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Sumit Singhal
Sumit Singhal loves modern architecture. He comes from a family of builders who have built more than 20 projects in the last ten years near Delhi in India. He has recently started writing about the architectural projects that catch his imagination. PAN-cabins in Hedmark, Norway by sivailarkitekt espen surnevik asMarch 12th, 2019 by Sumit Singhal
Article source: sivailarkitekt espen surnevik as When the PAN-Clients asked me to develop the PAN-project in their forest, I had to use a long time to reflect on the task, theme and commission. There was a big will to try to develop something unique for the forest that could relate to the beautiful landscape and its colours, from the rocks to the small plants and big trees. Tove Jansson – The particular history of the area, where people from Finland immigrated in the sixteenth century and settled, has created a pan-Nordic culture with mixed traditions that are very strong and interesting. This aspect lead to dive into the Finish artist, and writer, Tove Janssons work. Janssons work is most famous for her creation of the Mu’mins, but her texts and drawings define a whole mythology, I will say, created around the Nordic view on nature and the Finish forests. For Me it represents a genuine feeling of how the Nordic individual relates to the long distances between settlements in rural Scandinavia, the loneliness, the dark winters, and the cold climate. Jansson puts words and illustrations to the illusions that is created inside the mind, of fear and the worm security, that occurs in us all when in contact with the bear elements of the Nordic nature.  Image Courtesy © Maren Hansen
 Image Courtesy © Espen Surnevik Jansson, for me, also deals with the ambiguity between nature and civilisation with here cultivated, and intellectual, buildings placed into mythic natural landscapes. This creates an almost surrealistic relation between the controlled and the unpredictable, what we can create and restrain, and what we must accept as the destiny of nature. Janssons work became a framework from where the language for the PAN project could be developed. The firetowers – The Clients vision was to create a project high up over the ground, to create a playful relation to the forest, and to create a positive enclosed feeling of security as a contrast to the dark nights in the forest. In order to do this the project needed a construction that not only could be pragmatic but had to be evident to the idea and to the forest. I worked on finding some kind of structural idea that had some relation, ore tradition, to the forest and the context.  Image Courtesy © Rasmus Norlander  Image Courtesy © Rasmus Norlander In the cold forest-belt, that surrounds the northern hemisphere, there is represented an Architectural typology, that can be found in Scandinavia, in Russia, and in North-America. It’s the firetowers that are built to overlook the huge forests in search of smoke and fire in the dry seasons. These firetowers forms structures that can be viewed as interesting intellectual element put in as a contrast to nature and the forests. Almost as an Art-installation placed out in the landscape. At the same time these optimal constructive structures also express the laws of nature (physicks) through its optimal representation of construction. In this sense the surrounding nature and the man-made firetowers find a kind of interesting relation and dialogue. The constructive language from the firetowers gave the Architectural ingrediencies to create a constructive identity for the PAN-cabins.  Image Courtesy © Rasmus Norlander  Image Courtesy © Rasmus Norlander The A-frame lodge – I was in search of structural form for the cabins. Something that was not just a free and good-looking shape, but a volumetry that had a type of primal clarity and constructive significance. As routed in my work on Churches I wanted the small-scale cabins to give some monumental, and existential, experiences to the people that should live there. Another typology came into my mind, the A-frame lodge, well known from USA and Canada. This primal shape had the potential of being both intimate, in its width, and monumental in its height. At the same time, it represented something basic, almost like an archetype that have always been around as an idea since Pythagoras described the maths for the triangular shape.  Image Courtesy © Rasmus Norlander  Image Courtesy © Rasmus Norlander The triangular form of the cabin was optimal to create a direct visual and constructive relation between the cabin and the bearing steel-structure underneath. The triangular also provided the possibility to introduce a mezzanine in the middle of the cabins. The mezzanine encourages Us to the joyful experience of prepositions in Architecture as our bodies moves through a building. (over, under, besides, behind, in front of, trough etc.) This playful sequences are also an important theme for the projects entrance, which starts by leaving the forest by entering up trough a spiral stair that leads over a bridge and in to the cabins. Image Courtesy © Rasmus Norlander  Image Courtesy © Rasmus Norlander  Image Courtesy © Rasmus Norlander  Image Courtesy © Rasmus Norlander  Image Courtesy © Rasmus Norlander  Image Courtesy © Rasmus Norlander  Image Courtesy © sivailarkitekt espen surnevik as  Image Courtesy © sivailarkitekt espen surnevik as  Image Courtesy © sivailarkitekt espen surnevik as  Image Courtesy © sivailarkitekt espen surnevik as  Image Courtesy © sivailarkitekt espen surnevik as
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