Landscape architectures in Norway. The influence of AHO masters on the National Tourist Routes of Norway

cuaderno de Notas - - Arquitectura 1um1nua Espacios homotérmLCos l1 vernéculo en la A.:Modarna ■1darn to Contamporarv l1s heredaros de Olmstad Oblltl di contradlccl6n - - - .. landscapa archhacturas In Norwav Arquitectos v contraUstas en léllco Spaln: POIUCS OI lodarnlsm Ciudad Horizonte Palsale de Interior Centrales Nucleares en España Arquitectura del diaria Ya •• - - - ... PUBLICACIÓN SOBRE TEMAS DE TEORIA E HISTORIA DE LA ARQUITECTURA O) 'I"" o N o _J :::, .., CUADERNO DE'. NOTAS 20 • 2019 cuaderno de Notas PUBLICACIÓN SOBRE TEMAS DE TEORIA E HISTORIA DE LA ARQUITECTURA Cuaderno de Notas, núm. 20 Departamento de Composición Arquitectónica Escuela Técnica Superior de Arquitectura Universidad Politécnica de Madrid Cuaderno de Notas es una publicación realizada por ini ciativa de profesores del Departamento de Composición de la Escuela de Arquitectura de Madrid. Los criterios y opiniones expuestos son responsabilidad exclusiva de los autores. 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ISSN: 1138-1590 Depósito Legal: M-15279-1993 ETSAM Dirección: Avenida de Juan de Herrera, 4, 28040 Madrid Teléfonos: 910 674 960 Email: cuadernodenotasd[email protected] PÁGINA WEB Revista incluida en el Indice Avery (AIAP), valorado por http://composicion.aq.upm.es/webcnotas/ la CNEAI a efectos de sexenios de investigación. Incluida también en REBIUN, E-REVISTAS (CSIC), ISOC, DIALEDICIÓN DIGITAL NET, LATINDEX (35 estándares de 36 desde el número http://polired.upm.es/index.php/cuadernodenotas 17), MIAR y DOAJ. CRE'.DITOS CUADERNO DE NOTAS 20 ·201 9 SUMARIO ARTÍCULOS Editorial. .................................................................................................................................................. . Rafael García García Resúmenes .............................................................................................................................................. ii 'Arquitectura luminosa' y modernidad El fenómeno de la 'lichtarchitektur' en la arquitectura moderna de entreguerras en Alemania y España................................................................................... 1 'Light Architecture' and modernism. The 'lichtarchitektur' phenomenon in German and Spanish modern architecture during the inter-war period. Rodrigo Almonacid Canseco Espacios homotérmicos Una historia de la calefacción central en la arquitectura del siglo XIX................................................................................................................................................ 11 Homothermal Spaces. A History of Central Heating in 19th-Century Architecture. Eduardo Prieto El papel de lo vernáculo en la arquitectura moderna Cuestiones de forma, identidad y adecuación al contexto............................. 29 The Role of the Vernacular in Modern Architecture: Form, Identity and Contextuality Issues. Alejandro García Hermida Modern to Contemporary A Historiography oí the Global in Architecture ....................................................... 43 Modernidad a contemporaneidad: una historiografía de lo global en arquitectura. Macarena de la Vega de León Los herederos de Olmsted La American Society of Landscape Architects y la dificil definición del paisajista moderno ...................................................................................... 53 Succeeding Olmsteél: the American Society of Landscape Architects and the Difficulties to Define Modern Landscape Architecture. Nicolás Mariné Objeto de contradicción Aproximaciones al ready-made en la obra temprana de Robert Venturi, 1959-1968 ......................................................................................................................... 71 Object of contradiction. Approaches to the ready-made in the early works of Robert Venturi, 1959-1968. Enrique Encabo Seguí e Inmaculada Esteban Maluenda Landscape architectures in Norway The influence oí AHO masters on the National Tourist Routes oí Norway ...................................................................................................................................................... 89 Arquitecturas del paisaje en Noruega. La influencia de los maestros de la AHO en el Plan Nacional de Rutas turísticas Noruegas. Iván J. Rincón Borrego CUADERNO DE NOTAS 20 • 2019 SUMARIO Arquitectos y contratistas modernos en México Vínculos internacionales entre De Lemas & Cardes y Milltken Brathers, 1898-1910 .................................................................................................................... 