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Dronningegården En Het Continuüm Van Kay Fisker Dronningegården

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Dronningegården En Het Continuüm Van Kay Fisker Dronningegården Job Floris Job Floris a plant is a machine to bear flowers and seeds, and a heart is a pump. Does that thrill you? The Het Nederlandse architectuurdiscours lijkt in de During the post-war reconstruction years mod- least any of these things only may be is just that.2 wederopbouwjaren vooral gedomineerd te zijn ernism appears to have dominated the Dutch archi- door het modernisme, waardoor tegengeluiden tecture discourse, thereby effectively marginalising Het platform voor publicatie van Fiskers artikel is en nuanceringen werden gemarginaliseerd. De all other developments and perspectives. Danish zorgvuldig gekozen. Op het moment van publicatie Deense architect Kay Fisker (1893-1965) kan tot architect Kay Fisker (1893-1965) can be seen as heeft Forum de intentie een dialoog tot stand te een van die kritische stemmen gerekend worden, one of the few critical voices, which is why he remains brengen tussen modernisten en traditionalisten. waardoor hij een relatief onbekende figuur in de a relatively unknown figure within the Dutch con- De publicatie maakt duidelijk dat Fisker op zoek was Nederlandse context is gebleven. Ten onrechte, text. This is unfortunate, because there is a lot of naar geestverwanten, oude en nieuwe. Het werk want Fisker volgde een agenda die aanknopings- common ground between Fisker’s agenda and both van Fisker wordt door historicus Stanford Anderson punten had met zowel het Nederlandse als een the Dutch and wider European discourses. In 1948 gecategoriseerd als Nieuw Empiricisme3 en door breder Europees discours. In 1948 wordt hij he garnered attention in the Netherlands with ‘Louis hem in een Europees discours geplaatst, met zichtbaar in Nederland met het artikel ‘Louis Henry Henry Sullivan’, an article about the architect’s life geestverwanten in Groot-Brittannië en Zwitserland. Sullivan’, over leven en werk van deze architect, and work, published in leading journal Forum.1 Zelf categoriseerde Fisker zijn werkwijze als dat gepubliceerd wordt in het toonaangevende blad The article is a testament to Fisker’s strong belief Functioneel Traditionalisme.4 Forum.1 Uit dit artikel spreekt Fisker’s krachtige in continuity, putting modernism into perspective Het artikel over Sullivan past in een groter geheel: overtuiging ten aanzien van het belang van conti- and identifying precedents. Fisker bestudeert meerdere architecten met een nuïteit: het relativeren van het modernisme en het overeenkomstige houding, al benoemt hij dit niet opdiepen van precedenten. In the article Fisker focused on the period of irre- expliciet. Hij spoort precedenten op, zoals blijkt pressible urbanisation in Chicago and the tradition uit het benadrukken dat Sullivan is opgeleid door In het artikel richt Fisker zich op de periode van of metropolitan architecture in general, topics that Henry Hobson Richardson (1838-1886) en dat onstuitbare urbanisatie in Chicago en de traditie reflected issues from his own practice. Fisker made het werk van beiden pas op waarde werd geschat Fisker Kay van continuüm het en Dronningegården van grootstedelijke architectuur in het algemeen, a thorough study of Louis H. Sullivan (1856-1924), door het succes van Sullivans pupil Wright. Fisker onderwerpen die direct aansluiten bij de vraag- as suggested by the detailed descriptions of the bestudeert onder andere de Britse architecten stukken uit zijn eigen praktijk. Fisker bestudeert American’s architectural interests, career and per- C.F.A. Voysey (1857-1941), M.H. Baillie-Scott Louis H. Sullivan (1856-1924) grondig, wat blijkt sonal life. This was not entirely new: at the time (1865-1945) en Heinrich Tessenow (1876-1950). uit de gedetailleerde beschrijving van diens archi- Sullivan’s influence could be seen in the Netherlands Fisker toont zich genereus, door zijn enthousiasme tectonische interesses, carrière en persoonlijke in the work of H.P. Berlage. A meeting with Sullivan voor het werk van deze architecten breed te delen, Dronningegården en het en Dronningegården Fisker Kay van continuüm lotgevallen. Fiskers artikel biedt geen nieuws: in 1893 had had a profound effect on the Dutch in artikelen en lezingen. in Nederland was op dat moment de invloed van architect’s oeuvre. Above all, Fisker proved himself Historicus Lisbet Balslev Jørgensen beschrijft Sullivan al zichtbaar in het werk van H.P. Berlage a critical admirer of Sullivan’s work, recognising hoe vooral Tessenow rond 1920 een belangrijk (Berlage’s ontmoeting met Sullivan in 1893 heeft shared interests and describing his realised build- ijkpunt vormde in het Deense discours.5 Het debat zijn werk sterk beïnvloed). Fisker toont zich vooral ings as ‘peculiarly individualistic’ and very much werd in belangrijke