomCleaning centre 4 2 2 4 10 15 20 10 30 1 40 1 10 10 10 Includes mailing area 10 1 15 point, fi Water 15 Own entrance Performance and Performance multipurpose facilities Dressing, washrooms and break rooms Building's service facilities 22 le coatracks etc. . ated waste room etc. 90 2 185 oor area 94 ce waste, intermediate storage 1 10 10 Offi Cross-connection roomKitchen and storagesKitchen's dressing, washrooms + toiletsCustomer toilets 2 1 10 15 80 80 Divided into appropriate sections Incl. cleaning, dishwashing, refriger 10 WC Incl. inva Building storages *)Dining area2% of fl shelter's equipment space + Air-raid *) Facilities possibly located in air-raid e.g. shelter, Building's storages 40Dressing rooms *) and toilets *)Washrooms 1 Furniture, exhibition accessories, portab 80 80 Expands to lobby areas, can be closed off 40 20 30 Restaurant shelter Air-raid 23 4. INSTRUCTIONS FOR THE PREPARATION OF SUBMISSIONS

3.8 JUDGING CRITERIA USED TO 4.1 REQUIRED DOCUMENTATION Written Summary EVALUATE COMPETITION ENTRIES Site Plan 1:500 The competitor shall submit a written When evaluating the entries, the summary explaining the entry’s main Competition Jury will pay attention to The Site Plan shall indicate terrain architectural, landscape and function- the entry’s architectonic quality and height elevations, traffi c arrangements al solution principles. The written sum- implementation of the stated objec- and green areas. The Site Plan should mary shall be included with the boards tives, (See Section 3.6) and feasibility. be presented as a roof plan shadowed and a copy shall be included with the in the north-south direction with the reduced photocopy set. In its judgements, the Competition Jury position of the sun at an angle of 45 will emphasise the overall quality of degrees to the southwest. The Sami A3 Photocopy Set the entries rather than the perfection Cultural Centre’s expansion possibility of details. shall be presented in the Site Plan. An A3 reduced and easily reproduced photocopy set of all competition ma- Plan Drawings 1:200 terial shall be attached with the draw- ings. The scale should be indicated on Plan drawings shall indicate height el- the reductions. evations, spaces, spatial groupings and accurate fl oor areas. All elements di- Other material and maximum viding and connecting spaces, such as allowable number of boards windows, doors and stairs, shall be pre- sented in the drawings. The competitor may also present oth- er material considered relevant on Elevations and Sections 1:200 one board. A competitor may sub- mit no more than six boards to the Elevation drawings shall indicate the Competition Jury. facades’ main materials. Sections shall indicate fl oor levels as well as the el- PDF documents evations of the uppermost eaves and roof heights. The entry shall include a CD-ROM con- taining separate PDF fi les of the A3 re- Conceptual Drawings duced photocopy set. Any identifi ers alluding to the author’s identity shall Each competitor shall present at least be deleted from the PDF fi les. two interior and two exterior concep- tual drawings from viewpoints consid- Documentation, 2nd competition stage ered important. Competitors invited to the competi- 24 tion’s 2nd stage will be given the op- 4.4 SUBMISSION OF ENTRIES portunity to develop their proposals functionally and economically. Entry- Competition entries shall be marked specifi c development guidelines will with the words “Sami Cultural Centre” be given to competitors. A scale mod- and they must be delivered on the date el will also be required in the competi- due by 3:00 p.m. at the latest, or be tion’s 2nd stage. postmarked or handed over to a cou- rier service for delivery, to the follow- 4.2 PRESENTATION OF ENTRIES ing address:

The use of colour is permitted. Drawings Senate Properties shall be affi xed to an A1-size (vertical Lintulahdenkatu 5 A, P.O. Box 237 orientation) rigid backing, and as such FI-00531 Helsinki, Finland be of a publishable standard. For print- technical reasons, entries may not be The submission date must be indisput- “negatives” in other words presented ably marked on the shipment’s wrap- or written on a black background. ping, or it should otherwise be prov- able if necessary. The competition entry 4.3 ENTRANT ANONYMITY must be received within 10 days of the submission date Entries will be anonymous. All draw- ings and documents shall be marked 27 March 2008 with a coded pseudonym. Competition Jury

A sealed non-transparent envelope marked with the entry’s coded pseud- onym shall accompany each competi- tion entry. The envelope shall contain the coded pseudonym, name of the au- thor, copyright owner, address and telephone number.

