STUDIOWORK - Arkitektur- og designhøgskolen i Oslo - AHO
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STUDIOWORK - Arkitektur- og designhøgskolen i Oslo - AHO

STUDIOWORKthe balance between expectation and personal choicebalansen mellom forventninger og personlige valgPER OLAF FJELD / EMILY RANDALL FJELDUDSTILLINg · ARKITEKTSKOLEN12. november - 11. december 2011 · alle dage 11-18 · graTIS adgangdanneSKIold-SamSØeS allÉ 51, Holmen · WWW.KadK.dK

This exhibition has been realised and producedwith support fromNorges AmbassadeThe Royal Danish Academy of Fine ArtsSchools of Architecture, Design and ConservationSchool of ArchitectureSTUDIOWORKthe balance between expectation and personal choicebalansen mellom forventninger og personlige valgPER OLAF FJELD / EMILY RANDALL FJELDUDSTILLINg · ARKITEKTSKOLEN12. november - 11. december 2011 · alle dage 11-18 · graTIS adgangdanneSKIold-SamSØeS allÉ 51, Holmen · WWW.KadK.dK

FOREWORDWith specially designed spatial devices, STUDIOWORK introduces architectPer Olaf Fjeld and artist Emily Randall Fjeld’s both separate and combinedprofessional endeavours in a focused and carefully lay-outed exhibition.The carefully selected works, encompassing more than thirty years of intensework are generously presented: Exquisite drawings, memorable architecturalwooden scale models complemented by unique furniture piecesreverberates with an intriguing selection of art pieces; The whole conglomerateis forming a vital force-field of thoughtful insight.The displayed process-material and the selected, uniquely crafted art pieces,are shown in connection with a set of distinct, space generating woodenpanels. The visitor is thus given the opportunity to engage with the works ona 1:1 basis, in a conscious choreography of sensuous presence and in- depthimmersions.The works convey a personal understanding and translations of both Scandinavianarchitecture and minimalist, artistic stances. The coalescence of intensearchitectural renderings, the compelling presences of unique furnitureand complementary art works enable more generous categorisations views.Norwegian Per Olaf Fjeld, practising architect, professor and educator, isthe former dean of the Oslo School of Architecture. His various endeavoursplaced him in close vicinity of some of architecture’s seminal towering figures:With personal insights as student and collaborator to Louis I. Kahn andas long time close collaborator and colleague to Sverre Fehn, Per Olaf Fjeldmanaged to condensed his unique knowledge - together with Emily RandellFjeld - as authors of seminal architectural writings and books on the architectureand practise of Sverre Fehn and many other themes. In 2011 PerOlaf Fjeld was appointed as adjunct Professor at this school of architecture.The title of the exhibition Studiowork refers to Per Olaf Fjeld and Emily RandallFjeld’s unique, constant cooperation through more than 30 years, and at thesame time introduces the selected artwork of Emily Randall Fjeld. The collectedwork has never previously been shown in public. The exhibition offersboth professionals and a wider oriented audience the possibility to immersein the varied material. A meeting with very special, crafted works tingedwith sensual, Nordic humanism.We would like to thank the Norwegian Embassy in Denmark, The School ofArchitecture and Design in Oslo as well as Vester Kopi - for their benevolantsupport that made this exhibition possible.Thomas Wiesner, Peder Duelund Mortensen and Ebbe HarderThe Royal Danish Academy of Fine ArtsSchools of Architecture, Design and ConservationSchool of Architecturethree

The Balance between Expectation and Personal ChoicesThere are always choices even in the tightest or most difficult situations.From the moment we leave school or training we are propelled down a paththat is often the result of our very first decisions, but each step containspossibilities. Our paths crossed in Philadelphia and from this point manypeople and situations have influenced our choices and given insight into thelimits of our expectations. Louis Kahn opened a gate, Giancarlo De Carlooiled the hinges, and Sverre Fehn closed it behind us. There really was noturning back.Over the years, we have come to understand preserving an internal exchangeof thoughts and ideas as a team gives a form of independence and creativityin everyday life. This exchange has kept alive curiosity as the strength totake an active positive stance in relation to our limitations and expectations.To teach, draw, build, paint and write are not compartmentalized, but sharedexperiences within this internal exchange along with all other events duringthe course of a day. Not without frustrations and adjustments over theyears, we have formed a base that is a source of energy and a buffer fromnoise and nonessential expectations.Our path with all its detours and eventual weaknesses has been an attemptto keep alive the energy and inquisitiveness we felt at the start of our careers.To work together as a team with different but complimentary backgroundshas always been an inspiration, since there is a built-in challenge tothe individual opinion or belief. To watch our son Olaf grow-up has also beenan inspiration in these talks, and he has become our most valuable touchstone.Much of our work, in particular writing, is the result of our conversationswith one another, and in turn texts have often indicated and inspirednew perspectives in relation to physical projects in the studio.Everyone has valuable experiences and untapped creativity; it is more aquestion of concentration and being able to access this state of mind. Forus, it has been important that our academic knowledge faces physical realityeven on the smallest scale. We have always tried to avoid making formalstatements about our work or to place it into categories of commercial expectations.This has been essential in order to retain openness in relationto the work process. For this reason, we hope the exhibition offers a tasteof the personal energy embedded in all of us. Life remains a set of circumstances.Work in studio August 2011photo Thomas WiesnerPer Olaf Fjeld and Emily Randall Fjeld,Oslo, 11/11/2011fourfive

