AD经典：北欧展馆，威尼斯/Sverre Fehn

AD经典：北欧展馆，威尼斯/Sverre Fehn
AD Classics: Nordic Pavilion, Venice / Sverre Fehn

场地与自然的和谐统一：北欧馆最引人注目的亮点在于其与环境的完美融合。Sverre Fehn敏锐地捕捉到了场地内原有树木的特质，并将它们巧妙地融入设计之中。建筑师没有选择粗暴地移除植被，而是将树木视为设计中不可或缺的一部分，这使得展馆与周围的景观融为一体。这种设计策略不仅尊重了自然环境，也为展览空间带来了独特的氛围。光线的控制也是设计中的关键，通过屋顶的设计，实现了均匀的自然采光，为艺术品的展示提供了理想的条件，并增强了室内外空间的联系。

光线与空间的精妙结合：北欧馆对光线的处理堪称典范。Fehn通过精心的屋顶设计，控制了进入展览空间的光线。他没有采用直接的阳光照射，而是利用纵横交错的梁，阻挡了直射的阳光，从而在整个空间内营造出均匀、柔和的光照效果。这种设计不仅保护了艺术品，也增强了观赏体验。光线的运用也塑造了空间感，展馆内部的比例和尺度，都与光线的传播方式紧密相关。屋顶成为空间的决定性元素，同时也模糊了室内外的边界，让建筑与自然环境相互渗透，创造出一种独特的空间体验。

材料与建造的诗意表达：北欧馆在材料的选择和使用上体现了建筑师对材料特性的深刻理解。建筑师选择了钢筋混凝土、木材、玻璃、板岩和塑料等五种材料，并尽量保留了材料本身的质感和色彩，避免了过多的装饰。这种“少即是多”的设计理念，使得建筑本身成为了材料的诗意表达。通过白色混凝土的运用，增强了光线的扩散效果，使整个空间更加明亮通透。这种对材料的尊重和利用，赋予了建筑一种独特的表现力，也体现了Fehn对建筑与自然、建筑与人的深刻思考。

北欧馆（威尼斯贾迪尼）。图片©Åke E:儿子林曼
The Nordic Pavilion (Giardini, Venice). Image © Åke E:son Lindman

1958年，在瑞典、芬兰和挪威政府组织的创意竞赛中，Sverre Fehn的北欧馆获得一等奖，成为他职业生涯中最重要的作品之一，也是20世纪中叶斯堪的纳维亚最杰出的建筑成就之一。Fehn的提议旨在为威尼斯双年展为这些国家的两年一度的展览创造一个空间，解决了几个关键的建筑挑战，从与场地的整合和现有元素的结合，到物理边界和统一的自然采光的处理。他的设计探索了建筑与树木之间的互动、展览空间的灵活性、光线的过滤、室内外的联系、空间运动的概念以及艺术品的展示。
As a result of the ideas competition organized by the governments of Sweden, Finland, and Norway in 1958, Sverre Fehn's Nordic Pavilion won first prize, becoming one of the most significant works of his career and one of the most outstanding Scandinavian architectural achievements during the mid-20th century. Designed to create a space at the Venice Biennale for the biennial exhibitions of these countries, Fehn's proposal addressed several key architectural challenges—ranging from its integration with the site and incorporation of pre-existing elements to the handling of physical boundaries and uniform natural lighting. His design explored the interaction between architecture and trees, the flexibility in the exhibition space, the filtering of light, the connection between interior and exterior, the concept of movement through space, and the display of artworks.

北欧馆（威尼斯贾迪尼）。图片©Åke E:儿子林曼
The Nordic Pavilion (Giardini, Venice). Image © Åke E:son Lindman

1958年6月，芬兰建筑二人组Reima和Raili Pietilä、瑞典建筑师Klas Anshelm和挪威建筑师Sverre Fehn应邀参加了威尼斯双年展场地内北欧展馆的设计竞赛。正如玛丽亚·多洛雷斯·桑切斯·莫亚博士论文中所述，比赛旨在满足展览灵活性的需求，同时保护现有的场地条件。鉴于该地点的性质，双年展管理层要求与丹麦馆保持一定距离，以确保行人流动并保护尽可能多的树木。此外，竞赛规则规定，展馆应包括400平方米的绘画、雕塑和图形作品展览空间，以及至少15平方米的存储和维护空间。每个国家都需要有独立或集体组织展览的选择，使空间灵活性成为关键的设计考虑因素。
In June 1958, the Finnish architectural duo Reima and Raili Pietilä, Swedish architect Klas Anshelm, and Norwegian architect Sverre Fehn were invited to participate in the competition to design the Nordic Pavilion within the Venice Biennale grounds. As outlined in María Dolores Sánchez Moya's doctoral thesis, the competition aimed to address the need for exhibition flexibility while preserving existing site conditions. Given the nature of the location, the Biennale's administration required that a certain distance be maintained from the Danish pavilion to ensure pedestrian flow and to preserve as many trees as possible. Additionally, the competition rules stipulated that the pavilion should include an exhibition space of 400 square meters for paintings, sculptures, and graphic works, along with a space of at least 15 square meters for storage and maintenance. Each country needed to have the option of organizing its exhibitions independently or collectively, making spatial flexibility a crucial design consideration.