25 Appendix 6.

THE VISUAL LANDSCAPES, CONSTRUCTION AND FORM LANGUAGE OF THE SAMI INSIGHTS CONCERNING PUBLIC BUILDINGS IN SAMI AREAS

Veli-Pekka Lehtola, Giellagas Institute, University of Oulu

The Saami Parliament was established at an early stage (for example the Sami main starting point is the multifacet- in Finland in 1973, long before the Museum in Inari in 1962 or Vuorka-Dáv- edness of the Sami tradition based on Sami Assemblies in Norway (1989) vi rat / Samiske Samlinger at Kaarasjoki the conditions and opportunities creat- and Sweden (1992). Finland’s Saami 1972), the concept of public construc- ed by various environments. The sec- Parliament has however had to func- tion related to Sami activities is a more ond starting point is the Sami concept tion in an old school building ‒ also recent phenomenon. For example the of space; this is examined with notions after it became the Sami Assembly in cultural building completed at Kou to- pertaining to the Samis’ cultural envi- 1996 ‒ whose facilities have been in keino in Norway in 1981 was the fi rst ronment as well as through the spe- many ways been impractical and that public building created completely cial relationship between mankind and in no case could be considered an ad- from the Samis’ own needs. The Inari nature. The third point of departure is equate representation of the Sami na- Sami Museum’s “new building” SIIDA Sami aesthetics, in which čehppodat tional character. (opened to the public in 1998) on the and čábbodat ‒ practical art and aes- Finnish side was the fi rst building clear- thetic values ‒ converge. At the same It is also hoped that the new cultural ly designed as a Sami institution, even time I will treat the traditional visual centre, besides providing workable fa- if the Administration of Forests’ nature landscape of the Sami. cilities for Sami institutions and commu- centre also operates in SIIDA. nities, will also, in terms of its outward THE MULTIFACETEDNESS OF appearance, refl ect a contemporary Often the design of Sami public build- THE SAMI TRADITION Sami identity in which tradition is com- ings has been dominated by stereo- bined and amalgamated with new age typical thinking about what constitutes The diversity of North Fenno- infl uences and viewpoints. The archi- the “Sami building” and “Sami tradition”. scandinavia’s natural surroundings has tecture should also express the role of Put simply, the tepee has been consid- diff erentiated Sami cultures in diff er- the creative and presentational institu- ered the traditional Sami structure; for ent areas. Over time, about ten diff er- tion emphasising the vital Sami culture that reason many buildings in Sami ar- ent Sami groups, whose lifestyles and as a meeting place for politics, educa- eas ‒ even those designed by the Sami languages diff er from each other, have tion and art. It is believed that the cul- themselves ‒ have been shaped like te- evolved within the “Sami people”. In tural centre will revitalise the village’s pees. In actuality, a wide range of infl u- the Finnish area alone there are three own activities while uniting people in ences over the past few centuries have diff erent language groups: the Inari Finland’s Sami areas as well as the op- moulded building traditions in Sami ar- Sami, Northern Sami and the Skolt erators in the Sami areas of four coun- eas. The “visual landscape” surround- Sami. Based on lifestyles, the Finnish tries. The cultural centre will come to ing the Sami is also linked to consid- Sami can be divided into 4 or 5 cul- symbolise of the autonomy and vital erable creativity, even when practical tural groups: the Inari Lake Sami, the culture of the Finnish Sami. issues have limited the desire to exper- Reindeer Sami of the Enontekiö and iment. Sompio areas, the Teno Lake Sami and Sami institutions in the Nordic coun- the Skolts. Each group has acclimated tries and Russia began to develop The purpose of my article is to provide its culture to local conditions. only during the 1960s. Although mu- insights into the design of contempo- seums were already being established rary public buildings for the Sami. The The natural and cultural diversity on 26 the Finnish side alone forms the antith- on one hand to gradually settle perma- The Sami also became colonists at an esis of the popular stereotypical gen- nently in areas, on the other hand to early stage, beginning in the 1700s. eralisation of Sami areas as “the land also move elsewhere, for example to Sami colonisation diff ered from the of the fells” or as a “domain of rein- the western Inari and Sompio regions. frontier countries’ agriculture to the deer herders”. For example the land- There the landscapes were diff erent extent that it continued to be based scapes of Inari ‒ except for Otsamotun- and Sami reindeer husbandry took on on annual cycles and economic diver- tu ri ‒ are not fell landscapes, but forest new, local characteristics. sity ‒ subsistence was extracted from and lake areas dotted with a profu- diff erent sources at diff erent times of sion of hills and boulder fi elds formed The most recent Sami cultural stratifi - the