Tommaso Antonicelli, KU Leuven, Master Thesis, The Inevitable Specificity of Stockholm

THE INEVITABLE SPECIFICITY OF STOCKHOLM Tommaso Antonicelli

THE INEVITABLE SPECIFICITY OF STOCKHOLM Between wild nature and rational architecture

Tommaso Antonicelli

This publication presents a combination of research and analysis to build up my project, with a reflection about the architectural project itself. It is an attempt on showing what the challenges and opportunities of the site are and how the proposed architecture utilizes these elements. Brought as a coherent story, this publication offer an insight into the progress,and outcome of my master dissertation project.

The following people contributed and guided the development of this project and publication: Adrià Carbonell, Joris Van Reusel.

All rights reserved under International Copyright Conventions. No part of this publication may be reproduced in any form or by any means, electronic or mechanical, including photo-copying, recording or by any information storage retrieval system, without permission in writing from the publisher or specific copyright owners. Work and publication made during the course of a personal master dissertation project. © 2017 by Tommaso Antonicelli CONTACT: tommaso.antonicelli@gmail.com

This project was developed for the master dissertation project, within the project of promiscuous assemblages: territory, ecology and the welfare state proposed by Adrià Carbonell.

KU Leuven Faculty of Architecture Campus Sint-Lucas, Ghent

Table of Contents

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Promiscuous Assemblages

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The Inevitable Specificity of Stockholm

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Theoretical Framework

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From the City to the Site

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Architectural Proposal

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Bibliography

Promiscuous Assemblages Promiscuous • demonstrating or implying an unselective approach; indiscriminate or casual.

• consisting of a wide range of different things.

Assemblage • a collection or gathering of things or people.

• a machine or object made of pieces fitted together.

• a work of art made by grouping together found or unrelated objects.

Our academic promoter provided a theoretical framework as a common ground which we had to take into account in developing a personal research proposal: Promiscuous Assemblages - Territory, Ecology and the Welfare State.

Although at the beginning has been quite difficult for me to give an interpretation to that title, everything became much more clear when I had the chance to visit Stockholm. I think that Territory, Ecology and Welfare are, both individually and together a very effective summary of the main urban characteristics and potential of the city.

Is also in Stockholm itself where you can find a clear description and synthesis of the term Promiscuous Assemblages: the union and coexistence of nature and architecture.

Organic shapes and built form are to me one of the most contrasting and harmonious assemblages at the same time; and scattered throughout the whole city there are countless and fascinating examples of this dichotomy.

Keywords Ecology: natural systems, species, pollution, agriculture Territory: geography, topography, morphology Welfare State: social services, culture, education 7

[1] My first interpretation of “Promiscuous Assemblages”

THE INEVITABLE SPECIFICITY OF STOCKHOLM

“Beyond its reputation(s) and role as a city of arts and architecture, cultures and cuisine, or its noted environmental policy, Stockholm’s greatest asset is its natural environment.”

(Jennifer Lenhart, The Urban Observer)

[2] King Gustav III’s paviljong at Hagaparken

Stockholm

Where nature is fierce and architecture is wise

I spent six days in Stockholm, from 6th to 12th November 2016: Stockholm had been hit by the most powerful snowstorm in more than a century, since records began in 1905.

It could have been for the peculiar weather condition, but I’ve been pleasantly surprised by the role of nature in all its forms in the city of Stockholm. Although I am aware that a whole week’s snowstorm was an extraordinary condition, especially at that time of the year (early November), I think it was the perfect opportunity to see and to fully understand the purest essence of the city, made of a perfectly balanced mix of nature and architecture, orderly chaos and rigorous planning, the respect and reverence of urbanism which is based primarily on the dialogue with nature in all its forms: water, snow, green, slopes, islands, bays. It is not uncommon to find in the European capitals beautiful parks, gardens and waterfronts, which perhaps cover large areas of the city centers as green breathing spaces, defined by precise boundaries, if not even by fences and gates, and planned in every aspect: from the selection, to the arrangement of the green essences.

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“It’s easy to encounter urban nature in this city of circa one million people: 30% of Stockholm consists of waterways and another 30% consists of 26 parks.”

(Jennifer Lenhart, The Urban Observer)

[3] A view from the Hagaparken

The Inevitable Specificity of Stockholm

The thing that it is rare and extremely peculiar and that I wouldn’t have expected to find in Stockholm, is a city that does not limit its “green fee” and decides not to touch the landscape but, on the contrary, uses the landscape itself as the main source on which to base its urban and architectural principles.

The stunning presence of nature in Stockholm is even more beautifully emphasized by the architecture that has been inserted in this particular urban context and how this architecture is “used by its users”.

One of the clearest examples of this concept is certainly the city library designed in the early 20th century by Gunnar Asplund, characterized by extremely simple volumes and geometrically defined spaces, which fits perfectly as a connecting point between the green hilly area at its back and the main commercial arteries at its sides. It’s so great to see such an essential and rational piece of architecture is able to dialogue with the natural elements around it, probably much better than it would be able to do an architecture characterized by organic and fluid shapes, one of those who try to replicate in strange ways the fluid forms of nature.

In this context there is another objective fact that cannot be overlooked in a thesis proposal: Stockholm’s population will grow the coming decades. The city’s population is currently 880.000, but by the mid-2020s that is expected to rise to one million – in a wider region of three million. Stockholm’s geographical conditions and rapid growth entail many challenges if the goal of being a long-term sustainable city is to be met and it must also be preserved the city’s proximity to nature and water, qualities that make an attractive living environment for Stockholmers and visitors alike. Stockholm`s vision to solve the problem of urban sprawl is to build within its city borders. Because of the change from an industrial based economy towards a knowledge based economy, brownfields around the city core became interesting to develop. Therefore, what interests me the most is planning a new neighborhood in the Fargfabriken bay where to exaggerate the existing nature, that is already present in abundance, and inserting in it well-defined and rational architectures, to emphasize the dialogue between these two seemingly contrasting elements that are located throughout the whole city.

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“The parks in Stockholm are not merely a collection of extraordinary green fingers tying the outlying countryside to the very centre of town; they are part of the Swedish concept of life, a concept that demands contact with the freedom of nature in order to offset the indoor restrictions of man.�

G.E. Kidder Smith

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The Inevitable Specificity of Stockholm

[4] A view from the Hagaparken

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[5]

VIENNA

[6]

STOCKHOLM

[7]

BERLIN 18

The Inevitable Specificity of Stockholm

Territory “Territory: environment, nature, landscape or ground. Territory is a possibly large area whose concrete form, structure, and meaning can only be understood through its concentrated interaction with an urban center embedded in it. The particular characteristics of a territory - be these conditions arising from its natural landscape or the territory’s confiscated original vernacular, economic or social organization - are active in shaping the urban center.”

