Scandinavian Architecture: The Evolution of Vernacular
All types of art are normally influenced by both the social and the political factors within a geographical region. These social aspects are reflected in the designs of the time and most of the inspiration that the designers get is from history. In Scandinavia, it is easy to define the style as straightforward. The logic behind the simplicity of this was due to the limited resources which emphasized saving and proper utilization (Pile, 335). It is also democratic in the manner that its main intention was to please, the masses. Architects in Scandinavia share an inherent bond with nature and the natural landscape. When studying the geographical locations of these nodes and, therefore, cross referencing their localities to similar cultural conditions a trend is found. It is the intention of this research to research just how the natural landscape is invited into the manmade structures that in most cases humbly penetrate the earth. Starting with early modernist-Scandinavian architects such as Eliel Saarnen and ending with contemporary projects such as BIG's mountain dwellings in Copenhagen, this survey will zoom into what exactly makes up the components of Scandinavian design.
From the old methods of creating art, Scandinavia came into the limelight with a new style. This is modernism. This new culture had the ability to represent the world in an idiosyncratic manner. It was the urbanization and urbanization that brought these changes by creating a chance where both had to be implemented. However, it is the difference in the social life of the different countries within this region that brought the uniqueness of each design. The similarity in the designs was a result of the features of functionality and tradition. This is the reason why after some time this came to become a style that not only was a representation of individual countries but was now a depiction of the whole geographical region (Pile, 335).
It was the traditions that were the unifying factor of the before the 19th century. The practicing of this norm was especially in Norway. It was not until some festivals in 1897 that there was awareness of the Nordic arts movement. Most of success in both festivals was from Sweden. Most of their items that drew favor from the audience were on the basis of changing images of biological organisms into three dimensional vases. The Art Nouveau had the capability to make this art into a unifying factor, but the challenge was in its expensive nature. There are many reasons as to the high demand for this art. The one that stood out most was the weariness with which people had now come to treat the historicism. This dissatisfaction was the reason why most felt that it was necessary for invention of a new style. It was especially Sweden which was behind this ideology which they indicated through their natural but beautiful art. Basically, this movement was an improvement of aesthetical value but had little to do with any technology.
However, there was little penetration of this art to other regions by then. This was later changed by the technological advancements which made the art famous especially through the films. Eliel Saarinen from Finland was the man who changed this situation. He landed in America in 1923 and was behind the major infusion of this art into the international frontier. Less than a decade after his arrival, he was already the director of Cranbrook Academy of Art. His designs by then were majorly complex buildings. Nevertheless, he also designed some furnishings that to most of the Americans were phenomenal. These designs were later to be a help to some students of art in that country. This school was the key factor that helped in the spread of this culture to the international levels. This school was later became the epicenter of all the Scandinavian art...
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