STUDIOWORK INVENTORYArchitecture and Art as quotidian practice:Short notes on the emergence of presenceBy Thomas Wiesner01 SurfacingIn a world infatuated with large-scale schemes, outward sensationalism andarchitectural promotion by branding, contrasting, seminal work(s) do germinateand develop insistently on more humble, parallel tracks.Practiced with genuine playfulness, caring insistence on basics and firmlyanchored in local conditions, these seemingly unspectacular activities oftenremain under the radar of professional or public recognition.On those terms, the surfacing of Per Olaf Fjeld and Emily Randall Fjeld’ssmall selection of their oeuvre indeed constitutes a remarkable moment. Encompassingmore than 30 years of intense activities, the present exhibitioncondenses rare material in stringent out-lays and roomy selections.The assembled material is extra-ordinary, on many levels. Not necessarily insize, but certainly in depth. It includes smaller architectural projects, a handfulof finely executed dwellings and summerhouses, an unorthodoxly delightfulfurniture collection, theoretical projects and selected art pieces. Allcreated in close, albeit oblique, relation with the main architectural works.On first glance, one might be struck by a seemingly anachronistic stanceinherent in the material. In conception and obviously manufacture, a certaindelightful time lag is ubiquitously present. It is the firm constancy of thesesmarkers that acts as benevolent alonge, freshly propulsing the work(s) intonew, and more timely territories of classification.Likewise with other categorisations: while some of the works clearly inscribethemselves into precise definitions, the supporting paraphernalia, easily recognisable,somehow discretely elopes into other, ambiguous grouping(s).There is, obviously, one pivotal condition at stake. Acting as a magnanimous,crucial amalgam ingredient, the carefully crafted Artworks, ooze with refineddischarges, to maintain a chartered, unflinching course. Encompassing a longingfor “erotics of art instead of hermeneutics”, the overlapping works by Per OlafFjeld and Emily Randall Fjeld establish broader territories of sensuous presence.sixseven

02. PresencePresence can, indeed, prove to be quite overwhelming. When conventionalbearings for understanding appearance are offset, certain misconceptionsdo ensue. One could define this state of things as utmost relevant: Alive andactive conditions of ambiguity.It is these conditions of tangential ambiguity that activate the various workswith continuous vibrating tinges of formal deja-vues,accounting for cognitivestimulation(s) and hints of other, less knowledgeable references. In otherwords: the exhibited works do have a fine capacity to make one nervous,despite the innocuous ostensible.The intent of those proceedings should not be mistaken as developed conceptualgatherings. Works by Per Olaf Fjeld and Emily Randall Fjeld emergein part from slightly deviant sources and certainly require more obliquelycandid readings, disregarding objective interpretations.Their immediate powerful presence(s) might at first be underrated. Thebuildings, for instance, are very reasonable indeed, radiating a serene, preciseNordic balance between context and use, mediating culture and naturein well behaved conventional permutations. Yet, in all their inherent simplebeauty, they behave like wild stallions just after taming: intensely aware,present and acutely suspenseful.The supplementing dwelling paraphernalia, on the other side, establishesother, and more perplexing presence-assessments. While most of the implementsfulfil their basic duties as mobilier, their formal behaviour(s) introducevarious levels of benevolent mischief.Not following any unwritten Scandinavian dogma of ergonomic-comfortedfunctionality, the various furniture(s) - extrapolated for a time, for all thepieces in the exhibition are integral parts of the Fjeld’s home, on loan for theexhibition- perform their dual duties as both functional entities and extravagantset-pieces.The intense formality of most works including the art pieces, unfold froma keenly clarified sense of order. Firmly mathematical in most of their exponentialgrowths, the permutations nevertheless are never set completelyfree: a strict sense of dis-order re-calibrates the formal presences into shardsof frozen music, to be re-animated when needed (or fancied).Work in studio August 2011photo Thomas Wiesnereightnine

03 SustainabilityUpholding certain modes of practice while maintaining other vital art andarchitecture matters on balance, presupposes tuned and focused activities.Per Olaf Fjeld and Emily Randall Fjeld’s finely disposed Studiowork(s)unravels this condition on many, thought-provoking levels: Throughout thepresented material, spanning over a longer period of time where analogueconditions slowly eroded in favour of more effective digital replacements,one clearly senses a precise core of resistance. There is, in the old fashionedunderstanding of the term, a genuine grounding of sustainable conditions.A joyfully stubborn insistence on maintaining the use of few, chosen materialas basic elements to be developed; A compassionate understanding forthe potential(s) inherent in direct, easy affordable matter prima: woodensticks, rafts, planks, paper on the light architectonic side, brick, timber andslate on the heavier side. Felt, cloth, cardboard, wire-mesh and glass for theartworks: A mildly simplified set, rigorous.Maintained and improved over time and with diligent precision, this restrainthen unfolds into a myriad of astute variations: The emergence of a clearand serene syntax, later evolving into more sophisticated language with idiomaticvariations.A living lingua franca, in progress: Reflective, thoughtful, compassionateand certainly aware of its etymologies, clearly tinted while maintaining a respectfuldistance to its core origins. Per Olaf Fjeld’s distinctive, knowledgeableand intense engagements in both the late practice and work(s) of LouisI. Kahn and thereafter most of Sverre Fehn’s central oeuvre remains crucial,and perspires.Without Emily Randall Fjeld’s parallel involvement in both topic(s) and thetowering figure(s) - at first via a highly inspired production of reflecting artefacts- later in extremely focused in-depth archival work, no possible sustainmentwould attain these heightened levels. Language presupposes constant,informed dialogue. A mutual, ongoing information exchange.Sustainability thus does not necessarily comprise broader, conservative conditions.It can also encompass stepping-stone-grounding measures towardsmore elaborate, concerned precisions on smaller, vital scales.teneleven

