Doktorsavhandling--Teologiska fakulteten--Uppsala Universitet, 1998. / Bibliogr. p.347-372.

This diploma project aims to explore the importance of details and small gestures in architecture.  Whether its a technical detail, a choice of material or a lighting fixture, these seemingly small gestures all influence how we experience a room. It is my belief that these little details, can make a big difference to how we experience our everyday life and that they communicate care and thoughtfulness. What difference does a minor change in material, division of space or a door handle do to the experience of a room as a whole; which are those small gestures that show care and thoughtfulness?  The project has explored details and small gestures in three categories: Division of space, Materiality & Elements, partially though case studies of renowned buildings from architects such as Alvar Aalto, Josef Frank and Sigurd Lewerentz, as well as though the proposal of a redesign of the courthouse of Katrineholm, into a Municipal Archive. The redesign tested small gestures in relationship the room as a whole, to each other and to its surroundings.  “We should work for simple, good, undecorated things, but things which are in harmony with the human being and organically suited to the little man in the street” - Alvar Aalto / Detta examensarbete ämnar utforska vikten av detaljer och små gester inom arkitekturen. Oavsett om det handlar om en teknisk detalj, ett val av material eller en lampa, har de små gesterna inom arkitekturen inflytande på hur vi upplever rum. Det är min övertygelse att de små detaljerna gör en stor skillnad på hur vi upplever vår vardag och att de uttrycker en omtanke för vår omgivning. Vilka detaljer gör mest skillnad för upplevelsen av ett rum och vilka är då dessa små gester som uttycker omtanke och värdighet? Projektet har undersökt detaljer i tre kategorier: Division of space, Materiality och Elements (Rumsindelning, Materialitet & Objekt), dels genom studier av kända byggnader från arkitekterna Alvar Aalto, Josef Frank och sigurd Lewerentz, och dels genom att rita ett förslag på en ombyggnad av Tingshuset i Katrineholm till kommunarkiv. Ombyggnaden har testat olika små gester, som till exempel bord, stenläggningar och dörrhandtag, deras förhållande till varandra och byggnaden som helhet.  “We should work for simple, good, undecorated things, but things which are in harmony with the human being and organically suited to the little man in the street” - Alvar Aalto

De traditionella begravningsplatserna kräver stora ytor. Urbanisering och befolkningsökning gör att detta utrymme inte längre finns att tillgå i tätbebyggda områden. Detta projekt tar sin utgångspunkt i denna problematik och de konsekvenser den fått för de begravningspraktiker som är etablerade i vårat samhälle. Projektets avsikt är att pröva en långsiktig lösning i form av en alternativ begravningspraktik med stadens förutsättningar som utgångspunkt. Detta innebär att jag föreslår ett nytt gravskick, en ny ritual samt visar hur dessa kan gestaltas.  Projektarbetet inleddes med skrivandet av en uppsats där jag undersökte begravningsritualen och den plats där den utövas. Jag utvecklade en modell för att beskriva kopplingen mellan ritualens handlingar och platsens betingelser. Modellen tog sin utgångspunkt i antropologen Arnold van Genneps teorier om begravningsritualer. Modellen användes för att analysera Sigurd Lewerentz förslag till ett kombinerat krematorium och begravningsplats i Helsingborg. Därefter tog en designprocess vid som innebar att jag formgav ett arkitektoniskt lösningsförslag. Under denna process använde jag den modell som utvecklades i uppsatsen som ett redskap för att pröva och motivera mina val.  Resultatet av projektet kan beskrivas som ett förslag på en modifierad minneslund placerad i centrala Stockholm. Av intresse för fortsatt undersökning är dels de problemområden jag identifierat i mötet mellan begravningsplatsen och den urbana kontexten, dels den metod jag använt för att omsätta den teoretiska modellen till fysisk gestaltning. / Traditional cemeteries requires large areas. Urbanization and increased population means that this space is no longer available in urban contexts. This project has its starting point in the aforementioned problem and the consequences it has had for existing burial customs.  The purpose of the project is to examine a long-term solution in the form of an alternative burial practice based on the conditions of the contemporary city. This means that I propose a new burial custom, a new ritual and show how these might staged architectonically.  The project began with the writing of an essay in which I examined the relationship between the burial ritual and its associated space. In order to do this, I developed a model which describes the connection between the ritual act and spatial circumstances. This model is based on the anthropologist Arnold van Genneps theories concerning rituals of passage. It was used to analyze Sigurd Lewerentz proposal for a combined crematorium and cemetery in Helsingborg. I then used the conclusions drawn from the analysis as the basis for a design process which resulted in the architectonic solution proposal. The model was a central tool for verifying and motivating my choices during the design processes.  The result can be described as a modified memorial park placed in central Stockholm. Of interest for further investigation is the problem areas which I have identified in the meeting between the cemetery and the urban context as well as the method I used to translate the theoretical model to physical form.

