Egon Eiermann / Sep Ruf, German Pavilions, Brussels 1958

Released on by Immo Boyken
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  • Egon Eiermann / Sep Ruf, German Pavilions, Brussels 1958 Book Detail

  • Author : Immo Boyken
  • Release Date : 2007
  • Publisher : Axel Menges
  • Genre : Architecture
  • Pages : 62
  • ISBN 13 :
  • File Size : 39,39 MB
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Egon Eiermann / Sep Ruf, German Pavilions, Brussels 1958 by Immo Boyken PDF Summary

Book Description: Text in English and German. The German Pavilions were the actual event at the 1958 Brussels World Fair, because what appeared as an oasis of modesty among the typical exhibition fairground of bizarre sensationalism was precisely what would not have been expected of economic miracle Germany: no showing off or pomposity, just architecture distinguished by its reticence and the refined simplicity of the architectural resources, and by the happy combination of men who created it, all so similar in the nature of their thinking: Egon Eiermann and Sep Ruf as architects, Walter Rossow as landscape and garden planner, and Hans Schwippert responsible for the exhibition programme. The building plot was a park-like site on which the architects placed a sequence of eight pavilions of different sizes; eight pavilions on a square ground plan, linked by bridge-style walkways, together surrounding an inner courtyard -- a peaceful garden amidst the loud hurly-burly: introverted and open at the same time, it did allow visitors to look through the linking bridges into the outside world around them. The pavilions themselves: bright and light of weight -- correctly reflecting the concept of a 'pavilion': raised off the ground by a plinth of clay-yellow brick, giving an impression of floating; floors that showed outside as black bands, holding all the component parts together as a binding element; in front of them was a network of white-painted steel tubes, forming a kind of filigree epidermis; wooden floors in red pine matchboarding, reminiscent of classical sailing yachts; blinds set at the outer edge of the ceilings that when lowered transformed the open impression, thrusting deep into the depth of the space, into a closed, cubic impression; architecture (and combined with this an exhibition concept) that was not a 'political demonstration', but showed a 'humane mentality', about which Le Figaro appositely remarked: The Germans have created an exhibition of exemplary lucidity, treated delicately and with an entirely Parisian grace.

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