Perhaps the most difficult assignments in architecture are those requiring that tradition be brought into the design. This wish might be included in the assignment by the client or it may be a goal set by the designers themselves. This article takes up the topic of cultural borrowings as well as the relationship between the designer and the features of the local culture – specifically, the Sámi lavvu theme. In this article, some attempts will be presented to make Sámi culture visible in architecture at different times. Architecture follows the same kinds of stereotypical representations that are now criticized in museums when presenting Indigenous peoples. The Sámi are often presented in national museums as a separate theme, and, in architecture, certain themes are highlighted as “Sámi” features. Architecture has remained a discipline that celebrates the mixing of elements and motifs, while many art practices are tightening the boundaries around cultural license. However, this article does not focus on cultural appropriation in architecture or on the imbalance of power in planning; rather, it presents a contribution of how architects have interpreted the lavvu theme in their design between the 1940s and the 1990s. It also highlights the process of change that has taken place over a few decades; strengthening respect for Indigenous cultures and criticizing cultural exploitation have also had an influence on planning.

中文翻译：

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将 Sáminess 融入现代北欧建筑的一些趋势

也许建筑中最困难的任务是那些需要将传统带入设计的任务。这个愿望可能包含在客户的任务中，也可能是设计师自己设定的目标。本文探讨了文化借用以及设计师与当地文化特征之间的关系——特别是萨米人拉武主题。在本文中，将提出一些尝试，以使萨米文化在不同时期的建筑中可见。建筑遵循与现在在博物馆展示土著人民时受到批评的相同类型的刻板印象。萨米人经常作为单独的主题出现在国家博物馆中，在建筑中，某些主题被强调为“萨米人”特征。建筑仍然是一门颂扬元素和图案混合的学科，而许多艺术实践正在收紧围绕文化许可的界限。然而，本文并不关注建筑中的文化挪用或规划中的权力失衡；相反，它展示了建筑师如何在 1940 年代和 1990 年代之间的设计中解释 lavvu 主题的贡献。它还强调了几十年来发生的变化过程；加强对土著文化的尊重和批评文化剥削也对规划产生了影响。