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Like any translator worth their salt, Fehn employed both original materials and those specific to the

Fehn did not seek to mimic a Nordic vernacular – the Pavilion is not an act of mimesis in the convent

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The grid, which might otherwise appear monotonous in its rigidity, is interrupted by a series of open

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Distilling Fehn’s architectural moves into a collection of articulated elements—roof, ground, wall, s

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Over five decades later the 'Nordic Pavilion' (as it would only later become known) has come to refle

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—Der Ister, Friederich H?lderlin (trans. Richard Sieburth)

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