The absolute monarchy was abolished almost As a professor at the Academy of Fine Arts, Postscript: a glimpse to nordic by the king himself in 1849, and 1901’s change from 1915 he gave well-attended lectures in traditions in political systems was equally peaceful. In the history of art and architecture. Witnesses all areas there is a belief in evolution. People explain that it provided them with a holistic should accept the new. That was in the spirit vision. His book: The Aesthetic Perception of of Grundtvig. There was no tabula rasa in Dan- Art (1906) was read by everyone. Wanscher Antonio Millán-Gómez ish architecture, but on the contrary a will to especially accentuated Italian baroque, and his innovate, which resembles several European infl uence can be sensed already in Faaborg Few things are so scarce in Architecture as models such as C.F.A. Voysey’s speech on Museum, but also in Fisker’s Hornbækhus proper acts, coherent with the essence of styles at “the Design Club” in 1911, Le Cor- (Hornbæk House) 1922, in the inner yards of things. And few as needed as the enthused busier’s writings, and the Design-development Politigården (The Police Headquarters) 1924, glance to their authentic contexts, which in and social commitment of the Bauhaus School. in relation to which Aage Rafn play a crucial Nordic Architecture are dialogues, inseparable Everything was to be digested and in the part, and in the ny Scene (new Stage) at The from a way of life caring for nature and an ele- words of Jensen-Klint: “…since the beauty of Royal Theatre 1929 by Holger Jacobsen gance based on lightness. In such exchanges all previous times is visible for us today, the (b.1876), who had also influenced one is moved from vernacular traditions to a architect must acquire it, so that it becomes Politigården. transposition of classical models, questioned his property, incorporated in him, and in his Ivar Bentsen’s experiments with rising and and reinvented over and over again, where education, making him not imitate the old, but falling number series in the Opera and Philhar- care with scale does not neglect the material resurrect it in giving himself” (1901). In 1915, monic project in 1917-18 was a further devel- qualities of daily experience. Sober, varied, Kay Fisker and Aage Rafn, who were still stu- opment of Jensen-Klint and Kaare’s theories. heterotopical Architecture, which was a dialo- dents, won the competition for Gudhjembanen The entire façade could be drawn into a net gue between authors, as well, opening in such (the Gudhjem line) stations in Bornholm. The of squares. There were no marked corners or process a frame for collective coexistence completed buildings were published in the monumental portals. The only decoration was and a method to establish the domain of our architecture journal Architekten in 1916. There a baroque banister, which crowned the building discipline. is a signifi cant difference between the project parts. This rational kilometre architecture was A debate such as this concerning us might and the fi nal result. to fi ll the entire country, divided by roads and have not gone beyond mere entelechy, but, The Art Noveau lines have disappeared, park areas, a democratic architecture, where once proposals were planned, the ensuing and the buildings are tighter and simpler. The there was no hierarchy, and personality wasn’t pragmatism went up to its fi nal construction: 115 smallest station, Christianshøj, built in wood expressed in the facades, but something city planning for welfare society, where a new and a tarred black, is classicism freed from you had yourself. Criticism was deadly: the landscape of Modernity was set up, whilst “style”, and the plant’s shape is eliminated in windows were “the blind eyes of blind men”, housing standards were improved. The refl ec- favour of a consideration of functions and the “the whole regiment stands at attention in the tions included in this monograph allow more surroundings. All blend in naturally with the socialist state”, was the verdict of Martin Ny- than one reading, letting us see that Nordic landscape. One could say that they did not