挪威7月22日纪念地

挪威7月22日纪念地
Norway’s July 22 Memorial Sites

乔纳斯·达尔伯格工作室：一个情绪化的观察传达了我的整体观念。在对乌托亚的最初实地考察中，我注意到，在大自然中行走的感觉与在主楼的房间中行走的感觉是多么不同。看到空无一人的房间和极端暴力的痕迹，我和周围的人都感到深深的悲伤。在目前的状态下，这座建筑紧靠着2011年7月22日的恐怖行动。就像一个开放的伤口。
Jonas Dahlberg Studio: An emotional observation informs my overall concept. During the initial site visit to Utøya, I noticed how different the feeling was of walking outside in nature, compared to the feeling of walking through the rooms of the main building. The experience of seeing the vacant rooms and the traces of extreme violence brought me—and others around me—to a state of profound sadness. In its current state, the building kept close within it the memory of the terror acts of July 22, 2011. Like an open wound.

Norway’s July 22 Memorial Sites

但是，尽管这座建筑产生了这些感觉，但大自然在某种程度上是不同的。虽然我们直接站在许多人丧生的地方，但大自然已经开始掩盖所有的痕迹。这一观察在观察政府部门时得到了加强。随着时间的推移，以及即将在乌托亚和奥斯陆进行的建筑翻修和拆除，建筑内部的不安感觉也将发生变化，并最终在不同程度上消失。就像一个开放的伤口被缝合闭合，最终变成一个褪色的疤痕。
But while the building produced these feelings, nature was somehow different. Although we stood directly on the very place where many people had lost their lives, nature had already begun to obscure all traces. This observation was reinforced when viewing the Government Quarter. With more time and with the upcoming building renovations and removals, both on Utøya and in Oslo, the disturbing sensations that were felt inside the buildings will also shift and eventually fade in varying degrees. Just as an open wound is stitched closed and eventually turns into a faded scar.

This observation forms the seed of my concept that begins with the Memorial Sørbråten. The Temporary and Permanent Memorials in the Government Quarter grow from this seed, yet they proceed and carefully consider their own site-specific physical, social and political aspects.

Memory Wound

我对瑟尔布雷腾纪念馆的概念是，在大自然本身就有一个伤口或伤口。它再现了带走的物理体验，反映了死亡者突然而永久的损失。该挖方将为3.5米宽的挖方。它从Sørbråten场地的岬角顶部切割到水线下方，并延伸到每一侧。景观中的这种空隙使其无法到达地头的尽头。
My concept for the Memorial Sørbråten proposes a wound or a cut within nature itself. It reproduces the physical experience of taking away, reflecting the abrupt and permanent loss of those who died. The cut will be a three-and-a-half-meters-wide excavation. It slices from the top of the headland at the Sørbråten site, to below the water line and extends to each side. This void in the landscape makes it impossible to reach the end of the headland.

游客们在森林中的一条木制小径上开始了他们的体验。这创造了一个五到十分钟的沉思之旅。然后，通道将短暂流入隧道。这条隧道引导游客进入风景区，到达切口本身引人注目的边缘。游客将站在切割形成的水道的一侧。穿过这条海峡，在另一边平坦垂直的石头表面上，死亡者的名字将明显地刻在石头上。这些名字将足够近，可以清楚地看到和阅读，但最终还是够不着的。削减是对永远不可替代的东西的承认。
Visitors begin their experience guided along a wooden pathway through the forest. This creates a five to ten minute contemplative journey leading to the cut. Then the pathway will flow briefly into a tunnel. This tunnel leads visitors inside of the landscape and to the dramatic edge of the cut itself. Visitors will be on one side of a channel of water created by the cut. Across this channel, on the flat vertical stone surface of the other side, the names of those who died will be visibly inscribed in the stone. The names will be close enough to see and read clearly—yet ultimately out of reach. The cut is an acknowledgement of what is forever irreplaceable.

考虑到该地区的自然美景，我的概念表明，纪念瑟尔布雷·滕（Sørbråten）的重要性在于，它提供了与挪威惊险景观沿线其他地方截然不同的物理和叙事体验。国家旅游线路（Nasjonale turistveger）提供了一种到达壮观景色或历史遗址的满足感。
Given the natural beauty of the area, my concept suggests the importance that the Memorial Sørbråten provides a markedly different physical and narrative experience from other places along Norway’s breathtaking landscape. The National Tourist Routes (Nasjonale turistveger) deliver a sense of satisfaction of having reached a spectacular vista or a historical site.

相比之下，这种体验希望通过诗意的断裂或中断将游客带到一种反思的状态。人们应该很难看到自然环境的内在美，同时也会感到失落。正是这种失落感将实际激活网站。人们会在切割周围的景观中找到自己的路，从更高的角度俯视海峡和名字，或者向外看乌托亚，建立自己的私人观看和记忆方式。
In contrast, this experience hopes to bring visitors to a state of reflection through a poetic rupture or interruption. It should be difficult to see the inherent beauty of the natural setting, without also experiencing a sense of loss. It is this sense of loss that will physically activate the site. People will find their way around the landscape surrounding the cut, looking down at the channel and to the names from a higher perspective, or looking out to Utøya, establishing their own private ways of seeing and remembering.