04 EnligtmentPermeating throughout the material, enlightment conditions are to be takenquite literally in Per Olaf Fjeld and Emily Randall Fjeld’s works. Carefullychoreographed with almost Manichean zest, a fine dualistic, complementaryquest with its opposite is perpetuated in the process.The apparently simple wooden window-shutter devices installed in theFjeld’s country home embody this delicate condition: Acknowledging andcelebrating the daily reoccurrences of dawn, midday and dusk, the contrivancescarefully embed and integrate the immateriality of light and shadow,via invited calibrations into the quotidian.Practising and re-introducing the time-honed act of mørkning, the now almostextinct Scandinavian practice of patiently awaiting darkness at dusk,the devices enable slow fine-tuning with a palette of much darker tonalities.Similar day-to-day conditions are toyed with perceptive spirituality in thedelicate unfolding of the many Japanese inspired wooden lamps contraptions,more recent products of patient basement research by Per Olaf Fjeld,now surfacing.Likewise: light and shadow conditions remain meticulously trapped and domesticatedin the many, early Randall Fjeld art-works: fine layering of glazedconditions, superimposed, polka-dotted and grid-ordered into malleablespiritual-boxed sensual matrixes, to be re-opended.Clear-cut minimal, in their condensed, light-felt assemblage: Thus in a sense,re-introducing practice of forgetting the names of the things one sees.The sub-division of art pieces, furniture and other fixtures might thus indeedneed revision: In the more intense scrutinizing of the work(s), definitionstend to fall apart. No grey zones, but a rising, acute awareness of more copious,inclusive phenomena, transcending functionalities and denominationsin the couples works.Do try to sit on one of the chairs in the exhibition space while studying theintricate lamps light-emanations; Try then gazing out of the window-shutterpanes,one eye fixed on an adjacent art-piece in the exhibition space; Silentand intensely memorable tactile bits of a larger puzzle, giving rise to intense,fruitful speculations. What exactly to label those arte-facts, then?twelvethirteen

05 OrderOne very central condition apparent in Studiowork is a definite, generalsense of order; An Order following (if obliquely) Louis I. Kahn’s dictum, yetmaintaining a distinct and somewhat diplomatic aloofness.One could even venture so far as to assert: that a playful aloofness, ordered,is at stake in the work(s). Underlying, genuine generative ordering principlesmaintain the structure, albeit with fine inbuilt anomalies: Generating apoetics of simple tectonics through distinctive beats, elaborate rhythms &syncopated, repetitive garland spreads.In Studiowork we are given the possibility of exploring spatio-temporalmatter(s) via minute, or oblique discoveries: Order obviously visible, and onother levels, in seemingly hidden patterns, embedded in matter.Forming a peculiar phenomenology of perception, the material in Studioworknevertheless re- forms both rational, conceptual energy fields, as wellas permeating, with extreme firmness, embodied, intuitive sensual territories.Per Olaf Fjeld and Emily Randall Fjeld’s ordering principles emanate with aserial humming. They perpetrate simple addition principles, glued, plied andbonded, into archaic shape, not even fearing states of symmetry.Distinct patterns appear to be constantly re-arranged and shuffled about,slowly weaved into underlying grid-like states. These particular inter-lacingsare both foundation and construct at once, oscillating between states ofmute abstraction and very concrete matter, resulting in sensuous states oftactile bliss.Within all this exposed matter, degrees of quality or importance can be assessed,in the sequence or the arrangement of the successive arte-facts,thus becoming the sum of the exponents to which the variables in the termare raised. A formation of a poetics of revelation, giving us fresh access toreality.06 SimultaneityAlthough the Studiowork material is exposed, thus laid bare and classifiable,it remains a unique situation on many levels. While exhibited architecturalmaterial per se mostly represents via scale models, drawings, photographsand other relevant paraphernalia, Per Olaf Fjeld and Emily Randall Fjeld’sStudiowork includes one more, crucial dimension.While most of the presented architectural works are given generous studyconditions, fulfilling both aesthetic and didactic relevancies, the actual piecede resistance consist of the careful design, manufacture and placement ofthe open, interlocking spatial wooden elements.Performing Janus like duties on many levels, the devices permit the attentiveembedment of the many furniture and art pieces in synchronous realms.An intricate territory of apparently contradicting terms, reconciling oppositesinto a benevolent, multi-facetted universe. In- and Out-sides merge,domestic situations mutating into consecrated situs, achieving a perfectmoving blend of extreme stasis and elaborate, fixed rotations.Transfixed in such precise manners, all Studiowork’s elements interconnectivitydo allow for bursts of intense sensuous presence, trans-cending timeand place, resolving usual classification divides. Simultaneously achieving asharpened counterpoint state with the inclusion of the carefully chosen textfragments and quotes from the Fjeld’s written work.In its simple, straight-forward grandeur, the exhibited collected works by PerOlaf Fjeld and Emily Randall Fjeld bring forward precise shards of seeminglybygone areas, while propelling the assorted almalgam with intense freshnessinto a concise present. An open proposal to renewed studies in Nordicmaters, with exceptionally fine detours included.The actual unveiling of Per Olaf and Emily Randall Fjeld’s works enables thepropelling of personal, specific artistic dimensions into broader territoriesof concerned, sensuous humanism: A poetics of integrity, lyrical beauty andethical depth, exalting everyday miracles, giving us fresh access to reality.fourteenfifteen




STUDIOWORK INVENTORYThe exhibition comprises four distinct conditional zones, enabling a sensuousand playfully didactic approach to the material.The zones created are labelled as follows:The Outlay(s)Consisting of the agglomerations of the low, quadratic wooden podium elements.On these, various distinct projects and works are presented via drawings,scale models and photographs.The Inlay(s)Are the zones created by the specially devised wooden panel elements,forming a selection of distinct spaces; The spaces toggle with delicate refinementbetween interior and exterior manifestations . Inserted with carein these dual expanses, furniture and the arts piecesThe WallEstablished on the far end of the exhibition hall, the Wall gathers a finepictorial, kaleidoscopic view of the build works, while including relevant selectedart pieces.OutlayBuilt work:Grohshenning House 1979 OsloIsaksen House 1982 Osloin cooperation with Jan KnoopOslo Bymuseum 1984 Osloin cooperation with Jan KnoopKimsaas House 1991 OsloCross, Offer Island 1987 LofottenBjerke Summer House 1988 KristianssandKimsaas Family Summer House 2009 MandalOther:ILAUD projects/theoretical works1986 -98 Urbino/Venicetwentytwotwentythree