Marcel Meili, 2015

“Every city evolves its own, unique processes, with the result that a city’s appropriation of its hinterland is a very productive category for defining the particularity of that city. It is more than anything else an expression of its specific urbanism.” (Meili, 2015).

It’s from the observation of satellite photos that become very clear the uniqueness of Stockholm. For example, by comparing the aerial pictures of Stockholm, Vienna and Berlin you notice big differences about the natural land management. In most European cities, in fact, the territory around the urban center is used mainly for production purposes, while it is evident even at a first glance how in Stockholm the “nature” has a much less submissive attitude to the productive and economic logic.

And it is from the hinterland management that one can understand the nature and specificity of each city because that borderline territory is part of the city’s identity as much as the old town.

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“The form and order of the territory also constitute an unmistakable urban manifestation; in other words, the city goes far beyond “the city as a built place”. The material and economic organization of the territory reflex the full complexity of the processes used by a city to transform “nature” or “hinterland” into “city”. Much of this leaves its mark in the form of changes in the terrain, for instance, or in the cultivation of nature and in built structures. And the concept of territory also highlights the inescapability of the relationship of a city to the natural conditions of its territory; there are no technical or other, urbanistic means of any kind that a city can use to escape its geographical location.” (Meili, 2015) From some historical maps and paintings you can see how the city has tried to expand itself with respect for the natural environment but also trying to leave its own mark.

From Gamlastan, which is the core, the city has developed throughout history in two opposite directions: north and south (Norrmalm and Sodermalm), where today we find the two nevralgic centers of the modern city life. The development of these areas, with a urban grids defined by simple and easily readable geometries is one of the features I find most fascinating about this city. I think the city map from 1802 in the next page is really beautiful because in it are expressed both the two conflicting but united souls of the city: geometry and nature. It’s nice to see how from the beginning and throughout the history these two elements have interacted with each other by striving to maintain their own individual character which is finally reinforced by their proximity.

From the same images also visible another element: the “nomos” of the city.

Nomos means the relationship between the ground and the construction of a political order, and this relationship is manifested mainly in the act of land appropriation. To settle is in fact the very first form of territorial architecture because topography, limits, boundaries and thresholds are the elements that most of all will affect the logistics and infrastructures of the urban environment (Pier Vittorio Aureli & Maria Sheherazade Giudici, 2015).

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The Inevitable Specificity of Stockholm

[8] Urban Malare, Heinrich Elbfas - Vädersolstavlan (1636)

[9] Stockholm map (1802)

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Geometry and Organic Topography Tension Case Nature and architecture are in a relationship of proximity and coexistence in Stockholm more than in any other European capital.

[10] Collage about my Research Interest

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The Inevitable Specificity of Stockholm

RESEARCH QUESTION How to plan and design a new neighbourhood in Lovholmen that can emphasize the peculiarities and accentuate even more the proximity of nature and architecture in the Fargfabriken bay area?

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THEORETICAL FRAMEWORK

[11] 1861 Stockholm area topography map

The Inevitable Specificity of Stockholm

The Tradition of Parks in Stockholm

“The city as a total landscape became an objective and began first to be realized in Stockholm, Sweden. There had been no nineteenth-century industrial revolution in Scandinavia to blight planning and depress public standards; the summers were short, but with brilliant sunshine and long daylight assured; and the formidable natural landscape of Stockholm was such as to enforce its character upon the urban form. Planning included: (a) the idea of ‘green fingers’, aided by natural topography, penetrating into the city; (b) the acceptance and close study of unfamiliar architectural forms within the ancient centre, such as the first high-rise flats in Europe, seen across the Riddarfjorden; and (c) the introduction of green landscape into the streets themselves, only made possible by clean air, public sensitivity and absence of vandalism. The inventiveness and elegance of this urban furniture was due to the Director of Parks, Holger Blom.”

Geoffrey Jellicoe, 1975

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Although going around in Stockholm the main sensation one feels is about the will to let nature uncontaminated and free to “express itself “, this is not completely true.

In Stockholm, the management of landscape seems to be a mixture of two factors: landscape project as something managed and designed by man on one side and, on the other, the pure nature so much plentiful in that geographic area.

Actually, the history of the parks in Stockholm is not much different of the other big European cities ones. In Stockholm, just as in the other European big cities, parks were private property of royal family and other noble families that used these areas as hunting reserves or as places to show each other their wealth commissioning to architects beautiful English, French or Italian gardens.

Nevertheless, in Stockholm after the first half of eighteenth century, by the intervention of some enlightened noblemen, some parks were opened to common people and the big Swedish landscape tradition started. At the end of nineteenth century, two little parks, Stromparterren and Berzeli Park were created from nothing and Djurgarden, a big hunting royal reserve situated just near town center, was opened to all citizens, in order to compensate the lack of big green areas in Stockholm center (since the areas around the center were still exclusive ownership of richest families).

A particular element has been an advantage for the architecture of Swedish landscape respect to the French, English or Italian traditions: the late coming of the Industrial Revolution. In Sweden indeed, this one happened little later than to other European countries where, in order to develop industrial production, many green areas were occupied by factories. In Stockholm particularly, the attention related to the organic development of green areas seems to be never lost. From the latest years of 18th century the parks became the focal point of the development of the whole city till to become, during the twentieth century, the most distinctive element of this city: an urban environment able to guarantee an high life quality but, at the same time, almost rural. In other words in Stockholm you can find all kind of services which are characteristic of a very advanced urban center, and the highest quality of green and aquatic spaces.

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The Inevitable Specificity of Stockholm

It must not be forgotten that to manage these parks needs the constant intervention of human work. In fact if by visiting Stockholm, both me and my schoolmates got the feeling that nature had been let free to express itself in a wild way, we made a mistake. When I sought informations I became aware that to let the green areas seem to be wild is fruit of a sort of “political choice�. Actually the city wants to give a sensation of freedom by a pristine and wild green even if this choice requests a systematic, hard and expensive maintenance and a particular attention to plan the interaction between green areas and urban spaces.

[12] Stromparterren Park in the 1860s

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A further very important element in developing a modern system of parks in Stockholm compared to other European cities has been the failure conditioning about the Second War World disastrous consequences. If indeed the war has caused a standstill to the garden and landscape architecture in the most involved country such as Great Britain and Italy, this didn’t happen in Sweden where, conversely, this attitude developed more and more.

