Illuminating Nightlands An exploration of Nordic identity James Anderson | 05768619
Norberg-Schulz’ first chapter of Nightlands touches on extensive and far reaching subject matters in his attempt to encapsulate Nordic Identity. The major Nordic counties consist of Sweden, Finland, Norway, Iceland and Denmark. This makes for a broad spectrum to define so absolute, however their historical threads are interwoven as well as some common linguistic, cultural and political similarities. They are Nordic1 and therefore all of the North. In the minds eye the word Nordic can evoke an atmosphere of the elemental and natural, resonating with wild, dark and perhaps slightly unsettling undertones. However when considering the built form, it does not seek to dominate it’s milieu but rather to compliment. Is this simply a romanticized notion, a necessity to feel anchored to a natural world in an ever more industrialsied one, or is there something more tangible and justified? If so what drives this seemingly intrinsic response to the natural environment that appears to define The Nordic? Nordic Mood In Nightlands Schultz expresses the term ‘nordic mood’ that can be defined as the amalgamation of light, land, and the built environment. Schultz places great value on the importance of light or lack thereof, contrasting the abundant, saturating sunlight in the south with a weakened gaze and diffused light in north. Thus sunlight is responsible for manipulating two architectural languages. The glistening south developed a sense of steady permanence, “a lucid whole in which each thing knows what it is.”2 The south can afford to be extrovert, expressing outwardly to the passerby but in doing so it has overstated the visual “architecture of our time often appears as mere retinal art of the eye, thus completing an epistemological cycle that began in Greek thought and architecture.”3 The North is different, untamed and less disturbed by the hands of man, so here organic form interweaves with mans creation often and directly, in this sense Nordic architecture is unconstricted by the shackles of Classicism that has its origin in the South. But it is more a slave to the land and seasons for when darkness seeps in, lakes freeze and summers end we must seek 1
from French nordique (in J. Deniker's system of race classifications), literally "of or pertaining to the north," 2 Norberg-Schultz 1997 p.04 3 Pallasmaa 2007 p.30
shelter, thus our buildings require a more introvert approach, inward looking. Our dwelling should be “absolutely comfortable – physically, emotionally and practically”4 and so in the north we focus in on haptic qualities of dwellings, celebrating the fragile light that becomes more abstract than just the visual, an ever shifting interplay of shadows and soft light that seems to radiate from the buildings creating Nordic mood. Turning attention to materiality; stone has become the vernacular of the south, whereas the north adopts timber and Schultz argues that these choices emulate two identities; “(stone) provides and implicit permanence”5 that timber lacks, but precisely for this reason, we as human beings have a more intimate connection with that which has lived, expresses tactile memory and has existed in a conditional state of instability as indeed we all do. “wood speaks of its two existences and time scales: it’s first life as a growing tree and the second as a human artefact.”6 North and South differentiate from each other in both climate and character and thus appreciate light, materiality and context to varying degrees. Interpreting Place Nightlands stresses the importance of the built-forms relationship to place and commending Nordic architecture for being at the forefront of this. “It is architecture’s task to enable dwelling, and this task is satisfied by building in resonance with the given place. Understanding of place is consequently architecture’s basis.”7 But it can be argued that not all Nordic countries respond to place in equal measure. It appears that in the north, the more dramatic a nation’s backdrop the more the architecture may feed from it. When we look to Norway with its jagged mountainous passes and deep lakes the architecture reacts strongly8, but if we look to Denmark we see a style evidently influenced by the rest of mainland Europe, this can be interpreted by Denmark’s geographic proximity, but perhaps responsibility also lies with the Danish landscape being more akin to a blank canvas and thus does not dwell so on the mind of it’s inhabitants. 4
