Vulnerability samlet 2

modern/
traditional

LOST
NUANCES?
Nils Somby, photograph Trond Trondsen/Nordkappfoto

The meta condition of monumentality/typology

“Identifikasjon av typer beror i det hele tatt på at visse velbrukte former har nådd en slags inert tilstad
der de ikke lenger utvikles for å svare på endrete behov.” “Typeformene ses med nye øyne, distansert
fra opprinnelige funksjoner og isolert fra livssammenhengen de inngikk i. Typeformene har fått museal
verdi, som formidlere av fortida” (Haugdal, 2007).
In order to maintain a historical continuity the typology is transmitted into the monumental, institu-
tional architecture.
Typology, specificly the lavvo/nomadic type, may in this respect be seen as a meditator of the past, but
the representation of a culture should contain more, and gain actuality. Like Norberg-Schulz argues
“Typebildet synliggjør stedet og skaper kontinuitet i tida. Det bærer med seg en historie og gir men-
nesket ‘fotfeste i tiden’.
“Tapet av sammenheng mellom funksjon og form er, i følge Norberg - Schulz, symtomatisk for en mod-
erne tilstand, et stedstap” (s.136, Haugdal, Elin Kristine, 2007, Ny monumentalitet). Do the technol-
ogy i phone based society suffer from a stedstap (loss of belonging to a place) and a collective memory;
the relation to who we are, our origin, and why we exist? Facing two opponent forces, the tradition and
the new, how can aspects of the Sami culture be translated or pursued into a modern context, without
repeating the obvious cultural and monumental symbolism and create a more reliable and honest show-
ing, to themselves and to the visitor?

Taking in consideration the tendency of Sami people as a minority group and immigration into big cit-
ies,
culture no longer have a in situ connection? What is
what happens when the
typebildet of a culture?

resource (nytte) landscape

travelled/lived landscape
Ways the Sami look upon the landscape
landscape of orientation/knowledge

meta - landscape

Collosion traditional/modern?

a visitor’s cultural consumption

Visitors meeting Sàpmi lifespan of knowledge

the simpli ed/adapted ‘visitor - culture’

things and
significance
‘To him, the physicality of materials can involve an individual with the
world, evoking experiences and texturing horizons of place through
memory’ (http://en.wikipedia.org/wiki/Peter_Zumthor, interpretation
of Zumthor’s chapter: “A way of looking at things”).

Are things instruments to placing yourself in a contextual meaning?



meta - landscape




Sisti, processed leather (treated with
hemmabark), is a base material of the
traditional duodji, Sami arts and craft.
Other materials are bone, textiles
(http://duodjikonsult.com/horn.html).
Tendons (sener) from the reindeers are
made into threads.

Venison and fur are often dried
outside the private properties, and
create what Sunniva Skålnes calls
‘improvized architecture’.

Tæger (selje, gran furu, bjørk, vier)
are wooden materials that construct
dense knitting tecniques. They must
have been growing straight, and in
sandy or wet ground.

Sennagress is often cut late summer.
The making of Sami use objects (bruksgjenstander) carry a social space. There are processes to tapping and
drying it before it can be used in the
footwear, skaller. The composition of
di erent directions of the fur create
Badjelgorži a rm grip to skallene.
Norsk:
Foss i Olmmáiváteatnu
(Manndalselva). Her var en
svær stein i elva, Geađgi, som
ble brukt til ferdsel over. Den
ble sprengt bort av ukjent
Kvann and syregress as spices and
grunn. Badjel betyr over, gorzi
source of vitamins and as medicine
betyr fossen. Norsk: Øvre Fos -
(http://ndla.no/nb/node/3825).

Vier, lyng, bjørk, etc. - plant dyeing of
yarn
(http://no.wikipedia.org/wiki/Plantefarg
er). Skallebånd and bands to kofter have
particular patterns with geographical
and ‘stage -in - life’ referencecs.

or

etc....

