The Nordic Pavilion (Giardini, Venice). Image © Åke E:son Lindman

北欧馆(威尼斯，贾蒂尼)。图片(艾克E：儿子林德曼)

50多年后，“北欧馆”(后来才被人们所知)逐渐反映、巩固和体现了北欧建筑传统。然而，看得更深一点，很明显，费恩实际上是想把它们完全颠倒过来。代替厚重的木材梁，芬恩选择了细长的混凝土薄片，色彩斑斓(反映，一个常见的比喻，阳光落在一被子雪地上)。他并没有创造一个封闭的空间来将这些元素拒之门外-这在挪威是一种典型的方言-他完全拆除了这栋建筑的四堵边界墙中的两堵。在设计屋顶的本质上是开放的天空，费恩能够具体控制雨将如何落入空间。从这个意义上说，它是一座拥有周围环境的建筑-接受它的直接背景，同时试探性地暗示另一个遥远的世界。

Over five decades later the 'Nordic Pavilion' (as it would only later become known) has come to reflect, consolidate and embody Nordic architectural traditions. Look a little deeper, however, and it becomes clear that Fehn actually sought to invert them entirely. In place of heavy timber beams Fehn chose slender concrete lamellae, pigmented to glow (reflecting, for one common metaphor, sunlight falling on a quilt of snow). Rather than create a closed space to shut the elements out—a typical vernacular in Norway—he completely removed two of the building’s four boundary walls. In designing the roof to be essentially open to the skies, Fehn was able to specifically control how the rain would fall into the space. In this sense, it is a building in possession of its surroundings – accepting its direct context while tentatively suggesting another, distant world.

Over five decades later the 'Nordic Pavilion' (as it would only later become known) has come to reflect, consolidate and embody Nordic architectural traditions. Look a little deeper, however, and it becomes clear that Fehn actually sought to invert them entirely. In place of heavy timber beams Fehn chose slender concrete lamellae, pigmented to glow (reflecting, for one common metaphor, sunlight falling on a quilt of snow). Rather than create a closed space to shut the elements out—a typical vernacular in Norway—he completely removed two of the building’s four boundary walls. In designing the roof to be essentially open to the skies, Fehn was able to specifically control how the rain would fall into the space. In this sense, it is a building in possession of its surroundings – accepting its direct context while tentatively suggesting another, distant world.

 Plan / NMK.2008.0734.016.012 / Fotolisens: Fri ikke-kommersiell bruk

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费恩并没有试图模仿北欧的方言-亭并不是传统意义上的模仿行为。他试图改写(而不是翻译)到目前为止无法形容的东西：威尼斯气候的“北欧”建筑的感觉，它坐落在无人居住、独特分散的威尼斯双年展吉阿迪尼(Giardini Of La Biennale Di Venzia)的环境中。正如沃尔特·本杰明(Walter Benjamin)将翻译行为描述为一种“模式”而不是一种行为一样，[2]费恩认识到，按组合编排空间不同于在语境上嫁接-从而从和进入-一个新的环境。

Fehn did not seek to mimic a Nordic vernacular – the Pavilion is not an act of mimesis in the conventional sense. He sought to rewrite (as opposed to translate) something hitherto indescribable: the sense of a ‘Nordic’ architecture for the Venetian climate and situated in the uninhabited, uniquely fragmented context of the giardini of la Biennale di Venezia. Just as Walter Benjamin described the act of translation as a “mode” rather than an act,[2] Fehn recognised that the orchestration of space by assemblage is different to that of contextually grafting—and thereby crafting from, and into—a new environment.[3]

Fehn did not seek to mimic a Nordic vernacular – the Pavilion is not an act of mimesis in the conventional sense. He sought to rewrite (as opposed to translate) something hitherto indescribable: the sense of a ‘Nordic’ architecture for the Venetian climate and situated in the uninhabited, uniquely fragmented context of the giardini of la Biennale di Venezia. Just as Walter Benjamin described the act of translation as a “mode” rather than an act,[2] Fehn recognised that the orchestration of space by assemblage is different to that of contextually grafting—and thereby crafting from, and into—a new environment.[3]

 The Nordic Pavilion (Giardini, Venice). Image © Åke E:son Lindman

北欧馆(威尼斯，贾蒂尼)。图片(艾克E：儿子林德曼)

