Nordic Classicism was astyle of architecture that briefly blossomed in theNordic countries (Sweden,Denmark,Norway andFinland) between 1910 and 1930. The style was also known asSwedish Grace architecture in Sweden.[1]
Until a resurgence of interest for the period during the 1980s (marked by several scholarly studies and public exhibitions), Nordic Classicism was regarded as a mere interlude between two much better-known architectural movements,National Romanticism, orJugendstil (often seen as equivalent or parallel toArt Nouveau), andFunctionalism (akaModernism).
The development of Nordic Classicism was no isolated phenomenon, but took off fromclassical traditions already existing in the Nordic countries, and from new ideas being pursued in German-speaking cultures. Nordic Classicism can thus be characterised as a combination of direct and indirect influences fromvernacular architecture (Nordic, Italian and German) andNeoclassicism, but also the early stirrings of Modernism from theDeutscher Werkbund – especially their exhibition of 1914 – and by the mid-1920s theEsprit Nouveau emerging from the theories ofLe Corbusier.
The modernist influence went beyond mere aesthetics:urbanisation tied to modern building techniques and the introduction of regulations both in building andtown planning, and moreover, to the rise of social forces that resulted in a change in political ideology toward the Left, resulting in theNordic welfare state, and new programmes for public buildings such as hospitals (e.g. theBeckomberga Hospital in westernStockholm (1927–1935) byCarl Westman) and schools (e.g. the Fridhemsplan school, Stockholm, (1925–27) by Georg A. Nilsson). But while Nordic Classicism was employed for a number of important public buildings, it was also applied as a model for low-cost housing (e.g. thePuu-Käpylä Garden Town, Helsinki (1920–25) by Martti Välikangas) and domestic architecture in general (e.g. an affordable sense of style for thenouveau riche).
The year 1930 is usually considered the end point of Nordic Classicism because that was the year of theStockholm Exhibition, designed mostly byGunnar Asplund andSigurd Lewerentz, when a more purist Modernism was unveiled as a model for a modern society. However, key buildings continued to be built in the classical style after that, notably Östberg's Maritime Museum in Stockholm (1931–34).
Certain architects had reached the culmination of their careers already when theNational Romantic style came, but their latter works were in the Nordic Classicism style (e.g.Carl Westman), the career of others culminated with Nordic Classicism (e.g.Ivar Tengbom andRagnar Östberg), while others later went on to achieve far greater significance as Modernist architects (e.g.Arne Jacobsen,Alvar Aalto, andSven Markelius). The two figures who achieved greatest significance in both periods, however, were Swedish architectsGunnar Asplund andSigurd Lewerentz.
Denmark:Kay Fisker,Hack Kampmann,Kaj Gottlob,Ivar Bentsen,Povl Baumann,Poul Holsøe,Edvard Thomsen,Thomas Havning,Holger Jacobsen,Kaare Klint,Arne Jacobsen,Carl Petersen,Aage Rafn,Steen Eiler Rasmussen,Sven Risom, andFrits Schlegel.
Finland:Gunnar Taucher,Uno Ullberg,Martti Välikangas,J.S. Sirén,Alvar Aalto,Pauli E. Blomstedt,Elsi Borg,Erik Bryggman,Hilding Ekelund,Heikki Siikonen, andOiva Kallio.
Norway:Lars Backer,Lorentz Ree,Sverre Pedersen,Nicolai Beer,Finn Berner,Harald Hals,Herman Munthe-Kaas,Gudolf Blakstad,Finn Bryn,Jens Dunker andJohan Ellefsen.
Sweden:Ragnar Östberg,Gunnar Asplund,Carl Westman,Sigurd Lewerentz,Carl Bergsten,Sigfrid Ericson,Torben Grut,Ragnar Hjorth,Cyrillus Johansson,Erik Lallerstedt,Gunnar Leche,Sven Markelius,Gunnar Morssing,George Nilsson,Ture Ryberg,Albin Stark,Eskil Sundahl,Lars Israel Wahlman,Sven Wallander,Hakon Ahlberg andIvar Tengbom.