Two ways of processing natural resources.
One short. One long.

time perception
The sami calendar and the
namings of the months are based
on the rythm of the nature and
the reindeer management (http://
www.samer.se/1077). Our divi-
sion of seasons contains 4 articu-
lations, while the Sami culture
rely on 8 seasons and a nuanced
view on the environment in con-
stant, cyclical change.



meta - landscape




bulls unattended counting, marking,
while grazing vaccinating, saw off
during summer huge antlers
navit

SUMMER
selected animals slaughtered

SPRING AUTUMN

making of dried
venison and hide
towards summer
pasture WINTER

General time perception?
slow walk in
melted, deep
snow towards winter
pasture

calve arrival

the bulls are
kept inside
fences
making of dried venison

the reindeer -40ºc
winter slaughting group split in total darkness,
smaller groups samene spread
to improve out to cover a
grazing effi- vast pasture
ciency

aidejavrre

bulls grazing unattendedly

counting, marking,
vaccinating, saw off
towards summer pasture huge antlers
calves gaining weight

calve arrival slaughting

towards winter pasture
making of dried venison

winter slaughting

big bull group
collecting bulls many same - teams
in fences
-40ºc
smaller total darkness
herding groups survival

SUMMER
Giesse

springSUMMER autumnSUMMER
Gidágiesse Tjaktjagiesse

SPRING AUTUMN
Gidá Tjaktja

springwinter autumnwinter
Gidádálvve Tjaktjadálvve

WINTER
Dálvve
http://www.samer.se/1077

Sami time organizing.

vocabulary
Can the vocabulary of a language/field used within what we define
a culture, manifest some truths, attitudes or basic foundations of the
culture in the showing of what is more articulated?
What do the very detailed apps vocabulary tell about the society we
are curretly structuring, the zeitgeist of the time? Can the vocabulary
of the Samis reveal a different representative cultural picture?
Are the general international/norwegian population opponent to
the Sami population through the difference of the i - phone society
maneuvering beyond concrete location, and the very direct contact
to the local surroundings implemented in the Sami culture?



meta - landscape




e l v ≈ v a n n ≈ b y g d F J E L L ≈
s t e d ≈

álda offerstad
ája 1) kjelde, 2) bekk, lita elv nuorra sund barta årestue, hytte alás det høgste av et fjell
boatka innsnevring (avsmalning) suolu øy, holme bassi heilag stad, heilagdom (og som beaski 1) fjellklubb (ved kysten, ofte bunden saman med
dearpmi elvemel, bakkekant ved vággi 1) dal, stutt dalsenkning ved adj, heilag)
fastlandet med eit
innsjø, bratt lien bakke eller nær kysten, 2) lita bukt ved sjøen báiki stad, stad der nokon bur, heim smalt eid), 2) smal passasje over eit fjell
deatnu, eatnu stor elv njárga nes, odde, halvøy badje (stutt) avstand, lengd (som mid- bákti berg, flog
fielbmá ei mindre elv som flyt stille, vuohppi kjos, lang og smal vik i elv tledd i stadnamn med tre ledd)
barsi knaus, ein kolle som stikk fram ved enden av eit
kjos eller innsjø siida 1) reinby, gruppe av reineiere som fjell
gorzi foss vuotna fjord samarbeider, 2) buplass, heim
ávzi trong, djup elvedal med svært bratte sider, skard
luoppal utviding av ei elv, liten gála vadestad sadji stad, plass, rom coaltu rundaktig haug eller topp
innsjø som det går ei elv gjennom
jávri innsjø, vatn goahti gamme, telt cohkka (20) fjelltopp, topp
guoika stryk i elv gohpi rundaktig vik, brei bukt muvra varde (mur) dievvá rundaktig eller avlang haug
njearri grunt sttyk der elva er brei luokta vik, bukt duottar vidde, snaufjell
johka elv elv, mindre enn deatnu, mohkki krok, sving, bukt, vik buolza bratt morenerygg, tørr grushøgde (kame)
eatnu
skáidi landet mellom to elvar som sáiva 1) liten innsjø utan (større)
tilløp, 2) ferskvatn
m y r ≈ corru langstrakt forhøyning eller rabb (esker)
borri fjell med jamne skråningar til to sider
renn saman
veadji (87) mindre elv, bekk, dal med stáhppu smal keile ved sjøen cahca vasskilje, overgang mellom to fjell
liten elv muotki eid, jfr. skáidi cearru nokså flat og ofte vid høgfjellsstrekning med
lite vegetasjon
háldi (som fjellnavn): rundaktig, høgt fjell

s n ø ≈ t i l ≈ guovda vasspytt i skog som det
hárji åskam, smal og lang åsrygg (møne)
liehppa tverrbratt eller overhengande bergvegg, bratt
veks sennagras rundt fjellside