101 Modern architects and contractors in Mexico. International links between De Lemas & Cardes and Milliken Brathers, 1898-1910. Mónica Silva Contreras 'Spain: Paetics af Madernism', 1986 La arquitectura española en Architectural Review a través de la mirada de Peter Buchanan ...................................................................................................... 119 'Spain: Paetics af Madernism', 1986. Spanish architecture in Architectural Review through the eyes of Peter Buchanan. Pablo Arza Garaloces Ciudad Horizonte El desencuentro entre Sáenz de Oíza y el equipo de arquitectos del Hogar del Empleado ............................................................................................................. 133 Ciudad Horizonte. The disagreement between Sáenz de Oíza and the Hogar del Empleado architects team. Maria Antonia Fernández Nieto y Jorge Gallego Sánchez-Thrija Paisaje de interior Estrategias proyectuales para habitar el bancal................................................... 145 Indoor Landscapes. Design Strategies to Inhabit Terraced Slopes José de Coca Leicher y Marta García Carbonero La Arquitectura de las Centrales Nucleares en España (1963-1972) ...... 157 Architecture on the nuclear power plants in Spain (1963-1972). Carlos Gonzalvo Salas La arquitectura del diario Ya, una obra de Víctor López Morales La modernidad oficial y la prensa tolerada en la España de 1950 .......... 173 The architecture of the newspaper Ya, a piece by Víctor López Morales. Official modernity and tolerated press in the Spain of 1950. Armando Valenzuela Moyana RESEÑAS DE LIBROS .................................................................................................................. 191 INSTRUCCIONES A AUTORES ............................................................................................... 203 Edición digital Además de la presente edición en papel existe a disposición de los lectores una versión digital accesible y descargable en: http://polired.upm.es/index.php/cuadernodenotas. En dicha versión están disponibles también los con tenidos en color de los artículos originales. CUADERNO DE NOTAS 20 • 2019 ARTÍCULOS B9 LANDSCAPE ARCHITECTURES IN NORWAY Iván l. Rincón Borrego Figure l. Harald So hlberg. Wintemight in Rondane, 1914. (Nor berg Schulz 1996: 11). Doctor Arquitecto por la Escuela Técnica Superior de Arquitectura. Universidad de Valladolid. Landscape architectures in Norway The influence of AHO masters on the National Tourist Routes of Norway Keywords: Landscape architecture, Nonuay, AHO, Knut Knutsen, Christian Norberg Schulz, Svere Fehn During the 1990s the Nonuegimi govemment developed the National Tourist Routes Plan, focusing on upgrading 18 local road routes. The interesting program irwolved thoroughjares designated for road vehicles, bringing about the recovery of the epic sense of car road trips, access to remate spots, and sustainable enhancement of their value. Many of the projects were carried out by young Nonuegian architectural and landscaping teams trained at the Oslo School of Architecture and Design (AHO) under the influence of Knut Knutsen, Christian Norberg Schulz, and Svere Fehn. Through analysis, the objective of the research is to unravel the links between these landscape projects and the thought of the AHO masters. Introduction The endless plain upon which I stood was bathed in halflight and mysterious shadow. I saw deformed, twisted and overtumed trees, mute indications of nature's inconceivably powerful forces, for the storms might and fury. ( ... ) Befare me in the distance rose aran ge of rrwuntains, beautiful and majestic in the moonlight, like petrified giants. The scene was the most magnificent and filled with fantastic stillness that I have ever experienced. Over the white contours of a Nordic winter stretched the sky's endless vault, filled with myriad glimme ring stars. It was like a holy service in a great cathedral. Wintemight in Rondane (1914), Ha rald Sohlberg (Norberg Schulz 1996: 11). Nature is imposing and majestic in Norway. From the sudden outcrops of rocks that break up the dark coast of Varan ger to the natural amphitheatre formed by the fiords of Sognejjellet, the scenery alterna tes among forests of impenetrable thickness, glaciers impossible to encompass at a glance, mountain peaks of perpetual snow, tundra and icefalls, ali bathed in the diffuse tones of the mists and the glow of the midnight sun. A sublime and mercurial beauty. Since time immemorial, nature in Norway has been the source of life for its inhabitants and the inspiration for their beliefs. The