In Longyearbyen, Svalbard, 78° north of the Earth’s equator, Snøhetta has designed a visitor center for Arctic preservation storage called The Arc, referencing its location in the Arctic and its function as an archive for world memory.

Commissioned by Arctic Memory AS, the visitor center will showcase content from the Svalbard Global Seed Vault – the world's largest secure seed storage, and the Arctic World Archive – a vault that aims to preserve the world's digital heritage.
The project is the result of a collaboration with the Norwegian Natural History Museum. The new building will further provide its audience with insights into how the Svalbard Archipelago's unique geology has transformed over millions of years.

The building designed by Snøhetta is  suspended off the ground to prevent heating of permafrost and accumulation of snow. The entrance building is clad with burnt wood and dark glass panels, while the interiors consist of exposed wood elements. Roof areas are designed to accommodate solar panels for harvesting solar energy.
 

Project description by Snøhetta

The architecture divides the visitor center into two separate volumes; the entrance building and the exhibition building. The entrance building contains visitor functions such as lobby, ticketing, wardrobe and a café, as well as production facilities for the Arctic World Archive and technical rooms. A structural frame of cross laminated timber in combination with stiffening wall discs in solid wood forms a rectangular building volume that rests on pile foundations in the bedrock. The building is suspended off the ground to prevent heating of permafrost and accumulation of snow. The entrance building is clad with burnt wood and dark glass panels, while the interiors consist of exposed wood elements. Roof areas are designed to accommodate solar panels for harvesting solar energy.

The entrance building and the exhibition building contrast each other in form, texture and color. While the entrance building is rational and stoic, the exhibition building expresses a unique shape, scale and spatial sequence, designed as a timeless, scale-less form that is both familiar and otherworldly at the time. From the outside, the exhibition building appears as a robust monolith – its outer surface formed by the erosion of the site’s unique and often extreme weather conditions. It may also resemble an organic form drilled out of the ground, exposing the stratification of the Earth’s surface.

Access to the exhibition building occurs across a glass access bridge, which is used to organize visitors into smaller groups. On the access bridge one is exposed to the surroundings and can experience from a single vantage point the towering geological formations to the south, the spectacular views to the north and the exterior of the exhibition building. The contrasting volumes are designed to give visitors the experience of going from a familiar entrance into a real vault inside the permafrost of Svalbard.

Inside the dramatic vertical vault of the exhibition building forms a powerful digital archive where both permanent and temporary exhibits are experienced first-hand. From floorboards at the ground level visitors can visually retrieve what is stored inside the Arctic World Archive and the Svalbard Global Seed Vault. Content stored in these vaults currently spans from Edvard Munch’s art collection and the Vatican’s 1,500-year-old manuscripts, to film clips of the Brazilian football player Pelé and the largest collection of the World’s seeds. The Vault is kept at 4° Celsius and has muted lighting to further amplify the experience of being inside one of the real vaults. The vaults’ content can be experienced through projections on the walls, managed by touch screens, VR experiences and other physical and digital exhibit elements, developed in close collaboration with the storytelling agency Tellart.

At the heart of the Vault lies the Ceremony room, a conditioned auditorium that can be used both for digital projections, deposit ceremonies for the vaults, lectures and talks, as well as for individual contemplation and reflection. The core of the ceremony room has a bright wood interior, in contrast to the dark wood trim on the outer shell. The centerpiece of the ceremony room is a large deciduous tree representing the vegetation that has previously grown on Svalbard, where leaf fossils of both ancient trees (Metaseqoia and Ginko) and more well-known deciduous trees have been found dated back more than 200 million years.

Elm, Birch, Lime, Chestnut and many other broadleaf species grew on Svalbard 56 million years ago when the temperature was 5-8° Celsius higher. At the current rate of carbon emissions, temperatures could rise high enough for a forest to grow again on Svalbard within only 150-200 years. The tree in the ceremony room is both a symbol of the past and a call to action – a living icon for global warming and our responsibility to preserve the Arctic, and all of nature, for future generations.

The Arc aims to educate visitors and inspire innovative preservation solutions for the world’s food and digital resources. It further emphasizes the value of the unique climatic and political stability one finds beyond the Arctic Circle, in the permafrost of Svalbard, serving as a reminder of how we should take care of the world’s resources for future generations to come.

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Snøhetta is an architecture, landscape, and interior design studio with offices in Oslo, Norway, and New York City, USA. Founded in 1989, it is led by Craig Dykers and Kjetil Thorsen. The studio, named in honour of Mount Snøhetta, the highest peak in the Dovrefjell mountains of Norway, has approximately 100 collaborators working on large-scale international projects across a wide range of typologies. Their approach is deeply collaborative and transdisciplinary, bringing together architects, designers, engineers, and landscape professionals to explore multiple perspectives depending on the nature of each project.

Snøhetta has completed a series of world-renowned cultural and landmark projects, including the Bibliotheca Alexandrina in Egypt, the Oslo Opera House and Ballet, and the Lillehammer Art Museum in Norway. Current projects include the National Pavilion of the September 11 Memorial Museum at the World Trade Center site in New York, as well as urban and landscape developments that aim to merge local identity, sustainability, and public experience.

In 2004, Snøhetta was awarded the Aga Khan Award for Architecture, and in 2009, the Mies van der Rohe Award. The studio is the only practice to have won the World Architecture Award for Best Cultural Building twice in consecutive years: in 2002 for the Bibliotheca Alexandrina and in 2008 for the Oslo Opera House and Ballet, consolidating its international prestige.

Kjetil Trædal Thorsen (born 1958 on the coastal island of Karmøy, Norway) is a co-founder of the studio and a multiple award-winning architect. He is a visionary and humanist designer who has redefined the boundaries of contemporary practice. Under his leadership, Snøhetta has produced iconic, sustainable structures that are highly sensitive to their cultural context, combining technological innovation with a profound environmental awareness. Thorsen’s work is recognized for its focus on social interaction, sustainability, and the creation of spaces that foster human connection and sensory experience, establishing a benchmark in contemporary global architecture.

Craig Dykers (born 1961 in Frankfurt, Germany) is also a co-founder of the studio and director of its New York office. Snøhetta has earned a reputation for maintaining a deep integration of landscape, architecture, and urban experience across all its projects. Key works include the Bibliotheca Alexandrina in Egypt, the Oslo Opera House and Ballet, the National Pavilion of the September 11 Memorial Museum in New York, and the redesign of Times Square. Professionally and academically active, Dykers has been a member of the Norwegian Association of Architects (NAL), the American Institute of Architects (AIA), and the Royal Society of Arts in England. He has served as a diploma juror at the Architectural College in Oslo and as a distinguished professor at City College, New York. He has delivered numerous lectures across Europe, Asia, and the Americas, and has undertaken public art installation projects, many of which explore the interplay between context, landscape, and human experience.

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Published on: October 31, 2019
Cite:
metalocus, ÁNGEL TORNE
"The Arc, a Visitor Center for Arctic Preservation Storage by Snøhetta" METALOCUS. Accessed
<https://www.metalocus.es/en/news/arc-a-visitor-center-arctic-preservation-storage-snohetta> ISSN 1139-6415
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