Sigurd Lewerentz (1885-1975). Una transición nórdica a la Arquitectura Moderna: Desplazamiento gradual hacia el dominio de lo táctil.La investigación propuesta consiste en documentar la transición que el arquitecto sueco Sigurd Lewerentz (1885-1975) realizó desde el Clasicismo Nórdico a la Arquitectura Moderna, aportando material de análisis para esclarecer su modo de pensar la arquitectura. En ningún caso se trata de reconstruir la estructura de un periodo histórico. Para ello, se han ido desvelando los criterios, las legalidades sobre las cuales se fundamentan las concepciones de cuatro obras ejemplares de Lewerentz.¿Cómo se explica la trayectoria de arquitectos como Asplund, Lewerentz o Aalto, que habiendo cultivado un cierto clasicismo en sus inicios llegaron luego con la claridad de los conversos a desarrollar una obra de arquitectura moderna? Este proceso, dado que no ocurrió de una sola vez, ni con la radicalidad que caracterizó a algunas arquitecturas centroeuropeas de vanguardia, ha sido entendido en este trabajo como una transición.Los arquitectos nórdicos asumieron desde el ejercicio de la profesión unos principios que no les eran propios. Desde su condición periférica tenían perfecta conciencia de lo que estaba en juego: no se trataba de imitar un modo de hacer arquitectura, sino de volver a planteársela desde las condiciones y posibilidades que tenían a mano. Consistía entonces en un esfuerzo de originalidad. La Arquitectura Moderna, liberando las formas, ofrecía la posibilidad de volver a mirar. No más sujeción al canon.Por tanto, el camino hacia la definición de la Arquitectura Moderna en los nórdicos es más bien experimental antes que rupturista, donde se aprecia una tranquila observación del fenómeno de las vanguardias y una particular decantación formal determinada por el paisaje y las técnicas tradicionales.Siendo el cambio de sensibilidad con respecto a la forma lo que inaugura la Arquitectura Moderna, el estudio está dirigido a desvelar este cambio en el momento de concebir y desarrollar las obras.Si por forma entendemos aquella estructura inmanente que soporta su propio contenido, entonces el objetivo de este trabajo consiste en declarar la percepción constructiva en la obra de este arquitecto y poner de manifiesto los perfiles de un cierto discurso teórico, llegando a declarar la idea de orden que subyace en cada proyecto. Aspectos a veces dispersos como la función, el material o la técnica se han tratado articuladamente en el análisis de los casos.Esta investigación pasa inevitablemente por el terreno del proyecto. Entendiendo proyecto como teoría general de la forma, se ha realizado una revisión y lectura activa de los elementos y procedimientos de composición con que ésta se construye. La forma es por tanto, el lugar donde verificar esta transición. / Sigurd Lewerentz (1885-1975). A northern transition to Modern Architecture: Gradual movement to tactil domain.The proposed investigation consist of a documentation of the transition that the swedish architect Sigurd Lewerentz (1885-1975) had made from northern classicism to the modern architecture, thus providing an analytical material in order to elucidate his way of thinking about an architecture work. But it doesn't try to reconstruct the structure of a historical period. That is why , the criterium and legalities on which are based the conceptions of four Lewerentz's exemplary works have been revealed.How could be explained the evolution of architects such as Asplund, Lewerentz or Aalto, whom at the beginning of their carreer had cultivate some classicism and after had reached with such convert's clarity to develop a modern architecture work?Since this process didn't occur suddenly, neither with radicality that characterized few avant-guard central european architectures, it has been understood in this present work as a transition.From their professional practice these northern architects achieved the assumption of principles that were not to their own. From their periferical condition they had a perfect conscience about what was at stake: it was not about imitate a way of making architecture, but to consider it again from the conditions and possibilities they had at hand. Then it consisted of an effort of originality. The Modern Architecture, "releasing the forms", proposed the possibility to see again (Kant). No more subjection to a rule.Therefore, the way to the definition of Modern Architecture for northern represents rather an experimental than a broken one , where a quiet observation of the phenomenon of vanguards and a particular decanting of form determined by the landscape and the traditional constructive methods, is appreciated.Being the change of the sensitivity regarding the form the fact that inaugurates Modern Architecture, the study is addressed to reveal this change when the works are conceived and developed.If, by form we understand an immanent structure that supports its own content, then the object of this study consist of a declaration of the constructive perception on this architect's work and make clear the profiles of a certain theorical speech (presentation) reaching to state the idea of order that underlies in each project. Aspects that sometimes are dispersal as the function, the material or the method have been broadly processed on the analysis of the cases.The present investigation pass unavoidably through the field of the project.Understanding a project as a general theory of the form, a revision and an active reading of the elements and procedures of composition by which it is constructed has been carried out.The form is therefore, the place where this transition could be verified.