al- rop. Wanscher was disappointed. He missed Architectures still maintain their actuality, and low for anything unnecessary. Fisker and Rafn the invigorating dynamism of the baroque. go on gaining added layers of meaning. And do however have Baillie Scott for “Houses The project had great impact, however, on they suggest some questions: why is it so? Let and Gardens” and the local building culture all the large yards that were built in the new us sketch some themes. of Bornholm to thank for their progress. The residential areas outside Copenhagen in the Firstly, craft and grace: craft which endows stations are without any kind of nostalgic ret- years to follow. works with propriety, in its material value and in rospection. When they fi nally had time to meet the contingency which projects them towards up with their friends in Copenhagen again, they a future. Lisbet Balslev Jörgensen expressed were still sitting around happy about an old it clearly by quoting Jensen Klint: “Let us study project with a hideous Doric column. Have we the object, the surface and the fabric according not come further! (letter in Fisker’s archives). It to their nature and the demands of the time, turned out to be diffi cult to abolish the styles; never engaging in the writing off of old styles, that is to say the superfl uous, this unneces- but practicing our personal style through a sary theatrical costume, which confused pure thorough education and acquisition of the aesthetics and the functionality. consistent taste and dignifi ed attitude to style When Adolf Loos gave his lecture Ornament of old times”. Grace that Morton Shand applied und Verbrechen in Copenhagen in 1916, they in 1930 (Swedish grace) to the Stockholm In- might well have thought he was right, but too Lisbet Baslev (1928-2002) Swedish writer ternational Exhibition, but which also concerns extreme. There had to be some degree of ac- and historian, was Ass. curator, Thordvaldsens the realizations of the previous decade: as centuation after all. Museum (1964-69). Ass. curator, Architectural Vilhelm Wanscher was an art historian with premonition in the making from Paris 1925 Drawings Collection at the Royal Academy of ambitions both as an artist and as an architect. International Exhibition, understandable today Fine Arts Copenhagen (1969-1996) with words written by I. Calvino. “Something which can be distinguished with three qualities: ture” (Colin St. John Wilson) the customary composer Sibelius family), with an ordering 1) it is utmost light; 2) it is in movement; 3) it is schemes are changed, owing to spatial that can be followed in the productions by E. an information vector”, something that “is as- operations in Architecture, since Centre-Eu- Bryggman and A. Aalto (Villa Waren, Mairea, sociated with precision and determination, not ropean and Nordic Organicism can be hardly Saynatsalo), these already with echoes from with vagueness and the abandon to chance” . understood with the already mentioned to neighbouring Sweden. Ten years later, the Summing up, a phenomenon updated with the South German Baroque, where more than to office buildings in Aleksanterinkatu (S. A. accuracy of new realizations. the articulate sequence of structural bays, we Lindqvist) or Helsinki Railway Station, with Besides, the act of building, rather than a are moved to perceive the fusion of space. open plans and a Jugendstil air, opened the rebellion against styles or previous forms was Paul Frankl showed these diffi culties in his path to master works that are showing strength revised in several works of Nordic Architecture. study of Vierzehnheiligen pilgrimage church: still today. And just a few years later, the Turku The realization of a work piece (ergon) was “…somewhere (it is impossible to say whe- friends (Bryggman, Ekelund, aalto) provided less relevant to Nordic people that the setting re) the space vaults suggest fuses with the solutions for social housing, institutional buil- of an effective activity (enérgeia). When this homogeneous part of the space below”…”A dings and a sense of economy in design, in openings to a new knowledge is experienced second diffi culty is