The most important figure in this field during the twentieth century was Holger Blom.

This architect was Departement of Stockholm Parks leader from 1938 to 1971 and his work was fundamental for making Stockholm the city we can enjoy still now. Actually he was the inventor of “Stockholm Style”, envied and copied at international level.

[13] Holger Blom with his wife

[14] Holger Blom’s book “Stadsparken”, 1940

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The plan of Blom, who was also named “the city gardener”, can be synthesized in some main points: - Parks as active elements of the city: park has not to be considered as a separate element in the urban context, but it has to be an active part of the city development and it has to be a sort of “green infrastructure” able to join and unify all city districts.

- Parks as recreation and fun elements: it is just under the Blom’s leadership that the first “equipped parks” were born, that is to say parks which provided fixed equipment that allows leisure and sports activities. Actually, by an active fruition a new way to live green areas had start.

- Parks as squares: as well as in Italy squares are, since Middle Ages places assigned to public meetings and political activities, Stockholm by architect Blom’s projects, does the same in its parks. According to this point of view, in that period in many parks special spaces have been achieved, spaces in which it is possible to host political events, concerts and theater plays (Parkteatern).

- Parks as guardians of natural and popular memory: architect Blom began to think about parks as designed places in order to preserve and to promote autochthonous species and as museums where to exhibit sculptures and other works of art. In this sense is to underline the birth of the collaboration between Blom and the danish sculptor Egon Moller-Nielsen of which we can still find some artworks in Stockholm parks.

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“I repeat, the park’s purpose is not to make room for trees. A significant portion of the park surfaces in our northern land must be kept free and open, so that the sun is able to shine on the people who love to feel its life-giving force. For these people, there shall be grass surfaces, which can be entered.

As for the children, it also applies for adults to have access to surfaces in size to answer as to the frequency, the grass is not wears out.�

Holger Blom, 1940

[15] Organized game in Hagaparken

[16] Parkleken, 1975

[17] Parkteatern in Vitabergsparken, 1954

[18] Music Pavilion in Vasaparken, 1940

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Stockholm parks typologies Stockholm is situated in a fissure valley landscape formed by bedrock, with faults that have been pounded by glaciation. The way parks have been designed throughout the city is the consequence of this particular condition of the geographic location.

According to Bengt Isling (Garden History, Vol. 32, 2004), by analyzing how they are located in the original landscape, all Stockholm’s parks (both old and contemporary), can be divided into different types.

PARKS IN FISSURE VALLEYS Parks in fissure valleys represent and stylize the fissure valley, which is a common feature in Stockholm. They are long open valleys that lead to the lakes; shores are usually rocky and covered with trees. A practical reason for this type of park, that is in one sense the most peculiar type in Stockholm, may be the fact that in the past were difficult to build in such environments: long valleys where the soil conditions required piling or other foundation reinforcement. This typology is not very used today, mainly because it’s very space-demanding. Examples are Hagaparken and Ralambshov Park in Kungsholmen.

HILL-TOP PARKS Before the use of dynamite had diffusion in the field of construction, Stockholm’s hilltop parks were difficult to develop. For this reason, those part of the city have been left untouched till recent years. Today the hills are covered with trees which is one of the reasons that makes it difficult to use these areas for building purposes: a big part of trees are protected by nature conservation interests. A good example of this park’s typology is Ekparken, which is close to Hammarby Sjostad (a recently developed area).

ESCARPMENT ZONES Escarpments zones surround the city and are almost completely covered by pine forests. The most famous escarpments areas run from the Nacka reserve towards the

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city center and from Sicklabacken towards Hammarby Sjostad.

ESKER PARKS There are still traces of the Stockholm esker despite the fact that most of it has been removed or developed. The well-drained sandy grounds of former esker was found to be suitable for burial grounds and in fact on that kind of soil the Woodland Cemetery (Skogskyrkogarden) and the Northern Cemetery (Norra Begravningsplatsen) were designed.

SHORELINE PARK Shoreline park Is the most recent typology. Parks near the coast have never been one of the favorite options in Stockholm, except for the first Stromparterren municipal park (1832). From 1940 onwards however, the use of quays for commercial purposes was no longer a prerogative and these parts began to be used for recreational purposes.

This concept is today more alive than ever, as in the recent developments of Hammarby Sjostad and Liljeholmen.

Parks within the metropolitan city 1. Hagaparken 2. Norra Djurgarden 3. Bellevueparken 4. Vanadislunden 5. Observatorielunden 6. Vasaparken 7. Humlegården 8. Tegnerlunden 9. Djurgården + Tessinparken 10. Nobelparken 11. Kungsträdgården 12. Kronobergsparken 13. Fredhällsparken

14. Rålambshovsparken 15. Djurgården 16. Långholmsparken 17.

18.

19.

20.

21.

22.

23.

24.

25.

26.

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Högalidsparken Fåfängan Tantolunden Vinterviken Trekanten Parken Vitabergsparken Eriksdalslunden Lumaparken Årstaliden Nacka Parken

1 2 3

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5 6

7 9

8 13

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14 15 16 17 18

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[19] Parks within the city borders (white dots are smaller gardens while red stands for the project area)

[20] Skogskapellet, Woodland Cemetery

The Inevitable Specificity of Stockholm

Asplund’s “natural” and “geometric” forms

“Classical values that had become obscured under pseudo-classicism were revived by the Swedish architect Gunnar Asplund. A pure classicist rather than a mannerist.

Asplund’s objective was twofold: to discard superficial style and re-create the essence of classicism in a modern language; and to harmonize geometric values with those of landscape. The Woodland Cemetery, Stockholm, was designed with S. Lewerentz.

Although the structure of the layout is geometric and proportioned, the whole is subordinated to the artificial hill. The plan of the City Library and Observatory Gardens, Stockholm, shows the subtle manner in which the massive classical volumes of circle within square are orientated to respond eccentrically to the axis of the adjoining hill, as though pulled by gravity. The hillside impinges on the library, which is surrounded by the public gardens.”

Geoffrey Jellicoe, 1975

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Another very important figure in history of Stockholm parks was the architect Erik Gunnar Asplund (1885-1940). During his whole career he kept a pronounced aptitude for landscape architecture and it is evident in his three main projects in Stockholm: Stockholm Public Library (1926-1931), Stockholm International Exhibition (1930) and Woodland Cemetery (1915-1940). In all these works it is well visible his objective to give the same importance both the landscape and the architecture; it needs to know that this is also due to the Swedish political and social context during the first half of twentieth century. Indeed since 1917 in Swedish Parliament Social Democratic Party had a landslide majority and the ideology of this party, at the forefront in that period, had also the aim to better life quality even by architecture and landscape architecture.

