架构师提供的文本描述。关于塞尔约德湖中一条海蛇的神话已经成为特勒马克当地居民如何构想其壮丽景观的一个组成部分。关于湖中神秘现象的故事已经兴盛了几个世纪，是该地区日常生活中的一个自然部分。

Text description provided by the architects. The myth about a sea serpent in the lake of Seljord has become an integral part of how the local people of Telemark conceive its majestic landscape. Tales about mysterious phenomena in the lake have flourished for centuries and are a natural part of the daily life in the area.

 © Dag Jenssen 

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2008年，Seljord市决定将这一神秘特征作为该地区发展方案的出发点。他们和策展人斯普林格库尔图尔工作室一起，委托Rintala Eggertsson建筑师在湖边设计不同的观察点，以方便当地居民和游客在一些重要地方体验湖面。任务分为两个部分：首先在湖的中段和东南段设计三个小设施，然后在靠近塞尔约德小镇的西南端设计一个主要观点。

In 2008, the municipality of Seljord decided to use this mythical feature as a point of departure for a development programme for the area. Together with the curators Springer kulturstudio, they commissioned Rintala Eggertsson Architects to design different lookout points around the laketo ease the access for local population and visitors to experience the lake at some important places. The assignment was divided into two parts; first to design three small installations in the mid- and southeast section of the lake and then to design a main viewpoint in the southwest end of the lake, close to the small town of Seljord.

 © Dag Jenssen 

c.达格·詹森

第一部分是作为建筑讲习班举办的，来自米兰NuovaAccadeydi Belle Arte和Policnico的艺术和建筑学学生和教师，以及挪威戏剧学院的场景学生，在我们的领导下。整个研讨会的主题都集中在将人造装置锚定在景观中的特色特征上，而不是主导它们的问题上。这三个装置在我们的网站上以“进入景观”的标题呈现。

The first part was organized as a building workshop with art- and architecture students and teachers from NuovaAccademia di Belle Arte and Politecnico in Milan and scenography students from the Norwegian Theatre Academy under our leadership. The whole workshop was thematically focused on the issue of anchoring man-made installations to characteristic features in the landscape without dominating them. The three installations are presented on our website under the title “Into the Landscape”.

 © Dag Jenssen 

c.达格·詹森

在这第二部分，我们发现我们再次处理锚定，这不仅是因为所选择的地点令人惊叹的美丽，而且也是由于任务的框架，这一切都是为了向更多的公众调解自然现象。这一次，我们面对的是一个有两棵松树和大檐篷的地方，创造了一个休息和娱乐的自然场所。

In this second part we found ourselves dealing with anchoring again, not only because of the stunning beauty of the chosen site, but also due to the framework of the task which was all about mediating natural phenomena to a larger public. This time we were faced with a site with two pine trees with large canopies creating a natural place for rest and recreation.

 © Dag Jenssen 

c.达格·詹森

这成了景观的特色，它觉得锚定在这里是很自然的。由于房间计划列出了一个观景台和一个小型展览庇护所，我们决定把它分成两部分，并将两个功能放在树的两边，中间有一个连接的甲板。观景台的形式是一座塔，在俯瞰湖面的顶部有一个主空间，在通往山顶的道路上有两个较小的空间，一个面向附近的鸟巢区，另一个面向两棵大松树的树冠。然后，该平台与附近的停车场连接，由合作的景观设计师FesteGranland设计了一条狭窄的人行道。

This became the landscape feature on which it felt natural to anchor. As the room programme listed a viewing platform and a small shelter for exhibitions, we decided to divide it in two and place the two functions on each side of the trees, with a connecting deck in-between. The viewing platform was then given the form of a tower with a main space at the top overlooking the lake and two smaller spaces on the way to the top, one facing a nearby bird nesting area and the other one facing the crown of the two big pine trees. The platform was then given a connection to the nearby parking area with a narrow walkway designed by the collaborating landscape architects FesteGrenland.

 © Dag Jenssen 

c.达格·詹森

有了这个组织，我们就能在湖边建立一个离城镇和停车场一定距离的最终目的地，这使游客在到达前能够体验到景观。为游客做好准备可以减少与滨水区的会面；它使游客对周围环境有了更广泛的认识，并使游客得以进入更个性化的景观和塞尔佐德湖蛇周围的神话。因此，视点不再是最终的目的地，而只是已知和未知景观之间的一个休息点。

With this organization one was able to establish a final destination by the lake with a distance from the town and the parking area which gave the visitor an experience of the landscape before arrival. A preparation for the visitor makes the meeting with the waterfront less abrupt; it gives the visitors a broader perception of the surroundings and allows for a travel onwards into a more personal landscape and into the myths around the serpent of the Seljord lake. The viewpoint becomes thus not the final destination, just a resting point between the landscapes of the known and the unknown.

 © Dag Jenssen 

c.达格·詹森