mate ingezet door de Deense een kritische bewonderaar van Sullivans oeuvre, a product of their time. Fisker’s interest in Sullivan architect Peder Vilhem Jensen-Klint (1853-1930). Continuum Fisker’s Kay and Dronningegården waarin hij gedeelde interesses herkent en wiens seems to have been prompted by the latter’s Deze autoriteit pleitte voor een architectuur die gerealiseerde gebouwen hij bovendien typeert pioneering role in the transition from an academic meer homogeniteit bevatte, samenhang vertoonde als ‘merkwaardig individualistisch’ en erg tijdge- Beaux-Arts tradition to ‘new directions’ in architec- met het regionale en een bewuste omgang met bonden. De interesse voor Sullivan lijkt bij Fisker ture. Fisker assumed that the modern movement’s materialiteit toonde. Het werk van Duitse architec- vooral ingegeven door zijn pioniersrol in de adoption of Sullivan’s credo ‘form follows function’ ten zoals Peter Behrens (1868-1940) werd in overgang van een academische Beaux-Arts traditie must have been unacceptable to the American Denemarken nauwgezet gevolgd en gezien als naar ‘nieuwe richtingen’ in de architectuur. Fisker architect because of its narrow interpretation. een te bombastisch alternatief voor het classi- veronderstelt dan ook dat Sullivans credo form Kay Fisker must have seen Sullivan as a kindred cisme. Het werk van Tessenow vormde als tegen- follows function door de moderne beweging is spirit, since he occupied a similarly ambivalent wicht hierop een welkome uitzondering. Zijn boek gebruikt op een wijze die Sullivan zelf – vanwege position, having abandoned the classical vocabu- Hausbau und dergleichen (1916) werd gezien een te beperkte interpretatie – onacceptabel zou lary while at the same time displaying a critical als de juiste toonzetting voor de architectuur in hebben gevonden. attitude towards modernism. This attitude appears Denemarken.6 Deze architectuur stond ambachte- Kay Fisker moet zich verwant hebben gevoeld to have been inspired by both Sullivan himself and lijkheid voor, gecombineerd met een bepaalde met Sullivan. Zelf neemt hij immers een soortgelij- his student Frank Lloyd Wright (1867-1959), as 1 4 ke ambivalente positie in, door afstand te nemen suggested by the article in which Fisker quotes from Prof. Kay Fisker, ‘Louis Henry Michael Asgaard Andersen, Nordic van het klassieke vocabulaire en tegelijkertijd blijk the Kahn Lectures in 1930, in which Wright speaks Sullivan’, Forum, nr. 12 (november Architects Write. A Documentary te geven van een kritische houding ten opzichte van against the Machine Aesthetic: 1948), 347-355. Anthology (Londen: Routledge, 2 2008), 35-39. het modernisme. Deze houding lijkt ingegeven door A home is a machine to live in, a chair is a machine Ibid. 5 zowel Sullivan als diens pupil Frank Lloyd Wright to sit in and the human body is a machine to be 3 Lisbet Balslev Jørgensen in: S. Floris Job (1867-1959). In het artikel haalt Fisker een citaat worked by mind. A tree is a machine to bear fruit, Stanford Anderson, ‘The “New Paavilainen en J. Pallasmaa (red.), Empiricism: Bay Region Axis”, Nordic Classicism 1910-1930 van Wright aan, die zich tijdens de Kahn Lectures in a plant is a machine to bear flowers and seeds, Kay Fisker and Postwar Debates (Helsinki: Museum of Finnish 1930 uitspreekt tegen de machine-esthetiek: on Functionalism, Regionalism Architecture, 1982), tentoonstel- 1 and Monumentality’, Journal of lingscatalogus, 51-56. A home is a machine to live in, a chair is a machine Prof. Kay Fisker, ‘Louis Henry Architectural Education, jrg. 50 6 to sit in and the human body is a machine to be Sullivan’, Forum, no. 12 (November (1984), nr. 3, 197-207. Ibid. Tessenow’s boek Hausbau und 1948), 347-355. dergleichen werd in 1916 in Berlijn Dronningegården and Dronningegården Continuum Fisker’s Kay worked by mind. A tree is a machine to bear fruit, bij Bruno Cassirer uitgegeven. 30 31 and a heart is a pump. Does that thrill you? The soberheid en afstemming, die duidelijk gestoeld the Dronningegården complex (1943-1958). formele buitenzijde en de informele binnenzijde, least any of these things only may be is just that.2 was op klassieke conventies. Dit zijn aspecten Fisker had a studio in Copenhagen and worked gevormd door grote, groene, collectieve binnenho- die nagevolgd werden door de Deense architecten- on housing commissions in different partnerships. ven. Waar eerdere wooncomplexen als het ware uit The platform for publication of Fisker’s article was gemeenschap en ook in het werk van Fisker als Many of his designs came about in collaboration één mal lijken te zijn gekomen: direct, solide en selected with care. At the time Forum sought to Leitmotif terug te vinden zijn. Duidelijk is dat Fisker with C.F. Møller (1898-1988), including Dronninge- ondubbelzinnig, lijkt het ensemble Dronningegår- bring about a dialogue between the modernists
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