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- Forsell, Håkan, 1968-
(author)
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Eminent domain and urban renewal : the ’takings clause’ as instrument of social planning in the case of East Baltimore development initiative
- 2009
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Reports (other academic/artistic)abstract
- The report focuses on the different usage pattern of urban property (land and buildings), and in what way city government cooperate and negotiate with property owners to mediate or agree upon new land use pattern to empower community and social resources.With regard to the revitalization project in East Baltimore, the study analyzes the theoretical problem of using “eminent domain” as a legal instrument to reclaim private property, not primarily for city-initiated development projects, but for private housing development and business projects.The report connects to ongoing scholarly debates about urban policy and social research dealing with regeneration and revitalization of blighted and abandoned central urban areas in West European cities.
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- Forsell, Håkan, 1968-
(author)
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En ny amerikansk dröm
- 2009
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In: Arkitektur. - Stockholm : Arkitektur förlag. - 0004-2021. ; :5, s. 35-41
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Journal article (other academic/artistic)abstract
- Stadsförnyelse och stadspolitik i USA i dag
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- Forsell, Håkan, 1968-
(author)
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En pamflett för medelklassen
- 2012
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In: Arkitektur. - Stockholm : Arkitektur förlag. - 0004-2021. ; :3, s. 9-9
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Review (pop. science, debate, etc.)abstract
- Kommentar till Edward Glasers "The Triumph of the City" (nu i svensk översättning "Stadens triumf"). "... på många sätt en pamflett för den nyurbanistiska medelklassen. ... Vissa av hans insikter är ändå tveklöst värda att betona." En alternativ bild ger Anna Mintons "Ground Control. Fear and happiness in the twenty-first-century city" från 2009. "Där är det lite mindre självklart vad som är rätt och fel."
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- Forsell, Håkan, 1968-
(author)
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Musikens rum i samhällets mitt : Stockholms konserthus och mellankrigstidens publik
- 2007
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In: Bebyggelsehistorisk tidskrift. - Stockholm : Bebyggelsehistorisk tidskrift. - 0349-2834. ; :54, s. 46-58
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Journal article (peer-reviewed)abstract
- The importance of public cultural and musical institutions in European cities grew almost explosively at the beginning of the 20th century. Concert and opera houses were no central buildings for the establishment both of local music and of an international musical culture. Financially the music palace was a luxury, and it often took wealthy donors and private benefactors to realise the building projects and then to fill the buildings with regular performances of music and drama. Given this background, the Stockholm Concert Hall touches on several lines of historical development. It was planned and financed through private donations and royal lottery proceeds, added to which, the land for the building was provided by the City of Stockholm in return for an annual rent. But the society to which the new Concert Hall finally opened its doors in 1926 was a good deal more plebeian than that for which it had originally been planned. Sweden was now a democracy, women had been given the vote and many social and cultural values which had been embraced by an upper crust were being challenged, for example by the labour movement and the women’s emancipation movement. Architect Ivar Tengbom’s winning entry in the 1920 competition for a new concert hall overlooking Hötorget confronted the motley and once rural-looking market square with the wide column façade of the new palace of music. The Concert Hall Association vainly attempted to elevate the status of the site by regulating the types of commercial activity permissible in the Concert Hall’s vicinity. The mobility, variety and manifold activity of the city came to influence what went on inside the building. During the inter-war years the Concert Hall became a building for all manner of activities besides concerts. It was rented out for trade union congresses, housewives’ weeks, gymnastic displays, wrestling matches, theatricals and conjuring shows. During the critical years round about 1930, when the premises were constantly threatened with emptiness, one of the declared objectives of the Concert House Foundation was to make the building a more popular assembly venue and to open it up for events of every kind. At the same time, concert music needed to be more vigorously defended and its audiences retained. From the very outset the Concert Hall was under heavy pressure of change, by reason of technical progress. Radio broadcasting and, above all, the gramophone, had engendered completely new ways of listening to music. Gradually the normative perspective started to change. It was radio performances and the popularity of gramophone recordings that were to be emulated in the Concert Hall repertoire. But at the same time there existed a strong cultural tradition of communal listening as an established form of social behaviour. During the 1930s, to hold its own in the new competition for listeners, the Concert Hall Foundation management stressed the importance of the live audience, as members of a community. The Concert Hall management successfully conveyed a conviction of the value of the public concert, of the Concert Hall as the venue for authentic musical experience. The central position of the Concert Hall in the urban community was confirmed by successfully coping with three different challenges in the social and cultural life of the inter-war years: radio broadcasts were integrated with concert performances, authentic and aesthetic experiences were offered through “audience membership” and at the same time the building was open for manifold contacts between citizens in a democratic culture.
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- Forsell, Håkan, 1968-
(author)
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Property, tenancy & urban growth in Stockholm & Berlin, 1860-1920
- 2006. - 1
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Book (other academic/artistic)abstract
- The study explores the cultural and political meanings attributed to house property ownership in Berlin and Stockholm during the course of the modern city building process and urbanisation in the late 19th and the beginning of the 20th century. The purpose of the study is to contribute to the understanding of the economic practice, and how individuals and markets are embedded in social norms and political and legal structures, to sustain the dynamics of development. The study focuses the social, political and legal integration and activity of the house owners to master the changes of the real estate and housing market from the mid 19th century to the First World War. The investigation is divided into three parts. Part one analyses the local political development. In Berlin the house owners were guaranteed at least half of the seats in the City parliament from 1808 to 1918 according to a house owners’ privilege-clause. In Stockholm property owning was merely considered as an object of private means with no political privileges attached to it. During the 19th century, the house owners’ associations in both cities were strongholds for economic liberalism. But in Berlin a paternalistic and corporate logic also defined other official assignments that the house owners had to perform. In Stockholm on the other hand the house owners became subjected to the economic modernisation of the city governance. Part two considers the role of the house owners in the city building process. The house owners obtained an increasingly weaker economic position on the real estate market in relation to other actors, such as mortgage institutions, banks and land companies. The erection of large tenement-houses became the symbol of the irresponsible and profit-seeking small property-investor. The emergence of a social reform movement also meant that the economic order for housing was subjected to recurrent demands on state regulations and active political measures of the City administration to provide cheap land and dwellings for the working class. Part three analyses the rental market and how the relationship between landlords and tenants relatively late became subjected to social political legislation. Despite the reformation of the rent-laws in the early 20th century, the house owners, in their role as landlords, could safeguard their superiority to the tenants as the principle of freedom of contract remained largely untouched my the legislative authorities, at least until the domestic crises of the First World War. Private ownership was the cut-off point for eventually all institutional, legal and political adjustments in the early 20th century, and more definitely so during and after the war. The thesis analyses how the house owners in both cities had different preconditions to handle the changes of the social and economic order and the emergence of new political priorities.
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