contemporary itinerary: Stockholm

la città tra i ponti
text by Antonello Boschi
text by Andrea Bulleri
Alla fine del Saltsjönfiord il Baltico incontra il lago Mälaren, ma con difficoltà: l’acqua deve conquistare il
suo spazio fra una miriade di isole prima di addolcirsi in prossimità del bacino lacustre. I limiti si estendono,
diventano incerti – specialmente nella rigida stagione invernale – e gli elementi si confondono: i confini
fra terra, acqua e cielo si fanno labili e tutto sembra possibile1. Ed allora capita! Succede che, nel più
improbabile dei luoghi, dove l’artificio della presenza umana sembra bandito, si inneschino le condizioni
storiche per la genesi di un centro urbano. Succede che un fondatore dai tratti mitici, Birger, lo Jarl di Bjälbo,
sul preesistente villaggio di pescatori dell’XI secolo, decida di creare una città capace di garantire la difesa
dell’entroterra e permettere l’espansione del traffico commerciale verso i porti europei. Nel XIII secolo,
attorno al castello di Tre Kronor, in pochi anni viene costruito un nuovo insediamento sulla piccola isola di
Gamla Stan, regolando il corso dell’acqua con chiuse lignee fra Stadsholmen e Riddarholmen: Stoccolma,
la ‘città tra i ponti’, si sviluppa e si impone come porto di esportazione del rame e del ferro proveniente
dalla regione di Bergslagen, tanto da divenire uno dei principali membri della lega anseatica. La sua stessa
costituzione, secondo l’orientamento di Birger Jarl, determinerà − data la favorevole collocazione logistica,
baricentrica rispetto ai domini Gotar e Svear – il definitivo processo di aggregazione e consolidamento
dello stato svedese (Sverige dall‘antico Svear Rike: regno degli Svear). In un breve lasso temporale un’area
senza un vero centro di riferimento, assunse un ruolo egemone nell’area scandinava ed una compattezza
tale da tentare perfino l’espansione sul suolo russo, arrestata alla foce del fiume Neva da Aleksandr Nevskij
nel 1240. Al rapido processo di genesi seguì, nei secoli successivi, un lento consolidamento fino al risveglio
urbano del XVII secolo, celebrato dall’esuberante veste barocca introdotta dai Tessin: presenze grandiose,
funzionali alla rappresentatività della nuova capitale svedese, ma non invasive rispetto all’originale matrice
medievale. Lo stesso equilibrio fra paesaggio e sistema urbano, che ha orchestrato nel tempo l’espansione
cittadina fino a ricoprire le attuali 14 isole, ha permesso di eludere, nel Novecento, le tentazioni di un
profondo rinnovamento dell’area metropolitana secondo una radicale visione dell’urbanistica moderna.
Per la fatiscente Gamla Stan, cuore identitario della storia cittadina, era stata prevista infatti la completa
demolizione ed un nuovo impianto con direttrici di scorrimento più funzionali2 al ruolo di una metropoli
moderna: solo le insistenti proteste di eminenti personaggi, come August Strindberg e Carl Larsson,
permisero la sospensione e poi l’abbandono dei progetti. L’area fu definitivamente posta sotto tutela negli
anni sessanta. Oggi la città vecchia è uno dei centri storici medievali più grandi e meglio conservati
d’Europa.
A volte la lettura di un romanzo, la visione di un film possono essere le migliori guide ad una città.
Pensiamo all’idea che ci siamo fatti di Stoccolma attraverso la cinematografia degli anni sessanta: da una
parte la commedia “Il diavolo“ di Gian Luigi Polidoro, che ancora una volta1 materializzava il mito della
donna nordica vista con gli occhi dell’italiano medio per eccellenza, Alberto Sordi. I dialoghi, e soprattutto
i silenzi fra Amedeo Ferretti e la ragazza nell’hotel con vista sull’eterna notte scandinava, ci parlano di una
città sì disinibita, ma dove le emozioni rimangono pur sempre private. Impressioni che divengono invece
pubbliche nelle facciate degli Hötorget buildings dove, il complesso realizzato da Helldén, Markelius,
Tengbom, Lallerstedt e Backström & Renius, grazie ad un’installazione dell’artista Erik Krikortz, viene
trasformato in un enorme caledoscopio urbano nel quale ogni cittadino può esprimere il suo stato d’animo
collegandosi al sito emotionalcities e rispondere con una scala di colori alla semplice domanda “come ti
senti oggi?” Dall’altra, sempre del 1963, una pellicola dal sapore chiaramente hitchockiano diretta da
Mark Robson, “Intrigo a Stoccolma“, ci mostra una città elegante e misteriosa al contempo, nelle vicende
di un Paul Newman impegnato con Elke Sommer a sventare un complotto internazionale all’ombra della
cerimonia del premio Nobel. Sono gli anni in cui la città – o meglio l’intera area metropolitana – in un
ventennio moltiplica la sua popolazione da 220.000 a 1.400.000 abitanti del 19802, passando attraverso
politiche abitative contrastanti: prima il programma per un milione di nuove abitazioni, poi orientando il
costruito verso forme abitative di dimensioni più contenute e dal profilo ambientale misurato. Dilatazioni
e contrazioni, accelerazioni e brusche frenate che si sono avvicendate a cavallo dei due millenni, prima
con la crisi economica dell’inizio degli anni Novanta e poi con la recessione mondiale di fine 2008.
