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Architect: Sigurd Lewerentz (1885-1975),
Built in 1966
The Christening font
The christening area is located at the church entrance. It is shaped as a rock and the floor bends upward. The crack in the floor represents episode when Moses cracked the rock with his staff making water flow from it. At the christening, the priest stands in a place on the floor marked with a cross. The Christening font is made of a white mussel from the Indian Ocean. The never ending drip reminds us of God’s never ceasing Grace.
The Architect
The architect, Doctor of Technology, Sigurd Lewerentz (1885-1975) was 77 years old when he was asked to create St. Petri church. He had behind him, in addition to studies at Chalmers’ university, many years of collected experience, which he could now draw on. Full of life, knowledgeable, independent of all architectural traditions and styles he set about his task. He concentrated all his artistic passion on this task. What he created is not a product of a drawing-board. The placing of every brick is determined directly by him on the spot or indirectly by the instructions he gave to the artisans. The watchful eye of the architect constantly followed the work on the site.
Facts
The church was consecrated on 27th of November, 1966 by Bishop Martin Lindström. The nave is built according to “circumstantes”, the idea of the central place of worship. The area is quadratic, 18 x 18 meter. The height is 6 meter in the east and 5 meter in the west. The nave rests on and is built around a cross of iron (the T-cross or the Antonius-cross). The cross should be essential in the preaching and activity of the church as well as in human life. The ceiling is formed as archs and is a symbol of human spirit life as a waving movement. The building has no arched windows. The window-glasses are directly mounted on the outside of the wall with brackets, which gives a feeling of missing windows. All electric wiring and water pipes are mounted directly on the walls – nothing should be hidden into the church. The middle aisle corresponds to the holy way (via sacra) of old days which leads to the Holy Communion table. The walls are built up with the dark-brown brick from Helsingborg, which is made by hand craft as well as machine-made. No bricks are adjusted to suit – man is good enough to be used by God even if she is “odd, rough or not adjusted to suit”. The bricks are partly picked by the architect Lewerentz himself from a scrap-yard. Even human beings, who by others are considered as “scrap”, are suitable for the Lord. The daylight and the illumination are sparse. Too much natural light disturbs the full feeling according to the architect. Therefore the lamps must be lightened during service. Architect Lewerentz wanted to create a soft and warm surrounding with quiet and devotion. While sitting for a while in the church the details are coming forward. The chairs are from Denmark and originally designed for the Grundtvig-church (1940) in Copenhagen. Portable chairs in churches are an old tradition and give the opportunity to rearrange the furniture.
Source: Leaflet – Sankt Petri Church in Klippan – A Masterpiece by Sigurd Lewerentz
The church was renovated between the years 1979-1981 under the direction of architect Bengt Edman and the church copper roof has been changed during 2011.
More pictures of Sigurd Lewerentz’ work
Images of other architects' works
More information at the St. Petri web page
Sigurd Sellæg og barna Anne Margrethe og Axel på Hylla ca 1935. Bildet fra Sellægarkivet/Namsos Bys historielag.
Malmö & Klippan
Lewerentz’ flower shop kiosk in Malmo’s cemetry and church in Klippan both exemplify a detail beyond that of the initial monoliths of concrete and brick respectively. His church at Klippan plays with idea of what is and is not load bearing. This is expressed through decorative brickwork set against monolithic stretcher bond brick. Both being set into a large mortar joint giving the appearance of the bricks floating within a larger whole. This idea plays a key role in the expression of the tectonics of the scheme. The wall with the set back door plays with ideas of the thickness of a wall. The idea of a skin which is peeled away to reveal a deep core. This links in with the ideas of safety, comfort and shelter. Ideas which are all important to instill when entering a building such as a church.
Realising the importance of a window being set either flush to the internal or external wall, also the difference of having no window frame as such but merely clamping the glazing unit to the wall.
The flower shop kiosk plays with ideas of a concrete monolith, with the door not reaching down to the ground, suggesting that this door is merely an aperture rather than defining the buildings connection to the ground. The windows aswell, on the surface of the wall, suggest a wall which is not breached, as opposed to setting them back which would suggest that the wall is punctured. The cantilever of the roof is held up by battons which stretch back up the roof, issues of ‘self support’ as opposed to convention.
Architect: Sigurd Lewerentz
Built in: 1913
Client: Stockholms Roddförening
Stockholms Roddförening is a rowing club on Gärdet next to Djurgårdsbrunn in Stockholm. The Club was founded in April 8, 1880. The current boathouse, designed by architect Sigurd Lewerentz was inaugurated July 13, 1913. Timber from the Stockholm Olympics arena were used to build the boathouse. At the ceiling in the boat room you still can see the seat numbers in the wood.
The house has over the years been carefully refurbished and modernized. It looks the same on both the outside and inside as when it was new. Most of the benches and tables in the upstairs rooms belong to the original interior from 1913. The house is considered to have great historical value.
More pictures of Sigurd Lewerentz’ work
Architect: Sigurd Lewerentz (1885-1975),
Built in 1966
The Chairs
The chairs are from Denmark and originally designed for the Grundtvig-church (1940) in Copenhagen by Kaare Klint. Portable chairs in churches are an old tradition and give the opportunity to rearrange the furniture.
The Architect
The architect, Doctor of Technology, Sigurd Lewerentz (1885-1975) was 77 years old when he was asked to create St. Petri church. He had behind him, in addition to studies at Chalmers’ university, many years of collected experience, which he could now draw on. Full of life, knowledgeable, independent of all architectural traditions and styles he set about his task. He concentrated all his artistic passion on this task. What he created is not a product of a drawing-board. The placing of every brick is determined directly by him on the spot or indirectly by the instructions he gave to the artisans. The watchful eye of the architect constantly followed the work on the site.
Facts
The church was consecrated on 27th of November, 1966 by Bishop Martin Lindström. The nave is built according to “circumstantes”, the idea of the central place of worship. The area is quadratic, 18 x 18 meter. The height is 6 meter in the east and 5 meter in the west. The nave rests on and is built around a cross of iron (the T-cross or the Antonius-cross). The cross should be essential in the preaching and activity of the church as well as in human life. The ceiling is formed as archs and is a symbol of human spirit life as a waving movement. The building has no arched windows. The window-glasses are directly mounted on the outside of the wall with brackets, which gives a feeling of missing windows. All electric wiring and water pipes are mounted directly on the walls – nothing should be hidden into the church. The middle aisle corresponds to the holy way (via sacra) of old days which leads to the Holy Communion table. The walls are built up with the dark-brown brick from Helsingborg, which is made by hand craft as well as machine-made. No bricks are adjusted to suit – man is good enough to be used by God even if she is “odd, rough or not adjusted to suit”. The bricks are partly picked by the architect Lewerentz himself from a scrap-yard. Even human beings, who by others are considered as “scrap”, are suitable for the Lord. The daylight and the illumination are sparse. Too much natural light disturbs the full feeling according to the architect. Therefore the lamps must be lightened during service. Architect Lewerentz wanted to create a soft and warm surrounding with quiet and devotion. While sitting for a while in the church the details are coming forward. The chairs are from Denmark and originally designed for the Grundtvig-church (1940) in Copenhagen. Portable chairs in churches are an old tradition and give the opportunity to rearrange the furniture.