Then it is possible to affirm that architect Asplund’s work as well as architect Blom’s work (see previous chapter) was basic to get Stockholm the city that anyone can now enjoy.

[21] Erik Gunnar Asplund

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The Inevitable Specificity of Stockholm

Stockholm Public Library and Park As Caroline Constant, Professor of Architecture at the University of Michigan, underlines in the third chapter of her book “The modern Architectural Landscape” (2012) it is quite interesting to notice how the project of the Stockholm Public Library park was previous compared to the project to the very same library. Indeed, when Asplund received the commission to build the library he already had been working since two years to a masterplan for all the Observatory Hill area that is the green area behind the library. The building is at the intersection point of two congested roads, Sveavagen and Odengatan, and at the foot of Observatory Hill, a natural promontory born from the melting of a glacier. According to Asplund this place was somehow perfect for inspecting closely his personal way to think architecture: “the relationship between space and man, between object and man, between nature and man”. In other words, to find a contact point and to get a dialogue between modern city and natural

[22] Asplund’s Public Library of Stocholm, 1918

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environment as the main challenge of the project. “The library was to serve a dual purpose in the civic life of Stockholm. As a monumental testament to the acquisition of knowledge it should have a vital symbolic presence, while as a sanctuary for learning it should be functionally isolated from the daily life of the city. Compounding these conflicting requirements was the challenge posed by its dramatic setting: to relate the building to the natural conditions of Observatory Hill while satisfying the programmatic requirements for a controlled internalized volume.�

Caroline Constant, 2012

In order to joint all these needs and to follow principles of Nordic Classicism, Asplund thought the project as something equipped of an isolated volume and of simple and rational structures: a cylinder inside a square. In this way, he got a dual aim: to take a contrasting position spatially and formally both compared to the big hill behind and the urban surrounding fabric.

[23] Asplund’s early proposal for the Observatory Hill

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Let’s now take in consideration the three main phases that led to the final project of the library and of the park.

- In 1921 Asplund presented his first proposal: the library was a cubic volume with a large central room covered by an hemispherical dome and surrounded from all four sides by study rooms. In this way Asplund tried to emphasize the importance of the building using a neo-classic architecture, the typical architecture of the most important building in the city.

[24] Asplund’s proposal of 1921 for the Stockholm Public Library

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- In 1924 Asplund finished the project and the construction works got start. The large hemispherical dome was replaced by a perfectly cylindric volume surrounded on three sides by study rooms and archives. The volumetric pureness of the cylinder has been probably inspired by the project of Barriere de la Villette built between 1785 and 1789

by Claude-Nicolas Ledoux in Paris and by the local neoclassical works by Nicodemus Tessin the Younger and Erik Palmstedt (Caroline Constant, 2012).

In this phase Asplund took the decision not intervene about the Observatory Hill park except for the addition of a water mirror along Sveavagen in order to emphasize furtherly the contrast between the new architectonical mass and the behind nature.

Furthermore he decided to separate both park and library towards surrounding urban fabric: a tree line divides the end of the water mirror from the near Faculty of Economics, while a wall protects its side creating in this way a clear separation between urban environment and park.

[25] Asplund’s perspective drawing of the Odenhall (1926)

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- In 1928, in spite of the fact that library was opened to the public, Asplund continued to design some additions and modifications. He decided indeed to add a glass walls basement under the library and to surround it and the pool by tree lines in order to mitigate furthermore the contrast between architectural and natural elements.

The architect decided also to demolish the wall screening the pool from the side of Sveavagen in order to create a “dialogue� between the reflective surfaces of the water mirror and the new glass basement beneath the library building.

In this phase of the project Asplund got help by architect Sigurd Lewerentz, with whom was collaborating simoultaneously to the realization of Woodland Cemetery, in the choice of the trees: they selected togheter the plants according to their olfactory and emotional properties dropping the choices on willow trees, poplars, salix and spirea trees.

[26] Public Library picture from 1946

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[27] Stockholm Public Library today

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Stockholm International Exhibition The collaboration between architect Asplund and architect Lewerentz went on with the project of preparation for the Stockholm International Exhibition in 1930. Asplund’s project, considered as the beginning of Swedish Functionalism, is a clear example of his aim to get urban life better using the peculiar aspects of the geographic area. If indeed the style of temporary pavilions follows the rules of Modern Movement (he decided to use light construction methods based on a modular system of open wooden frames enclosed in canvas and glass) , the distributive and organizative scheme is based on the peculiarity of the landscape of Stockholm(Caroline Constant 2014). The chosen sites are the two opposite banks on watercourse Djurgardsbrunnsviken where Asplund put a large open square, with all pavilions behind, on one side and, on the other side, a quite little park that joints at its end to the uncontaminated area of Djurgarden.

[28] Stockholm International Exhibition, 1930

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[29] Asplund pavilion

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The Inevitable Specificity of Stockholm

As well as in the Library Park the plan for International Exhibition shows Asplund’s interest to integrate the urban fabric of Stockholm with its unique natural heritage always according to his aim: to better daily life of all citizens. Thanks do this Asplund’s project, from 1936, under the direction of Osvald Almqvist, the Parks department started to be of main importance for the city’s development: it started to be formulated a more cohesive set of objectives for the open spaces, drawing upon the natural beautiful attributes (Constant, 2012).

[30] Stockholm International Exhibition, drawing by Gunnar Asplund

[31] Stockholm International Exhibition, drawing by Gunnar Asplund

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The Woodland Cemetery In 1915 Asplund and Lewerentz won the competition for the construction of a large cemetery just outside the city center of Stockholm. The roles were divided between the two architects: Lewerentz was concerned with the landscape design, while Asplund of the architectural part, that is to say the design of the various buildings and chapels built over 35 years. While Lewerentz’s work ended in 1925, for Asplund this was a work that went with him throughout his life, until his death in 1940, when he was then buried in the cemetery; it was a cruel irony that his funeral was the first to be celebrated in the Crematorium designed by him.

[32] Woodland Cemetery entrance

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The Inevitable Specificity of Stockholm

[33] Woodland Cemetery map

1. Entrance

4. The Woodland Chapel

2. The Woodland Crematorium

5. Visitor Center

3.