Time and Movement

然后，我的概念转移了从瑟尔布雷腾纪念馆（Memorial Sørbråten）的切口中挖掘出的天然材料。在积极和诗意的姿态，它使用的材料作为基础，在其中形成临时纪念，以及后来的永久纪念。天然材料包括1000立方米的切割石。它还包括树木和植物的生命收集从削减和创造一条途径通过森林。
My concept then transfers the natural material excavated from the cut at the Memorial Sørbråten. In an active and poetic gesture, it uses the material as the foundation upon which the Temporary Memorial is formed, as well as later for the Permanent Memorial. The natural material includes 1000 cubic meters of stone from the cut. It also includes the trees and plant life gathered from the cut and from the creation of a pathway through the forest.

临时场地位于现有人行道旁边。人们每天都用它往返阿克斯加塔和格鲁比加塔。纪念步行将引导行人稍微偏离他们的常规路径。它在物理上与挪威社会日常生活流程中发生的中断有关，但实际上，日常生活必须以全意识的方式进行。
This very specific topography symbolizes those who were lost on July 22, 2011. I am proposing to use the natural materials to create a memorial walk. The walk considers how movement and the passage of time are important elements in the process of grieving, remembering, and growth.
The Temporary site lies next to an existing walkway. People use it every day to travel to and from Akersgata and Grubbegata. The memorial walk will lead pedestrians slightly off of their regular path. It physically relates to the interruption that occurred in the everyday life flow of Norwegian society—yet it is indeed everyday life that must carry on, in a fully conscious manner.

切割的石材将用于在浅渠道内建造一条道路。它引用了在Sørbråten现场从切割处创建的通道。但重要的是，该频道还为奥斯陆和乌托亚遇难者的名字创造了一个突出的位置。通道的另一侧创造了通往高架景观的座位和/或台阶。该区域将包含从瑟尔布尔登纪念馆移除的树木和植物。再生的象征，树木连同题写的名字将被转移到永久纪念馆，带着随着时间的推移而来的铜绿和丰满。
The stone material from the cut will be used to make a path nestled inside of a shallow channel. It references the channel created at the Sørbråten site from the cut. But the channel also and importantly creates a prominent place for the names of those who died in Oslo and on Utøya. The other side of the channel creates seating and/or steps to an elevated landscape. This area will contain the trees and plant life removed from the Sørbråten Memorial. Symbols of regeneration, the trees along with the inscribed names will be transferred to the Permanent Memorial, carrying with them the patina and fullness that comes with the passage of time.

Dialogue for the Future

最后，永久纪念碑将由切割后留下的石头建造而成。它将把石头与树木以及临时纪念馆中的植物结合起来，创造出一个具有露天圆形剧场品质的景观。永久纪念碑旨在成为一个持续对话的场所，在此基础上形成宽容，这正是许多直接受袭击影响的人所热衷的。它坚持认为，政府部门应尽可能向社会开放。
Finally, the Permanent Memorial will be constructed from the remaining stone from the cut. It will combine the stone with the trees and plant life from the Temporary Memorial, creating a landscape that has the qualities of an open-air amphitheater. The Permanent Memorial is designed to be a place for the sustained dialogue upon which tolerance forms—which is what so many of those directly affected by the attacks were passionate about. It maintains that the Government Quarter should remain as open to society as possible.

纪念竞技场是由一个柔和的雕刻动作制成的。随着雕刻区域高度的加深，它在一侧形成一个自然的垂直面。这一垂直面成为放置奥斯陆和乌托亚遇难者姓名的突出区域。雕刻运动遵循同心圆的形状。圆圈逐渐形成一系列宽台阶。这些步骤作为不同类型的互动可以发生的层面发挥作用，包括那些仪式性质的互动。
The memorial amphitheater is made from a gentle carving motion. As the elevation of the carved area deepens, it forms a natural vertical plane on one side. This vertical surface becomes the prominent area to place the names of those who died in Oslo and on Utøya. The carving motion follows the shape of concentric circles. The circles gradually form a series of wide steps. These steps function as planes upon which different types of interactions can take place, including those that are ceremonial in nature.

从临时纪念馆移来的树木（最初取自瑟尔布雷十纪念馆的伐木），将与两百年前的“林登阿莱”融为一体。这将象征性地把AUF夏令营环境带到奥斯陆市中心。纪念馆的位置将使人们无法看到政府区的主楼，如果没有对2011年7月22日出于政治和意识形态动机的袭击以及失踪人员的微妙提醒，就无法看到政府区的主楼。
The trees transferred from the Temporary Memorial (originally taken from the cut at the Memorial Sørbråten), will mingle with the two-hundred-year-old “Linden alle”. This will symbolically bring the AUF summer camp environment into the center of Oslo. The position of the memorial will make it impossible to see the main building of the Government Quarter, without a subtle reminder of the politically and ideologically motivated attacks of July 22, 2011 and of those who were lost.

同时，圆形剧场场地的设计不是为了提升观众的观赏性，因为没有舞台。纪念竞技场将是一个开放的关系空间，提供对话和互动的条件，而不是直接或规定的。但是这个空间本身将传达一种特殊的地形，它反映了生活在失去、疗愈、记忆和未来之中。
At the same time, the amphitheater site is designed in such a way as to promote not really spectatorship, for there is no stage. The memorial amphitheater will be an open, relational space that offers the conditions for dialogue and interaction that is not directed or prescribed. But the space itself will convey the specific topography that exists as a reflection of life amidst loss, healing, remembering, and a future to behold.

Winning Competition entry, 2011
Concept and design: Jonas Dahlberg Studio
Photos and text: Jonas Dahlberg Studio
Location: Sørbråten, Norway & Oslo, Norway