Source: Leaflet – Sankt Petri Church in Klippan – A Masterpiece by Sigurd Lewerentz
The church was renovated between the years 1979-1981 under the direction of architect Bengt Edman and the church copper roof has been changed during 2011.
More pictures of Sigurd Lewerentz’ work
Images of other architects' works
More information at the St. Petri web page
Malmö & Klippan
Lewerentz’ flower shop kiosk in Malmo’s cemetry and church in Klippan both exemplify a detail beyond that of the initial monoliths of concrete and brick respectively. His church at Klippan plays with idea of what is and is not load bearing. This is expressed through decorative brickwork set against monolithic stretcher bond brick. Both being set into a large mortar joint giving the appearance of the bricks floating within a larger whole. This idea plays a key role in the expression of the tectonics of the scheme. The wall with the set back door plays with ideas of the thickness of a wall. The idea of a skin which is peeled away to reveal a deep core. This links in with the ideas of safety, comfort and shelter. Ideas which are all important to instill when entering a building such as a church.
Realising the importance of a window being set either flush to the internal or external wall, also the difference of having no window frame as such but merely clamping the glazing unit to the wall.
The flower shop kiosk plays with ideas of a concrete monolith, with the door not reaching down to the ground, suggesting that this door is merely an aperture rather than defining the buildings connection to the ground. The windows aswell, on the surface of the wall, suggest a wall which is not breached, as opposed to setting them back which would suggest that the wall is punctured. The cantilever of the roof is held up by battons which stretch back up the roof, issues of ‘self support’ as opposed to convention.
Malmö & Klippan
Lewerentz’ flower shop kiosk in Malmo’s cemetry and church in Klippan both exemplify a detail beyond that of the initial monoliths of concrete and brick respectively. His church at Klippan plays with idea of what is and is not load bearing. This is expressed through decorative brickwork set against monolithic stretcher bond brick. Both being set into a large mortar joint giving the appearance of the bricks floating within a larger whole. This idea plays a key role in the expression of the tectonics of the scheme. The wall with the set back door plays with ideas of the thickness of a wall. The idea of a skin which is peeled away to reveal a deep core. This links in with the ideas of safety, comfort and shelter. Ideas which are all important to instill when entering a building such as a church.
Realising the importance of a window being set either flush to the internal or external wall, also the difference of having no window frame as such but merely clamping the glazing unit to the wall.
The flower shop kiosk plays with ideas of a concrete monolith, with the door not reaching down to the ground, suggesting that this door is merely an aperture rather than defining the buildings connection to the ground. The windows aswell, on the surface of the wall, suggest a wall which is not breached, as opposed to setting them back which would suggest that the wall is punctured. The cantilever of the roof is held up by battons which stretch back up the roof, issues of ‘self support’ as opposed to convention.
Architect: Sigurd Lewerentz (1885-1975),
Built in 1966
The Architect
The architect, Doctor of Technology, Sigurd Lewerentz (1885-1975) was 77 years old when he was asked to create St. Petri church. He had behind him, in addition to studies at Chalmers’ university, many years of collected experience, which he could now draw on. Full of life, knowledgeable, independent of all architectural traditions and styles he set about his task. He concentrated all his artistic passion on this task. What he created is not a product of a drawing-board. The placing of every brick is determined directly by him on the spot or indirectly by the instructions he gave to the artisans. The watchful eye of the architect constantly followed the work on the site.
Facts
The church was consecrated on 27th of November, 1966 by Bishop Martin Lindström. The nave is built according to “circumstantes”, the idea of the central place of worship. The area is quadratic, 18 x 18 meter. The height is 6 meter in the east and 5 meter in the west. The nave rests on and is built around a cross of iron (the T-cross or the Antonius-cross). The cross should be essential in the preaching and activity of the church as well as in human life. The ceiling is formed as archs and is a symbol of human spirit life as a waving movement. The building has no arched windows. The window-glasses are directly mounted on the outside of the wall with brackets, which gives a feeling of missing windows. All electric wiring and water pipes are mounted directly on the walls – nothing should be hidden into the church. The middle aisle corresponds to the holy way (via sacra) of old days which leads to the Holy Communion table. The walls are built up with the dark-brown brick from Helsingborg, which is made by hand craft as well as machine-made. No bricks are adjusted to suit – man is good enough to be used by God even if she is “odd, rough or not adjusted to suit”. The bricks are partly picked by the architect Lewerentz himself from a scrap-yard. Even human beings, who by others are considered as “scrap”, are suitable for the Lord. The daylight and the illumination are sparse. Too much natural light disturbs the full feeling according to the architect. Therefore the lamps must be lightened during service. Architect Lewerentz wanted to create a soft and warm surrounding with quiet and devotion. While sitting for a while in the church the details are coming forward. The chairs are from Denmark and originally designed for the Grundtvig-church (1940) in Copenhagen. Portable chairs in churches are an old tradition and give the opportunity to rearrange the furniture.
Source: Leaflet – Sankt Petri Church in Klippan – A Masterpiece by Sigurd Lewerentz
The church was renovated between the years 1979-1981 under the direction of architect Bengt Edman and the church copper roof has been changed during 2011.
More pictures of Sigurd Lewerentz’ work
Images of other architects' works
More information at the St. Petri web page
Architect: Sigurd Lewerentz (1885-1975),
Built in 1943
The Eastern Cemetery (Östra kyrkogården) is famous for its design and beauty far beyond Swedens borders. The Cemetery was created by the architect Sigurd Lewerentz, who from 1916 until his death in 1975 was engaged in the cemetery's various stages of development. After a contest Lewerentz was chosen to design the cemetery and the related buildings.
The Eastern Cemetery has a chapel and crematorium facility, which also bears the architect Sigurd Lewerentz signature. The plant was built during the war years in the early 1940s and was the inaugural completed on 23 October 1943. Here are three chapels - Saint Gertrude, St. Knut's and the Chapel of Hope, with pleasing works of art by artists including Sven Erixon, Otte Sköld and Robert Nilsson. The Crematorium is no longer in use.
More information about The Eastern Cemetary in Swedish.
More pictures of Sigurd Lewerentz’ work
Sigurd / Trading-Card Serie
Wetterleuchten über Burg Falkenfels
Ein Bildabenteuer aus mittelalterlichen Tagen
erzählt und gezeichnet von Hansrudi Wäscher
Norbert Hethke Verlag / Deutschland 1994
ex Ephemera-Sammlung MTP
Architect: Sigurd Lewerentz (1885-1975),
Built in 1966
The Chairs
The chairs are from Denmark and originally designed for the Grundtvig-church (1940) in Copenhagen by Kaare Klint. Portable chairs in churches are an old tradition and give the opportunity to rearrange the furniture.