蒸馏FeHN的建筑移动到一系列铰接的元素--屋顶、地面、墙壁、楼梯和梁--将其复杂性作为统一的空间手势。就像PalazzoDucale一样（水的10分钟路程）只能作为一个"变态"的一部分（在GiuliafoScari[4]的单词中），在表面、物体和空间之间，包括Piazza（并且，通过扩展，Piazzetta）SanMarco，北欧馆不仅仅是部件的装配。它是在墙、地、台阶之间的空间思想和大气意图的协调的结果,"屋顶"、景观、灯光和“间质”-所有框架都是由其与场地地形的关系制定的。

Distilling Fehn’s architectural moves into a collection of articulated elements—roof, ground, wall, stair and beam—belies its complexity as a consolidated spatial gesture. Just as the Palazzo Ducale (a ten minute journey away by water) should only be read as one part of a "metamorphosis" (in the words of Giulia Foscari[4]) between surface, object and space that comprise Piazza (and, by extension, Piazzetta) San Marco, the Nordic Pavilion is more than an assemblage of parts. It is the culmination of an orchestration of spatial ideas and atmospheric intentions between wall, ground, step, ‘roof’, landscape, light, and ‘interstitiality’ – all framed by its relationship to the topography of the site.

Distilling Fehn’s architectural moves into a collection of articulated elements—roof, ground, wall, stair and beam—belies its complexity as a consolidated spatial gesture. Just as the Palazzo Ducale (a ten minute journey away by water) should only be read as one part of a "metamorphosis" (in the words of Giulia Foscari[4]) between surface, object and space that comprise Piazza (and, by extension, Piazzetta) San Marco, the Nordic Pavilion is more than an assemblage of parts. It is the culmination of an orchestration of spatial ideas and atmospheric intentions between wall, ground, step, ‘roof’, landscape, light, and ‘interstitiality’ – all framed by its relationship to the topography of the site.

 Sketchbook: Morocco / NMK.2008.0734.124.018. Image Courtesy of Nasjonalmuseet Digital Archive

草图：摩洛哥/NMK.2008.0734.124.018。Nasjonaluseet数字档案馆的影像制作

网格在刚性上可能显得单调，但却被一系列开口所打断，其中剩下的三棵内平面树[5]-最初有七棵-从地面喷发出来，垂直地穿过，向上和向外延伸。

The grid, which might otherwise appear monotonous in its rigidity, is interrupted by a series of openings through which the three remaining internal plane trees[5]—of which there were originally seven—erupt from the ground to punctuate vertically through, up and out of the space.

The grid, which might otherwise appear monotonous in its rigidity, is interrupted by a series of openings through which the three remaining internal plane trees[5]—of which there were originally seven—erupt from the ground to punctuate vertically through, up and out of the space.

在访问了法国摩洛哥之后，Fehn表示他实现了这一建设方法：

Fehn indicated his realisation of this approach to building, following a trip to French Morocco:

Fehn indicated his realisation of this approach to building, following a trip to French Morocco:

你突然觉得墙壁不是简单地装屋顶或造房子，而是在某一时刻为孩子们提供遮阳，下一次是支撑你的背，秋天是烘干日期的架子，春天是供孩子们画画的黑板。屋顶和地板都是一样的。整座房子的不同部分被视为家居用品。

You suddenly feel as if the walls are not simply to bear a roof or make a house, but at one moment made to provide shade from the sun, the next to be support for your back, in the autumn a rack to dry dates on and in the spring a blackboard for the children to draw on. It is the same with the roof and the floor. The different parts of the whole house are regarded as domestic furnishings.[6]

You suddenly feel as if the walls are not simply to bear a roof or make a house, but at one moment made to provide shade from the sun, the next to be support for your back, in the autumn a rack to dry dates on and in the spring a blackboard for the children to draw on. It is the same with the roof and the floor. The different parts of the whole house are regarded as domestic furnishings.[6]

在随后的意大利之旅中，费恩敏锐地意识到了光所能带来的不同特性。回到挪威后，他“能够认识到北欧之光的独特性质”，这是前所未有的。

During his travels through Italy which followed, Fehn became acutely aware of the different characteristics which light can take. Upon his return to Norway he was “able to recognize the distinct nature of Nordic light” like never before.[7]

During his travels through Italy which followed, Fehn became acutely aware of the different characteristics which light can take. Upon his return to Norway he was “able to recognize the distinct nature of Nordic light” like never before.[7]

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 Elevations / NMK.2008.0734.016.017 / Fotolisens: Fri ikke-kommersiell bruk