Inlay(s)Furniture (F) Artwork (A) Exhibition pieces (X)[01]“Flapper”, F Lamp, 1999laminated pinewood, handmade japanese paper, 22 x 22 x 229“Foreign Chair” F chair, 1992laminated pinewood, 42 x 42 x 72 cm“Arm Chair”, F chair, 1994laminated pinewood, 42 x 60 x 72 cm“ Arthemis”, A 1984glass, felt, wire, paint 50 x 40 cm“Kunstnernes Hus”, A 1975white canvas, mozart chocolate covers 70 x 45 x 7 cm“Preserving” , A 1976white felt,glass, roses, wood 18 x 18 x 8 cm“Reppetition # 10 red square” A 1982white felt, acrylic paint, wood, cardboard, 45 x 45 x 25 cm“Homesick” A 1977glass, felt, cotton, 40 x 30 x 2 cm“Egyptian Necklace” A 1975white canvas, wood, pills, ruber band, 68 x 35 x 5 cm“Shopping Bag” A 1977glass, canvas, 90 x 35 x 1 cm“Untitled” A 1980canvas, silk stockings, acrylic, 120 x 190 cm“Horizon” A 1983canvas, acrylic paint, wire 40 x 40 x 3 cm“Zipper“ A 1981canvas, metal zipper, acrylic wood, 80 x 50 x 3 cmtwentyfourtwentyfive

[02]“Stool I /II “ F, 1989laminated pinewood, 42 x 42 x 42 cm”Kitchen Table” F 1989laminated pinewood , 150 x 48 x76 cm”Half Size Cabinet” F 1990laminated pinewood, 24 x 30 x 230 cm”Chernobyl Mask” A 1986canvas, acrylic paint, 25 x 29 x 7 cm”Mask” A 1988canvas, cardboard, wood, 18 x 20 x 3 cm“Baby Sleeves” A 1987canvas, baby clothes” 40 x 30 cm“St Cathrin’s Heart- Copy” A 1987canvas, postcard, glass,wire, 29 x 42 cm“BaitBox” A 1996canvas, acrylic paint, wire, glass, 15 x 10 x 2 cm“Thinking of KAM” , A 1980cotton, cardboard, acrylic paint 35 x 75 x 1 cm”Red Baby” A, 1983canvas, baby clothes, acrylic paint, 100 x 100 cm”Bag” A ,1982white felt, wood, acrylic paint, 40 x 40 x (65) cm”Rest” F, Lamp, 2001laminated pinewood, handmade japanese paper, 40 x 40 x 229 cm[03]“Side Board Repetition I - III”, F 1990 - 94laminated pinewood, 170 x 32 x 125 cm“Grid” A, 1978canvas, glass, acrylic paint, 39 x 39 cm“Toy Box” A 1995glass, plastic figures, white felt, acrylic paint, 27 x 23 x 7 cm“Copy Observing a Copy” A 1993white felt, glass, 27 x 35 x 5 cm“Paper Screen” X, 2011pinewood boards, handmade Japanese paper, 248 x 180 cm“Wrap Around” F Lamp 2011laminated pinewood, handmade, japanese paper, 22 x 22 x 229 cm[04]“Left Arm Triptych” A 1996canvas, acrylic paint, cotton, 66 x 70 x 7 cm“Left Arm” A 1997canvas, galss, acrylic paint, 47 x 65 x 2 cm“Untitled” A 1996canvas, glass, acrylic paint, 22 x 30 x 3 cm“Cabinet with Glass” F 1990laminated pinewood, glass, 44 x 30 x 229 cm“Dining Table” F 1995laminated pinewood, 84 x 295 x 76 cm“Double Stool” F 1995laminated pinewood, 85 x 42 x 42 cm“Revolving Door”, X 2011laminated pinewood, pinewood boards, 238 x 59 x 4 cm“Window Shutter(s)” X 2011laminated pinewood, metal hinges, 164 x 162 x 3 cm“Mask” A 1990white felt, acrylic paint, cotton, 25 x 18 x 15 cm“Office Tool” A 2010metal, canvas acrylic paint, 10 x 70 x 2 cm“Stool III“ F, 1990laminated pinewood, 42 x 42 x 42 cm“3 Identity Cards” A 2001 - 09white felt, glass, cardboard, 2 = 80 x 10 x 3 cm, 1 = 50 x 7 x 3 cm“Mask” A 1995canvas, acrylic paint, 42 x 42 x 7 cm“Mask” A 1998white felt, acrylic paint, 26x 30 x 7 cm“Mask” A 1990acrylic painted felt, 32 x 22 x 8 cmtwentysixtwentyseven

[05]“Wrap” lamp F 2008laminated pinewood, handmade, japanese paper, 22 x 22 x 229 cm“Wingspread” lamp, F 2010laminated pinewood, handmade, japanese paper , 42 x 42 x 229 cm“Double Desk with Folding Lid” F 2003laminated pinewood ,154 x 28 x 229 cm“Formal Chair I / II“ F 1999 - 2002Laminated pinewood, 126 x 42 x 60 cm“POF Mask” A 1993white felt, acrylic paint, canvas, 26 x 22 x 5 cm“Motherhood in ILAUD / Hospital for IF” A 2000white felt, glass, paper, cardboard, 23 x 21 x 8 cm / 12 x 18 x8 cm“Two Sisters” A 1998glass canvas, acrylic paint, 40 x 30 x 2 cm“Office Tool II” A 2010metal, canvas acrylic paint,16 x 12 x 2 cm“Left Arm II” A 1996canvas, lead pencil, wire, acrylic paint, 41 x 52 x 2 cm“Little Left Arm“ A 1997cotton, acrylic paint cardboard, metal frame,47 x 15 x 2 cm“Black Shirt I - II” A 1997 - 2002cotton + canvas lead pencil ,45 x 38 x 1 cm /40 x 30 x 2 cm“Black Shirt III - IV” A 1997 - 2002cotton + canvas lead pencil, 28 x 28 x 8 / 32 x 22 x 8 cm“Black Shirt V” A 1997 - 2002cotton + canvas lead pencil, 25 x 14x 8 cm“Mask” A 1990cotton acrylic paint, cardboard, 23 x 20 x 2 cm“Black Shirt Stretcher” A 1997 – 2002canvas, glass, acrylic paint, wax, 100 x 40 x 9 cm“Birthday Handbag” A 2010glass, candles, paint, 23 x 27 x 4 cm-“Double wingspread” F Lamp 2011laminated pinewood, handmade, japanese paper , 42 x 42 x 229 cm-“Automatic Horizontal” A 1979canvas, electrical switch, wood 50 x 50 8 cm(A present for Sverre Fehn made during the interview(s) period. Can be hung eitherway, without loosing horizon)twentyeighttwentynine