year. The also infl uence livelihoods; by the Ice Age. Lake Inari has become cation on the Finnish side is the Skolt as late as the 1900s many Sami prac- the Inari Samis’ “inland sea”, whose in- Sami community that, after the Second tising agriculture moved between sum- fl uence on the preceding generations’ World War, had to leave their dwell- mer and winter locations. A diversifi ed way of life and view of the world has ing area in the Petsamo area that re- economy based on seasonal changes is been profound. Besides reindeer and mained on the Soviet Union’s side. The a tradition shared by many Sami groups caribou, fi sh has also formed the basis Skolts were resettled in the Lake Inari regardless of time and location. of the Inari Samis’ way of life. region’s so-called Lutto and Nää tämö areas. In terms of their culture the The lifestyle of the Inari Sami exempli- Moving towards Tenojoki the topogra- Skolts were clearly diff erent than the fi es the active acclimation that has typ- phy gradually becomes more fell-like, Western Sami groups; having lived in ifi ed Sami cultures. External infl uenc- but also becomes a lake landscape char- the Russian Empire, they had absorbed es were adopted, even preferably, but acterised by agriculture as well as fi sh- a wide range of Russian and Karelian it was necessary to adjust them to suit ing and reindeer husbandry. The diver- infl uences. local conditions. Southern livelihoods, sity of livelihoods is illustrated by the inventions and cultural modes as such true fact that, except for the Reindeer The diversity of culture and language will not work here; instead they are Sami, most of the Finnish Sami have groups demonstrates that there is no given their own identities. Innovations throughout their history earned their single “Sami character”, that even in adjusted to local conditions have then livelihoods by means other than rein- basic matters could be applied to all become part of the tradition. deer husbandry, which has often been Sami groups. The large-scale reindeer small-scale. husbandry and the yoik chant tradition THE HISTORIES OF CONSTRUCTION often considered characteristic of the Reindeer husbandry has however put Northern Sami culture is inapplicable Pyramid-shaped tepee and lean-to its stamp on the entire Sami culture. The as such to the Inari Sami, whose yoik dwellings ‒ made from wood, birch large core area for reindeer husbandry chant tradition vanished a century ago, bark, peat and stone, subsequently that would later be on the Finnish side and whose reindeer husbandry has al- also from fabric ‒ represent the tradi- was the Käsivarsi-Enontekiö area that ways been small-scale. Additionally, the tional Sami form of housing. The te- formed a narrow zone as a result of traditional winter village system would pee construction was more stationary the border closings of 1852. The bor- not appear to occupy a position of im- and meant for permanent habitation; der closing forced the Reindeer Sami portance as elsewhere. the lean-to for its part was lightweight 27 and more easily transported. In the old sides of a centrally located unheat- The fi rst public buildings in Sami ar- Lapland village system, families had ed entrance room were living rooms. eas were churches, vicarages and the many dwelling locations that depend- Assembled from hand-hewn logs, the offi cial residences of rural constables. ed on seasonal cycles. Families assem- Sami version was an uninsulated and Churches began to be built in the ear- bled in so-called winter villages that unpainted grey building with a birch ly 1600s; one of the oldest examples formed the social hub of the Lapland bark, peat or board ‒later felt ‒ roof. surviving in the Inari region is the village system. In traditional Sami liv- In the houses yard were freely grouped Pielpajärvi Church (1754-60), a small ing there was a certain seating arrange- smaller cabins or peat-roofed outbuild- unpainted cruciform church. Initially ment. In the centre of the tepee or lean- ings interspersed with campfi re (for the offi cial residences of the ministers to there was a hearth (árran), around boiling water) locations. and constables were modest, but for which a family congregated to eat or example the offi cial residence built for tell stories. Outside the tepee was a This so-called Lapland house repre- the local constable Xenofon Nordling fi eld (šillju) where there were storages, sented a new era in Sami dwelling at Kaamas in the 1870s was a six-room racks and other necessary equipment.1 culture that gradually formed a vari- Ostrobothnia-style, “a manor of the wil- ant “suited” to northern conditions. In derness”, that functioned as the main Already at an early stage the tepee cul- many ways it attained its own “Sami build for a large model farm. ture was joined by the log cabin cul- stamp” based on the special qualities ture even when colonisation was often of its construction, details and yard Besides the buildings for government being adjusted to a traditional way of fi eld confi gurations. Travel writers vis- offi cials and municipalities, the devel- life based on seasonal cycles. The