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- Arfvidsson Womack, Anna, et al.
(författare)
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Adlig prakt och borgerlig hemtrevnad : Två historiska interiörer i Nordiska museet
- 2020
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Ingår i: Bebyggelsehistorisk tidskrift. - Uppsala : Föreningen Bebyggelsehistorisk tidskrift. - 0349-2834 .- 2002-3812. ; 78, s. 24-48
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Tidskriftsartikel (refereegranskat)abstract
- At the inauguration of its new building in 1907, Nordiska museet in Stockholm displayed an extensive series of period rooms, illustrating the homes of the privileged classes in Sweden from the sixteenth century to present days. The exhibition remained more or less intact until the early 1970s, when it was dismantled and put into storage. Focusing on two of the rooms – a 17th century state Bedroom from Ulvsunda castle and an 18th century bourgeois interior from Högbergsgatan in Stockholm – this article explores the provenance of the rooms, their role in a museological context and their relations to the museum’s knowledge production. Most of the period rooms were architectural salvages following demolitions in the early 20th century, and as such they can be regarded as physical representations of the museum’s practices and expertise within the field. The Ulvsunda bedchamber and the room from Högbergsgatan outlived the depreciation of the 1970s, and were updated and reinstalled in subsequent exhibitions. After more than hundred years, these two period rooms are now among the museum’s most long-lived attractions.
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| 4. |
- Edman, Victor, Associate Professor, 1954-, et al.
(författare)
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Adlig prakt och borgerlig hemtrevnad: Två historiska interiörer i Nordiska museet
- 2020
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Ingår i: Bebyggelsehistorisk tidskrift. - 0349-2834 .- 2002-3812. ; 78, s. 24-49
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Tidskriftsartikel (refereegranskat)abstract
- Noble grandeur and bourgeois comfort: Two period rooms at the Nordic MuseumIn 1907, the newly opened Nordic Museum (Nordiska museet) in Stockholm presented a selection of the museum’s comprehensive collections. Visitors were already well acquainted with its folk-art exhibitions, but the size of the space devoted to the upper-class collections was something new. The chronologically arranged Avdelningen för de högre stånden ('Gallery of the upper classes') included period rooms, which were intended to bring to life the development of the Swedish home from the 16th century onwards. Today few traces remain of this exhibition, which was dismantled and stored away in the early 1970s. The exception is two interiors – a state bedroom from Ulvsunda Castle in Bromma, and a room from a bourgeois home at Högbergsgatan in Stockholm. Today the context of these rooms has been changed, yet after more than a century, museum visitors can still experience them. This article traces the history of how these period rooms has been altered over time, which allows them to guide us through a relatively unresearched chapter in the history of the Nordic Museum.At the turn of the century 1900, numerous period rooms were created in European and North American museums, where they formed part of the canon of art and architectural history. In recent decades, long having been regarded as a dated form of exhibition, these installations have received increasing attention by academic research. This study focuses on the Nordic Museum interiors, which from 1907 until the early 1970s were part of the museum’s comprehensive exhibition of the cultural history of the elite. The analysis is based on various questions that relate to the origin of the interiors and how the exhibition format was applied. Focusing on the two extant interiors, the article discusses what specific practices the museum developed in this area. The main goal is to shed light on the museum’s role in communicating Swedish domestic culture.The study of the Nordic Museum’s period rooms show just how closely related they were to the museum’s dissemination of knowledge as a whole. The reconstructed interiors were chosen primarily to illustrate specific phases of Swedish cultural history. The upper-class gallery was created and retained at a time when stylistic typology was a core feature of academic research into artistic artefacts. The layout of the exhibition, where visitors would walk from room to room, era to era, reinforced this chronological perspective. The concept of stylistic typology was associated with the cultural history of the elite and the shifting international currents in architecture, art and interior design. The museum’s research into domestic history and the history of the built environment interacted with its exhibition work. From this perspective, the Nordic Museum’s upper-class gallery embodies the theories and practices predominant in cultural science at the time.