thus added to that created which some lessons from Italy are adapted on site, they imply to whom is participating of by the complex total space, since the individual (Bryggman’s Resurrection Chapel is a space its effi cacy, and the intellect is facing intuitions forms themselves are only suggested to the of great solemnity…and simplicity), as well as which cannot be responded with a simple inquiring mind. The minds of more than ninety- some imported from Russian Constructivism argument. Irony, precision, patience… unveils nine per cent of the visitors to this pilgrimage (some scarcely published interiors from Aalto’s all that seemed hermetic. The method has church capitulate before such diffi culty, and Turun Sanomat deserve further attention), not been shown by J.M López-Peláez in Spain, this is precisely the object: to appeal not to disregarding typologies designed ex-novo with great generosity and wisdom; operating in the mind but to the imagination that surrenders (such as the Taidehalli by H. Ekelund). A another way is getting lost. Even something as itself to the ambiguous and uncontrollable”. blooming of excellent architects faced quite defi ned as Asplund’s Woodland Chapel (1919) Linking this analysis to the transparency and soon the tight co-existence of Architecture acquires another value when we place it next interpenetration suggested by Van Doesburg’s and nature. And, in this respect, Aulis Bloms- to Lewerentz and Stubelius’ Assembly Hall for counter-constructions is an obliged passage tedt not only faced such challenge, but also the Färe Glassworks (1914), and transforms to understand Juha Leyviska’s architecture, as showed his modernity solving in his Helsinki itself completely on site when we relate ritual is stated in one of the papers. But the whole Workers’ Cooperative a masterly dialogue 116 space and its main access in direction West- issue, revised by Nelson Goodman and C. between a diffi cult topography and his respect East with the South paths crossings, clear Norberg-Schulz when dealing with architec- for previously existing heritage. But he also and extended on its environment; the North tural judgement seems to be, still today, quite passed the torch to several disciples: Pietilä, vault, half-buried (with its waving earth roof relevant. Ruusuvuori, Pallasmaä, whose lessons and continued in Villa Mairea), all sides in contrast Looking at the development of Architecture in debates deserve today deep consideration. with the rear, facing East and rather mundane. Nordic Countries, following the four directions There is no place here for the disciplined of their geography, we can fi nd some premo- B- In Sweden still resound the echoes of the points of any manifesto. Stylistic adscriptions nitory categories: magnifi cent complicity between Asplund and do not help us, either, since they inform very Lewerentz, continuation of that of their mas- little about its authenticity. Continuity between A- In Finland’s east, excursions to Karelia ters (R. Ostberg, C, Westman, L.I. Wahlman). productions requires scepticism (and some in search of original identity brought to light The few years (1915-40) that elapse from contributions of this publication do need spe- the limits between two worlds (Occident and the competition for the Enskede Cemetery to cialized knowledge for sound understanding). Orient, Classicism and Byzantine world). Log their inauguration show the hustle and bustle In this sense, transitions from classicism to houses in this area required a clear design and towards a more humane functionality. If a se- romanticism –so different in each country- as building structure for its construction. There, ries of visits to the Stockholm Town Hall show well as the radical, functionalist change for- the sudy-refuge of the artist Akseli Gallen- up to what extent some of the fi rst proposals get sometimes previous architectures, such Kallela (1894) presents all the ingredients: by Asplund for Göteborg Courthouse were as the spatial wealth of German Baroque, materials from the immediate environment, already implicit in it, a visit to its tower under without which the relation with