This thesis is an investigation of St. Petri Church via relevant drawings and photographs by Sigurd Lewerentz. It explores his design through the Lutheran liturgy and theology revealing possibilities of an architecture based on spiritual harmony and bodily experience. It is an attempt to view Lewerentz's architecture outside limitations of style---demonstrating his spiritual belief in a harmony between both visible and invisible elements of architecture, as well as the act of making architecture through the relationship between drawing and building. Seen in such a context Lewerentz's work at St. Petri points to valuable strategies for the practice of architecture today.

No description available.

A need for new churches arose in Sweden during the 1950’s when modern suburbs for the growing urban population were developed around the Swedish cities. Four architects, Peter Celsing, Sigurd Lewerentz, Hans Borgström and Bengt Lindroos, who were known for their profane modernist architecture, were commissioned to design three churches in Stockholm's new districts: S:t Tomas kyrka in Vällingby, St. Markuskyrkan in Björkhagen and Söderledskyrkan in Farsta and all were inaugurated in 1960.  The purpose of the essay is to investigate how the sacral textiles of the three modernist churches look like in the year of inauguration and how they related to their respective contexts in the form of the modernist church rooms 1960. The investigation is done with the help of the questions: How do the sacral textiles look like in the modernist neighborhood church? Why do they look the way they do? What has influenced their appearance and design? The questions are answered with the support of the theories Material Culture and the performativity theory, and the investigation is carried out using Material Culture as a method and the textile science documentation method. In order to be able to determine what modernity was in the contemporaneity of the sacral textiles, whimsical terms have been operationalized, which are taken from the contemporary literature that speaks about what the modern can be or not be. This is a theoretical starting point from which the investigation into modernity starts.  The result of the investigation shows that the sacral textiles in their newly manufactured parts was influenced by the modernist church context. It appears in the essay that the influencing factors were several and they appeared in the context of the church ́s liturgy, the architect ́s visions and the designers’ artistic signature in expression. These gave effect in different ways to the appearance and design of the sacred textiles.

I mitt examensarbete, utfört på programmet Inredningsarkitektur och möbeldesign/Konst­ fack, vårterminen 2024, utvecklar och formges ett designförslag, en omprogrammering av en lanthandel i Vitaby på Österlen. Det som en gång var en lanthandel föreslås bli en samlingslokal, för främst bröllop, men också för kulturevene­mang, som konserter. I byggnaden, som är byggd år 1902 ska besökaren få en känsla av hög­tidlighet och romantik som ska associera till såväl husets som valda delar av bygdens kultur och naturuttryck. Ambitionen med inredningen är att den åter­ spegla ”bilder” och föreställningar av Öster­len, många tänke nog på Österlen som idyl­ liskt och vackert, med kombinationen av natur och kultur. Vitaby, vars historia kretsar runt äppelproduktion och järnvägen, ska också ingå som komponent i den rumsliga gestaltningen. I projektet utvecklas ett estetiskt uttryck som kopplas till flera av de konstnärer som avbildade Österlen under 1900­talets början. Såväl orsak som motiv till detta förslag kom­ mer ur att bröllop vanligen utgår från konser­vativa traditioner. Eftersom majoriteten av alla lantliga bröllop är antingen bröllop i lant­liga ekonomibyggnader (loge) eller ett stall. Andra bröllop kan arrangeras mer flärdfullt i en herrgård, ytterligare andra kan hållas på Österlens sandstränder. Mitt designförslag väver samman såväl de romantiska och önskade bilderna av Österlens natur och Vitaby Lanthandels byggnadshistoria som uttryck och motiv i flera konstnärskap från 1900­ talets början.