QUOTES AND TEXTS“Our identity is mass in movement, like fresh concrete, unformed, mutable. We havelearned to live in the idea of change, and perform to signals still liquid in the mould.In the meantime, we put our energy and trust in the past. We rely more than ever onthe reading, succumbing to the interpretation of the present through the past. Westand at an interim. Somewhere between nature and consciousness the architectmust grasp the speed of change.”Between Nature and Consciousness, Per Olaf Fjeldp.85, Interpretations, ILAUD, Sagep Editrice, Sienna, 1987/88“Visit any flea market and one is amazed at the vast number of objects producedover time. The nature of each of these objects remains more or less the same, but thedesign element undergoes constant modification for better or worse. We both acceptand expect change, but architecture is different than an everyday object, it occupiesmore than intimate space and personal choice. It is a major user of matter and energy.All architecture no matter how temporary or insignificant has long-term responsibilitiesand long term impact. It is not really an individual or personal act, but belongs toa human consciousness.”Pandora’s Box Per Olaf Fjeldp.23, Intelligent Glass Solutions, Intelligent Publications, issue 2, 2006, London”The inclusion of reality as stimuli via texts and images protects the individual’s personalrespomnsabilities towards lifes. The dialogue with the oast as disctinct memorywould also play a descisive role, but what was previously considered commonreferences, will not be the same. The individual’s own choices and expreriences willdominate the memory portfolio. In a time testing the social consciousness towardsfellow human being, and where closeness is becoming a challenge the individual willxxx“Den Nye Signaturen er et Bilde” Per Olaf Fjeldp.52-56, Design, interiør/livsstil, Faktum Orfeus Forlagene, 1-2000, Oslothirtythirtyone

”Det ”moderne” i denne sammenheng er den som entrer huset med sine tidsriktigemeninger, den som ser seg om, finner ut at mye kunne vært gjort annerledes, men atmøblene er riktige, de passer. I Osker Niemeyers eget hus klarer ikke tiden å finne etordentlig fotfeste. Arkitekturens selvstendighet presses ikke mot det foranderlige,men innehar en sikkerhet som er tiden likeverdig, dermed blir den også for sin beboeren troverdig samarbeidspartner.””Osker Niemeyers Eget Hus” Per Olaf Fjeldp86-89 Design:Interiør, N.W. Damm & Søn, Oslo,4-2003“In the present industrial world, the distance between the notion of room and theactual room derived from a concept of mass seems insurmountable, as we still desirea traditional space identity. In this situation we are left no choice but to rely upon theroom of abstraction, as its physical counterpart ceases to project a strong identity ofplace. We seem to focus upon the process of change for the sake of change because itsanctions a further production. Change may not have any other quality than continuousmodification upon an existing perception of room, and that is quite different froma clarification of relationships created through a deeper understanding of place. Wehave come to regard them, however, as one and the same.”***“We are no longer in architecture, but looking at architecture. Those elements that canonly partially adapt to this process are set aside, as their reality is not compatible withthe tool’s image. The image is released from physical and cultural determinates, andis answerable only to the technological capacity of the tool. The image becomes thecentral source of inspiration. Projects that abstract upon an abstraction pose a viablequestion within architecture.”***“Architecture is still the earth’s tenant. It may make bargains, add and subtract fromexisting places, and forget to pay its due, but architecture continues to project fromthe earth as a base. Every structure is dependent upon the earth’s resistance, and it isthis resistance that clarifies both material and construction. Perhaps it is the securityin knowing there is still a resistance that gives architecture the freedom to experiment.At the same time, these fashionable barn-raisings may not be enough to meetthe demands of the future. We have not addressed the earth, we have merely acceptedit. Nor have we faced the transformation away from the single to the sequentialspace evident in an urban context.”“Sigurd’s Resistance and other stories” Per Olaf Fjeldpp66-75, The Cornell Journalof Architecture Nr.4, Cornell University, Ithaca, NY, 1991thirtytwothirtythree

