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S:ta Gertruds and S:t Knuts kapell, 1935-1943.
östra kyrkogården, malmö, 1916-1969.
architect: sigurd lewerentz, 1885-1975.
stairwell, detailing.
colonnade of trees, eastern cemetery, malmö, 1916-1969.
architect: sigurd lewerentz, 1885-1975.
neo-classicist lewerentz has little of the asplundian let-me-take-you-by-the-hand-and-guide-you-through-the-rituals-of-the-wellfare-state...in malmö's eastern cemetery, the sense of loss is maintained rather than alleviated by the formality of lewerentz' landscape planning: this is a place for mourning, not your sunday stroll.
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important detail here.
Robert Sigurd and Stan Brander continued their journey to Robert's stronghold, They Would have to travel through the lush landscapes and forests of Oxenfurt, located in Avalonia. After they pass this road they will arrive in a small village, nothing spectaculair, but perhaps there is some food, drinks and maybe a bath.
Robert Sigurd and Stan Brander continued their journey to Robert's stronghold, They Would have to travel through the lush landscapes and forests of Oxenfurt, located in Avalonia. After they pass this road they will arrive in a small village, nothing spectaculair, but perhaps there is some food, drinks and maybe a bath.
eneborg's egnahem, workers' housing, 1917-1918.
architect: sigurd lewerentz (1885-1975)
eneborg planning: torsten stubelius from 1907-1911, with sigurd lewerentz from 1911-1914.
one of the single family houses of the plan.
lewerentz placed all windows in the gables and the resulting blind roof and facade are striking and one of the first times we fully the recognise the architect to come.
On 30 April 2002, Earl Sigurd arrives at Kirkwall harbour and is about to dock at one of the linkspans.
S:ta Gertruds and S:t Knuts kapell, 1935-1943.
östra kyrkogården, malmö, 1916-1969.
architect: sigurd lewerentz, 1885-1975.
the exterior detailing is repeated in the entrance hall. the grey stone and limited daylight creates a cool contrast to the warmth of the chapel itself.
Men at the Sigurd carving (Sö 101) on the Ramsund rock. The Viking Age carving depicts the Old Norse Sigurd saga, about the hero Sigurd who killed the dragon Fafner. The inscription says: "Sigrid , Alríkr's mother, Orm's daughter, made this bridge for the soul of Holmger, father of Sigröd, her husbandman". The men in the photo are, from left: Louis Améen, okänd ung man, Gunnar Andersson and Selim Birger.
Män vid Sigurdsristningen (Sö 101) på Ramsundsberget. Den vikingatida runhällen visar bilder ur den fornnordiska Sigurdssagan, om hjälten Sigurd som dödade draken Fafner. Ristningen säger: "Sigrid gjorde denna bro, moder till Alrik, dotter till Orm, för Holmgers själ, fadern till Sigröd, sin make". Männen på bilden är, från vänster: Louis Améen, okänd ung man, Gunnar Andersson och Selim Birger.
Parish (socken): Jäder
Province (landskap): Södermanland
Municipality (kommun): Eskilstuna
County (län): Södermanland
Photograph by: R. Söderbaum
Date: 1897
Format: Print
Persistent URL: kmb.raa.se/cocoon/bild/show-image.html?id=16001000181924
eneborg's egnahem, workers' housing, helsingborg, skåne, sweden 1917-1918.
architect: sigurd lewerentz (1885-1975)
planning: torsten stubelius from 1907-1911, with sigurd lewerentz from 1911-1914.
the finest stairs are found in the four identical buildings along varbergsgatan. more from this tiny space later.
Peace is right, hahaha and this is a "Hollandrad" what do you think it is, ihr Blödies and Thora like always thinks "Huuuh!!!??"
eneborg's egnahem, workers' housing, helsingborg, skåne, sweden 1917-1918.
architect: sigurd lewerentz (1885-1975)
planning: torsten stubelius from 1907-1911, with sigurd lewerentz from 1911-1914.
staircase in one of the buildings.
eneborg's egnahem, workers' housing, helsingborg, skåne, sweden 1911-1918.
architect: sigurd lewerentz (1885-1975)
planning: torsten stubelius from 1907-1911, with sigurd lewerentz from 1911-1914.
from the stairwell.
Robert Sigurd is the son of Wilfred Sigurd they are a noble family that lives nearby Albion. They have a small piece of land which is called Oxenfurt.
Oxenfurt is rich of small little farms, dense forests and small outposts, were their man keeps guard over the land.
Full story
eneborg's egnahem, workers' housing, helsingborg, skåne, sweden 1911-1918.
architect: sigurd lewerentz (1885-1975)
planning: torsten stubelius from 1907-1911, with sigurd lewerentz from 1911-1914.
a look through the front door into the stairwell, great and very simple layering of space.
the dark building with the white interior since became something of a trope in nordic architecture.
st petri church, klippan, 1962-1966.
architect sigurd lewerentz 1885-1975.
while we were inside the church, the sun broke through the clouds and settled on the baptismal font. I guess those windows are not placed as randomly as they first appeared to be.
and I managed a few interior shots that have otherwise always eluded me because of the dark.
the idea of a giant sea shell as baptismal font comes from the guell crypt by gaudi, one of the key influences present here.
related treatment of daylight here.
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A young Sigurd Curman at boulder with runic inscription (U 112) on two sides. The inscription on the south side says: "Ragnvald had the runes carved in memory of Fastvi, his mother, Onäm's daughter, (who) died in Ed. May God help her spirit". The inscripton on the west side says: "Ragnvald had the runes carved; (he) was in Greece, was commander of the retinue".
