Experimenting with prototypes: architectural research in Sweden after Le Corbusier’s projects

• Ingrid Campo-Ruiz ^[1]
  1. [1] Universidad Politécnica de Madrid

     Universidad Politécnica de Madrid

     Madrid, España

     
• Localización: Le Corbusier: 50 años después / Jorge Torres Cueco (aut.), 2016, ISBN 978-84-9048-373-2, págs. 272-284
• Idioma: español
• Enlaces
  • Texto completo
• Resumen

  • Le Corbusier’s architectural production throughout the twentieth century served as a reference for subsequentdevelopments in architecture and urban planning in Sweden. Some of the buildings and urban plans subsequently developedin Sweden and influenced by Le Corbusier’s ideas and projects also impacted on the international architectural scene. Thisresearch analyses how the study of Le Corbusier’s works affected projects in Sweden from the 1920s to the 1970s and howthey also became an international standard. Le Corbusier’s works provided a kind of prototype, with which Swedisharchitects experimented in alternative ways. During the 1920s, Le Corbusier’s Pavilion de l’Esprit Nouveau and the StuttgartWeissenhofsiedlung impressed influential Swedish architect, including Uno Åhrén, Gunnar Asplund and Sven Markelius, wholater became proponents of modernism in Sweden. The 1930 Stockholm Exhibition marked a breakthrough for functionalismin Sweden. After 1930, urban plans for Stockholm and its suburbs reflected some of Le Corbusier’s ideas, such as the urbanplan by Sven Markelius, and Vällingby’s town centre by Leif Reinius and Sven Backström. After 1950, Léonie Geisendorf ,Ralph Erskine, Sigurd Lewerentz and Peter Celsing placed considerable emphasis on rough texture in poured concrete.Lewerentz, who admired the works of Le Corbusier, designed the churches of Markuskyrkan in 1956 and St Peter’s in Klippanin 1966, with a wider international impact. Reyner Banham included several works by Le Corbusier and also MarkuskyrkanChurch by Lewerentz in his book The New Brutalism: Ethic or Aesthetic? in 1966.