TY - BOOK

T1 - 1950 en torno al Museo Louisiana 1970

AU - Garcia Sanchez, Carmen

N1 - Award-wiining Doctoral Thesis defended at Universidad Politécnica de Madrid, School of Architecture (ETSAM) , Architectural Design Department in 2016

PY - 2016/4/1

Y1 - 2016/4/1

N2 - The doctoral thesis “1950 around the Louisiana Museum 1970” analyses several works related to domestic space, built between 1950 and 1970 in Denmark, a golden age of modern Danish architecture. A system -composed of different authors who have in common with each other many more similarities than differences, thus complimenting each other- is researched. Its protagonists, that formed part of the so-called third generation, had their own approach to modernity, showcasing with their work that tradition and avant-garde could go hand in hand.The buildings selected share a special relationship with nature and the space where they are integrated. The façade, the place where the relationship between the interior and the landscape is negotiated, will be a discriminating element in a distinct way for each one of them. This relationship will extend through it, farbeyond their physical perimeter. The most relevant backgrounds, figures and buildings are analyzed; showing the debate followed by previous generations on the way towards modernity, which came about with the intention to discover their own identity and expression. The aim is to unveil the keys to Danish Modernity in the architecture field; to recognise, discover and revive the legacy of some of its protagonists whose lessons are seen as entirely of today. For an architecture, thetaking on of modern contributions with both moderation and caution, with its intimate relationship with architectural tradition and its own craft, ise one of its hallmarks.Varming house (1953), designed by Eva and Nils Koppel, is the most powerful example of the union of tradition and innovation in their residential work; where they break the conventional sturdy brick shell of the 30´s, and incorporate hidden technological advances. Its sober forms caught between Danish Functionalism and Modernity are characterized by their abstraction and clean shapes that emphasize its prismatic and brutal geometry. The building emerges as a mineral formation which reaches up from the terrain. The shift between its parts generates a rhythm, to confer an organic character on it. It reinterprets Gunnar Asplund’s vision of an interior landscape extending towards the exterior; the result is a constructed version of the landscape, in which the building gives form to the place and celebrates the experience of the natural setting.Vilhelm Wohlert designed a guest pavilion for Niels Bohr (1957). It achieves a balance between the modular framework of Danish traditional buildings of timber, and both Japanese and North American architecture; that announces an effervescent modernity. The enigmatic wooden box, perched atop a horizontal land, has the sensitive character of a living organism, ever-changing in accordance with the variations in daylight and temperature. It has the capacity for movement and to mobilize space through the flexible positioning of its layers, thus associated with nature through its constant change. It is a lesson of the concept that nature, life and architecture are united.In the Louisiana Museum (1958), by Jørgen Bo and Wohlert, Danish identity is renewed, American experience is fundamental, Japanese and Mediterranean tradition are present. Flat roof appears to float on glassed galleries. They establish a zigzag route of marked and measured rhythm, that has to do with theincarnation of nature’s pulse, with which her connection is deep. The flexible structure of the the planfloor layout follows nature´s principle of growth. Louisiana is a reflection of the integration of architecture, art and nature, wheredifferent relationships reveal: daylight, colours, landscapes, textures ... and all together, harmony. But, it has the peculiarity of having been created as a domestic space, regarding some aspects.Halldor Gunnløgsson’s own house (1959), shows an extraordinary sophistication of vernacular building. The detached flat roof suspended above a large paved platform – itself continuing the section of the land – has great presence. In the interior, a single space flows around a central space, and extends towards thelandscape through the transparency. It and Japanese culture share a common sensitivity: revealed by the respect for nature and a feeling to her contemplation; the pursuit of refinement through moderation and the elimination of needless items; the appreciation of the light and shadow. The constructive precision and its refinement are paramount. The experience of the architectural space is global.The thesis finishes proposing a journey to some of the single-family houses of most interest that form part of the system being investigated. The expertise in substance and form will be a distinctive feature, there is an approach to Oriental culture and common interests in certain American architecture. Its lessons sensitize us to a strengthened sense of proportion, scale, materiality, texture and weight. It values both the tactile and the visual. There is a sensitivity to nature, human beings, landscape and the integrity of the work.