Alexander, C. cited in K, Nesbitt, ‘Theorizing a New Agenda for Architecture: Anthology of Architectural Theory, 1965-95’ Princeton Architectural Press, 1996 p.389 5 Norberg-Schultz 1997 p.04 6 Pallasmaa 2012 p.324 7 Norberg-Schultz 1997 p.15 8 Trollstigen Plateau – Norway - Reiulf Ramstad [image 01]
Schultz suggests that place should be the starting point for architecture and outlines two methods to relate to context; “either in representing the given in a corresponding architecture, or complimenting the given by adding that which the environment lacks” 9
Interpreting this it can be argued that Harads’ mirrored tree-hotel10 suspended within
a Scandinavian forest is the pinnacle of contextual architecture as it reflect its very landscape, however the ridged cubical form stands in stark contrast to its ambiance (not to say that is any a bad thing). Mari Hvattum criticizes Schultz for continuing an outdated tradition “in which the topographical, geographical and climatic specificity of place constitutes a moral imperative for architecture and a measure of the authentic.”11 She evokes a refreshing view on contextual architecture citing JVA’s acclaimed Svalbard Science Centre12 “shaped as much by man-made remnants on site as by local topography.”13. In order to contend with the unforgiving climatic conditions posed on Svalbard, all elements of the building had to be thoroughly considered and optimized; from how the building makes contact with the permafrost to its overall form that derived from weather models, man-made materials are used throughout simply because they best fit technical purpose. The building becomes the embodiment of the landscape not because it used local resources or disappeared into it’s direct landscape, but on a truly Darwinian level it has become so specified to fit it’s locale and niche there is no alternative but for it to belong. The Svalbard Centre is exemplar because the outcome of this technical adaption is magnified by climatic severity but to elaborate further Schultz writes “we should never forget that the goal is to manifest this world”14 but in manifesting the world we should not attempt to merely mimic place or overemphasis materiality, but always ask the question how will it best suit its place. “In the north primal forces govern.”15 The North’s climate can be harsh and threatening and so poses greater influence over its inhabitants than in the south. Nordic architecture is for the most part pragmatic in the acceptance of the world around it, timber became the vernacular not because it is of the landscape 9
Norberg-Schultz 1997 p.16 Treehotel - Harads - Tham and Videgård [image 02] 11 Hvattum 2012 p.107 12 Svalbard Science Centre – Svalbard - Jarmund/Vigsnæs AS Architects MNAL / Einar Jarmund, Håkon Vigsnæs & Alessandra Kosberg [image 03] 13 Hvattum 2012 p.107 14 Norberg-Schultz 1997 p.19 15 ibid p.15 10
but simply because of it’s abundance and flexibility, If there exists a material with greater benefits should it not be used? We can look to Iceland with its lack of resources; they turned to concrete, not because it represented Iceland but because it was economic, effective and readily available, but this rapport the Nordic have with site is only part of the puzzle. Ritual - Light and Land There is a certain notion that Nordic architecture somehow finds a equilibrium with nature that sets it apart; “in the North, we live among things instead of in confrontation with them”16 a statement that read with modern eyes becomes all too easy to dismiss, but within lies truth, perhaps stemming from a logic that historically the North has proven a challenging land to tame, thus we’ve had to bend our will and adapt, the essence of this philosophy still remaining within our culture. But what then of other countries of similar northerly latitude such as Britain which remains unreservedly differently? The Nordic countries seem to share a formula of low population densities, late industrialization, stable economies, relatively isolation and a sense of collectivism all help to preserve a philosophy. Delving further into the Nordic psyche and focusing on Swedish culture we find more evidence of an affinity to the natural. Midsommer marks the summer solstice when the sun reaches its zenith, a time of fertility and when nature’s forces lie at their most dormant. This tradition practiced throughout Europe, but with the advent of electricity its importance has somewhat diminished. Sweden is an outlier, it remains one of the most important days of the year, almost always celebrated outside, basking in light. The gods and deities of our past were born of what our ancestors saw around us and what held of most importance, thus in Norse mythology it is significance many of the gods personify nature17 with at least five relating specifically to sunlight18 Conversely Norse folktales are a patchwork of trolls and other malevolent creatures that derive from shadows but can be turn to stone in sunlight. The climax of this light dark interplay is 16