ex tremely rugged landscape, together with the extremes of climate, has pushed them to face the environment to ensure their survival. But at the same time, this has impregnated the Scandinavian character with a sense of respect, almost veneration, for the mysteries found in Midgard -the world Odin and his brothers Vili and Ve created for humankind to live inwhich drives the denizens to venture into its most inhospitable locations. Towards National Tourist Routes Plan of Norway Norwegian literature and art are teeming with brilliant examples of this feeling. Begin ning with the odyssey of Peer Gynt (1876) wri tten by Henrik Ibsen (1828-1906), an uncon trollable traveller if there ever was one, and continuing through the novels of Knut Ham sun (1859-1952) -for example, Pan (1894) and Growth of the Soil (1917)- Norwegian litera ture has cemented the myth of the solitary Scandinavian traveller, who feels lost in civili zation, constantly attracted by the irresistible call of native forests. The painter Harald Sohlberg (1869-1935) crafts an image of this call in Wintemight in Rondane (1914), a doorway that leads him to the Blue Mountains (figure 1). Under the cold northem light, the scene is presented CUADERNO DE NOTAS 20 • 2019 LANDSCAPE ARCHITECTURES IN NORWAY in layers of shadow that shroud the forests while the snow-capped mountain ranges in the background glow enigmatically from the reflection of the moon, which makes them ghostly apparitions. The vision, far from being troubling, calms the painter after having seen "deformed, twisted and overtumed trees, mute indications of natures inconceivably powerful forces, for the storms might and fury. ( ... ) Be fore me in the distan.ce rose a range of moun tains, beautiful and majestic in the moonlight, like petrified giants." The scene highlights a sublime perspective of Norwegian nature. But even more than this, it reveals the artist's own experience, the roving restlessness of the modern Scandinavian individual, of the wan derers that live to the extent that they disco ver exciting unexplored settings, places where they become self-aware in the escape. In 1975 the historian Robert Rosenblum published his study on the evolution of sce nery in painting, Modem Painting and the Northem Romantic 'Iradition: Friedrich to Ro thko, (Rosemblum 1993), ranging widely from the Romanticism of the 19th century to the Abstract Expressionism of the mid-1900s. This study moulds the concept of the abstract sublime; panorama as origin and basis, the romantic vision as a seed of the more modern vision. While it is true that the romantics taught us how to look at the scenic view, the landscape is no longer the frame for a scene, it has become the scene itself. Like literature and art, Norwegian archi tectural culture has also been nourished by the indisputable natural heritage surroun ding it, especially throughout the 20th cen tury. Many Scandinavian architects and theorists have linked a good part of their ou tput to this landscape, a legacy that has also been transmitted positively to architectural students around the country, fundamentally in the Oslo School of Architecture and Design (AHO). Proof of this is the Norwegian Natio nal Thurist Routes Plan, a programme which, together with the ambitious Oslo Fjord Plan, both symbolise the change of a whole new ge neration of young architects in Norway.1 The Norwegian National Tourist Routes Plan was launched by the National Admi nistration of Norwegian Roads to regenerate 18 roadways along the country's coast using small-scale scenic and architectural projects. By 2023, 250 initiatives will have been com pleted, making it one of the most extensive landscape intervention programs in contem porary culture (R0nning 2016).2 Jonas Gahr St0re expresses that the essence of this change is basically generational. He underlines the idea of Norwegian architecture as a way to tell stories and explain places and the world. 