k om s t juovva ur ur
jeaggi myr myr
nibba (60) spiss fjellknatt
nurki nov, hushjørne, utstikkar på eit fjell
suotnju blautmyr der det veks oaivi 1) hovud, 2) avrunda fjell
starr hoanka utoverhengande bergvegg
luohkká bakke
várdu høgd med vid utsikt
r i m ≈ várri fjell
vadda (80) open slette utan tre, med skog rundt
riehppi dal som det er vanskeleg
muotta snø i sin alminnelighet å koma til, med utvida nisjeforma gielas 1) kjøl, 2) lang, smal ås
vahca nysnø dalbotn rássa høgfjellsstrekning utan vegetasjon, dekt av små
moski stad der det ikkje går an å flate steinar eller ur
oppas urørt snø
ciegar ”beitet” snø
koma fram, dal stengd i botnen roavvi stad der det har vore skogbrann; langt, ikkje
gorgnehat (40) stad der ein kan høgt, skogkledd fjell
seanas kornsnø (i februar og mars) stiga opp (t.d for vinterveg inn på GÀISI Fjelltind
ceavvi tettpakket snø land) bihci rimfrost i sin alminnelighet, geahci ende, spiss
skávvi tynn skare ráktu steinhelle, skiferhelle rim på marka
gurra skar, kløft, hakk
cuonu ordentlig hard skare goavdi heller, opning under noko suhci fastfryst isrim på trær njunni 1) nase eller framende, spiss, 3) bergnase 4) tut,
cearga snødriv, snøskavle geaidnu veg ritni rimfrost på trær, særlig nå 5) nebb
jassa Snødriv på rabbe (snaufjell) snøen har falt på suhci
sievla snø gjennomtrekt av vann sealli trær fri for rimfrost (om
vinteren) maras brei høgde i terrenget med forkrøplet bjørkeskog,
soavli snøsørpe lav høgde med skog
suoldni dugg på marka
oavlu nesten bare vann i snøen vuopmi skogland (i motsetning til skoglaust høgfjell,
laksi dugg (vatn) på gras, trær og duottar)
busker

All words are taken from the dokument Bruk av landskapet - historisk og kulturell forståelse av landskapet
Odd Mathis Hætta, autumn conference, NLA, Kautokeino 2009.

Juopmobákti Sálorihtá Cuoppugieddi
Norsk: Norsk:
Norsk:
Firkanta stein overfor skog- Sted. Salo er mannsnavn, no
Voll. Cuoppu er et lite dyr som
grensa under Goddegurra, slektsnavn. Rihtá er felle til
lever i myr, gieddi betyr eng,
stor som et lite hus. Juopmu er fangst av større rovdyr.
voll. (Cuopposuoidni er en ko-
syregress, som man brukte å rtvoksende gress-sort som ble
kokte grøt på. Bákti betyr berg. brukt som fyll i madrasser.)

The municipality of Kåfjord has collected 2200
names of locations, most of them Sami. These
names tell about how the landscape is used and
harvested from, and about the local history.
These are some examples.

All photos and descriptions are collected from http://www.gaisi.no/hoved.php

Landscape voices
Joik can be seen as a communicator (formidler) of the subjective cognitive memory of Sami
people. The memory of Sami carries an immaterial understanding of the culture and knowledge
related to it. “As long as we continue to joik, we’ll remember who we are” (Jones - Bamman, 1993).

Why does joik function so well in establishing a cultural identity? I argue the points below allto-
gether shape it as a dynamic medium.

◆ Subjective space of interpretation (tolkningsrom) and invilvement (deltagelse) “...Den avspeiler
andres subjektive oppfatning av mennesket, eller av dyr eller landskap hvis det er det joiken er
betegnet etter” (Jernsletten 1978:110).
◆ Duble subjectivity (the messager and the reciever) creates social interaction (Vansina:1985).
◆ Ethnical/national positioning
◆ Cosmologial positioning

“...berättelser talar om vilka vi är. Detta inkluderar ursprung, förfäder, världsbild och kunskaper.
Det är en spegelbild av vårt liv (Kuokkanen 2000:421).”
“...folkloren handlar om i och med att förnippas med en grupp för vilken den är meningsfull”
(Arvidsson 1999:21).



meta - landscape




Joik lydklipp

Joik lydklipp

Joik lydklipp

visitors
How is the Sami region communicated to a visitor today?