The Architect
The architect, Doctor of Technology, Sigurd Lewerentz (1885-1975) was 77 years old when he was asked to create St. Petri church. He had behind him, in addition to studies at Chalmers’ university, many years of collected experience, which he could now draw on. Full of life, knowledgeable, independent of all architectural traditions and styles he set about his task. He concentrated all his artistic passion on this task. What he created is not a product of a drawing-board. The placing of every brick is determined directly by him on the spot or indirectly by the instructions he gave to the artisans. The watchful eye of the architect constantly followed the work on the site.
Facts
The church was consecrated on 27th of November, 1966 by Bishop Martin Lindström. The nave is built according to “circumstantes”, the idea of the central place of worship. The area is quadratic, 18 x 18 meter. The height is 6 meter in the east and 5 meter in the west. The nave rests on and is built around a cross of iron (the T-cross or the Antonius-cross). The cross should be essential in the preaching and activity of the church as well as in human life. The ceiling is formed as archs and is a symbol of human spirit life as a waving movement. The building has no arched windows. The window-glasses are directly mounted on the outside of the wall with brackets, which gives a feeling of missing windows. All electric wiring and water pipes are mounted directly on the walls – nothing should be hidden into the church. The middle aisle corresponds to the holy way (via sacra) of old days which leads to the Holy Communion table. The walls are built up with the dark-brown brick from Helsingborg, which is made by hand craft as well as machine-made. No bricks are adjusted to suit – man is good enough to be used by God even if she is “odd, rough or not adjusted to suit”. The bricks are partly picked by the architect Lewerentz himself from a scrap-yard. Even human beings, who by others are considered as “scrap”, are suitable for the Lord. The daylight and the illumination are sparse. Too much natural light disturbs the full feeling according to the architect. Therefore the lamps must be lightened during service. Architect Lewerentz wanted to create a soft and warm surrounding with quiet and devotion. While sitting for a while in the church the details are coming forward. The chairs are from Denmark and originally designed for the Grundtvig-church (1940) in Copenhagen. Portable chairs in churches are an old tradition and give the opportunity to rearrange the furniture.
Source: Leaflet – Sankt Petri Church in Klippan – A Masterpiece by Sigurd Lewerentz
The church was renovated between the years 1979-1981 under the direction of architect Bengt Edman and the church copper roof has been changed during 2011.
More pictures of Sigurd Lewerentz’ work
Images of other architects' works
More information at the St. Petri web page
Sigurd the Earl of Orkney is flanked by his three sons on his right and on the left by his wife - Olith nic Mael Coluim (and the daughter of Malcolm King of Scots confirming that handy old habit of trading your children in marriage to better cement international alliances - I'm wondering if perhaps our long term futures might be enhanced by a marriage of our new Prince George to a fair daughter of the Peoples Republic of China?). Of the Earl's sons, I'm not sure I have them in the right order in the profiles below, gleaned from the Orkneyinga Saga:-
After Sigurd's death at the Battle of Clontarf the Orkney lands of his Earldom were distributed among his three sons: Sumarlidi Brusi and Einar. His youngest son Thorfinn was only five years age and was in the care of his grandfather King Malcolm of Scotland who later in life gave Thorfinn the Earldom comprising Caithness and Sutherland. Thorfinn is described as a tall. strong black-haired man and was a bit of a greedy sod.
Sumarlidi died quite young, and unusually, in his bed. Thorfinn then claimed his share of Sumarlidi's Orkney lands. Einar refused to go along with this though Brusi was willing for Thorfinn to have a share of these lands. Eventually Einar took over control of two thirds of Orkney, he ruled with a strong hand and continued summer voyages in pursuit of plunder. He was unflinching in extracting taxes from his tenants and a bit of a bully. In time his avarice led to famine throughout his holdings while in the neighbouring lands belonging to his brother Brusi prospered. Einar was ruthless and cruel a hard and successful fighting man who brought despair to his people. His brother Brusi was peaceloving and fair-minded much like his dead brother Sumarlidi had been. Thus, then as now, the fates of men are decided by the character of their rulers.
Architect: Sigurd Lewerentz
Built in: 1930-1932
Client:
This is the former building for The Swedish Social Insurance Agency that administers social insurance in Sweden. The building was designed by Sigurd Lewerents and is considered one of the most important modern buildings in Sweden.
More pictures of Sigurd Lewerentz’ work
Olympus digital cameraArchitect: Sigurd Lewerentz (1885-1975),
Built in 1966
The Architect
The architect, Doctor of Technology, Sigurd Lewerentz (1885-1975) was 77 years old when he was asked to create St. Petri church. He had behind him, in addition to studies at Chalmers’ university, many years of collected experience, which he could now draw on. Full of life, knowledgeable, independent of all architectural traditions and styles he set about his task. He concentrated all his artistic passion on this task. What he created is not a product of a drawing-board. The placing of every brick is determined directly by him on the spot or indirectly by the instructions he gave to the artisans. The watchful eye of the architect constantly followed the work on the site.
Facts
The church was consecrated on 27th of November, 1966 by Bishop Martin Lindström. The nave is built according to “circumstantes”, the idea of the central place of worship. The area is quadratic, 18 x 18 meter. The height is 6 meter in the east and 5 meter in the west. The nave rests on and is built around a cross of iron (the T-cross or the Antonius-cross). The cross should be essential in the preaching and activity of the church as well as in human life. The ceiling is formed as archs and is a symbol of human spirit life as a waving movement. The building has no arched windows. The window-glasses are directly mounted on the outside of the wall with brackets, which gives a feeling of missing windows. All electric wiring and water pipes are mounted directly on the walls – nothing should be hidden into the church. The middle aisle corresponds to the holy way (via sacra) of old days which leads to the Holy Communion table. The walls are built up with the dark-brown brick from Helsingborg, which is made by hand craft as well as machine-made. No bricks are adjusted to suit – man is good enough to be used by God even if she is “odd, rough or not adjusted to suit”. The bricks are partly picked by the architect Lewerentz himself from a scrap-yard. Even human beings, who by others are considered as “scrap”, are suitable for the Lord. The daylight and the illumination are sparse. Too much natural light disturbs the full feeling according to the architect. Therefore the lamps must be lightened during service. Architect Lewerentz wanted to create a soft and warm surrounding with quiet and devotion. While sitting for a while in the church the details are coming forward. The chairs are from Denmark and originally designed for the Grundtvig-church (1940) in Copenhagen. Portable chairs in churches are an old tradition and give the opportunity to rearrange the furniture.
Source: Leaflet – Sankt Petri Church in Klippan – A Masterpiece by Sigurd Lewerentz
The church was renovated between the years 1979-1981 under the direction of architect Bengt Edman and the church copper roof has been changed during 2011.
More pictures of Sigurd Lewerentz’ work
Images of other architects' works
More information at the St. Petri web page
I was on North Ronaldsay for two full days but on the afternoon of the first it rained quite hard and so stayed indoors and rested.
However, I did venture out in the wet to photograph the ferry come in, something that only happens twice a week.
A few things were hoisted on and off (including a vehicle as you cannot drive off). I know at least passenger boarded too - a guy from our accommodation was taking this as he doesn't use the plane. He was also on a mission to visit each of Scotland's 62 inhabited islands!
