Diferencia entre revisiones de «Pabellón finlandés de 1937»

Pabellón finlandés de 1937 (ver código)

Revisión del 10:34 20 abr 2013

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 La planta baja aparece como una cadena irregular de volúmenes construidos unidos en una especie de collage. Estos consistían en pabellones cúbicos pequeños y abiertos, y dos salas más amplias; la sala situada más abajo en la pendiente, una habitación con una sección central hundida con tragaluces en forma de barril, era una variante del motivo principal de la [[Biblioteca de Viipuri]].
+Todo el complejo giraba alrededor de un jardín en sombra con toques japoneses, que en el calor del verano atraía a muchos visitantes a dar un paseo contemplativo. El bosque, que constituye la materia prima de la industria más importante de Finlandia, era el tema explícito del pabellón, pero también estaba visiblemente presente en las enormes fotografías de paisajes forestales que eran parte esencial de la exposición, y más aún en los troncos de los árboles, reunidos formando pantallas o repartidos por todo el pabellón, funcionando como columnas soporte o simplemente brindando a la impresión del espectador un énfasis visual del espacio libre formado sin restricciones geométricas.
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-The entire complex curved around a shady garden with Japanese touches, which in the summer heat attracted many visitors for a contemplative stroll. The forest, providing as it does the raw material for Finland's most important industry, was the pavilion's express theme; but it was also visibly present in the enormous photographs of forest landscapes that formed an essential part of the exhibition, and even more so in the tree trunks, assembled to form screens or scattered around the pavilion, functioning as bearing columns or merely providing visual emphasis to the spectator's impression of freely formed space unfettered by geometry.2) The unrealized 'Tsit Tsit Pum' entry. Aalto here proposed a large, irregular, but contiguous pavilion on a site surrounded by trees. The walls push out at right angles between the trees, the roof (aside from a few skylights) is as flat and horizontal as a floor, whereas the floor consists of a sinking series of terraces; thus, the height of the building increases toward the lowest floor level. The impact of the interior is enhanced by a balcony with a curving front near ceiling height, a forerunner of the famous 'Northern Lights wall' which Aalto made the dominant motif of his New York pavilion two years later. The plan shows three aeroplanes suspended from the ceiling in front of the balcony to suggest dynamic horizontal progression. Far below, a high glass wall looks out on a pond and the terraces of the garden outside. This design was Aalto's first excursion into the new territory called 'forest space' in previous parts of this biography.
+The unrealized 'Tsit Tsit Pum' entry. Aalto here proposed a large, irregular, but contiguous pavilion on a site surrounded by trees. The walls push out at right angles between the trees, the roof (aside from a few skylights) is as flat and horizontal as a floor, whereas the floor consists of a sinking series of terraces; thus, the height of the building increases toward the lowest floor level. The impact of the interior is enhanced by a balcony with a curving front near ceiling height, a forerunner of the famous 'Northern Lights wall' which Aalto made the dominant motif of his New York pavilion two years later. The plan shows three aeroplanes suspended from the ceiling in front of the balcony to suggest dynamic horizontal progression. Far below, a high glass wall looks out on a pond and the terraces of the garden outside. This design was Aalto's first excursion into the new territory called 'forest space' in previous parts of this biography.
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