hy- iting Sami areas often found that the opment of tourism that began in the brid form between the tepee and the yard areas of the Sami buildings bore a early 1900s also brought new kinds of cabin was a tepee in which there was stronger resemblance to the old tepee public buildings to the Sami areas. The a laid up fl agstone fi replace in a corner yards than the frontier countries’ yard Ivalo youth hostel (1930), Kolttakön- on to the right side of the door; in the areas. This impression was heightened gas youth hostel (1931) and the Inari side wall was a single-paned window. by the fact that permanently settled youth hostel (1938) represented mod- The vent was closed because the smoke families might possess two dwellings, ern architecture and a functional escaped through a masonry chimney. with both locations characterised by a building style. Although the style was From here it was a short step to the certain incompleteness or temporari- imported from elsewhere, it was in- log cabin whose initial form in Sami ar- ness. Subsequently, the summer and tegrated reasonably well with its sur- eas was single-roomed and rectangu- winter locations might be located in roundings, and, for example, the Inari lar. A fl agstone fi replace (piisi, spis in the same yard area. During the market youth hostel in many ways represent- Swedish) was laid up in a corner and seasons many people stayed overnight ed the village centre symbolically and there was a glass window in the wall. in the cabins, and around the fl agstone as a meeting place. hearth could be heard the latest news The construction of two-roomed log and exciting tales; for children they Most of Lapland’s building stock was cabins Sami areas also began in the were good lessons about life in the land destroyed in the Lapland War of 1944 1700s. They followed the model of the of the Sami. when the Germans, following their two-roomed peasant houses; on both scorched earth tactics, destroyed most 28 of Lapland’s and Finmmark building. the Samis’ own “refutation” of the ste- and construction. A way of life tied to The old building stock survived best reotypical conceptions of Lapland cre- seasonal fl uctuations was character- at remote road crossings, particular- ated by outsiders, in which the Sami ised by mobility; as late as the 1900s ly in Tenojokilaak so, but these were tradition had been reduced to a few many Sami families still switched be- also demolished to make way for new symbols, in particular the tepee, rein- tween a winter and summer location, construction. During the period of re- deer and witch drum patterns. eventually perhaps in the same yard construction, the standardised house milieu. In the summer a peat-covered models designed in the south became This clichéd view of the Sami tradi- tepee was cooler; in the winter a log the single family house type in the tion became highly visible in Sami cabin was warmer. As a result of this Sami areas. areas, particularly in tourism-relat- mobility, Sami construction was often ed construction. According to Harri characterised by a certain incomplete- A second turning point resulted from Hautajärvi, professional-level architec- ness, as well as spatial fl exibility; cer- the enactment of the Reindeer Estate tural design in Lapland tourism lost tain walls in a house might be detach- Law in 1969; a total of over 600 rein- its signifi cance in the 1960s. The val- able. deer farms ‒ 250 of which were owned ues of nature and the landscape were by Sami families ‒ were formed in stripped of their previous importance In recent years Sami researchers have Northern Lapland. The reindeer farms’ in the face of commercial pressures. begun to pay attention to conceptions buildings as well as were more often Tourism-related construction became of the Samis’ cultural environment that than not built according to type draw- confused and disjointed. Local colour diff er, for example, from the ideas of ings, and higher residential concentra- was sought primarily with tepee forms Finnish lawmakers with respect to tions began to replace the tradition- with greater or lesser degrees of suc- northern nature. The Finnish govern- al dispersed living pattern. The family cess. In interior design and other dec- ment often divides the northern envi- model also changed as the nuclear fam- orative applications, the elements of ronment into the natural landscape, ily superseded the earlier extended the Sami tradition were exploited with- characterised by the absence of people family. out any knowledge whatsoever of their (“wilderness”), and the cultural land- previous practical associations or sig- scape characterised by the environ- In 1959, concerned Sami citizens act- nifi cances. mental footprint left by humans ‒ the ing to safeguard their vanishing ma- “built-up environment”. In the north terial culture established the Sami THE SAMI ENVIRONMENTAL IDENTITY this kind of categorisation, already on Museum in Inari that was opened to the the common sense level, would appear public in 1962. In the museum’s “archi- As has been shown, the characteristics to apply only to “inhabited” areas used tecture” can be