There are actually more than 62, but I guess he had his rules - maybe there a number that are only accessible privately?
North Ronaldsay, Orkney
17th May 2016
20160517 IMG_9078
Bookplate of Danish painter Sigurd Wandel (b. 22 Feb 1875 in København; d. 3 Jun 1947) and of Gudrun Wandel, nee Bergh (b. 26 May 1882; d. 10 Dec 1976).
Bookplate: Amor riding on a turtle
Penn Libraries call numbers:
FC65 R2647 710d All images from this book
GC5 L9777 503v All images from this book
Stockholm D2-04
Markus Kyrkan, Sigurd Lewerentz, 1962
Malmövägen 51,121 53 Johanneshov, Stockholm
Sigurd Lewerentz’ most noted building came into existence after winning an invited competition in 1956.
Two buildings are located on either side of a courtyard – on one side, the church itself, which is linked to the parish premises ad assembly hall; and on the other the registrar’s offices with a belfry tower and archives.
Dark bricks from Helsingborg are freely laid in running bond – the vertical joints have varying widths which meant that no brick needed to be cut. Lewerentz referred to Persian architecture as a source of inspiration. The church in Bjorkhagen demonstrates how it is possible to be both visionary and well rooted, Lewerentz was already regarded as a phenomenon in Swedish architecture. His integrity and sure handed sense of form leaded to solutions that were several decades before their time. The church was awarded the first Kasper Salin Prize in 1962.
Architect: Sigurd Lewerentz (1885-1975),
Built in 1966
The ceiling
The ceiling is formed as arches and is a symbol of human spirit life as a waving movement. Here you also get a glimpse of the T-cross or the Antonius-cross and the chimney-alike lanterns in the ceiling.
The Architect
The architect, Doctor of Technology, Sigurd Lewerentz (1885-1975) was 77 years old when he was asked to create St. Petri church. He had behind him, in addition to studies at Chalmers’ university, many years of collected experience, which he could now draw on. Full of life, knowledgeable, independent of all architectural traditions and styles he set about his task. He concentrated all his artistic passion on this task. What he created is not a product of a drawing-board. The placing of every brick is determined directly by him on the spot or indirectly by the instructions he gave to the artisans. The watchful eye of the architect constantly followed the work on the site.
Facts
The church was consecrated on 27th of November, 1966 by Bishop Martin Lindström. The nave is built according to “circumstantes”, the idea of the central place of worship. The area is quadratic, 18 x 18 meter. The height is 6 meter in the east and 5 meter in the west. The nave rests on and is built around a cross of iron (the T-cross or the Antonius-cross). The cross should be essential in the preaching and activity of the church as well as in human life. The ceiling is formed as archs and is a symbol of human spirit life as a waving movement. The building has no arched windows. The window-glasses are directly mounted on the outside of the wall with brackets, which gives a feeling of missing windows. All electric wiring and water pipes are mounted directly on the walls – nothing should be hidden into the church. The middle aisle corresponds to the holy way (via sacra) of old days which leads to the Holy Communion table. The walls are built up with the dark-brown brick from Helsingborg, which is made by hand craft as well as machine-made. No bricks are adjusted to suit – man is good enough to be used by God even if she is “odd, rough or not adjusted to suit”. The bricks are partly picked by the architect Lewerentz himself from a scrap-yard. Even human beings, who by others are considered as “scrap”, are suitable for the Lord. The daylight and the illumination are sparse. Too much natural light disturbs the full feeling according to the architect. Therefore the lamps must be lightened during service. Architect Lewerentz wanted to create a soft and warm surrounding with quiet and devotion. While sitting for a while in the church the details are coming forward. The chairs are from Denmark and originally designed for the Grundtvig-church (1940) in Copenhagen. Portable chairs in churches are an old tradition and give the opportunity to rearrange the furniture.
Source: Leaflet – Sankt Petri Church in Klippan – A Masterpiece by Sigurd Lewerentz
The church was renovated between the years 1979-1981 under the direction of architect Bengt Edman and the church copper roof has been changed during 2011.
More pictures of Sigurd Lewerentz’ work
Images of other architects' works
More information at the St. Petri web page
Architect: Sigurd Lewerentz (1885-1975),
Built in 1966
The Christening font
The christening area is located at the church entrance. It is shaped as a rock and the floor bends upward. The crack in the floor represents episode when Moses cracked the rock with his staff making water flow from it. At the christening, the priest stands in a place on the floor marked with a cross. The Christening font is made of a white mussel from the Indian Ocean. The never ending drip reminds us of God’s never ceasing Grace.
The Architect
The architect, Doctor of Technology, Sigurd Lewerentz (1885-1975) was 77 years old when he was asked to create St. Petri church. He had behind him, in addition to studies at Chalmers’ university, many years of collected experience, which he could now draw on. Full of life, knowledgeable, independent of all architectural traditions and styles he set about his task. He concentrated all his artistic passion on this task. What he created is not a product of a drawing-board. The placing of every brick is determined directly by him on the spot or indirectly by the instructions he gave to the artisans. The watchful eye of the architect constantly followed the work on the site.
Facts
The church was consecrated on 27th of November, 1966 by Bishop Martin Lindström. The nave is built according to “circumstantes”, the idea of the central place of worship. The area is quadratic, 18 x 18 meter. The height is 6 meter in the east and 5 meter in the west. The nave rests on and is built around a cross of iron (the T-cross or the Antonius-cross). The cross should be essential in the preaching and activity of the church as well as in human life. The ceiling is formed as archs and is a symbol of human spirit life as a waving movement. The building has no arched windows. The window-glasses are directly mounted on the outside of the wall with brackets, which gives a feeling of missing windows. All electric wiring and water pipes are mounted directly on the walls – nothing should be hidden into the church. The middle aisle corresponds to the holy way (via sacra) of old days which leads to the Holy Communion table. The walls are built up with the dark-brown brick from Helsingborg, which is made by hand craft as well as machine-made. No bricks are adjusted to suit – man is good enough to be used by God even if she is “odd, rough or not adjusted to suit”. The bricks are partly picked by the architect Lewerentz himself from a scrap-yard. Even human beings, who by others are considered as “scrap”, are suitable for the Lord. The daylight and the illumination are sparse. Too much natural light disturbs the full feeling according to the architect. Therefore the lamps must be lightened during service. Architect Lewerentz wanted to create a soft and warm surrounding with quiet and devotion. While sitting for a while in the church the details are coming forward. The chairs are from Denmark and originally designed for the Grundtvig-church (1940) in Copenhagen. Portable chairs in churches are an old tradition and give the opportunity to rearrange the furniture.
Source: Leaflet – Sankt Petri Church in Klippan – A Masterpiece by Sigurd Lewerentz
The church was renovated between the years 1979-1981 under the direction of architect Bengt Edman and the church copper roof has been changed during 2011.
