Nordic Pavilion At Expo '70 / Sverre Fehn | Classics On Architecture Lab

Architects: Sverre Fehn
Year: 1970
Photographs: Norwegian National Museum, Teigen
City: Suita
Country: Japan

Sverre Fehn’s design for the Nordic Pavilion at the Osaka World Expo in 1970 diverged from his usual use of heavy materials, such as concrete and stone, by exploring a delicate, inflatable structure. A prominent postwar Norwegian architect and a founder of PAGON, Fehn sought to reconcile modernist ideals with regional traditions. His 1968 proposal for Expo ’70, Japan’s first world’s fair-themed “Progress and Harmony for Mankind,” highlighted environmental protection in industrial societies. The pavilion consisted of two interconnected balloons: the upper balloon expanded and contracted, while the lower, stable balloon housed exhibition spaces showcasing projections of Scandinavian landscapes. Enclosed within an outer structure by Danish architect Bent Severin, the pavilion created a sanctuary of clean air in industrial Osaka, ventilated by an external tower. Although Expo ’70 attracted over 64 million visitors, Fehn’s innovative pavilion was not selected. Decades later, the Norwegian National Museum commissioned Manthey Kula Architects to reinterpret Fehn’s concept within one of his pavilions, preserving his vision of sustainable architecture for future audiences. Fehn’s design, emphasizing environmental awareness and architectural ingenuity, remains relevant as a symbol of the global need to address air pollution and industrialization’s challenges.

Although architectural history is abundant with examples of bricks, stones, and steel, there is no inherent rule dictating that architecture must be “solid.” Sverre Fehn, a leading architect of postwar Norway, frequently utilized heavy materials such as concrete and stone masonry in his projects [1]. However, his proposal for the Nordic Pavilion at the Osaka World Expo in 1970 marked a notable departure, exploring a more delicate structural approach. Fehn’s “breathing balloon” pavilion presented a distinct facet of Modernity, contrasting not only with his established design principles but also with traditional architectural conventions as a whole.

Nordic Pavilion at Expo '70 / Sverre Fehn | Classics on Architecture Lab

Sverre Fehn, born in Norway in 1924, described himself as having “…[come] of age in the shadow of Modernism.” Alongside several contemporary Scandinavian architects, he co-founded the Progressive Architects Group Oslo Norway (PAGON), a regional branch of the International Congress of Modern Architecture. While rooted in the universal ideals of Modernism, PAGON emphasized the expression of specific regions and periods through material use. Fehn gained international recognition for his work on exhibition pavilions, particularly the Norwegian Pavilion at the 1958 World Exhibition in Brussels and the Nordic Pavilion at the 1962 Venice Biennale [2]. It was fitting, then, that he would submit a proposal in 1968 for the Osaka World Expo of 1970.

Despite Japan’s remarkable transition from an agrarian, feudal society to an industrial powerhouse, paralleling the development of many Western nations, the country had never hosted a world’s fair until Expo ‘70 in Osaka. The exposition, themed “Progress and Harmony for Mankind,” emphasized leveraging contemporary science and technology to foster lasting peace and improve global living standards.[3] The Nordic Pavilion, aligning with this theme, centered its concept on environmental protection within industrialized societies, forming the ideological foundation of Sverre Fehn’s proposal.[4]

To emphasize the tension between industrial pollution and untouched nature, Sverre Fehn envisioned a structure composed of two enormous balloons. Together, the 45-meter-long and 24-meter-high forms would act as a vast artificial lung. The upper balloon, capable of altering its internal air pressure, would expand or contract, thereby influencing the shape of the lower balloon, which maintained a steady internal pressure. The primary exhibition space was situated within the lower balloon, where projectors would cast vivid depictions of Scandinavia’s natural beauty onto the gently undulating interior walls.[5]

Fehn’s pavilion was conceived as a component rather than a standalone building. It was designed to fit within a larger structure by Danish architect Bent Severin, which provided both shelter and a formal contrast to the inflatable pavilion.[6] Severin’s outer shell acted as a weather barrier, while the inner balloons functioned as an air barrier, creating a protected zone of clean air amidst Osaka’s industrialized environment. Ventilation was facilitated by an external mechanical tower that maintained air circulation and regulated the balloons’ internal pressure. A single entrance and exit were designed to manage the flow of approximately 100 visitors at a time.[7]

Expo ’70 saw contributions from 77 countries and became one of the most attended world’s fairs in history, drawing over 64 million visitors.[8] However, Fehn’s innovative inflatable pavilion was not realized, as his proposal was ultimately not selected for the Nordic Pavilion.[9] Sverre Fehn passed away in 2009, never witnessing his visionary “breathing architecture” brought to life.[10]

Fehn’s concept outlived the architect, as the Norwegian National Museum later commissioned Manthey Kula Architects to reimagine the “breathing balloons.” Initially intended as a working scale model, the project evolved into a proposal to construct the structure at full scale within a museum pavilion designed by Fehn himself. The resulting installation, while not an exact replica of the original design, faithfully interprets Fehn’s vision, ensuring its essence is preserved for future generations of museum visitors.[11]

Originally conceived in 1968, Fehn’s concept for Expo ‘70 remains strikingly relevant as the world grapples with declining air quality caused by escalating industrialization. According to the World Economic Forum, pollution contributed to 1.2 million premature deaths in China alone in 2010 [12]. The disproportionate impact of pollution on developing nations underscores the enduring importance of Expo ‘70’s mission to enhance global living standards through technology. While Fehn’s Nordic Pavilion was not a comprehensive solution to air pollution, it continues to stand as a poignant reminder of the critical need to safeguard the air we breathe.

References

[1] Grimes, William. “Sverre Fehn, 84, Architect of Modern Nordic Forms, Dies.” The New York Times, February 27, 2009, New York ed., A21 sec. February 27, 2009. Accessed March 14, 2016. http://www.nytimes.com/2009/02/28/arts/design/28fehn.html.
[2] “Sverre Fehn, Biography.” The Pritzker Architecture Prize. Accessed March 16, 2016. www.pritzkerprize.com/1997/bio.
[3] “Osaka World Expo 1970.” ArchDaily. December 3, 2010. Accessed March 14, 2016. http://www.archdaily.com/93208/osaka-world-expo-1970.
[4] “Ode Til Osaka.” Nasjonalmuseet. Accessed March 15, 2016. http://www.nasjonalmuseet.no/no/utstillinger_og_aktiviteter/utstillinger/nasjonalmuseet__arkitektur/Ode til Osaka.b7C_wlfQ0_.ips.
[5] Mikac, Neven Fuchs. “The Vision of Breathing Space.” Oris Magazine. Accessed March 15, 2016.
[6] “Ode Til Osaka.”
[7] Mikac.
[8] “Osaka World Expo 1970.”
[9] “Ode Til Osaka.”
[10] “Sverre Fehn, Biography.”
[11] “Ode to Osaka / Manthey Kula.” ArchDaily. August 21, 2015. Accessed March 16, 2016. http://www.archdaily.com/772198/ode-to-osaka-manthey-kula.
[12] Ji, Zou. “Rising Pollution in the Developing World.” World Economic Forum. Accessed March 16, 2016. http://reports.weforum.org/outlook-global-agenda-2015/top-10-trends-of-2015/6-rising-pollution-in-the-developing-world/.