6. The Chapel of Resurrection

The New Crematorium

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“Their initial proposal was melancholic, even foreboding in tone, relying on a melodramatic contrast of darkness and light to address the mourness’ sense of loss during bereavement. They ultimately articulated the cemetery landscape in a more affirmative psychological manner, imparting a sense of serenity in the face of death through reconciliation with nature.�

Caroline Constant

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[34] Skogskapellet, Asplund, 1918

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The most accurate description of this beautiful piece of landscape architecture had been written by Ingrid Lilienberg in the journal Arkitektur in the 1915: “Should the cemetery be subordinate to the forest or the forest to the cemetery - or how should the overall relationship between them be formed?-” “The design is nothing more than a piece of nature with beautiful graves in it.”

She also argued that all the other competition entrants failed to address the principal issue: “First and foremost, from beginning to end it should have an entirely specific cemetery atmosphere, which only man’s molding and forming hand can provide. Further, the orientation must be clear. The cemetery’s size and form must be perceptible in the planning. Its scale and atmosphere should fulfill the destiny of an urban population.”

[35] View of the Skogskapellet

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The heart of the project is the site itself, a forest in the middle of cultivated fields: the focus is indeed the natural environment, using nature as a metaphor for death and rebirth. It is difficult to determine whether the uniqueness of this cemetery (which became UNESCO’s heritage in 1989) is due to its architectures or its evocative landscape, precisely because these two elements contribute to enriching one another, amplifying the suggestion and emotion of the visitor.

[36] Woodland Cemetery (Skogskyrkogården in swedish)

[37] Woodland Cemetery, Lewerentz’s Stairs

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[38] Lafayette Park, Detroit, USA, 1955

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Lafayette Park as a case study

“This park interprets the spirit of the native landscape. Like the landscape, it too is an organism, and the sense of the whole is evident in all the parts. Lafayette Park is a creation, a conscious imaginative work of art, and not a duplication of nature. It is a structure created by the working of organized principles... based on an idea of life and space.

That sense of space rejects the tyranny of closure. It repudiates the sterile masonry of cities today that are as prisons, spaceless and visionless. It asserts the rights of man to the wide green earth.�

Alfred Caldwell

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Lafayette Park was innovative in the 50’s, and it was a project that aimed to create a dialogue between the urban city and the surrounding nature. It attempted to redefine the edges of the city itself, trying to unify the potentialities and services of the modern city with an open and almost rural landscape, reflecting on the archetype of the vast American prairies. This project involved three very important architects of the twentieth century, two European architects and an American architect; in fact, if Lafayette Park is known for its buildings designed by the Dutch architect Ludwig Mies van der Rohe, the landscape architecture of this project is equally remarkable and was designed by the German architect Ludwig Hilberseimer in collaboration with the American landscape architect Alfred Caldwell.

The figure of Caldwell was very important to mitigate the concepts of Hilberseimer regarding landscape architecture and this can be seen for example in the differences between two Hilberseimer’s projects. In fact, in 1924 he proposed with his “Highrise City” a new vision of cities made of monolithic blocks and of almost no greenery and trees; his point of view changed completely in 1949 when, together with Caldwell, who had to deal with the graphic representation of the projects “The New City” and “The New Regional Pattern”. Caldwell’s influence on the role of the natural component is much visible: “The New Regional Pattern will be determined by the character of the landscape: its geographical and topographical features, its natural resources, the use of land, the methods of agriculture and industry, their decentralization and integration, and by human activities, individual and social, in all their diversity”

Ludwig Hilberseimer,1949 In this project’s plans and images, architecture is placed almost in the background respect to natural elements, camouflaged in the embrace of the surrounding landscape, the edges are blurred as much as possible until they are no longer perceptible.

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[39] The Highrise City by Ludwig Hilberseimer (1924)

[40] The New City by Ludwig Hilberseimer (1949)

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Lafayette Park’s strategy is that of a linear central park: the municipality required to place in the project area both low-rise houses and high-rise apartment buildings, a school and some commercial buildings. Hilberseimer decided, instead of placing all the public buildings along the most important street (Lafayette Boulevard), to disperse them almost casually, immersed with the housing blocks inside the large garden.

Another important thing that Hilberseimer decided to do was to eliminate all the remains on the site: even if the site had been cleared of all the existing buildings by the municipality, the German architect decided to eliminate the nineteenth-century road grid as well, preferring to make the site as a “tabula rasa�, except for the trees which were preserved. For a neighborhood that needed to give innovative answers about how to expand and inhabit the city, any heritage from the past would had been out of place and hard to integrate.

[41] Lafayette Park Maquette

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[42] Lafayette Park Masterplan

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[43] Low-rise housing plan

While Hilberseimer and Caldwell were concerned with the landscape, Mies van der Rohe was concerned with the design of the buildings in it: low houses, court houses and residential buildings. It is important to emphasize that Mies and Hilberseimer had always maintained a constant dialogue at all stages of the design, and in fact, they agreed to place the houses as kind of islands, scattered and immersed in a sea of lawn without following any kind of grid, as in the tradition of English gardens, expressing the best of themselves in beautiful perspective views.

In the years following the completion of the project, this choice was at least questionable, in fact the newly planted and immature green gave to the visitors and to the inhabitants themselves an incomplete and aesthetically unattractive aspect. Today, however, we can appreciate how this choice had been extremely far-sighted because the project manifests itself in all its undeniable and fascinating beauty; The choices of Mies, Hilberseimer and Caldwell had been therefore very wise in considering the time as one of the most important elements in the design process, crucial in any long-lasting and well thought project.

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The result of Lafayette Park was quite different from the “productive working landscape” that Hilberseimer had proposed in his writings and projects until a few years before (“The New City” and “The New Regional Pattern”). It was in fact much closer to the domesticated nature proposed for example by Frederick Law Olmsted in his Central Park project for New York City; it was not a nature intended as a productive resource, but it was a nature that Hilberseimer and Caldwell intended to be democratic, and designed to promote social integration, capable of educating aesthetically the citizens through the suggestion, instead of through the imitation, of natural beauty per se.

“Unlike Olmsted, Caldwell sought to evoke the specific spirit of the midwestern landscape by relying heavily on native species and by fully integrating buildings and landscape features. The result was no less artificial than an Olmsted park, but contrived to different ends: to suggest the open expanses of the prairie within the confines of a flat urban site.”