More pictures of Sigurd Lewerentz’ work
Images of other architects' works
More information at the St. Petri web page
Sigurd / Trading-Card Serie
Wetterleuchten über Burg Falkenfels
Ein Bildabenteuer aus mittelalterlichen Tagen
erzählt und gezeichnet von Hansrudi Wäscher
Norbert Hethke Verlag / Deutschland 1994
ex Ephemera-Sammlung MTP
Eglise romane Sainte-Radegonde ; commune de Talmont-sur-Gironde, Charente-Maritime 17, Poitou-Charentes, France
L'église de Talmont est un édifice de style roman consacré à sainte Radegonde. Campée sur une falaise dominant l'estuaire de la Gironde, elle a longtemps présenté un plan en forme de croix latine, jusqu'à ce qu'une violente tempête ne fasse s'effondrer un pan de falaise, entraînant dans sa chute le narthex, une travée de la nef et une importante partie de la crypte. Le sanctuaire, bâti entre les XIe siècle et XVe siècle par les bénédictins de l'abbaye de Saint-Jean-d'Angély, présente à la fois des influences cisterciennes (qui se retrouvent dans un décor intérieur très sobre) et clunisiennes, d'où une ornementation extérieure particulièrement riche, en particulier pour ce qui est de l'abside et du porche Est. La nef, réduite à deux travées, se prolonge par un transept sur lequel sont greffées deux absidioles, et par une abside de pur style roman saintongeais. Un clocher carré s'élevait autrefois sur le carré du transept, mais il n'en reste plus que la base. L'église aurait été autrefois une étape pour les pèlerins se rendant à Saint-Jacques-de-Compostelle, en Galice. Elle est classée monument historique depuis le 30 août 1890.
(extrait de : fr.wikipedia.org/wiki/Talmont-sur-Gironde#.C3.89glise_Sai...
Nef unique coupée d'un large transept à deux absidioles, enserrant le choeur à travée droite précédant l'hémicycle sous cul-de-four. Celui-ci, plus étroit que la nef, produit en trompe-l'oeil un effet d'allongement très heureux.L'ensemble, dont la rigueur géométrique n'est pas absolue, était couvert primitivement de berceaux brisés dans les parties droites et d'une coupole sur pendentifs, aujourd'hui refaite. La première façade Ouest et la première travée, écroulées par suite de l'érosion des fondations, recouvraient la crypte, plus longue dans le sens Nord-Sud et qui fut formée par les fondations descendues profondément jusqu'au solide. Simple ossuaire modifié à l'époque gothique, elle a été disloquée en 1928. La décoration est plus complexe que l'architecture.
A l'intérieur l'hémicycle du chœur, diversifié par cinq arcs sculptés, encadre trois fenêtres; celle du centre, plus haute, donne une excellente luminosité en reflétant les eaux du fleuve.
Les colonnes de cette arcature, celles qui séparent la partie courbe de la travée droite, sont sobrement sculptées et reposent sur des consoles en biseau. Une corniche continue ces tailloirs autour du chœur, une autre relie les consoles basses. L'ensemble est très élégant et rappelle par sa disposition Rioux et Rétaud et par sa richesse Surgères. Mais ce sont assurément les chapiteaux qui soutiennent les doubleaux de la croisée du transept qui offrent les reliefs les plus remarquables. Les sujets à animaux, lions, hommes et oiseaux opposés, superposés ou luttant, sont ceux qu'on peut retrouver à travers toute la province, mais si l'on doit remarquer la vigueur élégante de la sculpture, on doit aussi constater que les rinceaux n'encombrent pas leur corbeille. Il semble que le voisinage du Bordelais dégage ainsi le sujet. Au pilier Nord-Est, un sujet est reconnaissable et s'applique bien à une église des chemins de Saint-Jacques : c'est la légende, de Saint Georges chevalier, sauvant la princesse, debout derrière lui, de la gueule du monstre qui pose la patte sur son bouclier. Là, comme à Nuaillé, nous retrouvons la convergence des traditions hagiographiques grecques avec un passage des légendes germano-scandinaves. Aux deux églises, des oiseaux accompagnent le cheval Grane attaché à un arbre voisin, et dans les Niebelungen c'en est un qui chante la victoire de Siegfried (ou Sigurd) sur le dragon Fafner.
La décoration extérieure de l'église vaut en effet d'être examinée de près. Si ce qui subsiste de la nef, qui est aussi la partie la plus ancienne, se borne à des contreforts comme le transept qui a nécessité une porte monumentale, sans doute impossible à l'Ouest, par contre le chœur en hémicycle, type fréquent dans l'Ouest en Saintonge et en Bordelais, est orné d'arcatures, ici sur deux étages coupés en panneaux par six contreforts-colonnes. La fenêtre absidale détermine un arc plus large séparé de ceux des ouvertures latérales par des panneaux aveugles. La petite arcature du sommet suit l'espacement des colonnes, ce qui détermine trois ou quatre éléments. La hauteur de l'abside est divisée par des corniches sculptées au bas des étages, formant anneau autour des contreforts; au-dessous des fenêtres le mur est plein; au sommet il se couronne d'une riche corniche à modillons. Les voussures sont ornées de motifs géométriques, losanges opposés ou dents de loup. Les absidioles, très simples, sont contre-butées par des contreforts, mais celle du Nord est restaurée avec sobriété. Abside et transept furent fortifiés, et des maçonneries datant des guerres anglaises sont restées, surchargeant les murailles. Le clocher carré n'a été refait, pour couvrir la coupole neuve, que dans sa souche, seule d'authenticité certaine, avec l'escalier d'accès aux voûtes. C'est le type de Rioux et Rétaud, mais sans son décor baroque aux voûtes. Le portail richement décoré, situé sur la face Nord du transept, apparaît comme caractéristique de la région avec ses trois larges arcades surmontées de sept autres aveugles. Notons les voussures moulurées en haut, de type fréquent en Bordelais. Un oculus coupe le pignon à travers la corniche. Les voussures du rez-de-chaussée sont très animées par des scènes pittoresques et des chapiteaux à monstres et feuillages très traditionnels. Les rouleaux du centre, séparés par des motifs végétaux, représentent pour le premier des anges encensent l'Agneau, tenus à bout de bras par deux autres. Le second étage est formé par des acrobates se supportant ou se soutenant. Enfin au sommet, deux séries opposées et analogues de personnages arc-boutés traînent, par une corde attachée au cou, deux lions monstrueux qui piétinent une victime. Remarquant les chimères effrayantes à gueules de crocodile qui s'opposent à l'arc aveugle de gauche et, sur la frise qui continue les chapiteaux du portail, le lion qui paraît dévorer une femme allongée, M. le chanoine Tonnelier pense retrouver ici un rappel : la suite de l'histoire de saint Georges selon les hagio-graphes et l'exécution du monstre dévorateur. Mais celui-ci, sorte de griffon ailé à tête de chat sur le chapiteau de la croisée du transept, est bien différent des animaux du portail qui expriment peut-être une pensée morale. Au reste, comme le remarque notre ami, ce thème des personnages tirant une corde, mais sans lion, se retrouve plus au Sud, en Bordelais, notamment à Sainte-Croix de Bordeaux, Castelvieil ou Haux, mais il ne s'y trouve pas en rapport avec saint Georges. Et cette sorte de compétition de deux camps tirant une corde fut un jeu populaire sommaire, longtemps pratiqué. Les tympans latéraux étaient occupés par des sujets dont celui de gauche paraissait représenter un Christ bénissant. Les jeux du vent et de la pluie ayant aussi sculpté cette façade, avaient fait disparaître depuis longtemps le groupe de droite, au moins jusqu'au plat du mur. Une réparation récente et mesurée a permis de rendre valable, en l'atténuant, une remise en état du portail un peu trop imaginative, surtout sous l'arc droit, essayée peu avant le congrès de La Rochelle de 1956.