Pressioni speculative orientate soprattutto al mercato immobiliare degli uffici, contro le quali il governo
ha opposto una forte resistenza attraverso strumenti come l’action programme on architectural policy, ma
anche stimolando l’interesse per l’architettura attraverso la promozione di luoghi deputati come il Moderna
Museet inaugurato nel 1998, o la pratica dei concorsi internazionali divenuti prassi per l’assegnazione di
grandi edifici pubblici. Se a questo aggiungiamo lo spostamento della popolazione giovanile dal Norrland
al Götaland, e in generale dalle aree rurali alla città, si può facilmente comprendere come i conflitti sociali
fossero davvero alle porte. Specchio fedele di questi contrasti, le pagine della trilogia di Stieg Larsson3, che
mostra una capitale insensibile, dura, corrotta già intravista nei fotogrammi di “Racconti di Stoccolma“4,
così lontana da quell’immagine idilliaca, edulcorata del modello svedese, del socialismo irretito di
capitalismo, di quella parola, lagom, che in lingua locale sta indicare una sorta di via di mezzo fra le cose.
At times, reading a novel or watching a film can be the best guides to a city. The
idea, for instance, that we got of Stockholm through 1960s’ cinema: on one hand,
Gian Luigi Polidoro’s comedy “Il diavolo“, which once again1 unveiled the myth of
Nordic women seen with the eyes of the average Italian par excellence, Alberto
Sordi. The dialogues and above all silences between Amedeo Ferretti and the girl
in the hotel with a view of the entire Scandinavian night, tell us of an uninhibited
city, but where emotions remain forever private. Impressions which instead become
public in the façades of the Hötorget buildings where, the complex built by Helldén,
Markelius, Tengbom, Lallerstedt and Backström & Renius, thanks to an installation by
artist Erik Krikortz, is transformed into an enormous urban kaleidoscope, in which
each citizen can express his mood by logging on to the website emotionalcities and
answering the simple question “how do you feel today?” through means of a colour
scale. On the other hand, a Hitchcockian film of 1963 directed by Mark Robson,
The Prize, unveils a both elegant and mysterious city where Paul Newman and Elke
Sommer endeavour to thwart an international conspiracy in the shadow of the Nobel
prize ceremony.
These are the years in which the city – or better the entire metropolitan area – in just
two decades multiplies its population from 220,000 to 1,400,000 inhabitants in
19802, subjected to conflicting housing policies: first, the programme for one million
new residences, subsequently steering building toward smaller, more measured forms
of housing. Dilatations and contractions, accelerations and sudden halts which have
alternated around the turn of the millennium, first with the financial crisis of the early
1990s and subsequently with the global recession of the end of 2008. Speculative
pressure oriented above all towards the property market of offices, against which
the government has put up strong resistance through instruments like the action
programme on architectural policy, but also stimulating interest in architecture by
promoting appointed places such as the Moderna Museet, inaugurated in 1998,
or by holding international competitions, now a praxis for assigning important public
buildings. If we add to this the young population’s shifting from Norrland to Götaland,
and generally from rural areas to the city, it is easy to understand how social conflicts
were just round the corner. A faithful mirror of these contrasts, the pages of Stieg
Larsson’s trilogy3 which reveal an insensitive, harsh and corrupt capital, already
glimpsed in the photograms of “Racconti di Stoccolma“4, so far from that idyllic,
sweetened image of the Swedish model, of socialism seduced by capitalism,
of that word lagom, which indicates a kind of middle course between things.
Notes
1. In fact the first film
on the theme was “Le
svedesi“, by G.L. Polidoro,
Italy, 1960.
