Diehtosiida is the name of the new Sámi science building in Guovdageaidnu. The

construction started in 2007 and the institutions moved into the new building during summer

2009. The official inauguration was in November 2009. The name of the building consists of

two Sámi words, “diehtu” which means knowledge and “siida” which describes an

organization of a Sámi settlement. The name describes the way Diehtosiida is organized and

also reflects on the aim of being the home for Sámi science.

Institutions in Diehtosiida

Sámi University College

Sámi special pedagogy support

Centre for Sámi language in education

International Centre for Reindeer husbandry

Sámi Archives

International Resource Centre on Indigenous Rights.

Function and significance of Diehtosiida

Diehtosiida creates a meeting point where tradition and modernity meets, where traditional

knowledge meets science and where different types of expressions, academic traditions and

activities come together. The aim is to be an international centre of knowledge for Sámi and

indigenous peoples, to gather Sámi language and scientifical activities in a larger scientific

and academic environment and to be a modern symbol for Sámi culture. In Diehtosiida we

have the newest technical solutions, resource efficient use of the areas and functional

workspaces for students and employees.

Facts:

The building is designed by Reiulf Ramstad architects and landscape architect Bjarne

Aasen.

Gross area: 9367 m2

150 Office spaces

160 parking lots

Total cost 334 mill NOK, approximately 54 million USD

Artistic decoration: 2, 7 mill NOK.437 000 USD

Equipment: 40 mill - 45 mill NOK. 6,5 – 7,5 million USD

History

The initiative of a joint localization of several institutions started in 1999 with a study of the

possibilities of doing this. The construction of the building started eight years later in 2007

and lasted for two years. The official inauguration of Diehtosiida was November 3rd

2009.

Asking for permission

In Sámi culture it is a custom to ask for permission from the spirits living in the ground before

you settle down anywhere. This is to get peace and avoid accidents and to be in accordance

with the spirits. Therefore, before constructing Diehtosiida on the site the leadership of

Diehtosiida needed to spend one night in lavvu on the site to ask for permission. After getting

the permission and spending one night in peace in the lavvu on the site the construction could

commence.

The architecture

The intention of the architecture is to weave together building and landscape in a manner

where the form and organization is tied together with outside space and surroundings. This is

to reflect the Sámi culture`s close relationship with landscape. It was also an aim to make this

building explicit in relation to the rest of the surrounding buildings. This would underline the

significance of Diehtosiida, not only to the village but to all of the Sámi area. To raise a

symbolic construction tied to a culture where monumental traditions don`t exist was a

challenge. The building contains no formalistic clichés, it`s modern and without direct

references to local construction customs, but with a distinct form. The cultural context is

expressed trough a conscious use of material and detailing adapted to the northern climate.

Choice of materials

The characteristics of Sámi constructions have often been a sober use of materials, one used

what nature provided. This combined with the use of duodji, Sámi handicraft, where smaller

areas are refined with detail of craftsmanship, has been the base for the final choice of

material. The materials used throughout the building are birch, pine and spruce. These are all

materials that can be found in the circumpolar regions and are chosen to reflect upon our

belonging to this area. Birch is a local material and is used in traditional constructions as well

as in duodji, sámi handicraft. It is been used consciously to emphasize certain areas and

functions in the building. The building rests on a socket of concrete and glass. The height to

the ground varies around the building and the glass facades bring nature inside the building.

This gives the illusion that the landscape is flowing under the building. Inside the building

glass has been used to create proximity between the users of the building and in this manner

also create community.

The use of materials express:

Identity to Sámi history and culture

Identity to the Barents region/circumpolar regions

Identity to science and higher education

Use of symbols

The expression of the building is inspired by the diversity of the Sámi culture, but without

directly quoting the traditional forms. For example:

Šillju – The yard/place as a learning area and subject landscape

Lávvuroom – storytelling area inspired by the lávvu (Sámi tent)

Árran – meeting place around a fire

Internal organization

The form and internal organization is supposed to be functional, with the shortest possible

way between institutions, students and faculty members. All meeting rooms and classrooms

are common areas for everybody in Diehtosiida. The teaching areas are placed on the side that

views the village. Open solutions encourages to frequent links between the different activities,

academic traditions and expressions.

