Architecture in Wood

Scandinavian Studies, Fall, 1995 by William C. Miller

Swedish contributions to the history of Nordic wooden architecture are provided by a series of short background essays covering Sweden's earliest wooden buildings, traditional wood building techniques and the development of timber technology, vernacular housing types and the larger residences of landowners, the development of national romanticism, and the impact of twentieth-century modernism. While providing a broad general overview, this series of essays is quite cursory and lacks detailed discussion; a bit disappointing for the knowledgeable individual. This is in keeping though, with the graphic and photographic emphasis of the book.

The mid-section of the book, "10X", examines ten recent buildings by Sweden's more well known architects exemplifying excellence in timber construction design. The ten include: Jan Gezelius's enticing Fisherman's house of 1973; Klaus Anshelm's tradition-inspired Oljelund house of 1972; Axel Kandell's courtyard formed Bark house of 1972; Arne Carlheim-Gyllenskold's vernacularly based Levander house of 1973; Erik Asmussen's organically expressive Robygge complex of 1977; Carl Nyren's own 1977 compact, stuga-inspired house in the fells; Per Friberg's provocative Dalby Estate of 1978; Gunnar Mattsson's national romantic inspired St. Peter's Parish building addition of 1989; Krister Bjurstrom's eclectic Sjokullen house of 1990; and the glass and wood pavilion-like Svanborg house by Gert Wingardh in 1992. Though diverse in execution and concept, theses building exemplify expressively contemporary interpretations of Sweden's rich wooden architectural heritage.

The building nominated for the 1992 Timber Prize are exceptional in both form and expression. The collection of drawings and photographs explaining each work presents the design in a comprehensive and understandable way. Goran Mansson and Marianne Dahlback's museum building housing the ship Vasa is a complex, expressive work capturing the dynamics of both its site and its important cultural artifact. Per Persson's information center for the stone-age village of Vuollerim is an eloquently simple yet expressive modern work. The Gustafson residence by Anders Wilhelmson is a glass, temple-like structure externally, which reveals a rich and complex interior. The serpentine, organically expressive Law Students' Building by Ralph Erskine, continues that designer's inquiry into non-orthogonal modes of order, form, and expression. Three houses combine the elegance of 1920s Nordic classicism with traditional wooden architecture in extremely sophisticated ways: Anders Landstrom's Eke residence, Nisse Muller's Norrhamn house, and Thorsten Askergren's Holmgren house. Each of these works exhibits and synthesizes influences from Ragnar Ostberg and Gunnar Asplund as well as from vernacular works. The construction and craftsmanship is exceedingly well done in these works too. Sven Olov Nyberg's village of Habo Tibble Kyrkby draws heavily from suburban complexes of the 1920s found throughout Scandinavia. The complex is orderly, yet full of unique and excitingly different structures; providing a richness and variety often not seen in contemporary housing complexes.

In the latter two sections of the book, we see that building in wood in Sweden today continues that ancient art which combines forested landscape sites with responsiveness to climate, and people's everyday needs with humane and experiential expression, to provide a rich tapestry of space, form, and surface. The connections between today and yesterday are never far apart, for the buildings presented in this volume continue a tradition of thought and making that is still a hallmark of Swedish - and Scandinavian - architecture and design today.

William C. Miller University of Utah