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Authors
Borja Ramón López Cotelo
Centro de Estudios Superiores Universitarios de Galicia CESUGA-USJ
Antonio Amado Lorenzo
Universidade da CoruñaGenco Berkin
Istanbul Nisantasi UniversityAbstract
Methodology and objectives: In order to understand the theoretical and conceptual concerns that structured the work of the Norwegian architect Sverre Fehn (1924-2009), the texts and drawings contained in notebooks whose pages Fhen filled throughout his more than fifty years of professional activity have
been explored. The analysis of these direct sources, conserved in the Nasjonalmuseet for Kunst, Arkitektur og Design in Oslo, and their relationship with the texts that critics and colleagues wrote about the architect —highlighting Per Olaf Fjeld and Christian Norberg-Schulz, both with biographical links with Fehn— has allowed concluding that there were two basic ideas underlying the production of Norwegian: on the one hand, the horizon, which he understood as a challenge, homeland of the unknown, engine of the imagination of men until the verification of the sphericity of the Earth diminished
its capacity to inspire irrational thought. On the other hand, the encounter of architecture with the land, with that mass that the architect manipulates until he discovers that it is precisely in the dramatic confrontation between nature and man where beauty is born, and that in this duel architecture recognizes its limits. Results: When comparing these reflections —especially those related to the opposition between architecture and nature—with the postulates defended by some of his contemporaries, Sverre Fehn has become very far removed from the approaches of other architects with whom he shared a geographical and temporal context such as Reima Pietilä, while revealing his deep convergence with the approach of the Danish Jörn Utzon
with whom he had collaborated professionally in his youth.
Keywords:
References
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