seen the Sami sense of common to the previous lifestyles of all year long, while on the other hand, space to the extent that it was a ques- the various Sami groups included eco- for example, certain regions used sea- tion of an outdoor museum ‒ built in nomic diversity and an acclimation to sonally by the Sami would be “wilder- the shape of a lasso ‒ whose intent was seasonal cycles; subsistence was thus ness”. to present the material culture of the obtained from diff erent sources during Sami in natural surroundings. At the the course of the year. This infl uenced Already during the 1920s and 1930s, same time the Sami Museum off ered the Samis’ view of the world, way of life the Finnish geographer and land sur- 29 veyor Karl Nickul criticised the author- cances. Traditionally, the Sami have not that reason we only have fragmentary ities administering the Petsamo region drawn a sharp distinction between the knowledge of, for example, the signifi - for failing to consider the Skolt Samis’ inhabited and “uninhabited” environ- cances of rock paintings or the witch traditional land use comparable to the ments. This is expressed, for example, drum patterns. Thematically however, Finns’. Although the Skolts did not live in one of Nils-Aslak Valkea pää poems: they are inextricably linked with the “permanently” in a certain location, the “When I step outside / I am inside”. lives of the later Sami. A problem with areas could nevertheless be considered their use ‒ even among Sami artists ‒ as falling within the sphere of regular “Outside on the inside” thinking can be has been the clichéd overuse of the an- land use; this was revealed by place seen in the traditional concepts of lo- cient Sami symbols, particularly with names often associated with families’ cation expressed by the Sami-language respect to the travel souvenir industry. usufruct areas and migration paths. words báiki and meahcci. For the Sami, báiki (place) has meant a location not The visual expression of the Sami is re- Similarly, contemporary Sami research- only where there is habitation, but also vealed, for example in duodji, the Sami ers are attempting to defi ne the Sami other “permanent” locations such as a handicrafts tradition, that has been cultural environment as a dwelling lo- cloudberry fi eld or fi shing lake. On the shaped by a way of life characterised cation as well as through regular land other hand meahcci (nature) is an area by mobility, a minimal environmental use. The Sami have a precise under- defi ned in relationship to its use and impact, and a certain appropriateness standing of traditional usufruct areas ‒ access; one, for example, gathers wood, regarding the acquisition and utilisa- for example fi shing locations ‒ belong- berries, fi sh, birds, sedge grass and li- tion of natural materials. Many Sami ing to customary law. Sami land use is chen from meahcci. handicrafts artists are quick to point revealed by material remains such as out that the aesthetics of duodji have round-up fences, trapping lodges and The fl exible use of space resulting from always served usage. One example is tepees as well as sacred sites. Besides a mobile way of life meant that the sig- the structure of an elegantly decorated these, there are also a considerable nifi cance of these concepts could vary sheath-knife handle, skilfully designed number of spiritual remains such as seasonally. Just as a lean-to might be in to withstand wear and eliminate slip- place names, folk tales and narratives diff erent locations on successive days, periness. Often a Sami handicraft artist related to certain sites, as well as yoik today’s yard (báiki) may be tomorrow’s prefers to follow a material’s inherent chants in which locations often play nature (meahcci). These changes are dictates instead of imposing his or her key roles.2 however not arbitrary; they occur ac- will upon it. For example, the utilitari- cording to established social norms an objects made from gnarled branch- Characteristic of the Sami conception within traditional usufruct areas. es clearly follow nature’s own forms. of the cultural landscape is that the hu- man role as shaper of nature is not em- SAMI AESTHETICS? However, the most talented craftsper- phasised; land use does not require a sons have always had an artist’s abili- permanent human footprint. The Sami The ancient origins of the Samis’ visu- ty to fashion practical objects that also cultural landscape can be viewed as a al aesthetics are shrouded in mystery please the eye. Ornaments unearthed natural landscape, but it carries a cul- because there have been several inter- from the Stone Age already reveal an tural landscape’s values and signifi - ruptions during historical epochs. For impulse to enhance the visual appear- 30 ance of bone and wood objects. The the use of these materials ‒ from the cap, whose use was discontinued in the skilful design of Sami handicrafts is end of the Middle Ages ‒ had been ad- late 1800s, has been restored as part one of the reasons that they have been opted from international trade circles. of the Sami dress culture. This refl ects preferably acquired as