(extrait de : "Saintonge romane" ; François Eygun ; Coll. Nuit des Temps, Ed. du Zodiaque, pp. 233-237)
Architect: Sigurd Lewerentz, David Helldén, Erik Lallerstedt
Built in: 1933-44
Client: Malmö stad
Already in the 1920s had Sigurd Lewerentz received an investigation assignment on a new theater in Malmö and then proposed a building in a distinctly classical style. In a general architectural competition in 1933, Lewerentz received first prize. His radical functionalist proposal with an almost industrial nature was not realized. Instead he got to cooperate with the second place winners, David Helldén and Erik Lallerstedt.
The completed building was considered to be northern Europe's most modern theater at the time, and a veritable modernist monument. It’s a fusion of the three architects wills; Lewerentz primarily worked with the technically advanced stage and auditorium, not least from an acoustic point of view. The foyer, administration facilities and the restaurant were mainly formed by Helldén and Lallerstedt. The foyer is considered to be beautiful, with its open surfaces and marble staircases, and it is adorned with a number of works of art by artists such as Carl Milles and Isaac Grünewald.
Currently conducts Malmö Opera and Music Theatre its activities in the premises…
City Theatre is a Listed buildings in Sweden since 1994.
More pictures of Sigurd Lewerentz’ work
Architect: Sigurd Lewerentz (1885-1975),
Built in 1966
The Architect
The architect, Doctor of Technology, Sigurd Lewerentz (1885-1975) was 77 years old when he was asked to create St. Petri church. He had behind him, in addition to studies at Chalmers’ university, many years of collected experience, which he could now draw on. Full of life, knowledgeable, independent of all architectural traditions and styles he set about his task. He concentrated all his artistic passion on this task. What he created is not a product of a drawing-board. The placing of every brick is determined directly by him on the spot or indirectly by the instructions he gave to the artisans. The watchful eye of the architect constantly followed the work on the site.
Facts
The church was consecrated on 27th of November, 1966 by Bishop Martin Lindström. The nave is built according to “circumstantes”, the idea of the central place of worship. The area is quadratic, 18 x 18 meter. The height is 6 meter in the east and 5 meter in the west. The nave rests on and is built around a cross of iron (the T-cross or the Antonius-cross). The cross should be essential in the preaching and activity of the church as well as in human life. The ceiling is formed as archs and is a symbol of human spirit life as a waving movement. The building has no arched windows. The window-glasses are directly mounted on the outside of the wall with brackets, which gives a feeling of missing windows. All electric wiring and water pipes are mounted directly on the walls – nothing should be hidden into the church. The middle aisle corresponds to the holy way (via sacra) of old days which leads to the Holy Communion table. The walls are built up with the dark-brown brick from Helsingborg, which is made by hand craft as well as machine-made. No bricks are adjusted to suit – man is good enough to be used by God even if she is “odd, rough or not adjusted to suit”. The bricks are partly picked by the architect Lewerentz himself from a scrap-yard. Even human beings, who by others are considered as “scrap”, are suitable for the Lord. The daylight and the illumination are sparse. Too much natural light disturbs the full feeling according to the architect. Therefore the lamps must be lightened during service. Architect Lewerentz wanted to create a soft and warm surrounding with quiet and devotion. While sitting for a while in the church the details are coming forward. The chairs are from Denmark and originally designed for the Grundtvig-church (1940) in Copenhagen. Portable chairs in churches are an old tradition and give the opportunity to rearrange the furniture.
Source: Leaflet – Sankt Petri Church in Klippan – A Masterpiece by Sigurd Lewerentz
The church was renovated between the years 1979-1981 under the direction of architect Bengt Edman and the church copper roof has been changed during 2011.
More pictures of Sigurd Lewerentz’ work
Images of other architects' works
More information at the St. Petri web page
Architect: Sigurd Lewerentz (1885-1975),
Built in 1966
The Architect
The architect, Doctor of Technology, Sigurd Lewerentz (1885-1975) was 77 years old when he was asked to create St. Petri church. He had behind him, in addition to studies at Chalmers’ university, many years of collected experience, which he could now draw on. Full of life, knowledgeable, independent of all architectural traditions and styles he set about his task. He concentrated all his artistic passion on this task. What he created is not a product of a drawing-board. The placing of every brick is determined directly by him on the spot or indirectly by the instructions he gave to the artisans. The watchful eye of the architect constantly followed the work on the site.
Facts
The church was consecrated on 27th of November, 1966 by Bishop Martin Lindström. The nave is built according to “circumstantes”, the idea of the central place of worship. The area is quadratic, 18 x 18 meter. The height is 6 meter in the east and 5 meter in the west. The nave rests on and is built around a cross of iron (the T-cross or the Antonius-cross). The cross should be essential in the preaching and activity of the church as well as in human life. The ceiling is formed as archs and is a symbol of human spirit life as a waving movement. The building has no arched windows. The window-glasses are directly mounted on the outside of the wall with brackets, which gives a feeling of missing windows. All electric wiring and water pipes are mounted directly on the walls – nothing should be hidden into the church. The middle aisle corresponds to the holy way (via sacra) of old days which leads to the Holy Communion table. The walls are built up with the dark-brown brick from Helsingborg, which is made by hand craft as well as machine-made. No bricks are adjusted to suit – man is good enough to be used by God even if she is “odd, rough or not adjusted to suit”. The bricks are partly picked by the architect Lewerentz himself from a scrap-yard. Even human beings, who by others are considered as “scrap”, are suitable for the Lord. The daylight and the illumination are sparse. Too much natural light disturbs the full feeling according to the architect. Therefore the lamps must be lightened during service. Architect Lewerentz wanted to create a soft and warm surrounding with quiet and devotion. While sitting for a while in the church the details are coming forward. The chairs are from Denmark and originally designed for the Grundtvig-church (1940) in Copenhagen. Portable chairs in churches are an old tradition and give the opportunity to rearrange the furniture.
Source: Leaflet – Sankt Petri Church in Klippan – A Masterpiece by Sigurd Lewerentz
The church was renovated between the years 1979-1981 under the direction of architect Bengt Edman and the church copper roof has been changed during 2011.
More pictures of Sigurd Lewerentz’ work
Images of other architects' works
More information at the St. Petri web page
Architect: Sigurd Lewerentz (1885-1975),
Built in 1966
The Chairs
The chairs are from Denmark and originally designed for the Grundtvig-church (1940) in Copenhagen by Kaare Klint. Portable chairs in churches are an old tradition and give the opportunity to rearrange the furniture.
