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Haskell, Douglas, Brasilia: A New Type of National City, 113 (November 1960) Chicago: University of Chicago Press, 1989 Holston, James, (October 1959) Mohly-Nagy, Sybil, Brasilia: majestic concept or autocratic, Niemeyer, Oscar, Depoimento/Testimonianza, 6 (1960) Rio de Janeiro: Vitria, 1961 Niemeyer, Oscar, Niemeyer, Oscar, Rio de Janeiro: Revan, 1992 Niemeyer, Oscar, J.O.Penna Meira, Carlos Alves Souza, et. al., Brsil, actualits: Brasilia, 31 (June-July 1960) Paris: Bibliothque des Arts, and Lugano, Italy: Fidia Edizioni dArte, Petit, Jean, 1995 Puppi, Lionello, Milan: Mondadori, 1987 New York: Rizzoli, 1994 Underwood, David Kendrick, New York: Braziller, 1994 Underwood, David Kendrick,
Architectural Foru m The M odernis t City: An Anthrop ological Crit ique of Bras ilia, Progres s ive Architecture Zodiac M inha experincia em Bras ilia, M eus s ia e eu, Larchitecture daujou rdhui Niemeyer, pote darchitecture, Guida a Niemeyer, O s car Niemeyer and the Architecture of B razil, O s car Niemeyer and the Brazilian Free-Fo rm M odern is m,

FEHN, SVERRE 1924Architect, Norway Sverre Fehn began his career after graduating from the Oslo School of Architecture in 1949. He is one of a number of post-World War II Norwegian architects who believed in bestowing universal modernism with both regional and site-specific values, espousing an architecture that, while always rational, recognized local crafts and culture, mythology, and folklore. His concerns with the topography of the site, climate, local identity, and tectonics are central to issues of both regionalism and phenomenology in architecture. In 1950, Fehn joined the Progressive Architects Group of Oslo, Norway (PAGON), a division of the Congrs Internationaux dArchitecture Moderne (CIAM), along with his former teacher Arne Korsmo, architectural theorist Christian NorbergSchulz, and design collaborators Grung and Ostbye, among others. CIAM was a network concerned with how ideas of modern architecture and town planning were communicated internationally. Although CIAM had no direct influence on his own work, he would have been acquainted with many leading contemporary architects and artists through his association with the Congress. Between 1952 and 1953, on the advice of Jrn Utzon, Fehn made a journey to study the so-called primitive architecture of Morocco. This journey was seminal to his recognition of eternal themes in architecture, values that existed long before being embraced by the functionalist doctrine of modernist theory. Fehn remarked on the mutual harmony between the structure of natural and man-made place and the relationship between the ground and constructed form, as well as the clarity, simplicity, and common sense of regional architecture regarding systems of environmental control, planning, and construction and how these systems characterized rituals of habitation. It was a journey of recognition rather than discovery that helped Fehn see clearly the character of his native Norway as well as the qualities in the works of earlier modernist masters, such as Le Corbusier, Louis Kahn, Ludwig Mies van der Rohe, and Frank Lloyd Wright.

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The poetic modernism of Fehns architecture derives from a unified and formal relationship between the site and the physical and psychological dimensions of the program and of the people who inhabit his buildingsreduced to a conceptual clarity and expressed through material construction. He describes architecture as a necessary interference with nature, in opposition to it yet also revealing the character of the landscape. His buildings articulate a relationship between earth, sky, and horizon, a recurring theme that is developed through his writings and drawings. Fehns buildings are generally constructed of concrete or brick and wood used in a modern rather than traditional way: mass construction to anchor the building to the ground and timber construction to articulate openings in walls or the connection between roof and wall. His timber detailing is reminiscent of the traditions of Nordic boat building and of Japanese architecture. Modular repetition and geometric configuration of structure give spatial definition to both interior volume and exterior surface. The ground plane of his interiors often relates to the natural topography of the site and to external views. The works of Fehn date back to 1949, when he, with G. Grung, won an international competition for the design of the Craft Museum at Lillehammer. The winning project was never built. Subsequent works and projects typically have been for houses and museums but also include designs for religious, community, education, and recreational buildings. During the late 1950s and early 1960s Fehns designs for the Norwegian Pavilion at the Universal Exposition in Brussels (1958), now demolished, and his Pavilion of the Nordic Nations in the Gardens of the Biennale (1962) in Venice, Italy, garnered recognition. Both buildings employed Miesian qualities of a regular grid with a free plan and featured roofs that masterfully controlled the natural light within the exhibition spaces. The Schreiner House (1963) in Oslo, named Hommage au Japon by Fehn for its references to spatial relationships and construction in Japanese architecture, consisted of a structural timber fame around a brick central service corea device developed from his time in the 1950s with Jean Prouv, an architect noted for his industrialized fabrication and servicing systems. Planning and volumetric geometry developed with the designs of the houses for Arne Bodtker (1965) and his brother Carl (1967, extension 1985).