ibid Baldur (god of summer sun, light & radiance) Sol (goddess of sun) Dagr (god of daytime) Dellingr (god of dawn) Ēostre (goddess of spring) Höðr (god of winter) Skaði (goddess of winter) Víðarr (god of the forest) to name but a few 18 In the sun-spoilt south, Greek and Roman mythos designate single gods to light. 17
anthropomorphised in the destined final conflict of Ragnarök19 in which ultimately, good and evil destroy each other, only for the world to resurface anew. Although the annular notion of rebirth is shared with other mythologies, the notion of ’the all father’ Oden being defeated by darkness is not, and likely linked to the dramatic seasonal varations specific to Scandinavia. Indeed at it’s very heart, binding the fabled norse realms together is the great tree, Yggdrasil. Returning to present day, it can be difficult to comprehend this same affinity, but in examining Nordic cities they are noticeably sparser than many of their European counterparts; Göteborg for instance spreads out beyond what is necessary and in doing so opens green expanses which help break the urban grain of the city, moreover Göteborg (Sweden’s second largest city) is surrounded by forest, sea and lake, to facilitate the exploration of this land the Swedish constitution guarantees allemansrätten20 (the freedom to roam in any part of the country). Many Swedes own summerhouses; a symbol of the wilderness that are usually situated close to mountain, forest, lake or sea and traditionally away from civilisation, in this case architecture becomes a ritualized tool enabling humans to escape their modern lives and make pilgrimage back to the authentic and natural. In this sense architecture parallels mythology as it can be held as a mirror to culture, in its reflection we see clues to an identity and values. Schultz’ regional argument places higher value on the elemental as opposed to the cultural, to leave this out can result in a shallow building. In designing The Sami Parliamentary Building in Norway21 it was imperative to have a fundamental understanding of the mindset of the Sami people. A circular shape was developed because it is embedded in Sami culture whereas a seemingly more practical square geometry would be rejected as it is of the west. “The main building is shaped as a semi-circle that seems protective, concretely and metaphorically… the conical parliament hall located within the circle is reminiscent of traditional Sami tents”22 It is easier for this building to respond to context than to culture, but grasping and defining this is perhaps the hardest thing a architect must do because culture is in a continuous state of flux, you need drench yourself in it, takes time to fully comprehend and 19
Ragnarök ‘Judgement of Powers’ Lindow 2002 p.254 www.naturvardsverket.se (2014) 21 Sami Parliamentary Building - Norway - Stein Halvorsen Christian Sundby [image 04] 22 Andersen (2012) p.49 20
appreciate it. Pallasmaa suggests “a culturally specific character or style cannot be consciously learned and added on the surface of design; it is a result of being profoundly subject to a specific pattern of culture and of the creative synthesis which fuses conscious intention and unconscious conditioning, memories, and experiences in a dialogue between the individual and the collective.”23 Stepping out of the Forest We have seen that Nordic ideals do exist and encompass a cultural identity, but what does this mean from a global viewpoint? In the wake of the international style interest has peaked for the antithesis of the universal, something distinctly indigenous that Nordic appears to offer. “The interest in the Nordic is inscribed in a current that seeks to rehabilitate people’s relationship to nature and, in turn, anchor their cultural identity.”24 But can it be argued then that modern Nordic