The Architect
The architect, Doctor of Technology, Sigurd Lewerentz (1885-1975) was 77 years old when he was asked to create St. Petri church. He had behind him, in addition to studies at Chalmers’ university, many years of collected experience, which he could now draw on. Full of life, knowledgeable, independent of all architectural traditions and styles he set about his task. He concentrated all his artistic passion on this task. What he created is not a product of a drawing-board. The placing of every brick is determined directly by him on the spot or indirectly by the instructions he gave to the artisans. The watchful eye of the architect constantly followed the work on the site.
Facts
The church was consecrated on 27th of November, 1966 by Bishop Martin Lindström. The nave is built according to “circumstantes”, the idea of the central place of worship. The area is quadratic, 18 x 18 meter. The height is 6 meter in the east and 5 meter in the west. The nave rests on and is built around a cross of iron (the T-cross or the Antonius-cross). The cross should be essential in the preaching and activity of the church as well as in human life. The ceiling is formed as archs and is a symbol of human spirit life as a waving movement. The building has no arched windows. The window-glasses are directly mounted on the outside of the wall with brackets, which gives a feeling of missing windows. All electric wiring and water pipes are mounted directly on the walls – nothing should be hidden into the church. The middle aisle corresponds to the holy way (via sacra) of old days which leads to the Holy Communion table. The walls are built up with the dark-brown brick from Helsingborg, which is made by hand craft as well as machine-made. No bricks are adjusted to suit – man is good enough to be used by God even if she is “odd, rough or not adjusted to suit”. The bricks are partly picked by the architect Lewerentz himself from a scrap-yard. Even human beings, who by others are considered as “scrap”, are suitable for the Lord. The daylight and the illumination are sparse. Too much natural light disturbs the full feeling according to the architect. Therefore the lamps must be lightened during service. Architect Lewerentz wanted to create a soft and warm surrounding with quiet and devotion. While sitting for a while in the church the details are coming forward. The chairs are from Denmark and originally designed for the Grundtvig-church (1940) in Copenhagen. Portable chairs in churches are an old tradition and give the opportunity to rearrange the furniture.
Source: Leaflet – Sankt Petri Church in Klippan – A Masterpiece by Sigurd Lewerentz
The church was renovated between the years 1979-1981 under the direction of architect Bengt Edman and the church copper roof has been changed during 2011.
More pictures of Sigurd Lewerentz’ work
Images of other architects' works
More information at the St. Petri web page
Architect: Sigurd Lewerentz
Built in: 1930-1932
Client:
This is the former building for The Swedish Social Insurance Agency that administers social insurance in Sweden. The building was designed by Sigurd Lewerents and is considered one of the most important modern buildings in Sweden.
More pictures of Sigurd Lewerentz’ work
Architect: Sigurd Lewerentz (1885-1975),
Built in 1966
The Christening font
The christening area is located at the church entrance. It is shaped as a rock and the floor bends upward. The crack in the floor represents episode when Moses cracked the rock with his staff making water flow from it. At the christening, the priest stands in a place on the floor marked with a cross. The Christening font is made of a white mussel from the Indian Ocean. The never ending drip reminds us of God’s never ceasing Grace.
The Architect
The architect, Doctor of Technology, Sigurd Lewerentz (1885-1975) was 77 years old when he was asked to create St. Petri church. He had behind him, in addition to studies at Chalmers’ university, many years of collected experience, which he could now draw on. Full of life, knowledgeable, independent of all architectural traditions and styles he set about his task. He concentrated all his artistic passion on this task. What he created is not a product of a drawing-board. The placing of every brick is determined directly by him on the spot or indirectly by the instructions he gave to the artisans. The watchful eye of the architect constantly followed the work on the site.
Facts
The church was consecrated on 27th of November, 1966 by Bishop Martin Lindström. The nave is built according to “circumstantes”, the idea of the central place of worship. The area is quadratic, 18 x 18 meter. The height is 6 meter in the east and 5 meter in the west. The nave rests on and is built around a cross of iron (the T-cross or the Antonius-cross). The cross should be essential in the preaching and activity of the church as well as in human life. The ceiling is formed as archs and is a symbol of human spirit life as a waving movement. The building has no arched windows. The window-glasses are directly mounted on the outside of the wall with brackets, which gives a feeling of missing windows. All electric wiring and water pipes are mounted directly on the walls – nothing should be hidden into the church. The middle aisle corresponds to the holy way (via sacra) of old days which leads to the Holy Communion table. The walls are built up with the dark-brown brick from Helsingborg, which is made by hand craft as well as machine-made. No bricks are adjusted to suit – man is good enough to be used by God even if she is “odd, rough or not adjusted to suit”. The bricks are partly picked by the architect Lewerentz himself from a scrap-yard. Even human beings, who by others are considered as “scrap”, are suitable for the Lord. The daylight and the illumination are sparse. Too much natural light disturbs the full feeling according to the architect. Therefore the lamps must be lightened during service. Architect Lewerentz wanted to create a soft and warm surrounding with quiet and devotion. While sitting for a while in the church the details are coming forward. The chairs are from Denmark and originally designed for the Grundtvig-church (1940) in Copenhagen. Portable chairs in churches are an old tradition and give the opportunity to rearrange the furniture.
Source: Leaflet – Sankt Petri Church in Klippan – A Masterpiece by Sigurd Lewerentz
The church was renovated between the years 1979-1981 under the direction of architect Bengt Edman and the church copper roof has been changed during 2011.
More pictures of Sigurd Lewerentz’ work
Images of other architects' works
More information at the St. Petri web page
Sigurd / Heft-Reihe
Hongo, der Seeräuber
Zeichner: Hansrudi Wäscher
Lehning Drachen Verlag
(Hannover/Deutschland; 1971)
ex libris MTP
Architect: Sigurd Lewerentz (1885-1975),
Built in 1966
The Pulpit
The Pulpit and the altar form a unity. The Church room is built to support the idea of performing the service according to Luther’s idea about the close connection between the sermon and the altar service.
The Bishop-chair
The Cathedra or the Bishop Throne that is placed behind the altar might be the first of its kind in an evangelical church after the reformation.
The Architect
The architect, Doctor of Technology, Sigurd Lewerentz (1885-1975) was 77 years old when he was asked to create St. Petri church. He had behind him, in addition to studies at Chalmers’ university, many years of collected experience, which he could now draw on. Full of life, knowledgeable, independent of all architectural traditions and styles he set about his task. He concentrated all his artistic passion on this task. What he created is not a product of a drawing-board. The placing of every brick is determined directly by him on the spot or indirectly by the instructions he gave to the artisans. The watchful eye of the architect constantly followed the work on the site.
