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Peter Celsing: 1920-1974

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Peter Celsing: 1920-1974 Peter Celsing: 1920-1974 Jan Henriksson In 1966, the same year in which Aldo Rossi pub­ L'any 1966 -el mateix en que Aldo Rossi publica lished L 'archittetura del/a citta in ltaly and Robert Ven­ L 'architettura del/a citta a Ital ia i que Robert Venturini ed ita turi's Complexity and Contradiction in Architecture ap­ Complexity and Contradiction in Architecture als Estats Units, peared in the United States, Peter Celsing began the re­ Peter Celsing comenc;:a la reconstrucció de la seva propia construction of his own house, Klockberga (ill. 1 ), in casa, Klockberga (i l. 1), situada a Drottningholm, als afores Drottningholm on the outskirts of Stockholm, one of the d' Estocolm, una de les primeres obres constru"ides a manera first works built as a revisionist manifesto. before its de manifest revisionista avanc;:at -i a"ill at , t enint en compte quent oeuvre. l'obra posterior de l'autor-. king one of his most central and paradoxical Amb una de les seves obres centrals - i m és works as my departure point, 1 want to look back paradoxals- com a punt de partida, el meu in time, to the years in which as a young archi­ propósit és mirar enrera, cap als anys en tect Celsing attempted to renew traditional que, essent un arquitecte jove, va intentar Swedish architecture through his projects for renovar !'arquitectura tradicional sueca amb severa! churches, such as those of Harlanda els seus proj ectes per a d iverses esg lésies, (1952-59), Vallingby (1953-59) and Almtuna com ara les de Harlanda (1952-59), (1954-58). However, 1 should also like to describe Vallingby (1953-59) i Almtuna ( 1954- 58). the period between 1966 and 1974, the year of his pre­ Pero voldria descriure també el període compres mature death, when as a by now fully established pro­ entre 1966 í 1974 (l'any de la seva m o rt prem atura), durant fessional he opened roads towards a new Swedish ar­ el qual, essent ja un arquitecte consolidat, va obrir el camí chitecture with his buildings for the Film lnstitute cap a una nova via arquitectónica a Suecia amb els seus (1967- 71). the Church of Nacksta (1969), or the com­ edifícis pera l'lnst itut Cinematografíe (1967- 71 ), l'església plex formed by the cultural centre (1965-76) and the de Nacksta (1969) o el conjunt format per la Casa de la Bank of Sweden ( 1965- 76) in Stockholm. Cultura (1965-76) í el Banc de Suecia (1965-76), a Peter Celsing was a pupil of Gunnar Asplund, al­ Estocolm. though his career evolved very much under the influence Deixeble de Gunnar Asplund, l'evolució de Pet er Celsing es also of architects such as Sven lvar Lind and Sigurd va ve ure ta mbé des de molt avíat influ"ida per arquitect es Lewerentz, both representatives of t he well- known com Sven lvar Lind i Sigurd Lewerentz, tots dos Swedish building tradition. representants de la coneguda tradició constructiva sueca. l. Celsing was to accept this tradition over a long period 1.- Peter Celsing assumiria aquesta tradició durant un ílarg (between 1952 and 1960); however. he strove always to període (entre els anys 1952 i 1960); no obstant aixó, equate the particular formal universe of his masters with procuraría fer compatible l'univers formal particular deis seus innovatory procedures and vocabularies. mestres amb procediments i vocabularis renovats. Evidence of chis dichotomy are his alternative projects in Una prava d'aquesta dicotomia són els projectes alternatius on which slightly vernacular forms, so much beloved by the les formes lleument vernaculars, tan apreciades per la tradició local tradition, were to be incorporated into results far local, es diluirien en resultats més implicats amb un more committed to a strict technical functionalism (let us funcionalisme tecnic estricte -recordeu, a aquest respecte, reca/1 in this context projects such as those for the station projectades com el de l'estació d'Angby (Estaco/m, 1948- in Angby (Stockholm, 1948-52. i/1. 2). in which the clear­ 1952}, on la nitidesa de les marquesines i deis espais cut canopies and interiors suffice to characterise the com­ interiors són suficients per caracteritzar el conjunt (il. 2)-. plex). No obstant aixó, és el tema de les esglésies, desenvolupat de 81 2 However, it is with his church projects, developed inanes­ manera especialment significativa durant aquest m ateix pecial/y significant way during this period, that Celsing període, el que permet a /'arquitecte situar en el seu punt managed to situate with accuracy the then incipient de­ exacte el debat entre tradició i expressivitat moderna, queja bate between tradition and modern expressiveness.ll l havia comem;:at aleshoresl11. The Church