Caroline Constant, 2012

[44-45] Lafayette Park, vintage photos taken shortly after construction

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Even though it was very beautiful, Lafayette Park was not a faultless project, often highlighted by its own designers. The suburban character of Lafayette Park derived mainly from the typology of single-family houses and from the fact that such a peculiar environment promised a kind of life in harmony with nature, just at a short distance away from an urban center modern and full of services (such as Was Detriot in the 1960s). In this case, however, green was almost like a segregation element of Lafayette Park from Detroit city center (thus missing the urban dimension and prevailing only the suburban dimension of the project), and the industrial and work component were almost completely excluded from the site. The result was that Lafayette Park became a normal residential area like there are millions at the edges of every big American city: a kind of ghetto for the middle class, as the prices were not accessible to everybody, a project that failed to bring innovative elements, except for the presence of beautiful nature and “state of the art� houses for constructive techniques.

Another critical point was the dependence on cars. If Hilberseimer in his previous theories had always highlighted as a key point for new settlement units the possibility of accessing public transport within a few hundred meters radius, this was not possible for the residents of Lafayette Park, who were forced to rely on private cars, as there were no easy connections to major public transport.

[46] Lafayette Park, high-rise building

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[47] Lafayette Park in the 1960s

[48] Lafayette Park today

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[49] Wintertime in Lafayette Park

[50] Summertime in Lafayette Park

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Another criticism concerned the little attention that had been given to common services in Lafayette Park. It had been assumed that social benefits could come from contact with a beautiful and varied nature (intended from Hilberseimer as antidotes to unhealthy conditions in industrial cities), but important “therapeutic methods” such as gardening or farming, could not take place in Lafayette Park. For residents, individual control over the natural environment was not allowed. In fact, the green was managed by professional gardeners, and therefore there was a lack of areas dedicated to gardening or private cultivation and this was a rather surprising lack in such a project in which social aspects were taken as fundamental values.

In conclusion we can say that Lafayette Park is neither a transformation of the existing urban structure of Detroit nor a complete realization of those that were the principles of the settlement units expressed by Hilberseimer, and therefore all his theoretical apparatus, set out in various books and experimental project. In fact, if the project included three types of housing, a primary school and a small shopping mall, it completely lacked the integration of social life with working life and most of all lacked proximity to the public transport network, a fundamental point in the theories of the German architect about the developments of the modern city.

“Apart from its semi-public recreational facilities, children’s swings and sliding boards within the low-rise housing precinct and a swimming pool atop the garage for the high-rise apartment slabs, the Lafayette Park landscape is experienced in a passive manner. It lacks the type of synesthetic, cognitive experiences that would enable residents to interrelate and forge a collective sense of place through active engagement. Contrary to the social aims of both Caldwell and Hilberseimer, it is a reification of the pastoral vision that characterizes the suburban American Dream.”

Caroline Constant, 2012

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FROM THE CITY TO THE SITE

[51] Location of the project area

Tommaso Antonicelli

[52] Aerial image of the project area

2 6 3 4

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[53] Buildings on site

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Legenda 1.

2.

3.

4.

5.

6.

Fargfabriken (1889) Smejdan (1889) Kolsyrefabriken (1896) Forbandsfabriken (1915) Platform Stockholm (1926) Nitrolackfabriken (1944)

7. Cementa (1945) 8. Steam Central (1945) 9. Spredfabriken (1953) 10. Workshop hall (1962) 11. Caga 12. Cementa Silos

Context Lovholmen is a former industrial area which is located by the water in the district of Liljeholmen in the southern suburban part of Stockholm. The site looks now degraded, abandoned and empty because all the industrial activities that where present have been now closed or relocated in other part of the city except for the Cementa concrete factory which is still operative (the municipality would like to move this industry as well though). One of the old industrial buildings was turned into an art gallery in 1995 and it represents nowadays a good example of renovation. The site has an area of 66.000 sqm and is today owned by several landowners but it’s now environmentally unsustainable and that’s why the city of Stockholm recognizes it as an important area for future urban development.

Urban areas with a strong industrial past is one of the most important challenges for the current generation of architects. In fact, they provoke a mix of feelings both positive and negative; besides the historical value and the importance they have had in the development and economic growth of the largest cities, they are now modern ruins, abandoned spaces that are no longer able to meet the changing needs of society.

Ours, is in fact the first generation of architects that has to deal this much with all of these industrial and post-industrial heritage, because we’re living in a transit era, we are witnessing the final transition from the industrial age, which began in the early 1800s, to the techno-digital era, which has started in the last decades of the twentieth century.

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Lรถvholmen over time

1702 Rural Periphery

[54]

1751 Rural Periphery

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1805 Summer Residences

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1890-1910 First industries and started to aquire suburban character

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1930 Division of Lovholmen in small private plots

[58]

1940 Lovholmen as a defined industrial area; Liljeholmen as an effective part of the city [59]

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[60]

1:3000

Original shoreline and earth filling

Site boundaries

Topography and Vegetation

In 1930 the shore was modified and enlarged in order to allow the site to accommodate more industries (Bivegard & Vikstrom, 2008). The site lacks green areas and trees, only a few trees have been planted along the new shoreline; in the inner part there are sporadic trees and this is due to the fact that the area is almost completely covered by asphalt. To the south of the site there is a massive component of trees and this difference further accentuates the isolation character that is perceived in the area.

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[61]

1:3000

High contamination

Medium contamination

Contaminated soil

Contaminations

Industrial activity in the area for over a century has left a heavy trace: some buildings and parts of the soil are contaminated, especially by heavy metals. Contamination is mainly due to the previous carbon onoxide and color production. The Administrative Board of Stockholm has analyzed the site and it resulted that low levels of contamination have been estimated in a small part of the sediment of Lake Malaren (Lansstyrelsen, 2007), this is probably due to the site’s topography, due to its hilly character some pollutants have poured till the shoreline.

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[62]

1:3000

Private buildings

Tramtrail

Public buildings

Car traffic

Viability and access

Liljeholmen subway stop is five minutes away from Lovholmen site, and Grondalsvagen, the street in front of it, is served by buses and tramlines. The area is therefore very easy to reach, but despite that it’s almost impossible to enter, this is due to the fact that many parts of the site are private properties and are closed by fences and gates. Only the central road that leads to Fargfabriken art gallery is public and it’s accessible in two points: from Grondalsvagen and Trekantsvagen. The whole waterfront is not accessible neither by pedestrians nor bikers.

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[63]

1:3000

Cementa

Veidekke Bostad

Skanska Mark

Lindengruppen

City

Land Owners

Currently Lovholmen site contains a cement factory still in activity, several factories no longer in business and abandoned, and a couple of restored buildings which are open to the public (Fargfabriken, Platform Stockholm). The area is privately owned by different properties: Lindengruppen owns Fargfabrikens plot, Skanska has a big area which is occupied by closed factories, Veidekke Bostad owns Kolsyrefabriken’s plot (which was a former carbon oxide factory) and Cementa AB which is still in business has all the east side of the site.