Can the Sami institutions, desentralized, but as a whole, with their pre-
sent ‘architectural’ character be seen/valuated as a museum of Sapmi?

It might look like, in fear of not remembering/claiming the importance of
these institutions, they have been compensated with a spectacular archi-
tectural response. I would ask if this ‘response’ contribute in maintaining
the museum (read: the Sapmi culture read as a tourist) as ‘another place’,
that differ from the real genius loci/character of the place. This mean-
ing as a visitor of Inner Finnmark and in the meeting of the institutions
that welcome them, in reality the visitors do not travel to Sapmi and the
authentical vernacular state, but what the Sami people themselves regard
upon as ‘another place’.

Welcome to another place-



meta - landscape




oil, gas and wealth
OH YEAH, this is
exactly what I expected!

spectacular, authentic cultural symbols

“It appears that people react to environments in the terms of the
meanings the environments have for them. ...Environmental evalu-
ation...is more a matter of latent that of manifest function, and it is
largely affected by images and ideals” (Rapoport, 1977:60).

tradition/instant
In what context is knowledge placed?

Individ - family - neighbourhood - municiplity - country - world Individ - world



meta - landscape




http://saamiblog.blogspot.com/2009/01/pre-christian-sami-religion-and-gods.html

line of knowledge instant knowledge

app ‘still in use’ in time after
download,
subject:
30 mill. downloads of an app

%

100

80

The industry of domesticating 60

reindeers is traced back t the 40
18th - 19 th century, but accord-
ing to rock carvings the people 20

of the Sami region has benefited DAYS
from wild reindeers. Other Sami 0 30 60 90

traditons can be traced back to
ancient generations.

sami monument
How is the contemporary Sami region communicated to a visitor?

Jean - François Lyotards definition of monumensjon:
‘I monumensjon legges “den simple kendsgerning, at et hvilket som helst stykke, hvor ube-
tydelig og trivielt det end måtte være [...] i samme øjeblik som det indføres i museet og for-
synes med sin identifikationsmærkat, forvandles til et monument”
‘Likefullt, i et akvarium blir selv fisken til et kulturelt objekt. Hentet ut fra sin naturlige sam-
menheng, satt inn i menneskeskapte rammer - i det arkitektoniske rommet - gis fisken en
kulturhistorisk betydning’ (Haugdal, 2007, about the Lofot aquarium)

It is the architectural framing, and not the object displayed (here: the fish), creating den
museale monumensjon. Can the Sami institutions (desentralized, but considered as a whole
cultural region) with their present ‘architectural’ character be valuated as objects of a mu-
seum feature of Sàpmi, like a museal monumensjon?

It might look like, in fear of not remembering/claiming the importance of these institutions,
they have been compensated with a spectacular architectural response. I would ask if this
‘response’ contribute in maintaining the museum (read: the Sapmi culture understood of an
average visitor) as ‘another place’, that differ from the real genius loci/character of the place.
This meaning as a visitor of Inner Finnmark and in the meeting of the institutions that wel-
come them, in reality the visitors do not travel to Sapmi and the authentical vernacular state,
but what the Sami people themselves regard upon as ‘another place’.

Welcome to another place-



meta - landscape




tana bru

Sculpture/’non architecture’
aimed for ‘non - Sami’ people.

?
samediggi karasjok

màze kro

museum of
kautokeino fjellstue
kautokeino kulturhus

sàpmi

Stortinget agreed on the Sami law in
1987, which constituted Sametinget
(http://www.samediggi.no/artikkel.aspx?MId1=337
7&AId=3645&back=1&MId2=3483). Their
independence asked for a new serie of +
architecture to accomodate their
management.

majavatn hotell

àrran lulesamisk senter
samelandsenteret, karasjok

buletjàvri turistsenter

kautokeino kulturhus
kautokeino fjellstue màze kro

tana bridge bulet eco siida
lujavri samesenter russland samediggi karasjok
‘improvized architecture’ (skålnes, sunniva, Arkitektur n, nr.. 3 2008)

extrovert monumental introvert vernacular
Symbolism? Functionalism?

Vulnerability samlet 2

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