立面图/NMk.2008.0734.016.017/FOTOLSENS：FRIIKKE-KomersiellBruk

就像任何一位价值不菲的翻译家一样，范恩使用了原版材料和现场特有的材料-白色水泥、白沙和碎意大利大理石的具体组合-来塑造一种强度惊人、宁静、最重要的是稳定均匀的光线质量。他只想“建造一个屋顶来保护这些绘画和雕塑”-因为建筑物的第一项功能是作为一个画廊-“不受阳光直射”[8]。

Like any translator worth their salt, Fehn employed both original materials and those specific to the site—a concrete combination of white cement, white sand, and crushed white Italian marble—to sculpt a quality of light of incredible intensity, tranquility and, most importantly, steady homogeneity. He wanted to do nothing more than “construct a roof to protect the paintings and sculptures”—for the building’s first intended function was as a gallery—“from direct sunlight.”[8]

Like any translator worth their salt, Fehn employed both original materials and those specific to the site—a concrete combination of white cement, white sand, and crushed white Italian marble—to sculpt a quality of light of incredible intensity, tranquility and, most importantly, steady homogeneity. He wanted to do nothing more than “construct a roof to protect the paintings and sculptures”—for the building’s first intended function was as a gallery—“from direct sunlight.”[8]

对于“屋顶”，这将更准确地描述为一组轻型水井，费恩设计了两层混凝土砖-太阳。这些薄片，每一层都有一米高，六厘米薄，覆盖着内部空间，形成一个两米深口袋的平面，按其宽度和高度，比例为1：2。它们以单一的跨度横跨整个房间，每隔52.3厘米将彼此环绕在一起。他们一起把令人兴奋、温暖的地中海之光提炼成它的“北欧”变体：既无阴影，又统一而明亮。它是一种“确定的，但熟悉的”[9]，用马尔科·穆拉扎尼的话来说，它提供了一种持续的、同质的光照感。[10]换句话说，一个没有阴影的世界。

For the ‘roof,’ which would more accurately be described as a collection of light wells, Fehn designed two layers of concrete brise-soleil. These lamellae, each precisely one-metre tall and six-centimetres thin, blanket the internal space to create a plane of two-metre deep pockets set, by their width and height, at a ratio of 1:2. They stretch across the room in a single span, bracketing one another in intervals of 52.3 centimetres. Together they distil the heady, warm Mediterranean light into its ‘Nordic’ variation: at once shadeless, uniform and bright. It is a light that is “definite, but familiar”[9] and, in the words of Marco Mulazzani, provides a constant, homogenous sense of illumination.[10] In other words, a shadowless world.

For the ‘roof,’ which would more accurately be described as a collection of light wells, Fehn designed two layers of concrete brise-soleil. These lamellae, each precisely one-metre tall and six-centimetres thin, blanket the internal space to create a plane of two-metre deep pockets set, by their width and height, at a ratio of 1:2. They stretch across the room in a single span, bracketing one another in intervals of 52.3 centimetres. Together they distil the heady, warm Mediterranean light into its ‘Nordic’ variation: at once shadeless, uniform and bright. It is a light that is “definite, but familiar”[9] and, in the words of Marco Mulazzani, provides a constant, homogenous sense of illumination.[10] In other words, a shadowless world.

 The Nordic Pavilion (Giardini, Venice). Image © Åke E:son Lindman

北欧馆(威尼斯，贾蒂尼)。图片(艾克E：儿子林德曼)

 The Nordic Pavilion (Giardini, Venice). Image © Åke E:son Lindman

北欧馆(威尼斯，贾蒂尼)。图片(艾克E：儿子林德曼)

他的住所很漂亮。柱子上的叶子燃烧和颤动。他们站在野外，互相攀爬，上面有第二个肿块，就是岩石的屋顶。

Beautiful his dwelling. Leaves on columns Burn and quiver. They stand in the wild, Rising among each other; above which Surges a second mass, The roofing of rock.

Beautiful his dwelling. Leaves on columns Burn and quiver. They stand in the wild, Rising among each other; above which Surges a second mass, The roofing of rock.