北欧馆（威尼斯贾迪尼）。图片©Åke E:儿子林曼
The Nordic Pavilion (Giardini, Venice). Image © Åke E:son Lindman

自1895年首次举办以来，威尼斯双年展一直在威尼斯岛东端的“Giardini di Castello”举行。北欧展馆所在地树木和灌木密集，对树木的移除施加了限制。然而，费恩已经对树木产生了浓厚的兴趣，并将其作为设计中不可或缺的一部分。他的提议因其在景观中的定位、树木的无缝融合以及与周围环境的关系而引人注目。他使用透光屋顶提供了比其他竞争设计更多的展览空间。
Since its first edition in 1895, the Venice Biennale has been held in the "Giardini di Castello", located at the eastern end of the island of Venice. Densely populated with trees and shrubs, the site designated for the Nordic Pavilion imposed restrictions on tree removal. However, Fehn was already deeply interested in trees and made them an integral part of his design. His proposal stood out for how it was positioned within the landscape, its seamless integration of trees, and its relationship with the surroundings. His use of a light-permeable roof provided more exhibition space than the other competing designs.

Spotlight: Sverre Fehn

北欧馆（威尼斯贾迪尼）。图片©Åke E:儿子林曼
The Nordic Pavilion (Giardini, Venice). Image © Åke E:son Lindman

该场地位于特伦托大道上的丹麦馆和美国馆之间，不是平坦的，而是倾斜的，沿其长度有一个坡度，将其分为两个平台。在树冠之下，亭子的空间是通过不同密度的分层形成的，让光线渗透到内部。虽然布局是由展览计划决定的，但光线进入空间的方式塑造了这一部分。
Situated between Denmark's pavilion and the U.S. pavilion, along Trento Avenue, the site was not flat but rather sloped, with a gradient running along its length, dividing it into two platforms. Beneath the tree canopies, the pavilion's space was formed through the layering of different densities, allowing light to filter through into the interior. While the layout was determined by the exhibition program, the way light entered the space shaped the section.

北欧馆（威尼斯贾迪尼）。图片©Åke E:儿子林曼
The Nordic Pavilion (Giardini, Venice). Image © Åke E:son Lindman

每一个设计决策都回应了三个关键目标：保护场地的树木，在展览空间内实现均匀的自然采光，以及允许内部和外部之间的无缝移动。正如玛丽亚·多洛雷斯·桑切斯·莫亚（María Dolores Sánchez Moya）的论文所述，该项目可以被视为创造了一个新的环境，融合了原有的元素——树木和道路。Fehn设计了一个开放透明的平面图，以最大限度地提高展览的灵活性，将结构支撑集中在形成展馆封闭角度的两堵混凝土墙上，以及一根柱子上。
Every design decision responded to three key objectives: preserving the site's trees, achieving uniform natural lighting within the exhibition space, and allowing for seamless movement between the interior and exterior. As María Dolores Sánchez Moya's thesis states, the project can be seen as the creation of a new context that incorporates the pre-existing elements—the trees and pathways. Fehn designed an open and transparent floor plan to maximize exhibition flexibility, concentrating the structural support in two concrete walls that formed the pavilion's enclosed angle, along with a single pillar.