3 The Influence of the Oslo School of Archi tecture Masters Knut Knutsen One of the first authors to sense the ad vantageous dialog between architecture and the environment was the architect AHO pro fessor Knut Knutsen (1903-1969). In his 1961 text People in Focus he tells us how he always tried to teach his students during his classes that every "building -it can be a really good onewill always be weakened by its surroun dings ifthere is no connection between them." (Knutsen 1961: 248). Words that emphasize the idea that constructing is far from subor dinate to the environment (that is, leaving it untouched); it should rather become invol ved with it to enhance it and make it visible: "Respect and reverence for a landscape must ARTÍCULOS 90 fOMtll::uur MJ'fl:fO IG�· Figure 2. Knut Knut sen. Summer house in Portor, 1949. (Knutsen 1952: 126). CUADERNO DE NOTAS 20 - 201 9 LANOSCAPE ARCH ITECTURES IN N□RWAY Figures 3 and 4. Inge Dahlman. Kleivodden viewpoint, 2013. (Vi llalobos 2018: 36). Figure 5. Code Arki tektur. Tungeneset viewpoint, 2008. (Vi llalobos 2018: 38). be prevailing values. Respect is not just a ma tter of making buildings subordinate to the landscape, but also to emphasize it, develop it -maybe even create new nature." (Knutsen 1961: 249). Establishing not only a formal link with it, but also an empathetic one. Knutsen's own summer house in Portor (1949) provides a good example of this idea. Initially inspired by the eye-catching Sorlandhuser (bright-co loured summer residences built on the coast of southern Norway),4 his project differs from ARTÍCULOS 91 them in that it hides from indiscrete glances, attempting to leave the setting intact. lt fo llows a strategy of "insertion between things." (Nicola Flora 1999: 43). The floor plan is divi ded into two small masses that seem like a natural feature; these volumes are minimized using slanted dark wooden roofs that emer ge from the ground among trees and grani te bluffs, giving the entire house, a geomor phic look (Knutsen 1952: 126-129), (figure 2). In that sense, severa! scenic viewpoints built within the National Tourist Routes Plan framework are worthy representatives of the postulates upheld by Knut Knutsen. The first is the Kleivodden viewpoint on the island of Arufuya (2013), on the north coast of Norway. The landscape architect Inge Dahlman, 5 planned a project of great restraint and sen sibility at the edge of the sea. The place is close to the And0ya Rocket Range, a facility today renamed And0ya Space Center (ASC) that has been used since the 60's for the launch of stratospheric balloons. The team designed an angular concrete platform from which four blocks of black Ledingen granite emerge. lts pointed shapes guide the visitors toward the wide maritime view that opens in front of them, while its sharp, polished look mixes with the sophisticated rock crystals that appear on the surface from the passage of time. Formal exercise is reduced to a mini mum. Everything is aimed towards the sea, not only the organization of the car park, but also the concrete promenade, as well as the furniture that looks like abandoned rocks. Therefore, the place is re-qualified as an exce llent point from which to observe the Aurora Borealis, emphasizing the sense that links it to the original space project itself (figures 3 and 4). A second vantage point linked to the man ner Knutsen understands the place is that of Tungeneset, líes on the tip of the promontory that separates the Steinsfjord and the Ersf jord (2008). The Code Arkitek:tur studio desig ned a light structure of steel and wood plat forms resting gently on the terrain. lts lines flirt with each other as they descend toward the sea, establishing an intense formal dialog with the steep mountain peaks in the back ground. The layered wood walkway evokes the whimsical course of the cost, the angular walkway shapes recalling the geological folds that have formed the coastline. The construc tion dramatizes the experience of the location and the view, (figure 5). In this sense, the architects Jensen and Skodvin6 stand out for one of the first inter- CUADERNO DE NOTAS 2□ · 20 19 LANDSCAPE ARCHITECTURES IN N□RWAY ventions of the National Tourist Routes Plan, the viewpoint over the Videfossen waterfalls (1997). It is a structure of concrete and rein forced steel plates suspended over the wa terfall giving the impression of being on the riverbed just when gravity breaks it. The structure is designed to support the impact of frequent avalanches of snow that occur in the area, it behaves like a topographical re creation of regularized rock. From a formal point of view, the planes acquire angles pre sented in the drawing of the handrail that va ries from the lightest elements, at the begin ning of the walk, to the heaviest steel plates point-welded, just above the waterfall and the precipice. The solution stops avalanches but leave the view unobstructed acting as snow barriers during especially snowy winters. The result is a combination in which the rhythm of the natural form of water and rocks echoes in the rhythm of the built forms, (figures 6 and 7). These designs mentioned share an attitu de evoked by Sverre Fehn himself in explai ning Knut Knutsen· s work: "It was his love fo r "the whole» that gave his relation with nature new