Though these architects are listed by country, during this period there was an intense cultural exchange among the Nordic countries (many architects worked in more than one), but also considerable development in the architect's sphere of activity, from consultant to the bourgeoisie to town planner concerned with infrastructure, dwelling and public services. As Swedish historian Henrik O. Anderson has put it, this was an architecture of democracy, not radicalavant-gardism. Furthermore, with the exception of Finland, the other Nordic countries had avoided getting involved in theFirst World War, allowing for continued cultural development.
Interest in Nordic Classicism, especially in its most classical form, arose in the late 1970s and early 1980s at the height ofpostmodernism when critics, historians and architecture teachers were looking for historical precedents for the architecture of such architects asMichael Graves,Leon Krier andRobert Stern. Nordic classicism provided that precedent, especially with such seminal buildings as Gunnar Asplund's Scandia Cinema in Stockholm (1924), Listers District Courthouse (1917–21), Villa Snellman inDjursholm (1917–18) andStockholm Public Library (1920–28), as well as the landscape and buildings of theSkogskyrkogården Cemetery, Stockholm (1917–1940) by both Asplund and Sigurd Lewerentz.
In regards toarchitectural style, there were several precedents or reasons which account for the rise of Nordic Classicism. First was the existing classical tradition, borne from the architecture ofAbsolutism – that is, the classical architectural symbols of power of the Swedish and Danish monarchies – down to the vernacular, for instance in terms of considerations for symmetry, detailing and proportion.
Throughout the 19th century there were a number of factors contributing to a more simplified classicism. The teachings ofJ.N.L. Durand at theÉcole Polytechnique of Paris at the beginning of the 19th century had attempted to rationalise the language and building techniques of classicism, while allowing for simple additive compositions. Durand's teachings spread, entering German culture in the form of Romantic Classicism with the work ofFriedrich Gilly andKarl Friedrich Schinkel. Scholars were at the time uncovering the remnants ofPompeii, and discovering the use of bright colour in Roman architecture – an aspect that had more or less been forgotten in theRenaissance, but also rediscovering Greece and Egypt. These aspects were incorporated into Neoclassicism and continued into Nordic Classicism (e.g. TheThorvaldsen Museum,Copenhagen, 1839–48, by M.G. Bindesbøll, incorporates Egyptian motifs as does Asplund's Stockholm Public Library).
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There are also 'circles of reaction' to consider.Art Nouveau and National Romanticism had little impact in Denmark, while in Sweden, Norway and Finland there were also strong National Romantic reactions. Neoclassicism had arrived in Finland viaSaint Petersburg as a universal language but by the end of the 19th century came to represent an alien presence – that ofRussia. Also in Saint Petersburg a style originated which was later calledStripped Classicism. Thus, when stirrings of political independence appeared in Finland and Norway, a rugged, national romantic architecture – a local variation of Art Nouveau – playing on the nationalistic myths, took hold. Nordic classicism was thus a counter-reaction to that style and eclecticism in general; a movement towarduniversalism, internationalism and simplification.
Many of the architects who practiced in the Nordic Classical style made pilgrimages to northernItaly to study Italian vernacular architecture. With close cultural links at that time between the Nordic countries and Germany, another important source came from German critics of Art Nouveau, in particularHermann Muthesius – who had been a promoter of the EnglishArts and Crafts movement and founded theDeutscher Werkbund in 1907 – and Paul Schultze-Naumburg, as well as the latter's studentHeinrich Tessenow, andPeter Behrens.
In turn, the thinking in Nordic Classicism became one of the basis for the development of Modernism in the Nordic Countries. The idea that there would have been a continuity between vernacular and modernism has been seen as counter to received historical opinion about the rise of Modernism, beginning withLe Corbusier and his5 Points for Architecture, which are seen as overturning 5 basic principles of Classicism. A demonstration in real time of the move from Nordic Classicism to a pure Functionalism is offered by Alvar Aalto's design for theViipuri Library (1927–35), which went through a profound transformation from the original architectural competition proposal in 1927 (owing much to Gunnar Asplund) to the severely functionalist building, completed eight years later in a purist modernist style, influenced by Le Corbusier.