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- Gabrielsson, Catharina, 1964-
(författare)
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Från Stureplan till Brunkebergstorg : Trettio år av stadsrummets privatisering
- 2020
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Ingår i: Bebyggelsehistorisk tidskrift. - Uppsala : Föreningen Bebyggelsehistorisk tidskrift. - 0349-2834 .- 2002-3812. ; :79, s. 24-44
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Tidskriftsartikel (refereegranskat)abstract
- While the critique against the privatization of public space has been a recurring mantra in debates on urban development over the past 30 years, less attention has been given to how and why urban spaces undergo processes of privatization given the inherent ambiguities of the term. I argue that the privatization of urban space has undergone a significant shift, following the increased domination of private interests and market expansion that are the hallmarks of neoliberal societal restructuration. As informed by critical urban and architecture theory, the article is based on a comparative historical study of two sites in inner-city Stockholm: Stureplan (refurbished 1990) and Brunkebergstorg (refurbished 2019). By situating the spatial design of these places in their local context of decision-making and planning, a difference emerges between a first and second phase; one defined by overt manifestations of private and commercial interests, set in contrast to the present moment where modes of appropriation are cloaked under a new “generous publicness”. I argue that the emphasis on the social, rather than commercial, element in the design of contemporary urban space partakes in the construction of the new flexible and creative neoliberal subject in late-capitalist societies.
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| 7. |
- Holm, Olof, 1973-
(författare)
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Korskyrkan och "kastalen" i Brunflo : En ovanlig sockenkyrka med ett ovanligt klocktorn
- 2020
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Ingår i: Bebyggelsehistorisk tidskrift. - Uppsala : Föreningen Bebyggelsehistorisk tidskrift. - 0349-2834 .- 2002-3812. ; 79, s. 63-89
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Tidskriftsartikel (refereegranskat)abstract
- The article examines the building history of Brunflo church and the origins of its large adjacent freestanding tower. Previous scholars have characterised the cruciform phase of Brunflo church as Romanesque, partly inspired by Gamla Uppsala cathedral. However, the article argues that the church probably underwent two phases of construction in the Middle Ages, one in the 12th century and one probably in the 15th or early 16th century.Some previous scholars have characterised the tower as defence tower (Swedish kastal), whereas others have pointed out its lack of defensive features. The article demonstrates that the timber structure at the top of the tower is partly original. This construction resembles certain types of medieval Swedish timber bell tower, specifically the upper part where the bells hang. The author thus concludes that the Brunflo stone tower was originally built as a bell tower, as well as being a storehouse for valuable goods. Traces of storage space survive in the tower.The article also presents a dendrochronological study of the above timber structure, showing that the tower was built in the mid-13th century.When attempting to place these buildings in an historical context, the author concludes that although the origins of the earliest stone church remain obscure, the tower was probably built when Jarler (d. 1255) was archbishop of Uppsala. Given that the medieval archdiocese of Uppsala owned Södergård farm, adjacent to Brunflo church, the archbishop probably had a hand inbuilding the tower. The later expansion of the church, to include a new chancel and transepts to accommodate side altars, may be seen against the backdrop of the growing cult of saints in late-medieval Scandinavia.
