The absolute monarchy was abolished almost As a professor at the Academy of Fine Arts, Postscript: a glimpse to nordic by the king himself in 1849, and 1901’s change from 1915 he gave well-attended lectures in traditions in political systems was equally peaceful. In the history of art and architecture. Witnesses all areas there is a belief in evolution. People explain that it provided them with a holistic should accept the new. That was in the spirit vision. His book: The Aesthetic Perception of of Grundtvig. There was no tabula rasa in Dan- Art (1906) was read by everyone. Wanscher Antonio Millán-Gómez ish architecture, but on the contrary a will to especially accentuated Italian baroque, and his innovate, which resembles several European infl uence can be sensed already in Faaborg Few things are so scarce in Architecture as models such as C.F.A. Voysey’s speech on Museum, but also in Fisker’s Hornbækhus proper acts, coherent with the essence of styles at “the Design Club” in 1911, Le Cor- (Hornbæk House) 1922, in the inner yards of things. And few as needed as the enthused busier’s writings, and the Design-development Politigården (The Police Headquarters) 1924, glance to their authentic contexts, which in and social commitment of the Bauhaus School. in relation to which Aage Rafn play a crucial Nordic Architecture are dialogues, inseparable Everything was to be digested and in the part, and in the ny Scene (new Stage) at The from a way of life caring for nature and an ele- words of Jensen-Klint: “…since the beauty of Royal Theatre 1929 by Holger Jacobsen gance based on lightness. In such exchanges all previous times is visible for us today, the (b.1876), who had also influenced one is moved from vernacular traditions to a architect must acquire it, so that it becomes Politigården. transposition of classical models, questioned his property, incorporated in him, and in his Ivar Bentsen’s experiments with rising and and reinvented over and over again, where education, making him not imitate the old, but falling number series in the Opera and Philhar- care with scale does not neglect the material resurrect it in giving himself” (1901). In 1915, monic project in 1917-18 was a further devel- qualities of daily experience. Sober, varied, Kay Fisker and Aage Rafn, who were still stu- opment of Jensen-Klint and Kaare’s theories. heterotopical Architecture, which was a dialo- dents, won the competition for Gudhjembanen The entire façade could be drawn into a net gue between authors, as well, opening in such (the Gudhjem line) stations in Bornholm. The of squares. There were no marked corners or process a frame for collective coexistence completed buildings were published in the monumental portals. The only decoration was and a method to establish the domain of our architecture journal Architekten in 1916. There a baroque banister, which crowned the building discipline. is a signifi cant difference between the project parts. This rational kilometre architecture was A debate such as this concerning us might and the fi nal result. to fi ll the entire country, divided by roads and have not gone beyond mere entelechy, but, The Art Noveau lines have disappeared, park areas, a democratic architecture, where once proposals were planned, the ensuing and the buildings are tighter and simpler. The there was no hierarchy, and personality wasn’t pragmatism went up to its fi nal construction: 115 smallest station, Christianshøj, built in wood expressed in the facades, but something city planning for welfare society, where a new and a tarred black, is classicism freed from you had yourself. Criticism was deadly: the landscape of Modernity was set up, whilst “style”, and the plant’s shape is eliminated in windows were “the blind eyes of blind men”, housing standards were improved. The refl ec- favour of a consideration of functions and the “the whole regiment stands at attention in the tions included in this monograph allow more surroundings. All blend in naturally with the socialist state”, was the verdict of Martin Ny- than one reading, letting us see that Nordic landscape. One could say that they did not al- rop. Wanscher was disappointed. He missed Architectures still maintain their actuality, and low for anything unnecessary. Fisker and Rafn the invigorating dynamism of the baroque. go on gaining added layers of meaning. And do however have Baillie Scott for “Houses The project had great impact, however, on they suggest some questions: why is it so? Let and Gardens” and the local building culture all the large yards that were built in the new us sketch some themes. of Bornholm to thank for their progress. The residential areas outside Copenhagen in the Firstly, craft and grace: craft which endows stations are without any kind of nostalgic ret- years to follow. works with propriety, in its material value and in rospection. When they fi nally had time to meet the contingency which projects them towards up with their friends in Copenhagen again, they a future. Lisbet Balslev Jörgensen