dimensions, while the key to understan ding the fo rmal expression of his architecture líes in his reading of the lay of the land» , (Sve rre Fehn 1999: 126). Knutsen's ideas, espeARTfCULDS 92 Figure 6. Jensen and Skodvin. Viewpoint at Videfossen waterfalls, 1997. (Ref. web 2: www.jsa.no). Figure 7. Jensen and Skodvin. Viewpoint at Videfossen waterfalls, 1997. (Ref. web 2: www.jsa.no). CUADERNO DE NOTAS 20 • 20 1 9 LANOSCAPE ARCHITECTURES IN N□RWAY Figures 8 and 9. Arild Wage (Nordplan-AS) and Igne Dahlman. Helldga uiewpoint, 2006. (Ref. web 2: www.nasjonaleturis tveger.no). cially those expressed through his house in Portor, set up parallelisms between the forms of nature and the language of human crea tion. A kind of formal analogy that is also pre sent in the above-mentioned interventions, as they adopt forms that evoke the natural envi ronment in an abstract way. Christian Norberg Schulz The theorist and historian of architectu - re who best represents Norwegian sensitivity toward its own landscape is Christian Nor berg Schulz (1926-2000), an AHO profes sor of architecture theory and history since 1966. Books such as Intentions inArchitecture (1963) and Existence, Space and Architecture (1971) constitute the basic works in a proli fic output in which he fashions concepts still detectable today in the youngest Norwegian architects: the ideas of existential space and genius loci. Existential space is defined as "a relatiuely stable system of perceptiue schemes ar 'images' of the surrounding enuironment» (Norberg Schulz 1975: 19), a backdrop of hu man actions made up of the meanings of the ARTÍCULOS 93 ordinary codified by means of architecture. This becomes the second concept, the ge nius loci or principie of identity of place, when applied in a territorial scale According to Norberg Schulz, the codes of nature are what make the architect cons cious of the setting. These codes are divided into categories: "object, arder, character, light, and time» (Norberg Schulz 1975). The first two have to do with spatial qualities, and the fo llowing two categories refer to the atmosphere of the setting. Finally, the last -timealludes to the idea of constancy and change inscribed in the eternal cycle of time. Sensitivity toward these codes makes the architectural space a participant in a live event represented as a specific setting, as a genius loci, an exis tential reality born in the landscape. Natural events respond to the idea of place present in the ancient theory of the universe where the sky, land, rocks, trees, and water (that is, the primary "things") mark settings filled with meaning for the architect (Norberg Schulz 1979: 24). In the book Principies of Modem Architec ture. About the new tradition of the 20th cen tury (2000), Norberg Schulz translates the existential concepts of genius loci to architec tural concepts associated with the identity of place. The Scandinavian historian views the principies of "uisualization" and "complemen tarity» as project strategies worthy of conside ration (Norberg Schulz 2000: 187). According to the uisualization principie, buildings tend to repeat and emphasize the features of a specific setting. An example would be a city carved into the heights of a hill, which reveals the topography inherent to the rock on which it is set. This principie is used by Arild Wage,7 from the Nordplan-AS team of architects, together with Igne Dahl man, in the Hellága viewpoint on the Helge landskysten route (2006). The Hellága rest area lies by the Sjonafjord, with steps that curve gently down the steep rocks to the wa ter. The design reflects the long lines of the mountain formations on the other side of the fjord, as well as improves accessibility to the water's edge. Visitors are guided down to the sea below through an enigmatic granite stairway carved out over the granite coast, coming to an end in the sea, which is poetica lly blurred by the action of the tides and wa ves. According to the uisualization principie, the stairs emphasize the material the coast is made of and vice versa, both of them sharing the same fate from nature's actions, (figures 8 and 9). CUADERNO DE NOTAS 20 • 2019 LANDSCAPE ARCHITECTURES IN NORWAY WEILACHER, Udo. 1999. Between Landscape Archi tecture and Land Art. Basilea: Birkhii.user. YvENES, Marianne and Madshus, Eva (ed.). 2008. Architect Sverre Fehn: Intuition, Refiection, Construction. Oslo: The National Museum of Art, Architecture and Design. ARTICULCS 100 Fecha final recepción artículos: 25/04/2019 Fecha aceptación: 01/07/2019 Articulo sometido a revisión por dos revisores independientes por el método doble ciego.