SVERRE FEHN. Museo Hedmark (1967-2005)
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Este libro tiene por objeto profundizar en el conocimiento de la arquitectura nórdica, y en particular del Museo Arzobispal de Hedmark en Hamar (1967-2005), obra del arquitecto noruego Sverre Fehn, acercándose a su pensamiento y su manera de entender no sólo la arquitectura, sino el ser humano y su contexto cultural y social. De hecho, la obra de Sverre Fehn trasciende de los límites de los lugares y temas en que trabajó para aportar su propia visión del mundo y, desde su sensibilidad, abrir nuevas perspectivas a la arquitectura. La capacidad inventiva e intuitiva de Fehn estimulan en el autor de este trabajo una curiosidad tal que se propone buscar respuestas y certezas que ayuden a descifrar los razonamientos e ideas que dan lugar al proyecto del Museo Hedmark, la obra más completa del arquitecto noruego, a la que también dedica gran parte de su vida, y aquella que reúne la mayor parte de las cualidades que caracterizan su arquitectura. Esta publicación trata de afirmar que desde una sensibilidad contemporánea es posible estimular el valor de las huellas que ha dejado la cultura humana, y mostrarlas de forma comprensible para crear conocimiento, no tratándolas como simple arqueología, sino incorporándolas a nuestro tiempo, estableciendo los oportunos vínculos entre el lugar, la naturaleza, la historia y las preexistencias. El hecho de no tratar los restos como mera arqueología permite a Fehn volver a dar vida a una ruina de forma que emerja de la tierra en directa relación con el cielo, redefiniendo la línea de horizonte. El desarrollo del trabajo estudia el proceso para recuperar el lugar, documentando su historia y analizando los mecanismos que se abordan en el tratamiento de las ruinas, haciendo énfasis en la personalidad y el pensamiento constructivo del arquitecto. Fehn será capaz de inventar fábulas, de contar historias a través de las preexistencias, de los objetos allí encontrados, y de la arquitectura que propone. Una inspiración poética que no pasa desapercibida y se puede sentir en el interior de su obra. Tal y como Fehn sugería: La lucidez y la inspiración se encuentran de forma más natural junto a las estrellas, por encima del segundo horizonte que conforman las nubes, inmersos en el universo de las aves, en ese lugar llamado éter, situado entre el cielo y la tierra.
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