Erick Asplund was born in Stockholm in 1885. Generally considered Sweden's leading architect, Asplund began his career as a painter before he studied architecture at the Royal Institute of Technology, Stockholm. After completing his studies, Asplund worked for the architects Tengrom, Westman and Ostberg. He rounded out his architectural education with extensive travels through Sweden and other parts of Europe.
Asplund worked alone and obtained a large amount of his work through competitions. Aside from office practice, Asplund taught at the Royal Institute of Technology and edited a Swedish architectural magazine.
By the end of the 1920's, Asplund had become a committed Modernist. In his architecture, he sought to point the way "to a new architecture and a new life". Keeping with this ideal, he became a signatory to the Acceptera manifesto of 1931. His layout for the Stockholm Exhibition in 1930 clearly indicates his modernist ideals.
During the period from 1931 until his death, Asplund moved away from Modernism and began showing a sympathy towards a stripped Nordic classicism. Asplund continued to design until his death in Stockholm in 1940.
Algumas obras
Stockholm Public Library, 1920-28
Woodland Mortuary Chapel, 1920
The Creator's Words (about the Chapel)
"It is subordinate already—to the woods. The situation did not permit a building volume large enough to stand out monumnetally against the natural setting. And so—for the avoidance of half-measures—the building was compressed until it modestly subordinated itself, insinuated itself into the woods, surrounded by spruce and pine trees towering to double its own height."
"It is subordinate already—to the woods. The situation did not permit a building volume large enough to stand out monumnetally against the natural setting. And so—for the avoidance of half-measures—the building was compressed until it modestly subordinated itself, insinuated itself into the woods, surrounded by spruce and pine trees towering to double its own height."
"Outside, in between the tree trunks, one sees only the greyish white of the walls and contrasting with the black shingling of the roof, Carl Milles' beautiful wrought-copper, gold-glittering Angel of Death.
The woodland approach leads straight up to the ante-room, supported by 12 columns, where the mourners gather and wait. The iron-bound doors open and, beyond the iron lattice gate inside one discerns the bright space of the chapel."
The woodland approach leads straight up to the ante-room, supported by 12 columns, where the mourners gather and wait. The iron-bound doors open and, beyond the iron lattice gate inside one discerns the bright space of the chapel."
— Gunnar Asplund from Claes Caldenby and Olof Hultin. Asplund. p66.
Woodland Cemetery
Asplund's early idea sketches
Design ideas were interwoven with the planning for the Quarter around the Observatory Hill. Asplund tested different ways of combining a circular space with the rest of the building. There were also designs without the circular space or only semi-circular. Copies redrawn by the author.
Bibliografia:
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