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[64] Lovholmen and Lake Trekanten

Make advantage of the proximity with

Lake Trekanten’s beautiful environment (2),

use it as the driving regeneration source

for Lovholmen post-industrial district (1).

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1817

1940

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From Green To Green

The area has had several changes over time: from rural periphery to vacation place for the most prosperous families, from suburban character to becoming one of the most important industrial areas of stockholm in the twentieth century. The main evolutions of Lovholmen till now can be summarized in three macro stages: from green hunting ground into heavy industrialized area to the present abandoned state; what’s next?

Today, because of the change from an industrial based economy towards a knowledge based economy (digital revolution), areas like Lovholmen are becoming more and more important to shape the future Stockholm’s urban development. Therefore, since the presence of heavy industries is no longer sustainable and profitable for the city, the area must be rethought by creating a clear and coherent spatial design to bring order and to create a hierarchy that has never been given to the site: the use of the ground was directed to accommodate as many factories as possible, and this can be understood by the fact that the shoreline has been enlarged precisely for this reason.

Why not look to the past and to the original character of the site to plan its future?

Lovholmen was before the 20th century an idyllic green place which main character was its incredible green assets: can this quality be restored after the industrialization break, and integrated with new functions according to the new urban character in the wider context of Liljeholmen?

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2030?

[67]

1:3000

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Atlas of Pictures 1500 km away Gent from Stockholm.

Therefore images were a fundamental and precious resource to bring back to mind the atmospheres and the feelings that the project area provoked me during my visit.

I then decided to make a selection of the images that were most important for me as a tool for analysis and work and to use them to build a visual story. These images are useful for me to renew the memory and deepen my knowledge of the place and at the same time they are necessary for outsiders to understand the context and its specifications.

It’s a synthetic but inevitable collection, that takes into account the spirit of the area both in the winter season (as during my visit) and in the summer season.

[68]

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ARCHITECTURAL PROPOSAL

Tommaso Antonicelli

[82] Stockholm map (1861), zoom on Liljeholmen area

[83] Stockholm map (1861), zoom on Lovholmen area which is the project area

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The two images in the previous page are taken from a Stockholm map of 1861 and they point out two key elements in the composition of my design proposal. The top image expresses the original character of the wide area in which Lovholmen is located, where we find - immersed in nature (water and green) - the first discrete traces of urbanization. The bottom image was a pleasant discovery: the idea of ​​building visual or architectural axis to connect Lake Trekanten with Lake Malaren, which could work to sew those two environments togheter and to be the seed for Lovholmen regeneration. This was right from the beginning one of the key points from which to start my design process. I discovered this map far ahead in the development of my project and it was an important moment because it gave me consciousness and confidence in the direction I took: the image shows in fact how in the 19th century several ideal axis, made by a series of rows of trees, were meant as a connection element between the two environments divided by the railroad (which later led to the industrial development of the site). If at that time these axis could be positioned easily, since that part of the site was a tabula rasa, today this intervention requires careful choices: choose which buildings can be demolished, to recreate the visual and physical link between the two areas on the opposite sides of the road, and understand which public functions can be placed in the site to make it useful for the city.

[84] Connection strategy diagram

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[85] Site’s actual condition

1

1 7

E 1

1 2

Evaluation of the Built Structures To mantain (red) and to remove (black) A - Fargfabriken: art gallery and restaurant, recently renewed B - Nitrolackfabriken: part of the former color factory, in the 90s was converted in office building C - Steam-boiler’s Cimney: to be preserved as a landmark, witness of the industrial past of the area D - Platform Stockholm: current active and used as artists studios, well mantained E - Cementa’s Silos: to be preserved as a landmark, it can also host new functions

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D

5 6 4 A

C 3

B

1 - Cementa: the factory is still in activity, but the city wants to move it to the Varta Harbour 2 - Kolsyrefabriken: former carbon oxide factory, the building is worn down and higly contaminated 3 - Forbandsfabriken: abandoned and not used, even if in good conditions 5 - Workshop Hall: one storey buildings, not well mantained and used mostly as storage space 6 - Spredfabriken: the building is very degraded and it blocks one of the main entrance to the site 7 - Stad Mission & Framtidsgymnasiet: builted in the 1970s, the faรงades seem very degraded and the quality of the buildings is lower than all the nearby schools of liljeholme 97

Natural Elements

Existing and New Trees

Park’s Pathways

Lawn

[86]

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Architectural Elements

New Architectural Elements

Preserved Buildings

Park Elements Togheter

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School

Swimming Pool

Housing and Cafe

Boat C

Club

[88] New design in red and existing buildings in black

Theater

Greenhouse

Farming Plots

[89] New intervention masterplan

[90] New intervention ground floor plan

Tommaso Antonicelli

[91] Masterplan model picture

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[92] Masterplan model picture

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The Main Axis

[93] Main axis axonometric view

Level 0 Plan 1:1500

[94]

Level +1 Plan 1:1500

[95]

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A Walk Along The Axis

4. Looking at the Boat Club from the water

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3. Through the Housing and Cafe Plaza

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Four stops from Lake Trekanten to Lake Mälaren

[96] Longitudinal Section

2. Through the Swimming Pool

1. Walking on the Footbridge

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[97] Walking on the footbridge

[98] Through the Swimming Pool

[99] Through the Housing and Cafe Plaza

[100] Looking at the Boat Club from the water

Tommaso Antonicelli

[101] Footbridge model

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[102] Footbridge model

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“The bridge is one of the architectures that I love the most: it’s one of the most anti-natural elements that exists.

It contradicts nature and, in doing so, it highlights it. “ Luigi Snozzi

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[103]

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[104] Final Collage

BIBLIOGRAPHY

Tommaso Antonicelli

Books Author(s): Christian Diener, Jacques Herzog, Marcel Meili, Pierre de Meuron, Manuel Herz, Christian Schmid, Milica Topalovic (2013). The inevitable specificity of cities. Baden: MuĚˆller. Edited by ETH Studio Basel.

Constant, C. (2012). The modern architectural landscape. Minneapolis: University of Minnesota Press.

Graham, J. (1940). Housing in Scandinavia, Urban and Rural. Chapel Hill: The University of North Carolina Press.

Grassi, G. (2008). Una vita da architetto. Milano: Franco Angeli Editore.