architecture is simply a byproduct of global expectations? “From the Norwegian Tourist Route Project’s marketable fusion of spectacular landscapes and tasteful design to IKEA’s no-frills interiors, the lucrative combination of ‘simple’ nature and ‘honest’ design constitutes an attractive brand in the global market place.”25 Would it be unfair to claim that the architect has commidified the Nordic ideals, packaged and exported them to the open-armed global collective, in doing so diluting ‘the brand’ as foreign exports do not abide by the principles of understanding culture but rather forces a transplanted Nordic upon the globe, however if we find some middle-ground then architecture can be successful; “Regional character may be achieved – and usually is – from totally contradictory ingredients.”26 Globalisation is often “seen as a threat to cultural diversity”27 and context determined architecture is upheld as an effort to preserve the Nordic gene pool. But this is a misunderstanding of architectures place in society; it is an assumption that architecture exists in a bubble isolated from everything else. Architecture cannot stand as static as the land but must evolve with the fluidity of culture. 23
Pallasmaa (2006) p.133 Andersen (2012) p.35 25 Hvattum (2012) p.103 26 Pallasmaa (2006) p.134 27 Andersen (2012) p.35 24
Nightlands is Schutz love letter to the Nordic, it is, in many ways oversimplified and outdated. Nordic now stands as a multifarious beast; no longer isolated in a forest but must behave on the global stage. The architect must contend with new infinitely more complex issues such as sustainability, climate change and the assimilation and synthesis of the ever-increasing world population. What then becomes of the protracted city and the tucked-away summerhouse? Can we justify ebbing away out our finite resources and mushrooming our cities further into the environment? The Nordic have been blessed with a formula that has allowed a link with nature without major sacrifice or the necessity for truly common resolve. The coming years will pose significantly more demanding challenges, the 'authentic’ will be harder to come by and we must rely on understand and ingenuity. Architecture must be an orchestration of cultural memory, contextual definition and sensorial impact. Nordic architecture should not determined by the landscape, here we only contend with one surface. But in contemplation of culture we go deeper, understand multiple surfaces, and discover the root of what architecture in this place should express.
References Alexander, C. (1996) cited in Nesbitt, K ‘Theorizing a New Agenda for Architecture: Anthology of Architectural Theory, 1965-95’ Princeton Architectural Press Andersen, M (2013) Architecture gives shape to our Existence cited in New Nordic Architecture & Identity Louisiana Museum of Modern Art. Hvattum, M (2013) Making Place from Andersen, M et al New Nordic Architecture & Identify Louisiana Museum of Modern Art. Jameson F, 1984, in Harvey, D. (ed) The Condition of Postmodernity: an Enquiry into The Origins of Cultural Change Cambridge Blackwell p.58 Lindow, J (2002) Norse Mythology Oxford University Press, USA Pallasmaa J (1988) Tradition and Modernity: The Feasibility of Regional Architecture in Post-Modern Society cited in Vincet B. Canizaro (2006) Architectural Regionalism: Collected Writings on Place, Identity, Modernity and Tradition Princeton Architectural Press Pallasmaa, J (2005) Hapticity and Time cited in MacKeith, P Encounters Rakennustieto Publishing Pallasmaa, J (2007) The Eyes of the Skin TJ International Ltd, Padstow Cornwall, England Norberg-Schulz, C (1997) Nightlands: Nordic Building The MIT Press http://www.naturvardsverket.se (accessed on 05/02/14) Nordic Architecture Lecture Series (2014) Chalmers Tekniska Högskola
Images Image 1 (2013) Ken Schluchtmann - Trollstigen Plateau - Norway by Reiulf Ramstad Image 2 (2013) www.swedishlapland.org.uk - Treehotel - Harads by Tham & Videgård Image 3 (2006) Nils Petter Dale Svalbard Science Centre – Svalbard - Jarmund/Vigsnæs AS Architects et al Image 4 (2013) Hector Peldoza Sami Parliamentary Building - Norway - Stein Halvorsen & Christian Sundby
Image 01| Trollstigen Plateau - Norway - Reiulf Ramstad
Image 02 | Treehotel - Harads - Tham & Videg책rd
Image 03| Svalbard Science Centre – Svalbard - Jarmund/VigsnÌs AS Architects et al
Image 04 | Sami Parliamentary Building - Norway - Stein Halvorsen & Christian Sundby