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| 8. |
- Hällgren, Anna-Maria
(författare)
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Det kännbara landskapet : Om marken som gemenskap
- 2020
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Ingår i: Bebyggelsehistorisk tidskrift. - 0349-2834 .- 2002-3812. ; :78, s. 8-23
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Tidskriftsartikel (refereegranskat)abstract
- The main aim of the article is to historicise the view from above, which is recurrent when the ecological crisis is being addressed within contemporary art and visual culture today. The view from above may be considered a reasonable way to picture environmentally harmful land use and its consequences. In many ways this is perfectly justifiable. However, it also contains a few, but essential, problematic traits. The view from above – of deforestation, opencast coal mining and extreme urbanisation – corresponds with an ideal viewing position established in around the mid-19th century. This viewing position responded, according to art historian Jonathan Crary, to a need for objective perception. It allowed the observer to become supposedly detached, objective and disembodied, yet it also created a distance that was both physical and mental. The starting point in the article is that this viewing position cannot be decoupled from an anthropocentric understanding of the world, through which man has been assigned hegemony over other beings and has become the measure of all things.This ideal viewing position, however, was not the only one developed during the 19th century. In both art and literature, a multisensory experience of nature and its landscape was articulated, one which anchored people to – rather than separated them from – their surroundings. The examples discussed in the text – J.M.W. Turner’s increasing disassociation from the picturesque landscape; John Ruskin’s exhortations to visit alpine regions, observe geological detail, and viscerally experience the landscape; and Leslie Stephen’s phenomenological experiences of mountain landscapes and his ability to erase the boundary between the Self and the mountain – all testify to a multisensory experience of the surrounding natural world. With Ruskin and Stephen in particular, what emerges is an individual connected and at one with – rather than separated from – the surroundings. Thus, a non-anthropocentric, holistic worldview was fashioned, one which we have reason to re-actualise today.
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| 9. |
- Hällgren, Anna-Maria, 1983-
(författare)
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Det kännbara landskapet : om marken som gemenskap
- 2020
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Ingår i: Bebyggelsehistorisk tidskrift. - Uppsala : Föreningen Bebyggelsehistorisk tidskrift. - 0349-2834 .- 2002-3812. ; :78, s. 8-23
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Tidskriftsartikel (refereegranskat)abstract
- The overall aim with this article is to historicize the view from above, which is a recurrent view when the ecological crisis is being addressed within contemporary art and visual culture today. The view from above may be considered a reasonable way to picture environmentally harmful land use and its consequences. However, the view from above also contain a few, but essential, problematic traits. It correlates with an ideal viewing position established around the mid-19th century and responded, according to art historian Jonathan Crary, to a need for an objective perception. A starting point in the article is that this viewing position cannot be decoupled from an anthropocentric take on the world, through which man has been assigned hegemony over other beings and has become the measure of all things. But this ideal viewing position was not the only one developed during the 19th century. In both art and literature, a multi-sensory experience of nature and its landscape was articulated, one which anchored people to – rather than separated them from – their surroundings. Thus, a non-anthropocentric, holistic worldview was fashioned, one which we have reason to reactualize today.
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| 10. |
- Ingemark, Anna
(författare)
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Det offentliga samtalet om vår gestaltade miljö : Arkitekturkritikens roll och uttrycksmedel
- 2020
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Ingår i: Bebyggelsehistorisk tidskrift. - Uppsala : Föreningen Bebyggelsehistorisk tidskrift. - 0349-2834 .- 2002-3812. ; 78, s. 49-63
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Tidskriftsartikel (refereegranskat)abstract
- In this article Anna Ingemark, a senior lecturer in art history, looks at the role of architectural criticism from the viewpoint of public discourse in the Swedish media. The study is based primarily on her doctoral thesis Stockholms stadsbibliotek och Moderna museet – en analys av arkitekturkritik i svensk press (2010), and other investigations of our built environment from a perspective of discourse analysis and context. Ingemark emphasises the need for a nuanced discussion of our built environment by investigating the quality and complexity of architecture – especially in an era characterised by speed and superficiality. She explores architectural criticism using the following questions: What characterises architectural criticism as a genre? Who are the figures in this specific field? How is criticism formulated in terms of discourse and rhetoric? How can written criticism be understood by close reading? And what is the impact of architectural criticism, from both a contemporary and a historiographic perspective? Thus the article aims to better understand architectural criticism as a genre, with its own specific conditions and characteristics, and its significance in a wider social and cultural context. Ingemark also demonstrates how the writings of architectural criticism can be used as study material by students and other scholars via close reading based on architectural criticism’s discourse and rhetoric.
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