works by Hans rooms articulated around a central space lit stormy weather unveils the brick material in Scharoun, Häring, Aalto’s Vuoksenniska, J. by a transparent roof. Some national features its strict constructive function and strength, Leyvska offers a hard comprehension Is it are thus isolated: roof light as organizing ele- a “brutalism” that exhibits its reason of being a mere expressive whim? One is moved to ment with a predominant fl exibility, rejecting without making it a pseudo-style nor abando- surprise when seeing that experts in the tran- rigid forms. As early as 1900, at the universal ning the Scandinavian domains. When the sition from 19th to 20th Century Architecture Exhibition in Paris, the Finland Pavilion (by above mentioned complicity broke it left doubts –such as Henry-Russell Hitchcock- who is a H. Geselius, A. Lindgren and E. Saarinen) about its causes, but allowed to make other studious of German Baroque, as well, avoid obtained a generalized attention. Plans with pertinent questions, such as the constructive such relations. precise geometry were maintained in Lars and symbolic intensity in Lewerentz architec- From “the Other Tradition of Modern Architec- Sonck works (such as Villa Ainola for the tural structures. He would deal with themes of Great Architecture in Björkagen and KLippan, of walls, columns and architraves, all let us ratifi ed with the construction of restaurant in the same way as Louis I. Kahn and Aldo understand that the Danish vision was some- Skansen in Oslo that very year. Korsmo van Eyck travelled to study the architecture of thing else. The Romantic Nationalism shone appears as protagonist with villa Dammann, the fi rst civilizations or to the best architecture as medievalist in Copenhagen Town Hall, and a bit later, in 1930, year in which unfortunately “unconscious of itself”. Unconscious? The the work by Nyrop -1892-1905-, assimilation died Backer. Maturation was fast, since a new festive atmosphere of Stockholm Exhibition of the Sienese Piazza di Campo atmosphere, architecture restated a young nation, breaking (1930) was a complete success. The praise by begins in such way an apparatus to recover similarities with predominant and foreign Ar- Giedion, comparing it to the 1927 Weissenho- silent serenity and crafts. And serene is Mu- chitecture of the past. This also explains the fsiedlung must be placed within the context of seum Faaborg, by Carl Petersen (1912-15), group travels realized by all the youngsters new indispensable cooperatives, low housing whose interiors evoke today others captured to Holland, where they contemplated works standards, a delicate economy… far too many on canvas by Hammershoi or on celluloid by by Oud, Duikekr, Dudok. Already in 1939 we matters requiring a New Empiricism. Index of C.T. Dreyer. Another material episode was to fi n quite advanced works (by O. Bang and A. an International Style, but exhibiting a more be opened by the massive and correct use of Korsmo). And it was Ove Bang who provided humanist functionalism: “a New Style that brick in Grundtvig church, by P.V. Jensen-Klint a “natural” home for modern men, bridging erased “the style”, a new bare language: the and Kaare Klint (1921-40), imposing outside the gap between established by the counter language of facts”. The following manifesto, and with a thundering symbolic silence inside. position of machine modernity and fragile with a signifi cant title (Accept!) signalled the Sweden neutrality during Second World War nature. From here, the contributions to another gap between the previous generation and the made possible that some architects –English, architecture attaching value to place could youngsters involved in the new architecture. such as Ralph Erskine, or Danish, such as reach their more poetical peaks with Knut Hence, the radicalism of the authors, “History Jörn Utzon- may opt for pacifi sm and could Knutsen and his followers (Fehn, Selmer), could not provide any lesson”, and its decisive nourish themselves from the masters that with a exquisite sensitivity for architectural ideological operation: an authentic continuity had started Nordic Modernity