expressed were still sitting around happy about an old it clearly by quoting Jensen Klint: “Let us study project with a hideous Doric column. Have we the object, the surface and the fabric according not come further! (letter in Fisker’s archives). It to their nature and the demands of the time, turned out to be diffi cult to abolish the styles; never engaging in the writing off of old styles, that is to say the superfl uous, this unneces- but practicing our personal style through a sary theatrical costume, which confused pure thorough education and acquisition of the aesthetics and the functionality. consistent taste and dignifi ed attitude to style When Adolf Loos gave his lecture Ornament of old times”. Grace that Morton Shand applied und Verbrechen in Copenhagen in 1916, they in 1930 (Swedish grace) to the Stockholm In- might well have thought he was right, but too Lisbet Baslev (1928-2002) Swedish writer ternational Exhibition, but which also concerns extreme. There had to be some degree of ac- and historian, was Ass. curator, Thordvaldsens the realizations of the previous decade: as centuation after all. Museum (1964-69). Ass. curator, Architectural Vilhelm Wanscher was an art historian with premonition in the making from Paris 1925 Drawings Collection at the Royal Academy of ambitions both as an artist and as an architect. International Exhibition, understandable today Fine Arts Copenhagen (1969-1996) with words written by I. Calvino. “Something which can be distinguished with three qualities: ture” (Colin St. John Wilson) the customary composer Sibelius family), with an ordering 1) it is utmost light; 2) it is in movement; 3) it is schemes are changed, owing to spatial that can be followed in the productions by E. an information vector”, something that “is as- operations in Architecture, since Centre-Eu- Bryggman and A. Aalto (Villa Waren, Mairea, sociated with precision and determination, not ropean and Nordic Organicism can be hardly Saynatsalo), these already with echoes from with vagueness and the abandon to chance” . understood with the already mentioned to neighbouring Sweden. Ten years later, the Summing up, a phenomenon updated with the South German Baroque, where more than to office buildings in Aleksanterinkatu (S. A. accuracy of new realizations. the articulate sequence of structural bays, we Lindqvist) or Helsinki Railway Station, with Besides, the act of building, rather than a are moved to perceive the fusion of space. open plans and a Jugendstil air, opened the rebellion against styles or previous forms was Paul Frankl showed these diffi culties in his path to master works that are showing strength revised in several works of Nordic Architecture. study of Vierzehnheiligen pilgrimage church: still today. And just a few years later, the Turku The realization of a work piece (ergon) was “…somewhere (it is impossible to say whe- friends (Bryggman, Ekelund, aalto) provided less relevant to Nordic people that the setting re) the space vaults suggest fuses with the solutions for social housing, institutional buil- of an effective activity (enérgeia). When this homogeneous part of the space below”…”A dings and a sense of economy in design, in openings to a new knowledge is experienced second diffi culty is thus added to that created which some lessons from Italy are adapted on site, they imply to whom is participating of by the complex total space, since the individual (Bryggman’s Resurrection Chapel is a space its effi cacy, and the intellect is facing intuitions forms themselves are only suggested to the of great solemnity…and simplicity), as well as which cannot be responded with a simple inquiring mind. The minds of more than ninety- some imported from Russian Constructivism argument. Irony, precision, patience… unveils nine per cent of the visitors to this pilgrimage (some scarcely published interiors from Aalto’s all that seemed hermetic. The method has church capitulate before such diffi culty, and Turun Sanomat deserve further attention), not been shown by J.M López-Peláez in Spain, this is precisely the object: to appeal not to disregarding typologies designed ex-novo with great generosity and wisdom; operating in the mind but to the imagination that surrenders (such as the Taidehalli by H. Ekelund). A another way is getting lost. Even something as itself to the ambiguous and uncontrollable”. blooming of excellent architects faced quite defi ned as Asplund’s Woodland Chapel (1919) Linking this analysis to the transparency and soon the tight co-existence of Architecture acquires another value when we place it next interpenetration suggested by Van Doesburg’s and nature. And, in this respect, Aulis Bloms- to Lewerentz and Stubelius’ Assembly Hall for counter-constructions is an obliged passage tedt not only faced such challenge, but also the Färe Glassworks (1914), and transforms to understand Juha Leyviska’s architecture, as showed his modernity solving in his Helsinki itself completely on site when we relate ritual is stated in one of the papers.