Sigurd Curman som pojke vid flyttblock med runristning på två sidor (U 112). Inskriften på södra sidan lyder: "Ragnvald lät rista runorna efter Fastvi sin moder, Onäms dotter, hon dog i Ed. Gud hjälpe hennes ande". Inskriften på den västra sidan lyder: "Runorna lät Ragnvald rista. Han var i Grekland, han var krigarföljets hövding".
Parish (socken): Ed
Province (landskap): Uppland
Municipality (kommun): Upplands-Väsby
County (län): Stockholm
Photograph by: Carl Curman
Date: c. 1890
Format: Albumen print
Persistent URL: kmb.raa.se/cocoon/bild/show-image.html?id=16000300029427
st petri church, klippan,
architect sigurd lewerentz 1962-1966.
there is a small group of architects who are connected only by the fact that they were able to learn from gaudi. lewerentz is one.
his late churches refer especially to the crypt of the colònia güell church.
more words, yada, yada, yada.
eneborg's egnahem, workers' housing, helsingborg, skåne, sweden 1911-1918.
architect: sigurd lewerentz (1885-1975)
planning: torsten stubelius from 1907-1911, with sigurd lewerentz from 1911-1914.
the simplicity and humanity of lewerentz' workers' housing in helsingborg are its real qualities. the plain walls in local brick, generous gardens, the few but well-placed windows. it is also what would keep you from noticing the buildings in the first place; they are very nearly anonymous.
to the knowing eye, the blind facades of the single family houses, their free bond and the dark, clinker burnt helsingborg brick afford glimpses of lewerentz as we were later to know him, but this early project gives us something else; not a key work, perhaps, but key to a fuller understanding of its architect.
during the years of his german Bildungsreise, young lewerentz had worked for the romantic regionalist theodor fischer whose other disciples included hugo häring, bruno taut and - surprisingly perhaps - erich mendelsohn. fischer was a founding member of the german garden city movement, and lewerentz returned to sweden an expert in modern housing, pre-world war one, and a regionalist.
he designed workers' housing in wood further north, and planned an entire neighbourhood with painted, rendered facades in stockholm - röda bergen, you can go for a stroll on google maps and then tell me if you can think of a more livable urban neighbourhood. the houses are by sven wallander who clearly knew what he was doing.
now, there are reasons for following local customs when building low-cost housing that go beyond any theoretical position; most notably that it tends to be cheaper. yet the eneborg housing project demonstrates how lewerentz was every bit as serious about regionalism as he was about his later, and more famous, acontextual classicism.
Swedish commentators have noted how the eneborg buildings line up with what was happening in denmark at the time and that nearby copenhagen may have been an influence. it would make sense. skåne or scania, the southernmost province of sweden, was a part of denmark until the 17th century, and well into the second half of the 20th century skåne's architecture remained connected to its country of origin: these stark brick volumes may look Danish, but regional traditions never did respect the accidental nature of national borders.
the dark brick is not only regional, it is truly local with the clay pit found more or less around the corner. this is as close as you'll come to a house growing out of the ground. indeed, throughout his career, lewerentz was caught up in this question, whether a building grows out of its unique site and conditions through a painful process of discovery and uncertainty, or whether it simply lands there, the perfectly crafted and manipulated example of some known typology, defining the place anew.
his major projects fall almost too neatly into one category or the other; the late churches being the obvious example of the former, his classicist temples - too few of which were built - the latter.
a single work contains both: the great woodland cemetery in stockholm, a competition won in collaboration with erik gunnar asplund in 1915, began as a wagnerian vision of a nordic landscape of the dead in which burial took place right between the roots of tall, dark pines. the dark forest is very much there today, but the project changed considerably in development when lighter and more christian spaces, inspired by the paintings of caspar friedrich david, were added.
yes, you just know you are in scandinavia when the light touch is provided by caspar friedrich david.
significantly, when he came round to building his first chapel there, lewerentz had abandoned the romantic regionalism inherent in the original project and was becoming one of the leading proponents of nordic classicism. but the self-contradictory result of classical temples in a Germanic forest turned out only to highlight the qualities of the parts without detracting from the whole, and a 20th century classic was born.
I like to think it is all there in embryo in the eneborg workers' housing. the early drawings show graciously decorated buildings from a long lost europe before the great war. what lewerentz finally achieved belongs to the 20th century, modernist or not. more specifically, the houses belong to that narrow field where the simplicity of the vernacular and the austerity of classicism converge and overlap. it was a prescient move by lewerentz; architects of the region would spend the following fifty years investigating that very field - you have only to look at the buildings of kay fisker and klas anshelm, both personal friends of the master as it were.
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courtyard wing to södra storgatan 31, helsingborg, sweden 1915.
architects: sigurd lewerentz (1885-1975) and torsten stubelius (1883–1963).
talk about modest beginnings. this could give us an idea about the missing windows in the pålsjö forest pavilion, though.
lewerentz won the competition for the forest cemetery in stockholm with asplund the same year.
Robert Sigurd is the son of Wilfred Sigurd they are a noble family that lives nearby Albion. They have a small piece of land which is called Oxenfurt.
Oxenfurt is rich of small little farms, dense forests and small outposts, were their man keeps guard over the land.
Full story
summer restaurant in pålsjö forest, helsingborg, sweden 1914.
architects: sigurd lewerentz (1885-1975) and torsten stubelius (1883–1963).
lewerentz' sensitivity to the roof line of his buildings was exceptional.
(a stitch of three)
Architect: Sigurd Lewerentz (1885-1975),
Built in 1966
The Windows
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 when looking from the inside.
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