HAS A DOLL LIFE?“These pages and drawings derive from a conversation between Sverre Fehn andPer Olaf Fjeld that occurred in the summer of 1984. Professor Fehn and Mr. Fjeldare long-time collaborators in architectural discourse: Mr. Fjeld’s essay on ProfessorFehn’s work, The Thought of Construction, is a primary summation of their mutualinvestigation. This discussion during that Norwegian summer resulted from a considerationof a preoccupying theme of Professor Fehn’s work: the transcendence ofnatural limits in the modern age. As the questioner, Mr. Fjeld seeks to position manand architecture in the vast and undefined landscape where “life and death are nolonger evident in our built geography”.“Sverre Fehn, what is man’s role in relation to mass, and what is the order of architecturein relation to material?The infinite room is mass. We are not living in an articulation of in and out. The masssurrounds us at all times. We are never released from the total Room, but we canedit this Room through contemplation. It is the thought that gives the material. Eachmaterial then conveys a particular mass. Once this mass receives a composition, theworld is rendered a form, a ”gestalt”, and man his construction. The mass is nowactivated. It is given an order. When thought penetrates mass its result is the preciseroom.Can mass then be defined?Archimedes assigned mass its number. The incident in the bathtub unleashed a tragedy.The object’s definition was stripped of its “soul”. The volume as scale separatedthe objects from their form. The object received a definition of its true substance.The shadow belongs to the earth. A world without it is a place without material. Indeath the shadow is a dream of the non-existent. Here the mask is absolute. Its embraceis without limits. The spirit is mastered by a light that casts no shadow.Each path taken renders an ongoing history of its dynamics. At the equator, in themiddle of the day, your shadow clings to the soles of your feet, and in the next instantyou have lost it. Here where this conversation takes place, your shadow is a facsimileof yourself one day a year, but go even farther north and it approaches an illusivedimension once cast upon the snow.At this point I can cut out the mass where the shadow screens the construction. Thisgives me my place, and time stands still.So everything belongs to the earth?The drawings on earth are the result of a convergence of mass. A cavity fills withwater that again draws its line on the earth’s surface. If we replace the water withthought, the line becomes a construction man offers earth. The nature of architectureis to discover this thought-construction.The cave dweller is unable to free himself from the mass, but lives in his own shadowas a token of place. He replaces the earth’s mass with the material that gave himboth darkness and the undefined room. The cave adds to the heaven’s volume withoutrelinquishing its shadow. The opening remains the only respite. Outside, the treemobilizes light and casts its shadow on earth, a realization of place. You are part ofanother’s shadow, and you are no longer alone. It is here the story is told.Do you mean the history of time?Man’s first signs were to move the mass. The stone’s precise placement on earthcarried a message. Man could wander between arranged masses, as the dialogue belongedto the moment. The stone and its place were a point on earth that conveyeda mass inhabited by spirit. Later history recapitulated and lost was the conversationwith the night and its stars. Victor Hugo, the French author, remarked once that withthe advent of printing the art of building vanished. The written sign released historyfrom place. The interpretation was not tied to its surroundings. The book read byall no longer gave the ordained stone the same immediate importance. The dialoguebetween man and nature ceased. The book, it is true, transmitted the thought of thestone, but freed from its mass. The concept of time is in disorder. The book is everlasting,as it is reprinted, protected, moved, and stored. By forsaking the mass, its historyis free from time. The following day the stone casts its shadow, but the book is alreadyinterpreted. Time and place must follow one another. Time in itself is a material.So time is mass in motion?Man has always searched for masses in motion. The dam tames the river. This wallforced into the landscape imprisons energy, and when the battle is over, the heavensare given a new mirror.The sail, a collector of winds, sets the hull in motion and perforates this luminousmass. The boat defines the mass and gives movement its room-concept. A place inmovement is the room of the moment. The objects moving in mass give it an intimacy.You are part of the material. Man’s dream of the infinite Room is so beautifully expressedthrough Aladdin carried by the jinneé of the magic lamp hovering over the earth.thirtyfourthirtyfive

And what about the sea?The sea is an immense horizontal mass that expresses the earth’s temperament. Theboat is released from the shadow of the mainland in a search for the one straight line,the horizon. I remember once in Morocco I sat by a riverbank waiting for the water toebb in order to cross. During this interval, some boys pocketed my compass. They tookmy straight line. They stole the bridge before it was built.And the sky?If man, together with the wind, had conquered the sky before the sea, the sea thenwould have remained the uncharted. The vast expanse of the sea would dominate ourawareness, as the heavens intimidated the Middle Ages. How would man togetherwith the sky have plotted his mark on the earth?And the understanding of mass as material?Each material has an identity and a scale of its own. Earlier the log conveyed a limitationwhere size was a factor of the tree’s species and age. The mass referred to a scalein relation to the nature of a tree. Through this limitation, man could with confidenceform mass, and erect his constructions in the landscape. There was no competition.The earth’s mass was still endless. By building on the immeasurable surface, manmanifested points in eternity.Technology has changed this relationship to material. Laminated wood has no limitations.Entire forest can be glued together to produce a mass. Material no longer hasan identity in relation to its source. The universe is now measurable spheres. The sunand the moon have ceased to be mysteries, as we live in a world of just one scale: therelationship of small and large.The earth is now defined through other mass-concepts in the universe. Our world iscalculated. At one time it must have been extremely exciting: the moment the constructionmet the earth and gave rise to its dimension.Please continue:As long as the earth was seen as infinite, the mass to build with had a limitation. Oncethe earth was finalized as a volume – that is compared to other objects – man wasable through material to construct an unending mass. As technology cannot generatea natural restriction, mass directs itself. It takes over. The credibility of the tree’sshadow is now lost, as it hides in the laminate’s glue.What then is our relationship to mass?Once, the column roomed a silence large enough to hide behind. I remember the Finnisharchitect Reima Pietila said to me: “If blind, I would form my architecture from thematerial’s weight. I would seek a balance between them. What would this constructiontell me?”Does material have its own language?Each material has its own shadow. The shadow of a stone is not the same as that ofa brittle autumn leaf. The shadow penetrates the material and radiates its message.You converse with material through the pore of your skin, tour ears, and your eyes.The dialogue does not stop at the surface, as its scent fills the air. Through touch, youexchange heat and the material gives an immediate response. Speak to a stone and itgives resonance’s mystic. Speak to a mountain ledge and it gives sound a mirror. Listento a snow-covered forest and it offers the language of silence. The great masterin the use of wood as material is a musical instrument maker. His ear gives each pieceits dimension.And the unhindered play with the material’s language?Material can be something it is not. Oscar Niemeyer thought of a flight of birds whenhe mad his concrete constructions. Jørn Utzon’s Sydney Opera has enormous weight,but its expression is associated with the play of white canvas in the wind. The mass isput into an order beyond its reach. It is more than the material itself bespeaks.And the meeting with the earth?We must again find a dialogue with the earth. The earth’s division of mass such aswater and air embody the great constructions. The rampart is the ultimate trade withthe landscape. The earth that forms the mound and the trench that is left behindbecome your preservation. The fear of death is your constructor. This fear developeda sensitivity to the terrain that has created the great architecture of the fortresses.Man’s fear of the bullets strategy caused a search within the earth’s mass for protection.The construction of fear in the present man-made landscape is the sidewalk’scurb. The terrace with a height of fifteen centimetres gives you urban safety.thirtysixThe pursuit of a technological minimization of materials has deafened man’s dialoguewith the earth’s masses. In the twenties Le Corbusier’s final break with the foundationwall and the column, as the only link between the earth and man’s dwelling, is now leftbehind only as a fragment. And, so came the great offer: Give the earth back to itself.Let the people in their individual homes own the horizon. Let the apartment roof bethe large piazza for social interaction, for a visual conversation with the elements ofthe sky. This undefined expanse overwhelmed the man on the terrace. The new interthirtyseven