Art in Diehtosiida

- A fusion between a new and old time, Sámi tradition and future perspectives.

The artwork in Diehtosiida was carefully chosen by a committee of art, appointed by the

national organization KORO (art in public spaces), and aims to be.

Innovative

Preserve the indigenous peoples perspective

To place Sámi culture and tradition in an international context.

Represent artistic diversity

The choice of artists represents a vast geographical area from Russia, Norway, Sweden and

Denmark. Half of the artists are from Sámi areas in Norway and Sweden. In total, Diehtosiida

has seven art project divided between 12 artists.

1. Road entrance: Hagbart Solløs (Vesterø, Norwayy)

Kurt Hermansen (Oslo, Norway)

This is a sculptural composition of the local stone type Fuchsite and light -effects.

2. Railing, main staircase. ”A journey through the northern areas”:

These four artists have all parts of the railing on the main staircase. Three of the artists

have a background in Sámi handicraft from different Sámi areas.

At the bottom of the staircase you find Roland Jonssons project, which is based on the

southern Sámi walking pole, which also could be used in bear hunting, herding reindeer

and as a driving pole when using reindeer. Next you find Randi Marainens wavy

carvings that illustrate the sea. The implants in silver of stylistic fish refer to the sea

Sámi way of life and traditional harvesting from the sea.

By the bridge on the first floor you find Per Isak Juusos project. With traditional

materials and techniques used in an unconventional way his work give a image of

wandering and movement as in nature. This is also a tactile experience of a velvety

surface with elements of Sámi ornamentics. As a contrast, on the last staircase, we find

the work of the contemporary artist Lena Ylipää. Her work is about people meeting,

maybe in the staircase, talking to each other, exchanging hopes, ideas and visions about

the future. Fragments of the conversations remain in the railing in the form of text and

objects.

Per Isak Juuso (Karesuando,

Sweden),

Randi Marainen (Soppero,

Sverige),

Roland Jonsson

(Varangerbotn, Norway),

Lena Ylipää (Kiruna, Sweden)

3. Common areas, second floor photo/folding:

Arnold Johansen (Hammerfest, Norway)

His works are Three portraits of persons, done with a folding technique.

Literally you see the person from different sides. This can illustrate the

duality of identities that many people in the northern areas represent.

4. Meeting room, third floor, graphics:

Eva Aira (Karasjok, Norway)

She has made six graphic leaves that show the movement of the

sky in the horizon, during one day. The colors reflect to the

landscape with black lines as a contrast.

5. Video installation, second floor:

Yvette Brackmann (Copenhagen, Denmark)

The little Nenets girl, Anisya is sleeping in strong wind. This reflects the Nenets

adaptation to a life on the tundra. It`s also focuses on the possibilities of survival the

indigenous peoples have today, in pact with nature.

6. Fire place, cafeteria, sound installation:

Amund Sjølie Sveen (Oslo, Norway)

This associative sound installation is circular, in the same way as

joik is (traditional Sámi singing), no end and no beginning. Just

“hook yourself up” and enter an audio horizon. Look out over the

tundra, the sea and in the flames of the fire. As the natures

horizons the work also is constant and at the same time in a

constant change and movement.

6. Walls on the other side of the fireplace:

Ansgar Ole Olsen (Kolbu, Norway)

By the form elements in stainless steel and steel, the work has its

base on the shape that branches of birch make on the snow. The

birch is exposed to harsh weather and has its own rhythmical

poetry that makes expressional black lines in the landscape. At the

same time they offer a protection against bad weather.

7. Interactive work, main entrance:

Inna Kazakova (Petrozavodsk, Karelen, Russia).

This is an interactive game. The game challenges the viewer to

think about the relation between a person and a place. Do

they fit togetger or not? The viewer also is confronted with

his/her own attitudes and in that way maybe learns something

about him/her. The game gives negative and positive

associations and is about now, about travels, about identity

and tolerance.

For more information please contact the reception at Diehtosiida.

Photos: Bent Raanes and Kautokeino Film.

Hánnoluohkka 45, 9520 Guovdageaidnu, Norway.

Tel. +47 78 44 84 00, fax +47 78 44 84 02.