斯维勒·费恩

斯维勒·费恩(1924年8月14日- 2009年2月23日)，1997年 普利兹克奖 得主，二战后斯堪的纳维亚建筑的领军人物。“他的作品对于如何使用北欧景观以及建筑文化中特定的光照条件有着直觉般的把握，迄今为止，他职业生涯的每个阶段都对于建筑的国际变化以及态度有着高度的敏感，”他的亲密合作者Per Olaf Fjeld说。“就好比作家在孤山上作出的富于诗意的作品，对于山下世界发生的事有着出奇的直觉。”




费恩与来自奥斯陆建筑学院的校友一起，参与国际建筑讨论，特别是通过CIAM（国际现代建筑协会）及其在斯堪的纳维亚的分支PAGON（挪威，奥斯陆进步建筑师小组）。然而，凭借着1958年布鲁塞尔世博会挪威馆，和1962年威尼斯双年展的北欧馆，他才第一次获得国际上的认可。

北欧馆正是很好的一例，表现了在费恩在评估项目场地，以及材质和光线的本性时，如何赋予挪威传统建筑元素新的诠释。建筑师注重捕捉光线并赋予它独特的空间表现，而不是创造对外的视野。由薄混凝土薄片网格构成的屋顶，引入了北欧景观典型的的均匀光线。网格的开口使现有的树木得以保留，成为了项目特色；在费恩的作品中，像混凝土或砖这种沉重而禁欲的材质常常和并木头并列使用，令人联想到国家独特的自然元素。
除了众多的住宅项目，费恩在后期职业生涯投身博物馆设计。重要作品包括冰川博物馆，奥克拉斯特博物馆和海德马克博物馆，在这一领域他继续探索建筑与自然环境乃至特定场地的关系。
Fehn认为，自然和人造结构之间存在着不可避免的冲突。在考虑如何将建筑融入划定的场地中时，费恩试图化解建筑与原始场地间的冲突。
























Sverre Fehn (1924-2009) has long been recognized in Europe as one of Norway's most gifted architects. Categorized as a modernist by most architectural writers, Fehn himself says, “I have never thought of myself as modern, but I did absorb the anti-monumental and the pictorial world of LeCorbusier, as well as the functionalism of the small villages of North Africa. You might say I came of age in the shadow of modernism.”
“I always thought I was running away from traditional Norwegian architecture,” says Fehn, “but I soon realized that I was operating within its context. How I interpret the site of a project, the light, and the building materials have a strong relationship to my origins.”
Born in Kongsberg, Norway in 1924, he attended the Oslo School of Architecture and received his degree in 1949.
Fehn, along with Norberg-Schulz, Grung, Mjelva and Vesterlid, all other Norwegian architects of the same generation, and J?rn Utzon (the Danish architect who later gained fame for the Sydney Opera House, Australia) formed an organization which was the Norwegian branch of CIAM (International Congress of Modern Architecture), called PAGON (Progressive Architects Group Oslo Norway) that had a profound influence, creating architecture which had a firm foundation in the Modern Movement, but was expressed in terms of the materials and language of their own region and time.
Fehn received the French State Scholarship which allowed him to live in Paris in 1953 and 1954. In reminiscing about that period, Fehn recalls that it was his generation that distanced itself from Le Corbusier and his urbanistic world.
He received international attention for his Norwegian Pavilion at the World Exhibition in Brussels, Belgium in 1958, and again in 1962 for his Nordic Pavilion at the Venice Biennale.
When asked what the most important part of his architecture is, Fehn has replied that it is above all, the construction, be it wood or concrete, and harmony, rhythm, and honesty in the use of those materials. He calls the act of building brutal, and elaborates, “When I build on a site in nature that is totally unspoiled, it is a fight, an attack by our culture on nature. In this confrontation, I strive to make a building that will make people more aware of the beauty of the setting, and when looking at the building in the setting, a hope for a new consciousness to see the beauty there, as well.”
Fehn considers light another material of construction. And nowhere is this more evident that in the Venice Biennale Nordic Pavilion. The building consists of concrete bearing walls, with a two-way concrete clear-span roof with openings for tree trunks where necessary. The building is literally built around growing trees. The leafy branches of the trees, and the design of the roof beams to diffuse the light from the sun, provide the interior exhibition space with a soft light that has been characterized as Nordic.
His Glacier Museum has been hailed as a major landmark in contemporary architecture. The building stands on the plain carved out by the Josstedal Glacier at the mouth of the Fjaerland Fjord. The museum is the center of a panorama formed by the steep mountainsides and the fjord with the glacier on top. As you approach the site by boat, the white concrete of the museum seems to lie as a rock on the mountainside, says Fehn. The rocks that lie on the hills of the Scandinavian landscape have always had an attraction for me. These rocks were the inspiration for building in concrete.
In 1971, he became a professor of architecture at his alma mater in Oslo, where he taught until 1993. Fehn has lectured extensively in Europe; including Vasa University, Finland, Denmark's Architectural School of Aarhus, the Stockholm Architectural Association, the University of Trondheim, the International Laboratory of Architecture & Design in Urbino, Italy, the Architectural Association in London. He has also lectured in Paris, Stuttgart, Germany; Barcelona, Spain; and Rome. In the United States, he has been a guest lecturer at The Cooper Union in New York City, Cranbrook Academy of Arts in Bloomfield Hills, Michigan, Massachusetts Institute of Technology, and Harvard, Cornell, and Yale universities. His work was exhibited at the Museum of Modern Art in 1968 ...