play with nature was destroyed by the force of the “invisible nothingness”.Once functionalism moved into the symbol-less, the built world collapsed. Must architectureagain, through society’s notations as the given mass, find a key to the divisionof the numbers in its meeting with the earth?Is the mask living, has a doll life?The bullet made a dent in the surface of the earth, and the size of the hole was thesame as the bullet. Today’s “bullet” has reached the invisible mystery, as it can destroyall life without rendering a mark on the surface of the earth. The spirit is now selfdestructive. Matter has claimed a total victory.The mask is left behind in a conversation with the doll.”“Has a Doll Life?”, Per Olaf FjeldPerspecta 24 Yale Journal of Architecture, Rizzoli, NY, 1988 pp. 40-49***“Cultural sensitivity in relation to scale between the singular and plural is under agreat deal of pressure. How one comprehends personal/singular and public/pluralscale has a direct influence on how one perceives and respects personal and publicidentity and knowledge. As access to information takes over the role and directs theinput that experience once had, it is easier to enter and leave the process of gainingknowledge at any level, at any floor. Through information we become amateur expertsin many areas that touch our everyday life. This situation is also changing architectureand architectural education. Finding common markers, small points of convergencebetween information bases, can form bridges from one profession to another. This exchangecan give interesting combinations, but it is also a deceptive method of gainingknowledge. One borrows as an amateur under the guise of being professional. Informationas choice has allowed one to step in and out of a body of knowledge or skill atany level of expertise, as it is often no longer a question of how well it is understoodrather that one has made a choice.”***mation? What happens when the areas of memory kept alive are more or less thosethat fit tools of information, in particular as an image? Will the breadth and speed ofchoice become deciding factors in understanding scale? For centuries, most societieshave tacitly agreed to store memory as a linear progression of events in time, themeasurement of a generation, the time span between life and death, day and nightand seasons. The labelling and divisions along this linear progression may have haddifferences, but it was still translatable from society to society as a navigation tool.Along this line the individual moved from the personal to the collective memory andback again, connecting events to culture, to nature and weighing the results. Today’stools of information have much the same content, but lack the intricate and precisetool of context. There is one other important difference, the point at which one entersinformation’s memory is without restrictions, and thus one is able to choose the parts;in a sense form many independent lines or threads of unconnected memory. This haspotential to give new combinations and energy to creativity, but it is also a situationcontrolled and motivated by individual choice, and as such this situation’s capacity aswell as its limitations to connect to a collective cultural memory is changing.”***“… information may seem to communicate the same content to all, but its meaningand potential impact will modify and transform in relation to the context in which itis received. The communication of this global content also transmits as a bi-product;a preoccupation of time and with this come a diffuse sense of urgency. There is anunderlying pressure to make choices or respond quickly giving less and less time forconsidering the wider impact of a choice.”“Which Floor, Please?” Per Olaf FjeldBringing the World into Culture, comparative methodologies in architecture, art, designand science, editor Piet Lombaerde, University Press Antwerp, 2009pp. 35-37,Sverre Fehn, The Thought of Construction, Per Olaf FjeldRizzoli International Publications, New York, 1983, pp27, 28, 33, 151, 152“The secret of the boat was to fight the horizon. The mast moved the horizon whilethose on land gazed at its line and the horizon until they became one. The concreteand the abstract melted together as these inseparable elements united. With this momentof union the horizon was ruined. Nature with her enormous scale was no longerthe uncharted, since the unknown had been usurped by man.”***“Once the horizon had been envisioned as a line on paper, the mystery was over. Therational had conquered the irrational. The horizon could be moved, for symbols hadbrought it within man’s possession. By losing the unknown, man was restored to avacuum, and with this the very idea of “room” was reduced to zero”“Today’s ambiguous and shifting sense of scale whether in relation to nature, objectsor issues requires a deeper more careful discrimination in relation to what is to becompared and how. One of the areas that have had a clear role in defining a culturalscale is memory, and it is also a very important factor in understanding and forminga shared culture. This is a broad definition of memory on many levels workingsimultaneously from biological, physically experienced, mechanical, private, to sharedmemory. For centuries human beings have worked hard at maintaining this memory,but what happens when we deliver this maintenance job over to the storage of inforthirtyeightthirtynine

SVERRE FEHN “THE THOUGHTS OF CONSTRUCTION”PER OLAF FJELDThe treea moment of passionate growthsprings into the lightbrightas the birth of the sunthe line of the horizonnever withdraws.The seaas a formis a tree that bendsis a bowlis a boatis a mystery told.The seaas a massis a form that bendsis a bowlis a boatis a voyage into light.The treeis the landbeyond the surface of nightthe church spireadds to an evening of stars.***“At one time the body had a meaning in relation to nature’s topography. Today, theearth has been withdrawn from the landscape. Life and death are no longer evidentin our built geography.”***“In acknowledging a constructive thought around death every room constructedaround life becomes a calculation. … In acknowledging a constructive thought aroundlife, the construction around death becomes that of a calculation. Its calculated roomis nature.”“The gardener and his masterIt was fallto recall a day.The green mattress now presentwith the fever of springturning color into magicfor fear of the frost.***The gardener rakes his blossomsof summer thoughts,and gathers them all in the way he was taught.He then rests like gardeners restuntil the masterasks him to gather those that are not.The gardener rakeshe whole day and into the nightuntil no blossoms are to be seen.So the master returnsand shakes the tree,the shiver blossomstake to the earth,and in their despairthe master speaks.Now my gardener, it has come to an end.”Sverre Fehn, The Thought of Construction, Per Olaf FjeldRizzoli International Publications, New York, 1983, pp27, 28, 33, 151, 152fourtyfourtyone

