[1]
“This work was supported by
Spanish Ministerio de Economía y Competitividad,
HAR2017-85205-P
(MINECO/AIE/FEDER, UE), and Fondo Europeo de Desarrollo Regional
(FEDER)”.
[2]
“Biographical notes”, AHCOAC HB C 1837/172.
[3]
File Unit: Electronic Army Serial Number Marged File, ca.1938-1946
(Enlistment Records), Army Serial number: 32981246.
[4]
Personal interview with L. Bombelli, Cadaqués, 22.04.2007
(in attendance: Julio Garnica and Albert Fuster)..
[5]
Austria, Belgium, Denmark,
France, West Germany, Great Britain, Greece, Ireland, Iceland, Italy,
Luxembourg, the Netherlands, Portugal, Norway, Sweden, Switzerland and
Turkey.
[6]
An introductory pavilion located
in one of the trailers, two specific pavilions in two separate trailers
detailing NATO’s role in each country the exhibition
travelled
to, and finally a trailer outfitted with a series of telephones where
visitors could listen to the recorded voices of well-known
personalities to resolving any of their remaining doubts.
[7]
The train included seven cars:
four of them contained the main exhibition, another was equipped as a
cinema, and the sixth contained equipment and facility systems. The
final car was used as accommodation for the train crew.
[8]
An increase in the
vehicles’ lateral expansion capacity, the installation of a
double staircase for better access, or the introduction of a series of
skylights in the roof to provide natural lighting.
[9]
The architects: L. Bombelli
(Italian), R. Browning (English), A. Hadjopoulos (Greek) and P. Yates
(English), as well as the other designers and artists: B. Pfriem
(American), R. Pontabry (French), P. Boucher (French), A. Le Houerf
(French), E. Scheidegger (Swiss), R. Strub (Swiss) and W. Goetz
(English).
[10]
“Department of Commerce. European Trade Fair Program. 19
julio 1955”. AHCOAC HB.
[11]
Letter from P. Harnden to L. Bombelli, Washington, 27.10.1955, AHCOAC
HB 169
[12]
Press release and poster distributed on the occasion of the
office’s opening in February 1956, AHCOAC HB.
[13]
Letter from John Davis Lodge to P. Harnden, Madrid, 4.06.1956, AHCOAC
HB C 1787/1.
[14]
“United States Department of Agriculture, Foreign
Agricultural Services, European Trade Fair Contract”,
4.01.1957, AHCOAC HB C 1801/26.
[15]
A strange professional
association. The correspondence between Harnden and Bombelli during
1957, 1958, and even 1959, contains a good number of passages devoted
to difficulties, misunderstandings and arguments between Harnden and
Rudofsky regarding the organization of the exhibition. AHCOAC HB 169.
[16]
Given the difficulties of the
assignment, at the end of the exhibition, the curators thanked Harnden
for his professionalism and his patience. Letter from James S. Plaut to
P. Harnden, Washington, 9.05.1958. AHCOAC HB C 137.
[17]
Letter from P. Harnden to L. Bombelli, Washington, 17.07.1958, AHCOAC
HB 169.
[18]
Based on the salary tables
from Harnden’s office, we know that in 1957 the team was made
up
of as many as 37 collaborators, including architects, designers,
administration staff, etc. AHCOAC HB.
[19]
Suffice it to say that in
1961, issue number 384 of the magazine Domus groups together designs by
P. Harnden Associates, F. Correa and A. Milà, and J.A.
Coderch
under the title “A Cadaqués”. A comment
by Ignasi
Solà-Morales, talking about Cadaqués is also
telling:
«Ernst, Hamilton, Duchamp, Max Bill, along with Coderch,
Terradas, Correa and Milà, or Peter Harnden, all arrived at
the
same time in that isolated, mineral and severe landscape in an
unstoppable flight from an urban world they felt removed from. And it
was only after a time, a long detour, that they returned to that world
with attempts at new sociability through architecture.»
Solà-Morales, I., “José Antonio Coderch
en la
cultura arquitectónica europea”. in:
Aa.V.v
(1989) -
J.A.Coderch de
Sentmenat 1913-1984.
Gustavo Gili, Barcelona, 6-7. Although it hardly seems that the
cosmopolitan meetings in Cadaqués in the 1960 (except for
the
dress code) were any less urban than the ones that took place, with the
same attendees, in Paris, London, Madrid or New York. Nor was Ava
Gardner any less of an urbanite for filming in Tossa de Mar (See:
Ordóñez M. (2004) -
Beberse la vida: Ava Gardner en
España. Santillana, Madrid, 2004).
[20]
AHCOAC HB 19.
[21]
Like the exposed metal chimney
in the living room of Harnden’s house in Orgeval, which J.A.
Coderch probably took a careful look at during a visit in the early
1950s. Martin M. (2003) - “Entrevista a Lanfranco
Bombelli,” cit., 127.