AB - The doctoral thesis “1950 around the Louisiana Museum 1970” analyses several works related to domestic space, built between 1950 and 1970 in Denmark, a golden age of modern Danish architecture. A system -composed of different authors who have in common with each other many more similarities than differences, thus complimenting each other- is researched. Its protagonists, that formed part of the so-called third generation, had their own approach to modernity, showcasing with their work that tradition and avant-garde could go hand in hand.The buildings selected share a special relationship with nature and the space where they are integrated. The façade, the place where the relationship between the interior and the landscape is negotiated, will be a discriminating element in a distinct way for each one of them. This relationship will extend through it, farbeyond their physical perimeter. The most relevant backgrounds, figures and buildings are analyzed; showing the debate followed by previous generations on the way towards modernity, which came about with the intention to discover their own identity and expression. The aim is to unveil the keys to Danish Modernity in the architecture field; to recognise, discover and revive the legacy of some of its protagonists whose lessons are seen as entirely of today. For an architecture, thetaking on of modern contributions with both moderation and caution, with its intimate relationship with architectural tradition and its own craft, ise one of its hallmarks.Varming house (1953), designed by Eva and Nils Koppel, is the most powerful example of the union of tradition and innovation in their residential work; where they break the conventional sturdy brick shell of the 30´s, and incorporate hidden technological advances. Its sober forms caught between Danish Functionalism and Modernity are characterized by their abstraction and clean shapes that emphasize its prismatic and brutal geometry. The building emerges as a mineral formation which reaches up from the terrain. The shift between its parts generates a rhythm, to confer an organic character on it. It reinterprets Gunnar Asplund’s vision of an interior landscape extending towards the exterior; the result is a constructed version of the landscape, in which the building gives form to the place and celebrates the experience of the natural setting.Vilhelm Wohlert designed a guest pavilion for Niels Bohr (1957). It achieves a balance between the modular framework of Danish traditional buildings of timber, and both Japanese and North American architecture; that announces an effervescent modernity. The enigmatic wooden box, perched atop a horizontal land, has the sensitive character of a living organism, ever-changing in accordance with the variations in daylight and temperature. It has the capacity for movement and to mobilize space through the flexible positioning of its layers, thus associated with nature through its constant change. It is a lesson of the concept that nature, life and architecture are united.In the Louisiana Museum (1958), by Jørgen Bo and Wohlert, Danish identity is renewed, American experience is fundamental, Japanese and Mediterranean tradition are present. Flat roof appears to float on glassed galleries. They establish a zigzag route of marked and measured rhythm, that has to do with theincarnation of nature’s pulse, with which her connection is deep. The flexible structure of the the planfloor layout follows nature´s principle of growth. Louisiana is a reflection of the integration of architecture, art and nature, wheredifferent relationships reveal: daylight, colours, landscapes, textures ... and all together, harmony. But, it has the peculiarity of having been created as a domestic space, regarding some aspects.Halldor Gunnløgsson’s own house (1959), shows an extraordinary sophistication of vernacular building. The detached flat roof suspended above a large paved platform – itself continuing the section of the land – has great presence. In the interior, a single space flows around a central space, and extends towards thelandscape through the transparency. It and Japanese culture share a common sensitivity: revealed by the respect for nature and a feeling to her contemplation; the pursuit of refinement through moderation and the elimination of needless items; the appreciation of the light and shadow. The constructive precision and its refinement are paramount. The experience of the architectural space is global.The thesis finishes proposing a journey to some of the single-family houses of most interest that form part of the system being investigated. The expertise in substance and form will be a distinctive feature, there is an approach to Oriental culture and common interests in certain American architecture. Its lessons sensitize us to a strengthened sense of proportion, scale, materiality, texture and weight. It values both the tactile and the visual. There is a sensitivity to nature, human beings, landscape and the integrity of the work.

KW - architecture

KW - Danish Architecture

KW - Danish building culture

KW - Danish classicism

KW - history and theory

KW - Denmark

KW - Utzon, Jørn

KW - Jacobsen, Arne

KW - Halldor Gunnløgsson

KW - Vilhelm Wohlert

KW - Jørgen Bo

KW - Jørn Utzon

KW - Eva Koppel

KW - Nils Koppel

KW - spatial design

KW - Spatial analysis

KW - Nature

KW - art and architecture

KW - Kay Fisker

KW - Niels Bohr

KW - Jensen klint

KW - Kaare Klint

KW - Carl Petersen

KW - Domestic Buildings

KW - Nordic architecture

KW - postwar European avantgarde in architecture

KW - Japanese Architecture

KW - Japan

KW - Asplund

KW - houses

KW - Housing

KW - Dwelling

KW - huse

KW - Louisiana Museum

KW - Louisiana

M3 - Book

T3 - Tesis recientes

BT - 1950 en torno al Museo Louisiana 1970

PB - Fundacion Colegio Oficial de Arquitectos de Madrid (COAM)

CY - Madrid

ER -