art objects ‒ As a result of the changes in Sami so- the attitude that a tradition need not also by outsiders ‒ since the 1600s. ciety and the proliferation of consum- be compulsively infl exible, but that it is er goods, the meaning of duodji has possible to revive the traditions inter- Even though the roots of, for exam- changed; aesthetics have gradually rupted by colonialism. ple, duodji stretch back for thousands displaced practicality. Because duodji of years, it has always been a develop- now focuses primarily on sales, it has Besides the world of art, it is easy to ing fi eld of art. Besides continuity, an become art handicrafts, closely as- forget ‒ when assessing Sami aesthet- essential attribute of the concept’s tra- sociated with the trend in the visual ics ‒ the world of experience associat- dition (árbevierru) has been change, arts that began in the 1970s as a new ed with their everyday lives. Although even “reinvention”. Continuity means means of visual expression for young the ability of “primitive peoples” to ap- the knowledge that has been passed Sami artists. preciate “aesthetic experiences” is be- from one generation to the next, car- littled, it is clear that the landscapes ried by the Sami as concrete informa- In the modern Sami visual arts, tradi- in Sami areas ‒ often the subjects of tion as well as knowledge conveyed in- tional imagery and aesthetics ‒ for ex- yoik chants ‒ aff ect people profound- directly in their words and deeds. For ample with respect to colour ‒ have ly. Sacred sites such as Lake Inari’s example the concept of duodji is re- been developed to meet the needs of a Ukonsaari appear to have been select- lated to much more than mechanical new age. Artists have examined the vi- ed on the basis of their visual impres- handicrafts; its learning and doing is sual world of their ancestors through siveness. It is also well known that sea- a cultural process that conveys much the fi lter of contemporary viewpoints sonal phenomena ‒ ranging from the more information than that related to and experiences. Nils-Aslak Valkeapää mysticism of the moon of the winter- manufacturing. The continuity of du- has said: “The ancient Sami imagery as time period of darkness (kaamos) to the odji has been based on the use of mate- such has its own language that tells its colour-saturated forests glowing with rials available from nature. own story, but its meanings are lost to autumn tints (ruska) ‒ aff ect people us. Brought to modern times, the sym- emotionally. The experience can also Characteristic of the tradition however bols of the ancient worlds of experi- be tactile ‒ the softness of a reindeer it that it has continuously evolved by ence and colour can be read as a new skin or leather pouch. Or it can be a co- assimilating new infl uences and apply- kind of artistic expression. They create lour shade: the rough texture of a rock ing them in new situations. Traditional a dual illumination that takes on new outcropping or the cracked greyness of materials have been joined by new meanings.”3 an old piece of tepee wood. ones that have subsequently have be- come inseparably associated with the As a result of a more fl exible approach A second visual landscape that has not Sami culture. For example the Sami to the Sami heritage, eff orts are being been studied at all is the daily aesthet- costume (gákti) made from silver and made to reconstruct and rediscover ic sensibility of the modern Sami. Even broadcloth is nowadays considered an certain interrupted traditions. For ex- though, for example, the use of the tra- exclusively Sami material, even though ample the traditional woman’s horned ditional Sami costume has decreased 31 (Footnotes) 1 Picture: Wood and tar tepees were used for more permanent dwellings, particularly among the forest Sami. The model appears to have been adopted in historical times from southern building techniques. Over a log frame was a tepee-model roof covered with birch bark and peat. The door was made from hewn boards with leather or wooden hinges. The threshhold was a few log layers higher to block cold draughts.. 2 In the Inari area many examples of the human past survive in the natural surroundings. The area’s ancient relics include the Western Inari chains of trapping holes, the remains of the Nukku ma joki winter village, various sacrifi cial sites, as well as the Siuttavaara Late Iron Age stone settings. The most valuable cultural and historical environments include the Pielpajärvi Church surroundings, Ukonsaari and the burial islands, the Sallivaara reindeer round-up loca- tion, as well as the village of Lisma traditionally inhabited by the Reindeer Sami. 3 The changing of a tradition refl ects a need to develop new forms of expression that serve an individual or group in relation to each other or other groups. A powerful period of change in Sami art began in the 1970s when young Samis sought to develop traditional forms of expression to serve the needs of a new society. For example in the visual arts, tra- ditional Sami imagery was often used to shed light on the Samis’ situation at the border of old and new cultures.