2. O. Hultin, “History of
Stockholm city planning” in
O. Hultin, B.O. Johansson,
J. Martelius, R. Waern,
“The complete guide to
architecture in Stockholm.
400 buildings from 800
years. A guide to all
the important buildings
in Stockholm and its
surroundings“, Stockholm
1998, p.288.
3. S. Larsson, “Män som
hatar kvinnor“, Stockholm
2005; “Flickan som lekte
med elden“, Stockholm
2006; “Luftslottet som
sprängdes“, Stockholm
2007.
4. “När mörkret faller“ by
A. Nilsson, Sverige 2007.
Notes
1. “It was a fine morning
in June of a clear dazzling;
the sky was heavenly clear
as skimmed milk, islands,
rocks and reefs emerge
slightly from the water
so nuanced that can not
say whether belonged
to the earth or the sky“.
J.A. Strindberg, Gli
isolani di Hemsö, Firenze
1966, Italian translation.
Hemsöborna, Stockholm
1887, p.110. The novel is
set on an island that is the
idealisation of Kymmendö,
where Strindberg spent his
youth.
2. The street dedicated
to Mårten Trotzig, the
narrowest in Gamla Stan,
measures just 90 cm.
At the end of the Saltsjönfiord, the Baltic meets Lake Mälaren, but with difficulty:
the water must conquer its space amongst a myriad of islands, before becoming
freshwater in proximity of the lake basin. The landscape predominates and transforms,
following the changeable, capricious channel of the water’s physical states. The limits
extend, become uncertain – especially during the harsh winters – and the elements
merge: the limits between land, water and sky become faint and everything seems
possible1. And that’s when it happens! In the most improbable of places, where human
presence appears banned, historical conditions for the genesis of a town get under
way. A founder with mythical features, Birger, the Jarl of Bjälbo, decided to create
a city on the pre-existing 11th-century fishing village, that was able to guarantee
protection of the hinterland and permit expansion of commercial traffic towards
European ports. In the 13th century, in just a few years a new settlement was built
around the castle of Tre Kronor, on the little island of Gamla Stan, regulating the water
course with timber weirs between Stadsholmen and Riddarholmen: Stockholm, the “city
among the bridges”, developed as a port of exportation of copper and iron originating
from the region of Bergslagen, becoming one of the chief members of the Hanseatic
League. Its very constitution, according to Birger Jarl’s orientation, was to determine
– given the favourable logistic location, a barycentre in relation to the dominions of
Gotar and Svear – the definitive process of aggregation and consolidation of the
Swedish state (Sverige from the ancient Svear Rike: kingdom of Svear). Within a
short lapse of time, an area without any real centre of reference, assumed a leading
role in the Scandinavian area and such compactness that it even tried to expand
onto Russian soil, an attempt thwarted by Aleksandr Nevskij at the mouth of the river
Never in 1240. Over subsequent centuries, the rapid genesis process was followed
by slow consolidation, until the urban revival of the 17th century, celebrated by the
exuberant Baroque style introduced by the Tessin: grandiose presences, functional for
representing the new Swedish capital, yet not invasive compared with the original
Medieval architecture. The very equilibrium between the countryside and urban system,
which has orchestrated the gradual expansion of towns to the point of covering the
current 14 islands, has avoided the temptation to radically renew the metropolitan
area in the 1900s, according to a radical vision of modern town-planning. In fact
for the crumbling Gamla Stan, the heart of the town’s history, there had been a plan
for its complete demolition and a new, more functional road system2 to make for a
modern metropolis: only insistent protests made by eminent personages such as August
Strindberg and Carl Larsson, led to the suspension and subsequent abandonment of
the projects. The area was definitively placed under protection during the 1960s.
Today, the old town is one of the largest, best preserved medieval historical centres
in Europe.