计划/NMK.2008.0734.016.012/摄影作品：星期五下午
Plan / NMK.2008.0734.016.012 / Fotolisens: Fri ikke-kommersiell bruk

“我不想在公园、舞台和艺术品之间设置障碍”Fehn曾经说过。他的建筑具有深刻的隐喻性，试图通过空间讲述故事。展览区的一侧被混凝土墙包围，形成了一个视觉边界，而大型滑动玻璃门将其朝向广场和主大道打开。屋顶延伸到移动外壳之外，有效地将室内展览与室外空间融为一体。虽然陪审团承认展馆与周围公园的绿化有联系，但人们对屋顶的耐用性和维护提出了担忧，导致费恩做出了一些调整和修改。
"I didn't want barriers between the park, the stage, and the works of art" Fehn once said. His architecture was deeply metaphorical, seeking to tell stories through space. The exhibition area was enclosed on one side by concrete walls, creating a visual boundary, while large sliding glass doors opened it toward the plaza and the main avenue. The roof extended beyond the mobile enclosure, effectively blending the interior exhibition with the outdoor space. While the jury recognized the pavilion's connection to the surrounding park's greenery, concerns were raised about the durability and maintenance of the roof, leading Fehn to make some adjustments and modifications.

北欧馆（威尼斯贾迪尼）。图片©Åke E:儿子林曼
The Nordic Pavilion (Giardini, Venice). Image © Åke E:son Lindman

通过最小化空间层次，Fehn设计了一种灵活的布局，适合不同类型的艺术品和装置。展馆的矩形形状及其在场地地形中的位置使其成为一座前后分明的建筑。它结合了一个没有内部支撑的开放式平面图，甚至整个区域都有照明，也没有固定的入口和出口。垂直结构集中在L形混凝土墙和对角的单个支撑柱中，使展览空间流畅且适应性强，不需要周边柱。
By minimizing spatial hierarchy, Fehn designed a flexible layout suited to different types of artworks and installations. The pavilion's rectangular shape and its placement within the site's topography resulted in a building with both a distinct front and back. It combined an open floor plan free of interior supports, even lighting throughout, and an absence of fixed entry and exit points. The vertical structure was concentrated in the L-shaped concrete wall and a single supporting pillar at the opposite corner, enabling a fluid and adaptable exhibition space without the need for perimeter columns.

北欧馆（威尼斯贾迪尼）。图片©Åke E:儿子林曼
The Nordic Pavilion (Giardini, Venice). Image © Åke E:son Lindman

从项目一开始，控制自然光就是一个基本考虑因素。展馆的顶部照明设计为与现有植被相交的连续照明平面，确保了整个展馆的亮度均匀，增强了连贯和不间断的展览空间感。由于自然光在穿过不同的大气层时会发生不可预测的变化，威尼斯的地理位置会影响其日光质量。水的无处不在会影响大气稳定性，高相对湿度会产生漫射光，从而定义城市的大气。因此，展馆的屋顶结构旨在阻挡阳光直射，为整个空间提供柔和均匀的照明。这不仅保护了艺术品免受夏日刺眼的光线照射，还增强了观赏体验。光束的分层保护了内部免受阳光直射，使阴影在一天和一年中的某些时候变得柔和和模糊，从而消除了展馆脆弱的边界。由于屋顶的过滤能力和横梁的正交排列，所有艺术品都可以在相同的照明条件下欣赏，无论它们位于何处。
From the outset of the project, controlling natural light was a fundamental consideration. Designed as a continuous plane of illumination intersected by the existing vegetation, the pavilion's overhead lighting ensured uniform brightness throughout, reinforcing the sense of a cohesive and uninterrupted exhibition space. Since natural light is subject to unpredictable variations as it passes through different atmospheric layers, Venice's geographic location influences the quality of its daylight. The omnipresence of water affects atmospheric stability and the high relative humidity results in a diffuse light that defines the city's atmosphere. Consequently, the pavilion's roof structure was designed to block direct sunlight, providing a soft and even illumination across the space. This not only protected the artworks from the harsh summer light but also enhanced the viewing experience. The layering of beams shielded the interior from direct sunlight, allowing shadows to soften and blur at certain times of the day and year, dissolving the pavilion's fragile boundary. Thanks to the filtering capacity of the roof and the orthogonal arrangement of the beams, all artworks could be appreciated under the same lighting conditions, regardless of their location.

章节/NMK.2008.0734.016.014/摄影作品：星期五下午
Sections / NMK.2008.0734.016.014 / Fotolisens: Fri ikke-kommersiell bruk

第二个非常有趣的挑战是创造阴影。你不能让威尼斯的阳光穿透室内空间。威尼斯的太阳有一个特定的角度，所以我们设计了足够深的光束来阻挡直射的阳光。这样，展厅得到了统一的照明。在梁之间，加入了透明的滴水边缘，以引导水离开--Sverre Fehn在奥斯陆Nasjonal艺术博物馆、Arkitektur og Design 2008年巡回展览“建筑师Sverre Fesn，直觉、反思、建筑”的视频中。
The second challenge, which was very interesting, was to create shade. You cannot allow the Venetian sun to penetrate the interior space. The sun in Venice has a specific angle, so we designed the beams with enough depth to block direct sunlight. This way, the exhibition hall received uniform lighting. Between the beams, transparent drip edges were incorporated to channel water away. — Sverre Fehn in the video for the traveling exhibition "Architect Sverre Fehn, Intuition, Reflection, Construction", Oslo, Nasjonal Museet for Kunst, Arkitektur og Design, 2008.