a few years settlements that value the already existing exceeds the plurality of styles. The debate earlier. With reconstruction they were bound character up to the point of seeing them as went on becoming more radical: Functionalism to fi nd themselves in front of a different world, if they had always been on site. Fehn has appeared “as response to a series of problems which they contributed to make it shine with a proved with works of great poetic intensity in Architecture and society, prepared for it new light. Already in Copenhagen Airport by his capacity to capture the essence of the during a long time”. Lauritzen the care taken with wood panelling landscape where he operated, enriching it as and bronze in the fi ne detailing of Göteborg in the Fjaerland Glaciers Museum or Hamar 117 C-It was in Denmark where classicism left a Courthouse was present. And few years later Museum. This Hammar Bispegaard Museum deeper mark: the ascetics of signifi cant works Arne Jacobsen and Jörn Utzon opened other is, together with Scarpa Castelvecchio Mu- led to Architecture without false pretences, a options, understandable from the rigour whi- seum, a proof of how an excellent intervention total contribution to design, understood as th which the fi rst planned his work, and the can be realized, endowing the previous place a domain to be treated with care, from terri- search of the second in vernacular cultures to with strength, which trespasses the limits of its tory to home daily life objects, with its best fi nd a catalyst for his vision for a service that original culture. Wenche Selmer, on her behalf, results in the post-war recovery. With some altered the character of architecture and some shows masterly how much can be made in the beginnings modelled according to classical types for ever. Jacobsen did not leave mere strict duty of confi guring a domestic domain in archetypes or Antiquity (a comparison of objects upon places: rather, he transfi gures the most adverse situations, and doing it with the Marble Cathedral by F. Meldahl and A. them; and, thus, at Bellevue the infrastructural full command. The Norwegian Government Jensen -1874-94-, practical transposition of diffi culties are not an obstacle to construct an decision to open a route of national landscapes pieces such as the Vatican or the Pantheon, organized setting, constituted and permanent has opened to young architects the chance of suffi ces), which unveils another world –most as place. Utzon discovered with the Norwegian maintaining the level of excellence existing to sober- when we pass to its interior; or the Korsmo the marvels of the great Mesoameri- present date. Glyptotheque N.Y. Carlsberg, by H.Kampman can travel, and his wise modesty concerning Finns, Swedes, Danes, Norwegians, Icelan- -1900-06-, where a tuscan basement seems the vernacular made that his structures might ders go on offering their contributions to the an excuse to show a roof solution which recalls seem intemporal. development of Modern Architecture with re- the Halicarnassus mausoleum most strongly; solution, especially in moments in which taking ir the Police Headquarters, by Kampman, D- In Norway the exquisite sensitivity in front of the environment into account is no longer a A. Rafn and H. Jacobsen -1918-24- where a powerful landscape opened a tendency that, romantic consideration. a diverse vocabulary solves with ease a from Knutsen onwards, made the evaluation Antonio Millán-Gómez is professor doctor of complex plan); even contrasting the rational of architecture inseparable from its vernacular Architectural Representation at the UPC_Bar- vision of Greek Architecture as expressed by root, without separating it of its ecological celonaTech. He has exchanged his views C. Doxiadis, and that of the Dane Bundgaard, reason of being, with some organic inclination. with Nordic architects from 1984 at ILAUD who in his Ph. D. thesis on Mnesicles and It is here where Modern Architecture appears and AEEA, association from which he was the Propilea studies with subtlety all details, earlier, with Lars Backer, who in 1925 indicates awarded its First Prize from a Jury presided such as blocked perspectives, the correlation the starting point with a debate in Byggekunst, by professor Nils-Ole Lund. BIBLIOGRAFÍA