Jellicoe, G., & Jellicoe, S. (1987). The landscape of man: shaping the environment from prehistory to the present day. New York, NY: Thames and Hudson.

Jones, P. B. (2012). Gunnar Asplund. London: Phaidon.

Kidder Smith, G. E. (1957). Sweden builds. London: Architectural Press.

Mostafavi, M., & Doherty, G. (2013). Ecological urbanism. Zurich: Lars MuĚˆller.

Waldheim, C. (2006). The landscape urbanism reader. New York: Princeton architectural press.

William-Olsson, W. (1961). Stockholm: structure and development. Stockholm: Almqvist & Wiksell.

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Articles Aureli, P. V., Sheherazade Giudici, M. The Nomos of the Earth - Rethinking the Architecture of the Territory. Architectural Association School of Architecture, Academic Year 2015-2016, London.

Carbonell, A., Salgueiro Barrio, R. Notes on Aldo Rossi’s Geography and History; the Human Creation. Charta Magazione II (2016-09-18).

City of Stockholm. The walkable city. The City Planning Administration, Stockholm (2010) City of Stockholm. Lövholmen: Program för Stadsutveckling, Diskussionsunderlag.

Stockholm (2008).

Fogelström, B. Gröndal. AB Stockholmshem, Stockholm (1998).

Torbjörn, S. (2004). Editorial: Introducing Swedish Garden History. Garden History.

Vol. 32, No. 2 (Winter, 2004), pp. 145-151.

Thesis Hedenkvist, L., Horn, C. (2014). From Industrial Past to Sustainable Future. Swedish University of Agricultural Sciences. Landscape Architect programme, Uppsala 2014.

Monterumisi, C. (2015). Ragnar Östberg. Genius loci and urban memories. University of Bologna. School of Doctorate Studies in Architecture.

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Websites Advice on Parks from Holger Blom, Stockholm. (2013, May 10). From http://www. play-scapes.com/play-history/mid-century-modern/advice-on-parks-from-holgerblom-stockholm/ Hammarby Sjöstad - A New Generation of Sustainable Urban Eco-Districts – The Nature of Cities. (2015, August 07). From https://www.thenatureofcities. com/2014/02/12/hammarby-sjostad-a-new-generation-of-sustainable-urban-ecodistricts/ J. (n.d.). The Urban Observer. From https://exploring-and-observing-cities.org/ Mies Detroit - Lafayette Park, Detroit, Michigan. (n.d.). From http://www. miesdetroit.org/ Parker i Stockholm. (n.d.). From http://www.wikiwand.com/sv/Parker_i_Stockholm Sök. (n.d.). From https://stockholmskallan.stockholm.se/sok/?q=&map=true Stockholm Park System. (n.d.). From http://www.gardenvisit.com/gardens/ stockholm_park_system Stockholms Uneasy Urbanism. (2016, November 28). From http://www.thetowner. com/stockholm-uneasy-urbanism/ Walking Stockholm. (n.d.). From http://walkingstockholm.blogspot.be/2013/01/ stockholms-earliest-urban-plan-revisited.html

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Figure Index [2,3] https://exploring-and-observing-cities.org/2014/11/17/stockholm-urban-naturecity-of-water-city-of-parks-city-of-seasons/ [4] roadmap-for-a-fossil-fuel-free-stockholm-2050.pdf [5,6,7] http://geology.com/world-cities/ [8] https://en.wikipedia.org/wiki/Vädersolstavlan [9] https://sv.wikipedia.org/wiki/Historiska_kartor_over_Stockholm#/media/ File:Map_Stockholm_Akrel_1802_(Stockholm_277A).png [11] https://upload.wikimedia.org/wikipedia/commons/f/f2/Stockholm_med_ omgivning_1861.jpg [12] http://www.wikiwand.com/sv/Strömparterren [13-18] http://www.wikiwand.com/sv/Parker_i_Stockholm [19] Edited image from Google Earth Pro [20] https://commons.wikimedia.org/wiki/File:Skogskapellet_april_2015b.jpg [21-22] http://www.mynewsdesk.com/se/arkdes/latest_media/tag/gunnar-asplund [23-25] From “The modern architectural landscape” - From the collections at the Swedish Museum of Architecture

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[26] http://bokenomvasastan.blogspot.be/2010/03/byggnader-stadsbiblioteket.html [27] http://www.archdaily.com/tag/stockholm-public-library [28] http://martinklasch.blogspot.be/2011/07/stockholm-exhibition-1930.html [29] https://theswedishrugblog.wordpress.com/2016/09/13/the-stockholm-exhibitionof-1930/ [30-31] http://www.mynewsdesk.com/se/arkdes/latest_media/tag/gunnar-asplund [32-33] https://www.studioesinam.com/blogs/love-architecture/the-woodlandcemetery-stockholm [34] http://reflexionesproyectuales.blogspot.be/2014/06/capilla-del-bosque-gunnarasplund-1918.html [35] https://en.wikipedia.org/wiki/Skogskyrkogärden [36] http://www.landezine.com/index.php/2010/09/skogskyrkogarden/ skogskyrkogacc8arden-woodland-cemetery-stockholm-25/ [37] https://www.arquitecturayempresa.es/noticia/el-cementerio-del-bosque-enestocolmo-transito-la-eternidad [38,41,42,43,46,49] http://www.archdaily.com/455524/ad-classics-lafayette-parkmies-van-der-rohe [39] https://s-media-cache-ak0.pinimg.com. originals/2d/58/6c/2d586c1a571a2fb983cfdc076b70aa5e.jpg

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[40] https://archpaper.com/2017/05/charles-waldheim-urban-agriculture/ [44-45] http://unavidamoderna.tumblr.com/post/69022867086/miesdetroit365lafayette-park-detroit-vintage [47] http://www.gizmoweb.org/event/lafayette-park-detroit-la-formadellinsediamento/ [48,50] https://www.dwell.com/article/mies-van-der-rohe-lafayette-park-19181d7a [52] Lรถvholmen: Program fรถr Stadsutveckling, Diskussionsunderlag Juni 2008.pdf [64] Edited image from Google Earth Pro [68,81] http://mapio.net/s/61106553/ [69-78] Photos taken by me and by my fellow students [79-80] http://www.mynewsdesk.com/se/fargfabriken/pressreleases/experimentstockholm-utstaellning-seminarier-debatter-och-workshops-1182575 [54-59, 65-66, 82-83] https://stockholmskallan.stockholm.se/sok/?q=&map=true [1, 10, 51, 53, 60-63, 67, 84-104] Own Material

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