and is often limited exclusively to fes- On the other hand another starting worlds of colour and image be enlist- tive occasions, the Sami use many kinds point for considering the Sami cultural ed when designing public buildings for of ethnic markers to demonstrate their environment have been the concepts of the Sami. This has been done at sever- belonging to “us” and to a certain eth- bái ki (place) as the local surrounding of al Sami cultural centres in Norway, for nic group. These markers can be leath- a home, and meahcci that more exten- example at the Várjjat Sámi Museum at er pouches or accessories. sively covers the so-called natural envi- Uu niemi (Nesseby), whose facades are ronment. For the Sami, the “wilderness” adorned by the sculptures of the artist THE STATE OF ENGAGEMENT is however ‒ even if not permanently Aage Gaup. populated ‒ an inhabited environment, The concept of public building is not borne out by place names, the lyrics of When interpreting the Sami traditions traditionally recognised in the Sami yoik chants, as well as many vestiges of building, visual observation and spa- culture. By contrast a clear affi nity can of human existence that are nowadays tial perception, what is most impor- be observed between construction, en- considered cultural artefacts. tant is to avoid stereotypical, simplis- vironmental thinking and “nature’s tic notions of a “tepee culture” or “a own aesthetic”. The essential keywords In traditional functional objects, envi- world of witch drums”. Although con- in this equation are balance (between ronmentally soft solutions applicable tinuity and even primitiveness play key practicality and aesthetics), workabili- to mobile conditions (for example the roles in the Sami tradition, plenty of ty, fl exibility, creativity and ecological witch drums’ oval shape) have been fa- room has always been given to creativ- thinking. Simplicity is also a key attri- voured. At the same time the objects ity. Its necessity is particularly empha- bute of the user culture; northern con- have been beautiful and symmetrical. sised in the requirements for new pub- ditions have never favoured overly Leather, bone, wood and silver have lic construction in today’s society. Just complicated, grandiose or pompous so- been ordinary materials. The so-called as common to the traditional hearth lutions. Sami colours have been clear and viv- (siljo) and a modern cultural centre is id basic colours ‒ red, blue, yellow and the concept of a space that suits prac- In my article I have treated the Sami green ‒ but, for example, plenty of so- tical work while functioning as an are- conception of space in two ways. Siljo called “broken colours” can be found in na for social engagement and co-oper- or the fi eld surrounding habitation can the summer dress of the Sami. ative activities. be perceived ‒ both in tepee living as well as in more contemporary forms of Particularly in the travel souvenir in- housing in Lapland ‒ as an extension dustry, many of the Sami culture’s tra- of interior space that for example the ditional visual elements have been ex- poet Valkeapää has described as “out- ploited to the point of excessiveness. side on the inside”. The life and dwell- Thus the so-called shaman colours, as ing conditions of the Sami have been well as traditional symbols and orna- tinged by expansiveness, a certain feel- ments have become clichéd. For this ing of spaciousness subject to the vicis- reason I consider it important that the situdes of rain, snow, sunlight and sea- talents of Sami artists with person- sonal fl uctuations. al and cultural ties to their traditional 32