Studio: international art (86.1923)

MODERN SWEDISH ARCHITEC-
TURE. BY ERIK FANT. 0 a
{Translated from the Swedish hy W. Leaver.)

THE latter half of the nineteenth century
was characterised in Swedish architec-
ture, as in that of many other countries, by
a classical style of a cosmopolitan pattern.
The materials used were false ones,
imitating the genuine article, preferably
foreign. Towards the end of the century,
however, a strong reaction set in, which
took its expression in the demand for
honesty in the treatment of materials, most
frequently in conjunction with the use of
a diversity of foreign styles. On the passing
of the century, however, there is to be
traced an increasing interest in the value
of the national art of building as a factor
in the creation of style. The pioneer and
the dominating personality during this time
was the “ grand old man ” of Swedish

architecture, I, G. Clason (born 1856).
The elder of the “ modern ” architects
have grown up under his guidance as
Professor at the Technical College, the
younger ones having been educated by his
successor. Professor Erik Lallerstedt, also
one of the leaders during the breaking away
period. 00000

During the first decade of the twentieth
century there emerged from the earlier
more groping efforts a “ school ” strongly
coloured by nationalism, the works of
which are based on traditions of the middle
ages and the earlier Swedish renaissance,
favouring the use of brick as a material for
fapades. This architecture frequently has a
fantastic-picturesque character.Impressive-
ness is often given a secondary importance.
At the commencement of the second decade
there came to the front, side by side with
this, a more academic and classical trend,
partly based on Palladian prototypes, partly

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(i) LILJEVALCHS KONSTHALL, STOCK-
HOLM. ARCHITECT, CARL BERGSTEN