The architecture of the early 20th century relied heavily on the introduction of new materials which led to the existence of new styles that rejected the notion of social hierarchy and religious affiliation. During this period, the buildings created within the early phase of modernization became so diverse and eccentric yet it was due to this nature that allowed architects to apply all the scientific knowledge in creating functional structures rather than buildings based on the designer's viewpoint. What separates the style of the 20th century from its predecessors was their openness in terms of exploring new materials especially to create avant-garde structures or works that were truly modeled based on the scientific perspective with the least focus on the designs as a whole.
In this essay, the concept of modernism will be applied well as the proposals of good architecture written by Hitchcock and Johnson. Architecture is simply the discourse on how buildings should be made, whether these structures went according to plan and followed the prescribed designs fit for the period. The Stockholm Public Library (see fig. 1) made by the Swedish architect named Erick Gunnar Asplund was a classic example of a building that can be labeled as orthodox, in a way that the building does not conform to the proposals created by Hitchcock and Johnson but rather, the building mimics the new traditionalism by incorporating designs borrowed from other epoch and incorporated these designs into something revolutionary yet retains the classical elements. Beforehand, some brief information about the structure, the Stockholm Public Library was from 1918 up to the 1927 which makes it part of the existing trend called modernism, a style that would be later known as the transition from an oppressive architecture to a secular, modern, functional, and simplistic style that was based on the urbanization and the notion of utilitarianism wherein any part of the structure would have an opportunity to be used by the residents which is the main goal of all the builders of that time period. When the Modernist minimalism slammed Europe on the early 20th century, all the countries who came in direct contact with the outside world and these set-up were heavily influenced by the new philosophy of art and architecture that the new culture began to dissipate amongst other nations, later, other countries began adopting the political and art philosophy. When the Stockholm building was first opened to the public, it received mixed reviews from various critics and many of them considered the building as an example of new traditionalism. The premise of new traditionalist movement is to provide alternatives in terms of design such as elimination of the ornamentation and focused more on the aspect of making the structure’s design appreciated by anyone in a sense that no longer would the remaining majority would feel the presence of the caste divide that persisted in the earlier days before the introduction of the 20th century. (Museum of Modern Art, Erik Gunnar Asplund ). The idea of functionalism highly influenced the European arts and buildings that many of them conformed to the prescribed instructions prevalent on the period. For instance, according to Hitchcock and Johnson, with the advent of modernism, the architecture has been constantly changing and the styles which have longed for the people’s welfare that he might sacrifices to the one way of life. Volume in architecture pertains to the space consumed especially by the presence of lines due to the post and liter structure system. In this respect, in order for the architecture to be called as ‘modernist’ one must be able to discern that:
“The prime architectural symbol is no longer the dense brick but the open box.” (Hitchcock and Johnson 41). The open box referred by Hitchcock and Johnson and inside the structure, there were nothing but emptiness. The open box pertains to ten volume occupied the subject. By removing the remnants of the post-and –lintel structure made it possible to people not follow the flow of time. In the reality, the Stockholm Public Library was an example of the avant-garde architecture that combines the classical elements derived from the Greco-Roman architecture. Based on the layout of the building, it was a classic rotunda style complete with a dome enclosing the interiors of the building. Inside, minimal frameworks such as posts can be seen inside. Instead of using beams, the whole dome was supported by walls around the structure, covering the entire area from above. The spacious interiors was achieved due to the lack of heavy beams on the center which makes the building fall within the category of utilitarian in a sense that the empty space on the center can be utilized as the reading and reception area for the library since it was large enough to accommodate many people inside it. As Hitchcock and Johnson explained it, the architect can achieve the perception and the actual volume in architecture through the works. Since the volume encompasses something intangible, the volume meant that it was the emptiness located within the houses, an empty space that was meant to cater for visitors. Yet, the space can be manipulated; in their writings, the researchers note that this can only be attained if the designer will have to look beyond what was available. The building does not have the ribbed designs or the tall illusion of height; yet it managed to portray both aspects through the use of simple materials and the lack of ornamentation is what makes the structure truly a finest example of a modernist edifice.
The Stockholm Library was built as a response to the rising urbanization in Stockholm way back in the early 20th century. To cater the appetite of the reading public, the designers planned to have a library erected around the perimeter of the city. According to Constant, the Modernist period contributed to the increase of interests towards the horticulture and education. With the advent of modernism, the public education spurred to large numbers; hence, the library of Stockholm became a symbolic structure in the propagation of learning and dissipation of knowledge amongst the community.
“Asplund made his most significant contribution to the urban landscape. In 1920, when he was awarded the commission for the library building, Asplund was already involved in formulating a master plan for the area of Observatory Hill, which the city had designated as the site for its first public library.” (Constant 63).