屋顶成为了空间的决定性元素，尽管过梁的存在、不透明性和定位也在塑造空间感知方面发挥了至关重要的作用。从展馆内部看，树梢是看不见的，强调了空间的水平性，并加强了地板的连续性。屋顶的总厚度为2米，而其下方的内部空间的自由高度为4.3米。然而，展馆内的比例并不仅仅取决于光线；人类规模也有一个潜在的模式。
The roof became the defining element of the space, though the presence, opacity, and positioning of the lintel also played a crucial role in shaping spatial perception. From inside the pavilion, the treetops remain unseen, emphasizing the horizontal nature of the space and reinforcing the continuity of the floor plane. The total thickness of the roof measures 2 meters, while the interior space beneath it has a free height of 4.3 meters. However, proportions within the pavilion are not solely dictated by light; there is also an underlying pattern of human scale.

在威尼斯夏至，阳光相对于水平线的角度为68.5°，这决定了屋顶的设计，屋顶由纵梁和横梁组成。将它们的高度和间距按1:2的比例排列，可以在整个展馆中产生强度均匀的漫射光，起到遮阳板系统的作用--Sverre Fehn在竞赛提交报告中。
The angle of sunlight—68.5° relative to the horizontal during the summer solstice in Venice—determined the design of the roof, which consists of both longitudinal and transverse beams. Arranging them in a 1:2 proportion between their height and spacing produces a diffused light of uniform intensity throughout the pavilion, functioning as a brise-soleil system. — Sverre Fehn in the competition submission report.

最终，展馆成为空间和建筑之间关系的一个例子。它采用了一种结构系统，其中混凝土元素定义并包围了空间，将结构和外壳整合成一个单一的、有凝聚力的系统。它由五种材料建造而成——结构采用钢筋混凝土，围护结构采用木材和玻璃，地板采用板岩，屋顶覆盖层采用塑料——它体现了一种没有额外饰面的建筑，使每种材料都能表达其自然的颜色和纹理，而无需涂层或伪装。
Ultimately, the pavilion stands as an example of the relationship between space and construction. It employs a structural system where concrete elements define and enclose the space, integrating both structure and enclosure into a single, cohesive system. Built from five materials—reinforced concrete for the structure, wood, and glass for the enclosure, slate stone for the floors, and plastic for the roof covering—it embodies an architecture without additional finishes, allowing each material to express its natural color and texture without being coated or disguised.

事实上，当Fehn选择使用白色混凝土来增强光的扩散时，这种效果不是通过人工着色来实现的，而是通过选择浅色骨料和白色水泥来实现的。费恩忠于他的建筑哲学，避免掩盖材料的内在品质，而是强调它们的表现力和唤起性。他试图揭示材料的感官丰富性，不仅涉及它们的视觉和触觉品质，还涉及它们的起源以及与光、温度和声音的相互作用。对于费恩来说，这些元素的结合创造了一种可以通过触觉、听觉和视觉感知的语言。
In fact, when Fehn chose to use white concrete to enhance the diffusion of light, the effect was achieved not through artificial coloring but through the selection of light-colored aggregates and white cement. True to his architectural philosophy, Fehn avoided concealing the inherent qualities of materials, instead emphasizing their expressive and evocative nature. He sought to reveal the sensory richness of materials, engaging not only their visual and tactile qualities but also their origins, and interaction with light, temperature, and sound. For Fehn, the combination of these elements created a language that could be perceived through touch, hearing, and sight.

北欧馆代表了空间理念和大气意图的巧妙编排，将墙壁、地板、台阶、屋顶、景观、光线和间隙空间结合在一起。它的设计与场地的地形密不可分，通过建筑形式和自然元素的微妙相互作用来构建周围的环境。
The Nordic Pavilion represents a masterful orchestration of spatial ideas and atmospheric intentions, bringing together walls, floors, steps, roof, landscape, light, and interstitial spaces. Its design is inextricably linked to the topography of the site, framing its surroundings through a delicate interplay of built form and natural elements.

AD经典：北欧展馆，威尼斯/Sverre Fehn

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