Facts
The church was consecrated on 27th of November, 1966 by Bishop Martin Lindström. The nave is built according to “circumstantes”, the idea of the central place of worship. The area is quadratic, 18 x 18 meter. The height is 6 meter in the east and 5 meter in the west. The nave rests on and is built around a cross of iron (the T-cross or the Antonius-cross). The cross should be essential in the preaching and activity of the church as well as in human life. The ceiling is formed as archs and is a symbol of human spirit life as a waving movement. The building has no arched windows. The window-glasses are directly mounted on the outside of the wall with brackets, which gives a feeling of missing windows. All electric wiring and water pipes are mounted directly on the walls – nothing should be hidden into the church. The middle aisle corresponds to the holy way (via sacra) of old days which leads to the Holy Communion table. The walls are built up with the dark-brown brick from Helsingborg, which is made by hand craft as well as machine-made. No bricks are adjusted to suit – man is good enough to be used by God even if she is “odd, rough or not adjusted to suit”. The bricks are partly picked by the architect Lewerentz himself from a scrap-yard. Even human beings, who by others are considered as “scrap”, are suitable for the Lord. The daylight and the illumination are sparse. Too much natural light disturbs the full feeling according to the architect. Therefore the lamps must be lightened during service. Architect Lewerentz wanted to create a soft and warm surrounding with quiet and devotion. While sitting for a while in the church the details are coming forward. The chairs are from Denmark and originally designed for the Grundtvig-church (1940) in Copenhagen. Portable chairs in churches are an old tradition and give the opportunity to rearrange the furniture.
Source: Leaflet – Sankt Petri Church in Klippan – A Masterpiece by Sigurd Lewerentz
The church was renovated between the years 1979-1981 under the direction of architect Bengt Edman and the church copper roof has been changed during 2011.
More pictures of Sigurd Lewerentz’ work
Images of other architects' works
More information at the St. Petri web page
Architect: Sigurd Lewerentz (1885-1975),
Built in 1966
The Altar
At the Holy Communion, the priest stands behind the altar turned towards the congregation. The floor slopes slowly down to the altar to help the doubtful towards the communion table. Through the chimney-alike lanterns in the ceiling a warm light of heaven pours into the way of procession from the sacristy to the altar. The life of a Christian is a daily wandering in the light of God.
The Architect
The architect, Doctor of Technology, Sigurd Lewerentz (1885-1975) was 77 years old when he was asked to create St. Petri church. He had behind him, in addition to studies at Chalmers’ university, many years of collected experience, which he could now draw on. Full of life, knowledgeable, independent of all architectural traditions and styles he set about his task. He concentrated all his artistic passion on this task. What he created is not a product of a drawing-board. The placing of every brick is determined directly by him on the spot or indirectly by the instructions he gave to the artisans. The watchful eye of the architect constantly followed the work on the site.
Facts
The church was consecrated on 27th of November, 1966 by Bishop Martin Lindström. The nave is built according to “circumstantes”, the idea of the central place of worship. The area is quadratic, 18 x 18 meter. The height is 6 meter in the east and 5 meter in the west. The nave rests on and is built around a cross of iron (the T-cross or the Antonius-cross). The cross should be essential in the preaching and activity of the church as well as in human life. The ceiling is formed as archs and is a symbol of human spirit life as a waving movement. The building has no arched windows. The window-glasses are directly mounted on the outside of the wall with brackets, which gives a feeling of missing windows. All electric wiring and water pipes are mounted directly on the walls – nothing should be hidden into the church. The middle aisle corresponds to the holy way (via sacra) of old days which leads to the Holy Communion table. The walls are built up with the dark-brown brick from Helsingborg, which is made by hand craft as well as machine-made. No bricks are adjusted to suit – man is good enough to be used by God even if she is “odd, rough or not adjusted to suit”. The bricks are partly picked by the architect Lewerentz himself from a scrap-yard. Even human beings, who by others are considered as “scrap”, are suitable for the Lord. The daylight and the illumination are sparse. Too much natural light disturbs the full feeling according to the architect. Therefore the lamps must be lightened during service. Architect Lewerentz wanted to create a soft and warm surrounding with quiet and devotion. While sitting for a while in the church the details are coming forward. The chairs are from Denmark and originally designed for the Grundtvig-church (1940) in Copenhagen. Portable chairs in churches are an old tradition and give the opportunity to rearrange the furniture.
Source: Leaflet – Sankt Petri Church in Klippan – A Masterpiece by Sigurd Lewerentz
The church was renovated between the years 1979-1981 under the direction of architect Bengt Edman and the church copper roof has been changed during 2011.
More pictures of Sigurd Lewerentz’ work
Images of other architects' works
More information at the St. Petri web page
Sigurd / Trading-Card Serie
Wetterleuchten über Burg Falkenfels
Ein Bildabenteuer aus mittelalterlichen Tagen
erzählt und gezeichnet von Hansrudi Wäscher
Norbert Hethke Verlag / Deutschland 1994
ex Ephemera-Sammlung MTP
Architect: Sigurd Lewerentz (1885-1975),
Built in 1966
The Architect
The architect, Doctor of Technology, Sigurd Lewerentz (1885-1975) was 77 years old when he was asked to create St. Petri church. He had behind him, in addition to studies at Chalmers’ university, many years of collected experience, which he could now draw on. Full of life, knowledgeable, independent of all architectural traditions and styles he set about his task. He concentrated all his artistic passion on this task. What he created is not a product of a drawing-board. The placing of every brick is determined directly by him on the spot or indirectly by the instructions he gave to the artisans. The watchful eye of the architect constantly followed the work on the site.
Facts
The church was consecrated on 27th of November, 1966 by Bishop Martin Lindström. The nave is built according to “circumstantes”, the idea of the central place of worship. The area is quadratic, 18 x 18 meter. The height is 6 meter in the east and 5 meter in the west. The nave rests on and is built around a cross of iron (the T-cross or the Antonius-cross). The cross should be essential in the preaching and activity of the church as well as in human life. The ceiling is formed as archs and is a symbol of human spirit life as a waving movement. The building has no arched windows. The window-glasses are directly mounted on the outside of the wall with brackets, which gives a feeling of missing windows. All electric wiring and water pipes are mounted directly on the walls – nothing should be hidden into the church. The middle aisle corresponds to the holy way (via sacra) of old days which leads to the Holy Communion table. The walls are built up with the dark-brown brick from Helsingborg, which is made by hand craft as well as machine-made. No bricks are adjusted to suit – man is good enough to be used by God even if she is “odd, rough or not adjusted to suit”. The bricks are partly picked by the architect Lewerentz himself from a scrap-yard. Even human beings, who by others are considered as “scrap”, are suitable for the Lord. The daylight and the illumination are sparse. Too much natural light disturbs the full feeling according to the architect. Therefore the lamps must be lightened during service. Architect Lewerentz wanted to create a soft and warm surrounding with quiet and devotion. While sitting for a while in the church the details are coming forward. The chairs are from Denmark and originally designed for the Grundtvig-church (1940) in Copenhagen. Portable chairs in churches are an old tradition and give the opportunity to rearrange the furniture.
Source: Leaflet – Sankt Petri Church in Klippan – A Masterpiece by Sigurd Lewerentz
The church was renovated between the years 1979-1981 under the direction of architect Bengt Edman and the church copper roof has been changed during 2011.
More pictures of Sigurd Lewerentz’ work
Images of other architects' works
More information at the St. Petri web page