The objects claim, in occasions, the appearance of certain architectures. His antiquity, his rarety or his value is done by worthy inhabitants of exclusive spaces, it was already of our scope and our customs. The objects are liberated then of the frictions that the daily use imposes and occupy the place sensitive and protected from the gem: chattels transformed by us into warehouses of the memory like temporary those cannot be waived islands. We would say, in terms of related by blood, (re)collections1.
During the construction of the museum Hedmark in Hamar they find numerous archaeological remains and objects proceeding from a medieval strength previous to the rural enclosure of beginning of the 19th century2. Sverre Fehn was the manager of projecting the exhibition of the above mentioned objects in one of the most beautiful collections of urns and supports that have never been designed. The idea was simple: to every object, an architecture, that is to say, structures a, a space, a light. Impossible to solve a support “type” for the plough, the bust, the carafe, the glass or the bullet of cannon. The rudimentary supports of iron or stone combine with planes of carved wood and delicate structures of glass to the service of the agricultural, domestic or military jewel3.
Fehn’s sensitivity for with these structures, object and support manages to transform into a new experience unit, an alone work as resultant of different epochs, materials and applied arts, but genuine and singular under the raw natural lighting. The Sun appears as the only lamp authorized to reveal the aquatic shades of the crystals, fusing medieval and contemporary glasses in a carpet of clear shades and refulgent interior, shades that reveal the position suspended from bottles and glasses in the space (and in the time). Opposite to the traditional dark bottom of the tavern, the objects turn out to be here overexposed to a brilliant and saturated light, acquiring spatial dimension across the movement of the shades and the incorporation of the exterior nature. In occasions the architecture challenges us from the maximum exigency and the menor of the scales; to be an architect consists of learning here the trade and the alchemy of the manufacturer of urns.
Miguel Ángel Díaz Camacho. Doctor Architect
Madrid. july 2014. Author of Parráfos de arquitectura. #arquiParrafos
1 Remember, re-cordis, to return to happen for the heart.
2 Sverre Fenh, Hedmark Museum, Hamar, Noruega 1967-1979, originally named Archbishopric. The national Norwegian independence obtained at the beginning of the 20th century, after almost 400 years of Danish occupation (the Night of 400 years), turns any object previous to the 15th century into an exchequer of incalculable value as symbol of the real national Norwegian identity.
3 Sverre Fehn’s previous experience like designer of exhibitions and delicate supports for objects goes back to the Pavilion of Norway in the Universal Exhibition of Brussels, 1956-58; the optics of the street Prinsengate, Oslo, 1960; or the design of the exhibition of medieval art in Hovikodden, 1972.
Doctor en Arquitectura, Decano de la Facultad de Tecnología y Ciencia UCJC. Presidente de la Asociación Sostenibilidad y Arquitectura, perteneciente al Consejo Superior de los Colegios de Arquitectos de España. Director de MADC Arquitectos, estudio profesional con premios en concursos nacionales e internacionales, en la actualidad desarrolla proyectos en España y Noruega. Escritor y crítico de arquitectura, es autor de los libros “Párrafos de Arquitectura. Core(oh)grafías” (2016) y “Arquitectura y Cambio Climático” (2018).