Ámbito Nórdico ASGARRD ANDERSEN, Michael (ed.). Nordic Architects Write. New York, NY: Routledge, 2008. CONNAH, Roger (ed.). The Ark of Achitecture. Selected writings of Malcom Quantrill. Helsinki: Rakennustieto Publishing, 2008. CONNAH, Roger. The End of Finnish Architecture - Or CIAO Potemkin!. Helsinki: The Building Institute, 1994. CONNAH, Roger. Finland. London: Reaktion, 2005. HARLANG, Christoffer. Espacios nórdicos/Nordic Spaces. Barcelona: Elisava, 2001. KEIDING, Martin; Amundsen, Marianne [et al.]. Danish Architecture since 1754. Copenhagen: Danish Architectural Press, 2007. LUND, Nils-Ole. Nordic Architecture. Copenhagen: Arkitektens Forlag/The Danish Architectural Press, 2008. [reedición en inglés de la primera edición danesa de 1993] RAUSKE, Eija. Finnish architecture 1900-2000. Helsinki : Suomen rakennustaiteen museo (Museum of Finnish Architecture), 2008. St. JOHN Wilson, Colin. The other tradition of modern architecture. London: Academy Editions, 1995. TUOMI, Elina; Standertskjöld Elina [et.al.]. Matkalla!/En route!. Helsinki: Suomen rakennustaiteen museo (Museum of Finnish Architecture), 1999. Clasicismo nórdico 1910-1930. Madrid: MOPU, 1983. Dansk Arkitektur 1879-1979 / Danish Architecture. Arkitektur DK nr 7-8, Arkitektens Forlag, 1979. Aalto, Alvar y Aino BROSA, Víctor (ed.). Alvar Aalto. Barcelona: Serbal, 1998. CAPITEL, Antón. Alvar Aalto. Madrid: Ediciones Akal, 1999. CONNAH, Roger. Aaltomania. Readings Against Aalto?. Helsinki: Building Information Ltd, 2000. GRIFFITHS, Gareth. Datutop Book 19: The Polemical Aalto - The Enso-Gutzeit Headquarters, Helsinki/A Formal Analysis. Tampere: Tampere University, 1997. 118 JORMAKKA, Kari; Gargus, Jacqueline; Graf, Douglas. Datutop Book 20: The use and abuse of paper. Essays on Alvar Aalto. Tampere: Tampere University, 1999. JOVÉ SANDOVAL, José María. Alvar Aalto. Proyectando con la naturaleza. Valladolid: Universidad de Valladolid, Secretariado de Publicaciones e Intercambio Editorial, 2003. MIKKOLA, Kirmo (ed.). Alvar Aalto vs. The Modern Movement. Kustantaja: Rakennuskirja Oy, 1981. [The fi rst International Alvar Aalto Sympo- sium. Jyväskylä, 1981] MIKKOLA, Kirmo (ed.). Classical Tradition and Modern Movement. Helsinki: Finnish Association of Architects; Museum of Finnish Architecture; Alvar Aalto Museum, 1985. [The 2nd International Alvar Aalto Symposium. Jyväskylä, 1982] MIKKOLA, Kirmo (ed.). Modernity and Popular Culture. Helsinki: Alvar Aalto Museum; Museum of Finnish Architecture; Building Book LTD, 1988. [The 3rd International Alvar Aalto Symposium, Jyväskylä, 1985] VENTURI, Robert. Complexity and Contradiction in Architecture. New York: Museum of Modern Art, 1966. Asplund, Erik Gunnar BLUNDELL JONES, Peter. Gunnar Asplund. London: Phaidon, 2004. LÓPEZ-PELÁEZ, José Manuel (ed.). Erik Gunnar Asplund. Barcelona: Stylos, 1990. LÓPEZ-PELÁEZ, José Manuel. La arquitectura de Gunnard Asplund. Barcelona: Fundación Caja de Arquitectos, 2002. WREDE, Stuart. The Architecture of Erik Gunnar Asplund. England / Usa: MIT Press, 1980. ZEVI, Bruno. Erik Gunnar Asplund. Buenos Aires: Ediciones Infi nito, 1957. Fehn, Sverre AA.VV.: Architect Sverre Fehn; intuition, refl ection, construction, Olso: National Museum of Art, Architecture and Design, 2008. AA.VV.: Sverre Fehn; The poetry of the straight line. Den rette linjes poesi, Helsinki: Museum of Finnish Architecture, 1992. FJELD, Per Olaf: Sverre Fehn; The pattern of thoughts, Nueva York: The Monacelli Press, 2009. FJELD, Per Olaf: Sverre Fehn; The thought of construction, Nueva York: Rizzoli, 1983. NORBERG-SCHULZ, Christian y Postiglione, Gennaro; Sverre Fehn. Opera Completa, Milán: Electa, 2007. Fisker, Kay BALSLEV, Lisbet. Den sidote guldalder: Danmark 1950’ erne. Arkitektens Forlag. Danmark, 2004. FABER, Tobias... [et al.] Kay Fisker. København: Arkitektens Forlag, 1995. - Fisker, Kay. Danske arkitekturstromninger 1850-1950. København : Ostifternes Kreditforening, 1951. FISKER, Kay. Den funktionelle tradition: spredte indtrykk af Amerikansk arkitektur. Arkitekten, Månedshæfte, 1950, volumen 52, páginas 69-100. FISKER, Kay. The history of the domestic architecture in Denmark. The Architectural Review, noviembre 1948, volumen 104, número 623, pági- nas 210-255. LANGKILDE, Hans Erling. Arkitekten Kay Fisker. København: Arkitektens Forlag, 1960. Jacobsen, Arne ALMONACID, Rodrigo. [et al.]