“The simplicity of these two buildings (Trenton Bath House and swimming pool andbath house at Leca de Palmeira) continues to interest me. Both are without an aestheticpretence, instead it is the spatial content that is essential. Even in a state of ruinthey evoked a strong sense of room through structural clarity. Common for both is theuse of natural light as a catalyst for spatial integrity. From very dark rooms to onesof bright light, a human scale is formed through an exacting and meticulous control oflight intensity. This is a generous architecture. It demands concentration but give backreflection. It is not an architecture content to rely upon visual tokens, complicateddetails or expensive materials, but rather depends upon the comprehension of thequality of space as an expression.““The Hollow Column, Louis I Kahn and Alvaro Siza”, Per Olaf FjeldSpazio/Società, ed. Giancarlo de Carlo, Rome, nr. 70, 1995, PP 106-11“Architectural connotation and its relation to human behaviour in a broad sense haveno limitations except the limitation of architecture itself. Nevertheless, in the handsof commercial interests, the information society can strategically use this opennessto constrain and influence choice in relation to both knowledge and know-how. Commercialor political interests can influence architectural content in such a way that itvalidates motivations outside the realm of architecture, and thus content will remainprimarily focused on commodity.”“Teaching Architecture – A revitalization of architectural consciousness”, Per Olaf FjeldWritings in Architectural Education, EAAE No.26 ed. Ebbe Harder, School of Arch.,Copenhagen, 2005“An architecture based on commodity within the idea of well-being seems to be thepredominant direction for many architects, builders and their clients. Commodity,however, is a quality that can be bought in a store, acquired without far-reachingcommitment. Money comes and goes. To search for an architecture based on spatialuniqueness seems to be less interesting for many, since it requires another typeof creative concentration, talent and skills. It is the appliances of architecture seenthrough the aspect of commodity more than the exploration of space that demandsour attention, since the appliance is part of a commercial market that favours change.It is a never ending commercial discourse. Today, a new trend will always rise to thetop of the list. You simply have to have it, and its promise of even less physical work issynonymous for the idea of well-being. In this manner architectural commodity withina market strategy requires continuous change. Thus, change as an aspect of timeinfluences design. To transform the appliance’s visual and technological intentions isnow defined as progress.”Work in studio August 2011photo Thomas Wiesnerfourtytwofourtythree

***“Except when circumstances related to life and death press a rethinking of an immediatesituation, the once tight interaction between man and nature is now a symbiosisof man-made and natural systems so large and intricately infiltrated that they bothescape comprehension on a personal level and no longer remain within the spirit orcontrol of human consciousness.”***“Today, human behaviour is able to concentrate beyond existence to the extension ofthe distance between life and death, and to fill this time with comfort within the ideaof well-being what ever the cost. This has slowly, deceptively become an establishedgoal of our tribe, an egoistic thought, but in the western world almost accepted.”“The EAAE and the Future of Architectural Education”, POF, EAAE News Sheet, SpecialIssue 76, ed.Anne Elisabeth Toft, Aarhus School of Architecture, Denmark 2006“The place of “no function” has yet to find its application. When each room in an architecturalcontext centers all decisions upon the promotion of task, we may have limitedthe total scope of architectural events by adhering to such a marginal interpretationof function.””The Gap between Complicated and Complexity” POF,Årbok 1991-92, Arkitekthøgskolen i Oslo, pp. 138, 140”Modernismens modernisme har seg selv som forbilde, derfor blir den i sin videreføringsentimental forførende, og samtidig individuell fornyende. Den utrykker etmangfold som baseres på en individuell forståelse av verden og av ting som ikkelenger har eller er interessert i en felles plattform som sin base. Stien laves som mangår, om enkelte har gått den tidligere er ikke lenger så interessant, det er du som gården for deg.””Det Nordiske Rombildet” Per Olaf Fjeldp.53, Design, interiør/livsstil, Faktum Orfeus Forlagene, 3-1999, OsloPublished by© The Royal Danish Academy of Fine ArtsSchools of Architecture, Design and ConservationSchool of ArchitectureNovember 2011Exhibition Hall12 November - 11 December 2011Catalogue editors and designThomas Wiesner and Pia DavidsenCatalogue forewordThomas Wiesner, Peder Duelund Mortensen andEbbe HarderTextPer Olaf Fjeld and Emily Randall FjeldEssayThomas WiesnerPhotoChristina CapetilloExhibition realisationPer Olaf Fjeld, Emily Randall Fjeld andKunstakademiets Arkitektskole.Exhibition architectsPer Olaf Fjeld og Emily Randall Fjeld in cooperationwith Thomas Wiesner, Ebbe Harder og Peder DuelundMortensen.Exhibition assistant Uffe Friborg MortensenExhibition secretary Pia DavidsenPoster design Thomas Wiesner/Kvorning Design andCommunicationLighting Jørgen Kjær and Rasmus StoumannPrintVester Kopi300 copiesfourtyfourDet Kongelige Danske Kunstakademis Skolerfor Arkitektur, Design og KonserveringArkitektskolen

The Royal Danish Academy of Fine ArtsSchool of Architecture, Design and ConservationSchool of Architecture Exhibition HallDanneskiold-Samsøes Allé 51Open all days 11 am - 18 pmFree admittanceThe Royal Danish Academy of Fine ArtsSchools of Architecture, Design and ConservationSchool of ArchitectureEXHIBITION HALL 12 NOVEMBER - 11 DECEMBER 2011WWW.KADK.DK

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