of Harland a in Gótteborg ( 1952- 59) L' esg lésia de Harlanda, a Gótteborg (1952- 59) During the 'fifties, Peter Celsing designed a series of Durant la decada deis 50, Peter Ce lsing dissenyaria, churches for different Swedish p rovinces. The f irst of efectiva ment, una serie d'esglésies a diverses províncies these, in Gótteborg, was the result of his w inning an ar­ sueques. La primera d'aquestes esglésies, a Gótteborg, va chitecture competition in 195 1, when the architect was ser el resultat d'un concurs d'arquitectura guanyat l'any o n ly thirty-one years old. Despite 195 1, quan l'arquitecte tenia 3 1 anys. his youth, however, Celsing intro­ M algrat la seva juventut, Celsing ja duced in this project new themes apunta en aquest projecte alguns hitherto unheard-of in Swedish ar­ temes nous fins aleshores insolits en chi tect ure. T he dramatisation o f !'arquitectura sueca. La dramatització both m ovement and composition, del moviment i la composició, la llum, the light, and the force and expres­ la for9a i l'expressió deis materials sion of the materials once again ac­ tornen a tenir un gran va lor, i es quired great value as direct, intuitive m anifesten coma valors intuHius, elements. di rectes. 3 For the Church of Harlanda (ill. 3) the architect used A l' església de Harlanda (il.3). l' arquitecte utilitza formes simple, sturdy cubic forms which he dressed in a suit of cúbiques senzilles i f ortes que revesteix en un embolcall de brown Swedish brick in which the mortar, the joins and maons suecs marrons, on l'argamassa, les unions i els the details constitute the architecture itself. The simple detalls constitueixen tota !'arq uitectura. El recinte interior, two-aisle interior, covered with the same bricks as those senzill i de dues naus, recobert t ambé amb els mateixos on the fas;ade , i s illuminated by the light entering maons de la fa9ana, s'il.lumina mitj an9ant finestrals through enormous windows. enormes. Els m aterials són homogenis, escassos i severs: Th e materials are few, homogenous and severe: maó, fusta i v idre, materials trad icionals que han estat brick, wood and glass; traditional materials treated. nev­ tractat s, no obstant aixo, d' una manera fortament ert heless, in a strongly expressive way. expressiva. The Church of Vallingby, Stockholm (1953-59) Església de Vallingby, a Estocolm (1953-59) The Church of Hiirlanda stands on a peaceful hill. The Si l'església de Harlanda se situa al damunt d'un placid t uró, 1. The tmes m ttaltcs are addltJDnal notes on che work of (11 Els fragmencs en cursiva corresponen a notes annexes sobre l'obra de Pecer Celsing mcluded co complemenc che or¡gmal cexc by Peter Cels1ng destmades a completar, de manera peral. lela. el text mtcml del P rofessar Henrtksson. professor Jan Henriksson. 82 church of Viillingby (ill. 4), on the l'església de Viillingby (il.4) es troba, other hand, is in a suburb on the en canvi, als afores d'Estocolm, en un o utskirts of Stockholm built during suburbi constru.lt durant la decada deis the 'fifties in the style of the English 50, seguint el model de les new towns new towns. Using the sa me materi­ angleses. Amb els mateixos materials als as !hose for Hiirlanda, and apply­ que els de l'església de Hiirlanda -i ing the same forceful criteria, Cels­ també ambla mateixa rotunditat- es ing here built a church- fortress, ele- va construir aquí una església­ sed on all sides and with ene single •.· •... , fortalesa, tancada per tots els costats entrance gate, reinforced by a silver amb una sola contraporta d'entrada 4 cross. The peace and quiet of the place is enhanced by refor9ada amb una creu de plata. the constan! murmur of water in the enormous granite La quietud del recinte queda amplificada mitjan9ant el baptismal font. degoteig constant de l'aigua de l'enorme pica baptismal de granit, sempre humida. The Ludvika Crematorium (1954-58) El crematori de Ludvika (1954-58) In 1953 Celsing won a limited L'any 1953, Celsing va guanyar un competition for the design of two concurs restringit per dissenyar dues new mortuary chapels to be built on capelles mortuories noves sobre un a slope overlooking Lake Vessman, pendent del llac Vessman, a la ciutat in the city of Ludvika. The architect de Ludvika. Peter Celsing va dissenya r designed a single body for both un sol cos per a totes d ues capelles chapels (ill. 5), once again using 5 (il.5). wood, glass and baked brick as his staple materials. També aquí els materials de l'acabat exterior són la fusta, el However. the openings and the niches are dramatised vidre i el maó cremat. even further in this project, since they are given varied, No obstant aixo, en aquest projecte es dramatitzen encara almost random, placing and depths.
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