. 4 centenarios: Luis Barragán, Marcel Breuer, Arne Jacobsen, José Luis Sert. Valladolid: Universidad de Valladolid, Secretariado de Publicaciones e Intercambio Editorial, volumen 3, 2002. CORTÉS, Juan Antonio. A vueltas con Melnikov. [Enero 1993] A: Lecciones de equilibrio. Barcelona: Fundación Caja de arquitectos, colección la cimbra, número 2, 2006, páginas 117-131. MARTÍ, Carlos. Arne Jacobsen. Arquitectura de lo inmanente. A: MARTÍ, Carlos. La cimbra y el arco. Barcelona: Fundación Caja de Arquitectos, colección la cimbra, número 1, 2005, páginas 110-117. SHERIDAN, Michael. Room 606: The SAS House and the work of Arne Jacobsen. London: Phaidon Press Limited, 2003. SOLAGUREN-BEASCOA, Félix. Arne Jacobsen: Aproximación a la obra completa 1926-1949; Arne Jacobsen: Aproximación a la obra completa 1950-1971; Arne Jacobsen: Dibujos 1958-1965. Barcelona: Fundación Caja de arquitectos, Colección Arquíthemas, números 8-10, 2001, 2002. SOLAGUREN-BEASCOA, Félix. Arne Jacobsen. La gran lección nórdica. Cádiz: Arquitectos de Cádiz, 2003. THAU, Carsten; Vindum, Kjeld. Arne Jacobsen. København: Arkitektens Forlag, Danish Architectural Press, 1998. Arne Jacobsen. Arquitectura COAM. Revista del Colegio Ofi cial de Arquitectos de Madrid, número 283-284, marzo-junio 1990. Arne Jacobsen. Madrid: Ministerio de Obras Públicas y Transportes, Dirección General para la Vivienda y Arquitectura, 1993. De revistas: Arne Jacobsen. Cuadernos de arquitectura, 1959, número 38, página (207) 55. Quaderns d’arquitectura i Urbanisme, abril-junio 1983, número 157. Lewerentz, Sigurd AHLIN, Janne: Sigurd Lewerentz arkitekt 1885-1975 Stockholm: Byggförlaget 1985; MIT Press 1987. AHLIN, Janne; MORENO García-Mansilla, Luis; ALENIUS, Stefan: Sigurd Lewerentz 1885-1975 Catálogo de la exposición del MOPU. Madrid: Secretaría General Técnica, Servicio de Publicaciones 1987. CALDENBY, Claes; LIND, Sven Ivar; CARUSO, Adam; A.A.V.V. Sigurd Lewerentz. Two Churches. Estocolmo: Arkitektur Förlag AB 1997. DYMLING, Claes (ed); WANG, Wilfried; AHLIN, Janne: Architect Sigurd Lewerentz. Estocolmo: Byggförlaget 1997. SMITHSON, Alison; SMITHSON, Peter; St JOHN Wilson, Colin; AHLBERG, Hakon: Sigurd Lewerentz 1885-1975 The Dilemma of Clasicism. 119 Londres: Architectural Association 1988. St. JOHN Wilson, Colin: Sigurd Lewerentz. The Sacred Buildings and Sacred Sites. Oxford: Butterford Architectura 1992. St. JOHN Wilson, Colin; FLORA, Nicola (ed); GIARDIELLO, Paolo (ed); POSTIGLIONE, Gennaro (ed): Sigurd Lewerentz 1885 1975. Milán: Electa architecture 2002. WANG, Wilfried; Villa Edstrand, Ett Sommarhus i Falsterbo av Sigurd Lewerentz. Estocolmo: Arkitekturmuseet 2009. Lindroos, Bengt Bengt Lindroos och sa vidare. Rungsted Kyst: Privattryck Anders Nyborg, 1989. Pietilä, Reima CONNAH, Roger. Reima Pietilä: Centro studenco Dipoli, Otaniemi. Torino: Testo & Immagine, 1998. CONNAH, Roger. Writing architecture: fantômas, fragments, fi ctions: an architectural journey through the 20th century. Cambridge, MA: London: MIT Press, 1989. PIETILÄ, Raili. Raili-Reima Pietilä: un desafío a la arquitectura moderna = challenging modern architecture. Madrid: Fundación ICO, 2009. QUANTRILL, Malcolm. Reima Pietilä: architecture, context and modernism. Kelsingissä: Kustannusosakeyhtiö Otava, 1985. Utzon, Jørn AA.VV.; Utzon’s own houses, Copenhague: Danish Architectural Press, 2004. DIRCKINCK-HOLMFELD, Kim y KEIDING, Martin; Utzon and the new tradition, Copenhague: Danish Architectural Press, 2005. DREW, Philip; Sydney Opera House, London: Phaidon Press, Architecture in detail, 1995. FABER, Tobias; Jørn Utzon, houses in Fredensborg, Berlin: Ernst & Sohn, 1991. FERRER FORÉS, Jaime J.; Jørn Utzon. Obras y Proyectos. Works and Projects, Barcelona: Gustavo Gili, 2006. FROMONOT, Françoise; Jørn Utzon: architetto della Sydney Opera House, Milano: Electa, Documenti di architettura, 110, 1998. PARDEY, John; Two houses on Majorca, Hellerup: Bløndal, 2004. NORBERG-SCHULZ, Christian y Faber, Tobias; Utzon: Mallorca, Copenhague, Arkitektens Forlag: Danish Architectural Press, 1996. WESTON, Richard; Jørn Utzon. Inspiration Vision Architecture, Hellerup: Bløndal Edition, 2002. UTZON, Jørn; Additive architecture, Hellerup: Bløndal, 2009. UTZON, Jørn; Bagsvaerd Church, Hellerup: Bløndal, 2005. UTZON, Jørn; Kuwait National Assembly, Hellerup: Bløndal, 2008. UTZON, Jørn; The courtyard houses, Hellerup: Bløndal, 2004. Agradecimientos a: With thanks to:

Carlos Martí por ser referencia y guía Carlos Martí for being a wise reference constante de los editores invitados así and constant guidance to the guest pub- como a todo el equipo de redacción lishers yet to DPA’s publishing board for de la DPA por la confi anza depositada their generosity and confi dence on them. en los mismos. Antonio Armesto for bringing together Antonio Armesto por haber reunido the guest publishers and for inspiring the a los editores invitados e inspirado la producción de DPA Nórdicos. production of DPA Nórdicos. Félix Solaguren-Beascoa por su Félix Solaguren-Beascoa for his dis- desinteresada colaboración en el número interested collaboration with DPA, and for y la generosa donación del artículo de la his generous donation of Lisbet profesora Lisbet Balslev. Balslev’s article. Los profesores del Departament de D.P.A. UPC’s Architectural Design Projectes Arquitectònics de la UPC Department without whose suport the por el apoyo dado a la revista sin el cual magazine wouldn’t have been possible. su realización no hubiera sido posible. Àlex Cardona and Signe Cain for their Àlex Cardona y a Signe Cain por las translations. traducciones realizadas. Michael Dudley for the translation into Michael Dudley por la revisión de es- English of Henrietta Palmer’s “The Last tilo de la versión en inglés que Henrietta 100 Churches”. Palmer hizo de su propio artículo “Las Roger Connah for having organized Últimas Iglesias”. Roger Connah por haber organizado on October 23rd 2010 the Symposium el 23 de octubre de 2010 el simposio “Shadowlands” at Carleton University “Shadowlands” en la Universidad de (Ontario, Canada) on the occasion of the Carleton (Ontario, Canadá) con ocasión publication of this journal. de la publicación de este número. Susanna Janfalk and to the Stock- Susanna Janfalk y al Arkitekturmu- holm’s Arkitekturmuseet for allowing to seet de Estocolmo por haber permitido photograph and to print the original draw- fotografi ar y reproducir los dibujos origi- ings appearing on “Sigurd Lewerentz; the nales que ilustran “Sigurd Lewerentz; wise, correct and magnifi cent game of the el juego sabio, correcto y magnífi co del inhabitant on the stage” habitante en el escenario”. Claus M. Smidt (Danmarks Kunstbib- Claus M. Smidt (Danmarks Kunstbib- liotek) for his support on the research of liotek) por su apoyo a la investigación de Arne Jacobsen’s work. la obra de Arne Jacobsen. La familia Utzon por su continuo The Utzon family for their continued apoyo a la investigación y difusión de la support for research and diffusion of the obra de Jørn Utzon. work of Jørn Utzon. La Fundación Alvar Aalto por su con- The Alvar Aalto Foundation for their tinuo apoyo a la investigación y difusión continued support for research and dif- de la obra del maestro fi nés. fusion of the work of the Finnish master. Muy especialmente a los autores de Very special to the authors of the writ- los artículos: Henrietta Palmer, Roger ings: Henrietta Palmer, Roger Connah, Connah, Ulf Gronvøld, Peter Thule, Ulf Gronvøld, Peter Thule, Gareth Gareth Griffi ths y Antonio Millán por Griffi ths and Antonio Millán for their su colaboración desinteresada con DPA. disinterested collaboration with DPA. 26 DEPARTAMENT DE PROJECTES D'ARQUITECTURA 26 DPA 26 DPA NÓRDICOS

Artículos de Gareth Griffi ths, Peter Thule, Ulf Gronvøld, Henrietta Palmer, Berta Bardí i Milà, Jaime J. Ferrer Forés, Arturo Frediani i Sarfati, Daniel García Escudero, Roger Connah, Lisbet Balslev y Anto- nio Millán Gómez. NÓRDICOS 978-84-608-1123-7