Since then, the public library became a temple of knowledge throughout Stockholm. In creating the library, Asplund’s work was pragmatic; the space was highly utilized, the dome provided ample space for the bookshelves which were arranged around the interiors in a circular fashion to create the overwhelming ambience. Windows were scattered on the façade, giving way to the entry of the natural light to the facility. Most of the windows were designed in simple structure of wrought iron structures with rectangular frames sealed with clear glass panes. Meanwhile, the walls of the structure were smooth a trait that complies with Hitchcock and Johnson’s prescribed surface texture. The structure presents orderliness and wide space not only on the interior but also on the exterior. The façade of the building was constructed first using a cubical base, as seen on the lower portion. The base was the main structure that contains the rest of the windows as well as the entrance to the library itself. Atop it’s the cubical base, was the projection of the circular rotunda with its long and narrow glass paned windows serve as the only decoration to the otherwise plain structure of the building. When viewed from the outside, the building remains on the background, a simple edifice made of red brick and polished windows. The foreground contains a simple walkway of stairs leading towards the library entrance and connecting to the road is the structure that can be seen on the foreground that connects directly with the structure on the background. As exemplified by Hitchcock and Johnson, the previous structures from the past such as the Gothic cathedrals managed to portray the illusion of depth and height with their pointed towers and spires. However, in the case of Stockholm Public Library, the tall dome on top of the cubic base gives the illusion of height especially on the inside of the library. The challenge of Asplund’s career was planning the library as simple as possible. What makes this library unique of all the architectures in the world is the rightful combination of tastes such as architecture and landscape. According to Wrede, initially, the base for the layout of the Stockholm Library resembled the Capitoline hill when viewed from above due to the presence of the stairs/ramps on the grounds of the library creating a terrace like structure. (See fig. 2). Another amazing feat of Asplund’s genius was the fact that he had managed to create an artificial natural landscape for aesthetic purposes. Although the building remained tone down on its physical attributes, what makes it beautiful was the surrounding environment near it. When viewed from the side, the library projects a solitary edifice in the corner; meanwhile, a mini-lagoon was built in close proximity of the structure probably in order to let the students relax after a hard and grueling day of reviewing their lessons for exam.
“Thus through a complex series of devices, axes, vistas, reflections, inflections, contrasts of opposites, the elements of the site are brought together into a unified whole.” (Wrede 212).
The architect’s style successfully combines other elements of design from other cultures but the architecture he built was modern and pure; the lack of ornamentation symbolizes the modernism’s preference for purity in architecture rather than aesthetic designs such as those from the Romantic and the Baroque period. The simple post-and-lintel structure of the building covered by walls provides the building framework, making it sturdy and solid. Quantrill explains that the charm of Asplund’s lies on his chosen style which is the Classical Nordic architecture that remained homogenous and simple. Nordic Classicism emphasized more the “commanding authority” imposed by the simple building as the finest work based from the Classical epoch, without impurities of useless design but what it offered the people was functionality and freedom of working inside. (29).
As a conclusion, the Stockholm Public Library was an example of a Modernist building that rejected the notion of ornamentation and instead, focused on the importance of the functional materials in terms of comfort to the viewers’ eyes. The Puritan philosophy of the Nordic Classicism can be seen on its simple geometric based architecture of cube and cylinder shape. Meanwhile, to cope with the simple style, Asplund built his rendition of a modernist garden near the proximity of the library; a patch of greenery that enables students to relax after hard day’s work on assignments. In the interiors, the concept of making the bookshelves horizontally makes it possible for the people to view the immense spaciousness of the place along with the feeling of being overwhelmed. Hence, the phrase less is more aptly describes the Stockholm Public Library for it was the simplest library who’s only adoration on the outside were windows and the small plants growing nearby.
WORKS CITED
Architravel,. “Gunnar Asplund Stockholm Public Library.” 2016. Web. 24 Apr. 2016.
Constant, Caroline. The Modern Architectural Landscape. Print.
"Erik Gunnar Asplund. “Public Library, Stockholm, Sweden , Section. Unknown | Moma". The Museum of Modern Art. N.p., 2016. Web. 24 Apr. 2016.
Hitchcock, Henry-Russell and Philip Johnson. The International Style. New York: Norton, 1966. Print.
Nuk, Nuki. Stockholm Public Library - Erik Gunnar Asplund. 2016. Web. 24 Apr. 2016.
Quantrill, Malcolm. Finnish Architecture and the Modernist Tradition. London: E & FN Spon, 1995. Print.
Studio ST Architects,. Stockholm Public Library. 2015. Web. 24 Apr. 2016.
Wrede, Stuart. "Landscape and Architecture: The Work of Erik Gunnar Asplund". Perspecta 20 (1983): 195. Web.
