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From Silas Tonttukylä.

 

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Architect: Sigurd Lewerentz (1885-1975),
Built in 1966

The Belfry
The belfry has four bells, which is unusual in a Swedish provincial church.Each bell bears the name of an apostle (Petrus, Paulus, Andreas and Tomas) and has bell-verses written by the poet Bo Setterlind. The bells are moulded by Ohlsson’s bells-foundry in Ystad.

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

More pictures of Sigurd Lewerentz’ work

Images of other architects’ works

 

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Christmas eve dinner at my parents’.

 

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At my parents’.

 

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Architect: Hans Asplund
Built in: 1957
Client:

Sweden´s newest historical building is the Eslöv Civic Hall (Medborgarhuset), which achieved this status in 2001. In architectural circles the Civic Hall in Eslöv is known as the most ambitious building in Sweden in the post-war period. The Eslöv Civic Hall is one of the most remarkable Modernist buildings in Scandinavia. It was 1947 when the young, newly-qualified architect Hans Asplund´s proposal won the competition to design Eslöv´s Civic Hall, which was built and completed in 1957. The basic idea and the detailing bear the imprint of contemporary international trends and of inspiration from the work of his father, Eric Gunnar Asplund. The Civic Hall is now a meeting place for a wide range of both business and cultural activities. It has been comprehensively restored and its meticulous workmanship, treatment of materials and original color scheme reinstated.

 

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Interior of Oslo Opera House

The roof of the building angles to ground level creating a large plaza inviting pedestrians to walk up and enjoy the panoramic views of Oslo. The angles and paving materials are also skateboard-friendly allowing skateboarders to use some areas. Skateboarders are discouraged from areas closer to performance spaces by the use of steps and paving not conducive to skateboarding. While much of the building is covered in white granite and La Facciata, a white Italian marble, the stage tower is clad in white aluminum in a design by Løvaas & Wagle evoking old weaving patterns.

The lobby is surrounded by 15 m (49 ft) tall windows with minimal framing and special glass that allows maximum views of the water. The roof is supported by thin angled columns also designed not to interfere with views.

Interior surfaces are covered in oak to bring warmth to spaces in contrast to the coolness of the white exterior. The main auditorium is a horseshoe shape and illuminated by an oval chandelier containing 5,800 handmade crystals. Seats include monitors for the electronic libretto system, allowing audiences to follow opera libretti in Norwegian and English in addition to the original language.

 

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