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contemporary itinerary: Stockholm
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Astrakangatan, Kjellander + Sjöberg
Sicklingen-slipstenen, Kjellander + Sjöberg
House Karlsson, Tham & Videgård Hansson Arkitekter
Enköpings Bibliotek, Nyréns Arkitektkontor
Uppsala Concert & Congress Hall, Henning Larsen Architects
Waste incineration plant, Arkitektmagasinet
Statens Veterinärmedicinska, AIX Arkitekter
Alby public library, Sandellsandberg
Arlanda Airport, KHR Arkitekter
Arlanda TWR, Gert Wingårdhs
Pfizer AB, Murman Arkitekter
Villa Solberget, Reflex Arkitekter
Södra Salen, Johannes Tovatt
Floating Roof, Rundquist architects
Vällingby Centrum, Scheiwiller Svensson Arkitektkontor
Norrenergi, Scheiwiller Svensson Arkitektkontor
House K, Tham & Videgård Hansson Arkitekter
Aula Magna, Ralph Erskine
KTH - Hallen, AIX Arkitekter
Fysikcentrum, Henning Larsen Architects
Millesgarden Lidingo, Johan Celsing Arkitektkontor
Lidingo houses, Tham & Videgård Hansson Arkitekter
Villa Maria, Mats Fahlander
Södertörns Högskola, Malmström & Edström Arkitektkontor
Farsta Centrum, AIX Arkitekter
Villa Älta, Johannes Norlander Arkitektur
Plus house, Claesson Koivisto Rune Arkitektkontor
Arcipelago house, Tham & Videgård Hansson Arkitekter
Holiday house, Arkitektstudio Widjedal Racki Bergerhoff
Temppeli, AIX Arkitekter
Lilla Essingen, ÅWL Arkitekter
Bonnier Art Gallery, Johan Celsing Arkitektkontor
Nordic Light Hotel, Lars Phil, Jan Söder
H&M headoffice, Reflex Arkitekter
Segelstorn, Gert Wingårdhs
Jericho - Ernst & Young, White
CityCronan, Reflex Arkitekter
Kungstrappan, Wester + Elsner Arkitekter
Dramatiska Institutet, Scheiwiller Svensson Arkitektkontor
Finnish Embassy, Gullichsen Vormala Arkkitehdit
Vasamuseet, Göran Månsson, Marianne Dahlbäck
Moderna Museet, Rafael Moneo
Bridge Apaté, Erik Andersson Architects
Hammarby Sjöstad, ÅWL Arkitekter
Sjöstadskapellet, Reflex Arkitekter
White office, White
Clarion hotel, White
New Årsta Bridge, Norman Foster & Partners
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edited by Antonello Boschi, Andrea Bulleri
21
20
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43
44
Stockholm
1
project typology
architect
realization
address Astrakangatan
housing
Kjellander + Sjöberg
2003-2006
Vasteras, Astrakangatan
13
project typology
architect
realization
address Södra Salen
extension of conference centre - conference theatre
Johannes Tovatt
2006
Färingsö - Sånga-Säby Kurs & Konferens
2
project typology
architect
realization
address
Sicklingen-slipstenen
housing
Kjellander + Sjöberg
2004
Vasteras,
Strängnäsgatan
and Uppsalagatan
14
project typology
architect
realization
address Floating Roof
urban facilities
Rundquist architects
2003-2007
Vällingby - Vällingbytorg, 36 3
project typology
architect
realization
address House Karlsson
family house
Tham & Videgård Hansson Arkitekter
2000-2002
Västerås - Tidö-Lindö, Gräggenvägen
4
project typology
architect
realization
address Enköpings Bibliotek
library
Nyréns Arkitektkontor
1995
Enköping - Ågatan, 29
15
project
Vällingby Centrum
typology shopping centre
architect Scheiwiller Svensson Arkitektkontor
realization2005-2007
address Vällingby - Vällingbyplan, 18
16
project typology
architect
realization
address Norrenergi
industrial building
Scheiwiller Svensson Arkitektkontor
1995-1996
Solna - Solna Strandsväg, 37
5
project typology
architect
realization
address Uppsala Concert
& Congress Hall
concert & congress hall
Henning Larsen Architects
2004-2007
Uppsala - Vaksala torg,1
17
project typology
architect
realization
address House K
family house
Tham & Videgård Hansson Arkitekter
2004-2005
Stocksund
6
project typology
architect
realization
address Waste incineration plant
industrial building
Arkitektmagasinet
2005
Uppsala - Bolandsgatan, 13
18
project Aula Magna
typology university building - lecture theatre auditorium
architect Ralph Erskine
realization 1997
address Stockholms Universitet – Frescativägen, 6
7
project typology
architect
realization
address Statens Veterinärmedicinska
university building
AIX Arkitekter
2003
Uppsala
19
project typology
architect
realization
address KTH - Hallen
sports hall
AIX Arkitekter
1991-2005
Brinellvägen, 38
8
project Alby public library
typology public library
architect Sandellsandberg
realization 2007-2008
address Alby. Botkyrka - Albyvägen, 6c