-Der，Friederich H lderlin(译)理查德·西伯斯(Richard Sieburth)

—Der Ister, Friederich Hölderlin (trans. Richard Sieburth)

—Der Ister, Friederich Hölderlin (trans. Richard Sieburth)

 The Nordic Pavilion (Giardini, Venice). Image © Åke E:son Lindman

北欧馆(威尼斯，贾蒂尼)。图片(艾克E：儿子林德曼)

脚注和参考资料

Footnotes and References

Footnotes and References

[1]Marco Mullazzani，“1887年以来威尼斯双年展馆指南”(米兰：electa，2014年)，第122至126页[2]Walter Benjamin，Harry Zorn译，“光照中的翻译任务”(伦敦：Pimlico，1999)，第70至71页[3]，换句话说，仅仅是因为木头、砖头，砂浆和混凝土几乎可以在任何地方找到或制造，并不意味着它们应该在任何地方都以同样的方式使用。[4]Guilia Foscari，“威尼斯要素”(Zürich：Lars Müller，2014年)，第12-27页[5]据Ole Gaudernack称，展馆内的三棵树是南凯尔特人树，也被称为地中海哈克浆果、欧洲网特尔树或蜜莓)。[6]Richard Kearney，“故事”(伦敦：Routledge，2002年)，第140页(Via Neveu，on Things：Architecture and Identity)[7]Mark J.Neveu，on Stays：Architecture and Identity(奥斯陆：Arkitektur N，02，2008年)，查阅2016年2月28日，第5页[8]Christian Norberg Schulz，Gennaro Postiglione，ed。Sverre Fehn：Samlede Arbeider，(奥斯陆：Orfeus For剂，1997年)，第248页(Via Neveu，on Things：Architecture and Identity)[9]Neveu，on Stays：Architecture and Idality[10]Marco Mullazzani，The Pavilions of the Pavennale，1887年以来(米兰：electa，2014年)，第19页

[1] Marco Mullazzani, Guide to the Pavilions of the Venice Biennale since 1887 (Milan: Electa, 2014), pp.122-126 [2] Walter Benjamin, Harry Zorn trans., The Task of the Translator in Illuminations (London: Pimlico, 1999), pp.70-71 [3] In other words, just because wood, brick, mortar and concrete can be found or fabricated almost anywhere, does not mean that they should be used in the same way everywhere. [4] Guilia Foscari, Elements of Venice (Zürich: Lars Müller, 2014), pp.12-27 [5] According to Ole Gaudernack the three remaining trees within the pavilion are Celtis Australis, also known as the Mediterranean hackberry, the European Nettle Tree, or the Honeyberry). [6] Richard Kearney, On Stories (London: Routledge, 2002) p.140 (via Neveu, On Stories: Architecture and Identity) [7] Mark J. Neveu, On Stories: Architecture and Identity (Oslo: Arkitektur N, 02, 2008), accessed February 28, 2016, p.5 [8] Christian Norberg­ Schulz, Gennaro Postiglione, ed. Sverre Fehn: Samlede Arbeider, (Oslo: Orfeus Forlag, 1997) p.248 (via Neveu, On Stories: Architecture and Identity) [9] Neveu, On Stories: Architecture and Identity [10] Marco Mullazzani, Guide to the Pavilions of the Venice Biennale since 1887 (Milan: Electa, 2014), p.19

[1] Marco Mullazzani, Guide to the Pavilions of the Venice Biennale since 1887 (Milan: Electa, 2014), pp.122-126 [2] Walter Benjamin, Harry Zorn trans., The Task of the Translator in Illuminations (London: Pimlico, 1999), pp.70-71 [3] In other words, just because wood, brick, mortar and concrete can be found or fabricated almost anywhere, does not mean that they should be used in the same way everywhere. [4] Guilia Foscari, Elements of Venice (Zürich: Lars Müller, 2014), pp.12-27 [5] According to Ole Gaudernack the three remaining trees within the pavilion are Celtis Australis, also known as the Mediterranean hackberry, the European Nettle Tree, or the Honeyberry). [6] Richard Kearney, On Stories (London: Routledge, 2002) p.140 (via Neveu, On Stories: Architecture and Identity) [7] Mark J. Neveu, On Stories: Architecture and Identity (Oslo: Arkitektur N, 02, 2008), accessed February 28, 2016, p.5 [8] Christian Norberg­ Schulz, Gennaro Postiglione, ed. Sverre Fehn: Samlede Arbeider, (Oslo: Orfeus Forlag, 1997) p.248 (via Neveu, On Stories: Architecture and Identity) [9] Neveu, On Stories: Architecture and Identity [10] Marco Mullazzani, Guide to the Pavilions of the Venice Biennale since 1887 (Milan: Electa, 2014), p.19

建筑师Sverre Fehn位置Viale Trento项目1962年照片艾克E：Son Lindman类别Pavillion

Architects Sverre Fehn Location Viale Trento Project Year 1962 Photographs Åke E:son Lindman Category Pavillion

Architects Sverre Fehn Location Viale Trento Project Year 1962 Photographs Åke E:son Lindman Category Pavillion