The masterpiece of his work in the late 1960s and 1970s, however, is the Archbishopric Museum (1979) in Hamar. The site is a ruined medieval fort over which a 19th-century U-shaped barn was built. Space, light, time, and the programmatic requirements of the museum are brought together by a series of concrete ramps and walkways that pass through the barn structure, hover over the medieval excavations, and lead into the courtyard. Parallels with this project can be made to the Castelvecchio Museum by Carlo Scarpa, whom Fehn met while working on the Pavilion of the Nordic Nations in Venice. Fehns

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Archbishopric Museum, Hamar, Norway (1979)


Richard Dargavel

Encyclopedia of 20th-century architecture

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Archbishopric Museum, Hamar, Norway (1979), interior Richard Dargavel


ability to develop a clear dialogue among client, site, structure, and form is further exemplified by the Villa Busk (1990) in Bamble. A rocky outcrop chosen by Fehn dictates the physical dimensions and orientation of the house, the linear form of which is broken by a cross axis from the entrance of the main house to a timber tower that in turn provides visual and physical links to the fjord. As with the Hamar museum, a modulated timber structure distinguishes between roof and wall and allows for views out and light in. Fehns approach set out in Villa Busk is continued in different contexts with the Glacier Museum (1991) in Fjrland and the Aukrust Museum (1996) in Alvdal. Much of Fehns work has been in suburban or rural locations, some inaccessible for long periods because of the harsh winter climate. Certain competition projects, notably his design for the Royal Theatre of Copenhagen in Denmark, confirm his capability for both large and urban projects. RICHARD G.DARGAVEL

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See als o

Denmark; Expo 1958, Brussels; Glacier Museum, Fjaerland Fjord, Norway; Mies van der Rohe, Ludwig (Germany); Norberg-Schulz, Christian (Norway); Norway; Scarpa, Carlo (Italy); Utzon, Jrn (Denmark)
Biography

Born in Kongsberg, Norway, 14 August 1924. Studied at the Oslo School of Architecture; degree in architecture 1949. Married Ingrid Luberg Pettersen 1952:1 child. Private practice, Oslo from 1949. Received scholarship from the French government to work in Paris for the office of Jean Prouv 19531954. While in Paris befriended Le Corbusier. Professor, Oslo School of Architecture 1971; Carnegie Distinguished Professor, Cooper Union, New York 1980. Designed the Exhibition of Medieval Art (1972) and the Exhibition of Chinese Warriors (198485) at the Art Museum, Hovikodden. Lecturer, Architectural Association, London 198189; Saarinen Professor, Yale University, New Haven, Connecticut 1986. Founder, Norwegian division of CIAM; member, Order of Leopold, Belgium. Awards include the Grand Gold Medal from the Acadmie de lArchitecture of Paris 1993; the Henry Tessenow Prize 1997; and the Pritzker Prize for Architecture 1997. Selected Works Retirement Home, Okern, Oslo (with G.Grung), 1955 Norwegian Pavilion at the Universal Exposition in Brussels, Belgium, 1958 Pavilion of the Nordic Nations in the Gardens of the Biennale, Venice, Italy, 1962 Schreiner House, Oslo, 1963 A. Bodtker House, Oslo, 1965 Community Centre, Boler, Oslo, 1972 Villa, Norrkping, Sweden, 1964 C. Bodtker Houses 1 and 2, Oslo, 1967; extension, 1985 Sparre House, Skedsmo, 1967 Archbishopric Museum of Hamar, 1979 School for Deaf Children, Skadalen, Oslo, 1977 Atelier Holme, Holmsbu, 1997 Brick House, Brum, 1987 Villa Busk, Bamble, 1990 Glacier Museum, Fjrland, 1991 Prototype Ecological House, Norrkping, Sweden, 1992

Aukrust Museum, Alvdal, 1996


Selected Publications

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Norberg-Schulz, Christian, and Gennaro Postiglione, with an introduction by Francesco New York: Monacelli Press, 1997 Dal Co, A+U, 340/1 (1999) Nobuyuki Yoshida (editor),
Sverre Fehn: Works , Pro jects , Writings , 1949199 6, Sverre Fehn Above and Below the Horizon,

Further Reading Fjeld, Per Olaf, New York: Rizzoli, 1983 60 (June 1996) [Aukrust Museum] Giardiello, Paulo, Gronwold, Ulf, Archaic Modernism: Two Houses, Oslo, 179 (February 1986) [Bodtker House 1 and 2] Lavalou, Armelle, Sverre Fehn: Un Moderne en Norvge, avec lesprit du lieu, Larchitecture daujourdhui, 287 (June 1993) Miles, Henry, Horizon, Artefact, Nature, 200 (August 1996) [Villa Busk] Helsinki: Museum of Finnish Norri, Marja-Riitta, and Marja Krkkinen (editors), Architecture, 1992
Sverre Fehn: The Thought o f Cons truction, Sverre Fehn, tra natu ra e artif icio, Cas abella, Architectural Review, Architectural Review, The Poetry of the S traight Line: F ive M as ters of the North,

FEMINIST THEORY
Feminist theory in 20th-century architecture encompasses identification of gendered power relations in architectural and urban form and discourse, critique of masculine dominance in the design professions, and creation of feminist and feminine architectural practices. Influenced by feminism in philosophy, literature, cultural studies, and the social sciences, feminist architectural theory has embraced histories of women in architecture, new types of architectural practice, and the reconceptualization of the feminine itself. In architecture, feminist theory has three main tendencies, all of which address gendered power relations and the injustice of masculine domination in architecture. Some theorists celebrate the differences between men and women and take an overtly feminist approach to the critique and reconstruction of architectural practice and history. Others emphasize the struggle for equal access to training and jobs in architecture and for recognition of womens competence in the profession. Another group focuses on theories of gender difference and representation in the built environment, architectural discourse, and cultural value systems. Feminist architectural theory has its sources in 19th-century feminist thought and the (1963) marked the emergence revival of feminism in the 1960s. Betty Friedans book of a second wave feminism in the United States and, later, around the world. This feminism emerged from the civil rights and anti-Vietnam War movements of the 1950s and 1960s, just as 19th-century feminism developed from abolitionism. Womens liberation focused on the pursuit of civil rights and equality. During the 1960s and 1970s, this strategy evolved into the analysis and challenge of gendered power relations. Feminists recognized that while the struggle for equality is ongoing, it left intact the epistemological and representational sources of inequality. They turned their critique to
The Femi nine M ys tique

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