20
project
typology
architect
realization
address Fysikcentrum
university building
Henning Larsen Architects
2000
Roslagstullsbacken
9
project typology
architect
realization
address 21
project typology
architect
realization
address Arlanda Airport
pier
KHR Arkitekter
1999-2002
Sigtuna - LFV Arlanda
10
project typology
architect
realization
address Arlanda TWR
traffic control tower
Gert Wingårdhs
2001
Sigtuna - LFV Arlanda
Millesgarden Lidingo
art gallery
Johan Celsing Arkitektkontor
1996-1999
Lidingö - Herserudsvägen, 3
22
project typology
architect
realization
address Lidingo houses
housing
Tham & Videgård Hansson Arkitekter
2007
Lidingö - Gavelvägen, Skärsätra
11
project typology
architect
realization
address Pfizer AB
headquarters
Murman Arkitekter
2006
Sollentuna - Vetenskapsvägen, 10 12
project typology
architect
realization
address Villa Solberget
family house
Reflex Arkitekter
2005
Granhällsvägen
23
project typology
architect
realization
address Villa Maria
family house
Mats Fahlander
2006
Nacka - Klarabergsvägen, 9
24
project typology
architect
realization
address Södertörns Högskola
university library
Malmström & Edström Arkitektkontor
2002-2004
Huddinge - Alfred Nobels Allé, 11
25
project typology
architect
realization
address Farsta Centrum
shopping centre
AIX Arkitekter
1997
Farsta
37
project typology
architect
realization
address CityCronan
office building, residential
Reflex Arkitekter
2003
Mäster Samuelsgatan, 28
26
project typology
architect
realization
address 38
project typology
architect
realization
address Villa Älta
family house
Johannes Norlander Arkitektur
2007
Älta - Ältavägen, 126
27
project typology
architect
realization
address Plus house
family house
Claesson Koivisto Rune Arkitektkontor
2007
Tyreso
Kungstrappan retail and offices
Wester + Elsner Arkitekter
1999-2004
Regeringsgatan, 67
39
project typology
architect
realization
address Dramatiska Institutet
cultural centre
Scheiwiller Svensson Arkitektkontor
2003-2005
Valhallavägen, 189
28
project typology
architect
realization
address Arcipelago house
family house Tham & Videgård Hansson Arkitekter
2003-2006
Stockholm archipelago - Husarö
40
project typology
architect
realization
address Finnish Embassy
embassy
Gullichsen Vormala Arkkitehdit
2002
Ladugårdsgärdet - Gärdesgatan, 11
29
project typology
architect
realization
address Holiday house holiday house
Arkitektstudio Widjedal Racki Bergerhoff
2004
Stockholm archipelago
41
project typology
architect
realization
address Vasamuseet
museum
Göran Månsson, Marianne Dahlbäck
1990
Djurgårdsvägen, 36
30
project typology
architect
realization
address Temppeli residential utilities
AIX Arkitekter
2006
Stockholm archipelago
42
project typology
architect
realization
address Moderna Museet
museum of modern art
Rafael Moneo
1998
Skeppsholmen
31
project typology
architect
realization
address Lilla Essingen housing
ÅWL Arkitekter
2003
Lilla Essingen - Primusgatan, 86-98
43
project typology
architect
realization
address Bridge Apaté
bridge
Erik Andersson Architects
2003
Hammarby Sjöstad - Sickla Kanalgata
32
project typology
architect
realization
address Bonnier Art Gallery
art gallery
Johan Celsing Arkitektkontor
1998-2006
Torsgatan, 19
44
project typology
architect
realization
address Hammarby Sjöstad
housing
ÅWL Arkitekter
2000-2002
Hammarby Sjöstad, Sickla Udde - Sickla Kanalgata,
52-56 85-93
Nordic Light Hotel
design hotel
Lars Phil, Jan Söder
1998
Vasaplan, 7
45
project typology
architect
realization
address Sjöstadskapellet
church
Reflex Arkitekter
2007
Lugnets allé, 46
34
project typology
architect
realization
address H&M headoffice
office building
Reflex Arkitekter
2007
Drottninggatan, 56
46
project typology
architect
realization
address White office
office building
White
2001
Katsan – Östgötagatan, 100
35
project typology
architect
realization
address Segelstorn
apartments and exhibition area
Gert Wingårdhs
1999
Sergels Torg
36
project typology
architect
realization
address Jericho - Ernst & Young
office building
White
2002
Jakobsbergsgatan, 24
47
project typology
architect
realization
address Clarion hotel
hotel
White
2003
Ringvägen, 98
48
project typology
architect
realization
address New Årsta Bridge
bridge
Norman Foster
& Partners
1994-2005
Årsta Bridge
183 itinerario contemporaneo: stoccolma contemporary itinerary: stockholm
33
project typology
architect
realization
address